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[ "The Cult", "The Cult (1994-1995)", "What was the Cult?", "the band released The Cult in October 1994, produced by Bob Rock.", "How did i do in the charts?", "The record achieved little success, only reaching No. 69 in the US and No. 21 in the UK.", "Was there any hit songs released on that album?", "The single \"Coming Down (Drug Tongue)\"", "Are there any other interesting aspects about this article?", "When the band began the Beauty's On The Streets tour in winter 1994, they augmented the line up with James Stevenson on rhythm guitar.", "Did they win any awards?", "none of the songs gained much commercial success.", "Did the band split up?", "I don't know.", "Was there any tension between the team mates?", "the subject matter ranging from sexual abuse at the age of 15, to the death of Nigel Preston," ]

[ "Fire The Cannons is the debut album by rock band Jet Lag Gemini. The album spawned the singles, \"Run This City\" and \"Fit to Be Tied\". The album was released on Doghouse Records. The album was released on January 22, 2008.\n\nTrack listing\n Run This City\n Doctor, Please (There's Something Wrong with Me)\n The Bad Apple(s)\n Bittersweet\n Stepping Stone\n Fit to Be Tied\n Just Say How\n If It Was Up to Me\n Every Minute\n Keep This with You\n Picture Frames\n\nReferences\n\n2008 albums\nJet Lag Gemini albums", "\"Tied Up Too Tight\" is the second single from English band Hard-Fi's debut album, Stars of CCTV (2005). It was released on 18 April 2005. The song reached number 15 in the UK charts and was set to follow the success of Hard-Fi's debut single \"Cash Machine\"—a track that received \"single of the week\" accolades from the likes of NME, Time Out and Radio 1's Zane Lowe, who tagged \"Tied Up Too Tight\" as \"the hottest record in the world\" while receiving great support from XFM and Jo Whiley.\n\nHistory\nThe single was originally called \"Middle Eastern Holiday\", but it was seen that \"Tied up Too Tight\" was particularly successful when performed live and was thus chosen as the single instead. However, they decided to keep \"Middle Eastern Holiday\" as a B-side which caused a debate on whether the single was a double A-side or not.\n\n\"Tied Up Too Tight\" and \"Middle Eastern Holiday\" are two tracks that showcase the variety of sources that have influenced Hard-Fi. The politically motivated song that is \"Middle Eastern Holiday\" is taken from Hard-Fi's self-financed album Stars of CCTV while their cover of The White Stripes' \"Seven Nation Army\" sees Hard-Fi transforming the blues stomper into a thuggish, attitude-drenched skank.\n\n\"Tied Up Too Tight\"\n\"Tied Up Too Tight\" is all about the desire to escape the mundanity of the boredom spent in the band's hometown of Staines, and leaving for the more lively surroundings of London. \"Straight out of West London... Just like a loaded gun\"\n\nRichard Archer describes the song by saying, \"It talks about being stuck in a town and wanting to leave to find people like yourself. It's also about the buzz you get from the city. The music's better, the girl's are prettier etc.\" \"Where I come from is pretty grey, boring and depressing if you're not into the usual run-of-the-mill sorts of things. It could be about any satellite town and how you don't really feel as if you fit in there. So it's about getting out and driving to London, seeing the bright lights and the people dressing cooler and being cooler. It's basically a going-out song.\"\n\nThe video was directed by Richard Skinner and shows black and white clips of the band and of cars heading towards London.\n\n\"Middle Eastern Holiday\"\nThis song is based on modern day culture of teenagers / young adults going to war, risking their life and not knowing whether they will see their families or friends again. It also has a political view, \"back at home politicians sit, over lunch, discussing this\". The band are known to be anti-war and anti-racism as they have appeared at Love Music Hate Racism gigs, and at Damon Albarn's African Express.\n\nThe song is often the first song to be played on live shows after the introduction that is usually \"The Man with the Harmonica\" by Ennio Morricone. On live shows the track features a more prominent use of the melodica and usually comes with visuals depicting war.\n\nTrack listings\nCD single\n \"Tied Up Too Tight\"\n \"Middle Eastern Holiday\"\n\n7-inch vinyl\n \"Tied Up Too Tight\"\n \"Middle Eastern Holiday\"\n \"Seven Nation Army\" (White Stripes cover)\n\n10-inch vinyl\n \"Tied Up Too Tight\"\n \"Middle Eastern Holiday\"\n \"Seven Nation Army\" (White Stripes cover)\n \"Middle Eastern Holiday\" (Wrongtom Meets the Rockers East Medina)\n \"Middle Eastern Holiday\" (Chicken Lips Remix)\n\nCharts\n\nReferences\n\nExternal links\n \n \n\nHard-Fi songs\n2004 songs\n2005 singles\nAtlantic Records singles\nSongs written by Richard Archer" ]

[ "The Cult", "The Cult (1994-1995)", "What was the Cult?", "the band released The Cult in October 1994, produced by Bob Rock.", "How did i do in the charts?", "The record achieved little success, only reaching No. 69 in the US and No. 21 in the UK.", "Was there any hit songs released on that album?", "The single \"Coming Down (Drug Tongue)\"", "Are there any other interesting aspects about this article?", "When the band began the Beauty's On The Streets tour in winter 1994, they augmented the line up with James Stevenson on rhythm guitar.", "Did they win any awards?", "none of the songs gained much commercial success.", "Did the band split up?", "I don't know.", "Was there any tension between the team mates?", "the subject matter ranging from sexual abuse at the age of 15, to the death of Nigel Preston,", "How was the band tied up into this?", "in 1994" ]

[ "Look What I Did is an American band, formed in 2001 in Nashville, Tennessee, United States. The band is known for its intense live show, described by Cincinnati CityBeat as a \"live act capable of unleashing a scary, uncontrolled intensity bordering on dangerous,\" and oft-satirical eccentric lyrics.\n\nHistory\nIn 2003, the band added a second guitar player, Aaron \"Skeet\" Childress, formerly of National Green, and relocated to Los Angeles, California. At this time they also released their first recording, an independently recorded, financed, and released LP, My First Time, on their own Clockrock Recordings. Despite its limited pressing, the record received many features from ezines such as theprp.com, loudside.com, and Opuszine.com. \n\nIn early 2008, the band signed a deal with new label Modernist Movement. The album Atlas Drugged was released on February 9, 2010 via Modernist Movement Recordings. Atlas Drugged was also produced by Brian Virtue. Decibel magazine referred to the band in a review of Atlas Drugged, \"Look What I Did crush on political philosophers, put Latin words in their song titles and generally get off on being a bunch of wiseasses to spazzed-out Adderall punk.\"\n\nZanzibar III: Analog Prison was named the Best Metal Album of 2015 by The Nashville Scene.\n\nThe band released a full new song ''If I Were You I Wouldn't'' in January 2016 on their YouTube account, followed by Fireball in June 2016, their first songs released since 'Zanzibar III : Analog Prison'.\n\nThe band was named after friend's child said the phrase 'Mommy, look what I did', about a drawing to her mother when Barry was talking to her over the phone discussing what the band's name should be.\n\nIn September 2020, the band announced that Evan Brewer has joined the band on bass, replacing Chad Omen, with new music underway in the studio.\n\nDiscography\n\nStudio albums\n2003: My First Time (Clockrock Recordings)\n2005: Minuteman for the Moment (Combat Records)\n2010: Atlas Drugged (Modernist Movement Recordings)\n2014: Zanzibar III: Analog Prison (So Say We All Records)\n2019: Sympathy Porn (So Say We All Records)\n\nVideography\n\"Minuteman for the Moment\" (2005)\n\"Fade to Daft\" (2010)\n\"I'm Majoring in Psychology\" (2010)\n\"Serf Song\" (2010)\n\"Pussy Comitatus\" (2011)\n\"Sebastian's Analog Prison\" (2013)\n\"Wait, Don't Jump\" (2015)\n\"If I Were You I Wouldn't\" (2016)\n\"Hands Off My Snacks\" (2019)\n\nReferences\n\nExternal links\nLook What I Did official website\nMusic on Reverbnation \nLook What I Did on Spotify\n[ Look What I Did @ Allmusic.com]\n\nMNRK Music Group artists\nMusical groups established in 2001", "Sack is a five-piece Irish band, based in Dublin. To date the band has released three albums: You Are What You Eat, Butterfly Effect and Adventura Majestica. The band formed after the demise of Lord John White.\n\nTheir first single \"What Did The Christians Ever Do For Us?\" was single of the week in both the NME and Melody Maker. They have supported Morrissey on several world tours taking in mainland Europe, North America, and the UK. Sack have also supported the likes of The Fall, Boo Radleys among others. They have gigged sporadically in recent years and are planning to record new material.\n\nThe band appeared on the Morrissey-endorsed NME CD Songs to Save Your Life, while \"Laughter Lines\" appeared on the soundtrack to the movie Carrie 2: The Rage.\n\nCurrent members\nMartin McCann: lead vocals\nJohn Brereton: guitars\nTony Brereton: drums, backing vocals\nKen Haughton: guitars\nDerek Lee: bass\n\nDiscography\nAlbums \n\n You Are What You Eat (1994) Lemon Records\n Butterfly Effect (1997) Dirt Records\n Adventura Majestica (2001) Jetset Junta Records\n\nSingles \n\n Dilettanti (1993)\n Indian Rope Trick. (1993)\n What Did The Christians Ever Do For Us (1994)\n Latitude (1997)\n Laughter Lines (1998)\n What a Way to Live (2021)\n\nReferences\n\nExternal links\nOfficial site\n\nIrish rock music groups\nMusical groups from Dublin (city)\nMusical groups established in 1994" ]

[ "The Cult", "The Cult (1994-1995)", "What was the Cult?", "the band released The Cult in October 1994, produced by Bob Rock.", "How did i do in the charts?", "The record achieved little success, only reaching No. 69 in the US and No. 21 in the UK.", "Was there any hit songs released on that album?", "The single \"Coming Down (Drug Tongue)\"", "Are there any other interesting aspects about this article?", "When the band began the Beauty's On The Streets tour in winter 1994, they augmented the line up with James Stevenson on rhythm guitar.", "Did they win any awards?", "none of the songs gained much commercial success.", "Did the band split up?", "I don't know.", "Was there any tension between the team mates?", "the subject matter ranging from sexual abuse at the age of 15, to the death of Nigel Preston,", "How was the band tied up into this?", "in 1994", "What affect did this have on the band?", "no other official singles were released, but several other songs were released on a strictly limited basis:" ]

[ "\"One Said to the Other\" is a song by Australian punk rock band the Living End. It was released on 20 January 2003 as the first single from their third album, Modern ARTillery (2003). The song peaked at No. 19 on the Australian ARIA Singles Chart and was ranked No. 52 on Triple J's Hottest 100 for 2003. The songs \"One Said to the Other\" and \"What Would You Do?\" were both recorded in 2002, before the Modern ARTillery sessions.\n\nTrack listing\nAustralian CD single\n \"One Said to the Other\"\n \"What Would You Do?\"\n \"Blinded\"\n \"Fond Farewell\"\n\nCharts\n\nReferences\n\nExternal links\n \n\n2003 singles\n2003 songs\nEMI Records singles\nThe Living End songs\nSongs written by Chris Cheney", "\"What a Night\" is a song performed by British band, Loveable Rogues. It was their debut single and was intended to feature on a debut album. The single was released in Ireland and the United Kingdom on 19 April 2013. The band were dropped from Syco in October 2013, but the single was featured on their debut album This and That, released in 2014 on Super Duper Records.\n\nBackground\nLoveable Rogues first announced that they're signed to Syco on June, 2012. In late 2012, the band released a free mixtape through their Soundcloud channel. The collection of songs was released as a free download and was called 'First Things First'. \"What A Night\" was previewed along with new songs such as \"Maybe Baby\", \"Talking Monkeys\" and \"Honest\".\n\nMusic video\n\nTwo teaser videos were released before the music video. The first teaser video was uploaded to their Vevo channel on 11 February 2013. The second teaser released two days after or a week before the music video released; on 19 February 2013, the music video was uploaded to their Vevo channel.\nThe video features the band having a night party with their friends.\n\nChart performance\n\"What a Night\" debuted on the UK Singles Chart at number 9 on 27 April 2013 after debuting at number 5 on the UK Singles Chart Update.\n\nTrack listing\nDigital download\n What a Night - 2:50\n Nuthouse - 3:58\n What a Night (feat. Lucky Mason) Sonny J Mason Remix] - 3:41\n What a Night (Supasound Radio Remix) - 2:42\n\nCharts\n\nReferences\n\n2013 debut singles\n2013 songs\nSyco Music singles\nSong recordings produced by Red Triangle (production team)\nSongs written by Rick Parkhouse\nSongs written by George Tizzard" ]

[ "The Cult", "The Cult (1994-1995)", "What was the Cult?", "the band released The Cult in October 1994, produced by Bob Rock.", "How did i do in the charts?", "The record achieved little success, only reaching No. 69 in the US and No. 21 in the UK.", "Was there any hit songs released on that album?", "The single \"Coming Down (Drug Tongue)\"", "Are there any other interesting aspects about this article?", "When the band began the Beauty's On The Streets tour in winter 1994, they augmented the line up with James Stevenson on rhythm guitar.", "Did they win any awards?", "none of the songs gained much commercial success.", "Did the band split up?", "I don't know.", "Was there any tension between the team mates?", "the subject matter ranging from sexual abuse at the age of 15, to the death of Nigel Preston,", "How was the band tied up into this?", "in 1994", "What affect did this have on the band?", "no other official singles were released, but several other songs were released on a strictly limited basis:", "what other songs were released?", "\"Saints Are Down\" was issued in Greece," ]

[ "\"World-Wide Travelin' Man\" is a song written by Vern Stovall. It was recorded by American country artist Wynn Stewart. It was released as a single in 1969 and became a major hit that same year.\n\nBackground and release\n\"World-Wide Travelin' Man\" was recorded in 1969 at the Capitol Recording Studio, located in Hollywood, California. The session was produced by Ken Nelson, Stewart's producer at Capitol Records. The song was written by Vern Stovall. Stewart had been on the Capitol label for nearly five years at the time of this single release and had several major hits up to this point. This included the number one single \"It's Such a Pretty World Today.\"\n\n\"World-Wide Travelin' Man\" was released as a single on Capitol Records in June 1969. It was his twelfth single release with the label. His backing band, \"The Tourists,\" were given equal billing on the single release by Capitol Records. The single spent 10 weeks on the Billboard Hot Country Singles chart before becoming a major hit, peaking at number 19 in September 1969. \"In Love\" was Stewart's eighth major hit as a music artist in his career on the Billboard charts.\n\nTrack listings\n7\" vinyl single\n \"World-Wide Travelin' Man\" – 1:58\n \"Cry Baby\" – 2:17\n\nChart performance\n\nReferences\n\n1969 songs\n1969 singles\nWynn Stewart songs\nSong recordings produced by Ken Nelson (American record producer)", "\"World! Wide! Love!\" is the 33rd physical single and 34th single overall by Japanese singer-songwriter Hitomi and was released on May 20, 2009 by Avex Trax. \"World! Wide! Love!\" is the second single from, and is set to appear on, Hitomi's ninth studio album, \"Love Life 2\".\n\nBackground\nWhile there were many rumors that Hitomi was going to retire, they were quickly disbanded when her 34th single, \"Sagashi Tsuduketeta Mono/World! Wide! Love!\", a double a-side featuring a \"pop ballad\", was announced to be released on January 28, 2009. However, this single was soon cancelled for unknown reasons. Not long after, another single release, tentatively titled, \"Birth\", was soon scheduled on online stores to release a month later, on February 18, 2009, in both a CD-only and CD+DVD edition. Once again, however, this single release was cancelled for unknown reasons. Finally, however, her ninth studio album, then untitled, was confirmed by online retailers and Hitomi's official website. Soon after, \"World! Wide! Love!\" was announced. The title track was used in skincare product \"Easuterinie\" commercials, and was also a tie-in song for the \"Bee TV\" series in Japan. Both \"World! Wide! Love!\" and the b-side \"Kokoro no Sogen\" will appear on Hitomi's upcoming album \"Love Life 2\".\n\nMusic video\nThe promotional video does not feature Hitomi herself; rather, it depicts a girl in a long t-shirt walking around a school campus. As she walks, more girls join her and wear part of the girl's long t-shirt. The beginning of the video features a spoken, robotic message (most likely from Hitomi herself), and the song used in the video prior to release of Love Life 2 uses a more vocoded voice than the version on the single. This vocoder version appeared on the CD Love Life 2 However, the version of the video on the CD+DVD version of Love Life 2 uses the single mix.\n\nTrack listing\n\nCharts\nOricon Sales Chart (Japan)\n\nReferences\n\n2009 singles\nHitomi songs\n2009 songs" ]

[ "Alice Paul", "Silent Sentinels" ]

[ "What Happened to Jones may refer to:\n What Happened to Jones (1897 play), a play by George Broadhurst\n What Happened to Jones (1915 film), a lost silent film\n What Happened to Jones (1920 film), a lost silent film\n What Happened to Jones (1926 film), a silent film comedy", "You Know What Sailors Are may refer to:\n\n You Know What Sailors Are (1928 film), a 1928 British silent comedy drama film\n You Know What Sailors Are (1954 film), a 1954 British comedy film" ]

[ "Alice Paul", "Silent Sentinels", "what are silent sentenials?", "The pickets, participating in a nonviolent civil disobedience campaign known as the \"Silent Sentinels,\" held banners demanding the right to vote." ]

[ "The National Assembly in the Philippines announced the plebiscite in 1937, which would decide whether or not women should gain the right to vote. Multiple women's movements started during 1910 which led to the plebiscite in 1937 where women voted for or against for women's suffrage rights. Filipino women worked hard to mobilize and fight for women's suffrage in the early 1900s and gained victory after 447,725 out of 500,000 votes affirmed to having women's right to vote.\n\nArguments against women gaining the right to vote in the Philippines were stated due to the fact that it would ruin family unity, giving less power to the husband or man of the house in the family.\n\nPrior to the plebiscite, electors voted on the approval of the new Philippine constitution. Approximately 1,213,934 of the electors voted in favor of the new constitution while 42,690 electors voted against. The new constitution, which contains a provision for the mechanism of extending the right to vote to women, was also the shortest constitution that was ratified during modern times. This new constitution contained only a small number of 17 articles.\n\nBefore women gained the right to vote, they had no legal rights during that time period. Even with the proper consent from their husbands, women still could not obtain any legal rights. Governor General Dwight F. Davis made it legal for women to have some legal rights when it came to disposition of property. This allowed for women to own personal items within their marriage. The issue concerning women's suffrage in the Philippines was settled in a special plebiscite held on 30 April 1937. Ninety percent of voters were in favor of the measure.\n\nAsociacion Feminista Ilonga\nFounded by women's rights pioneer Pura Villanueva Kalaw, Asociacion Feminista Ilonga was created in 1906 and Asociacion Feminista Filipina (Feminist Association of the Philippines) was founded in 1905 which was founded by Concepcion Felix Rodriguez along with 12 elite women. Both of these organizations not only helped the suffrage movement, but they were also one of the first organizations that built a foundation for the suffrage movement in the Philippines. The objectives of the organizations were to touch upon socio-civic matters some of which were prison reform, improving the education system and healthcare and labor reforms. Governor Murphy was the first Governor who took action on gaining civil and political rights for women, while other Governors such as Roosevelt and Davis aimed to help women gain civil rights, but never took initiative. Governor General Frank Murphy, who aimed to gain peace and unity for all Philippine women, ultimately signed the Woman's Suffrage Bill, in hope that women would gain equal rights, fairness, and treatment.\n\nThere were several feminist organizations that played a role in enhancing the suffrage movement. The struggle for women to vote in the Philippines, started by middle class women, began in 1910. In 1905, Feminista Filipino (Association of Filipino Feminists) was formed and focused on school reforms and prison reform for citizens. Another organization, the Association Feminista Ilonga, was created in 1906; its goal was to focus on women's suffrage. At the same time, there was an all-male National Legislature that was against the feminist movement, thus did not support the movement because they feared that traditional family roles would start to change if women had the right to vote. Those who were opposed to the women's suffrage movement were not only men but also women. In 1920, the Manila Women's Club emerged as the \"next big step\" towards forming the League of Women's Suffragettes which worked towards women's right to vote. The Club formed the League of Women's Suffragettes. A year after the League of Women's Suffragettes was formed, there was another organization called the National Federation of Women's Club in 1921-1937 which was known to be the vanguard of the suffrage movement. As all these organizations illustrate, Filipino women worked hard with determination to gain the right to vote and have equal political participation as Filipino men.\n\nNational Assembly\nArticle 5 of the 1935 constitution states that \"The National Assembly shall extend the right of suffrage to women, if in a plebiscite which shall be held for that purpose within two years after the adoption of this Constitution, not less than three hundred thousand women possessing the necessary qualifications shall vote affirmatively on the question\". In response, Filipino women amped up their mobilization women to vote. There was widespread propaganda through media, posters, press, radio, house to house visits and such and they also had lectures informing women about the plebiscite. The Junior Federation of Women's Club was also created to help women with children so that they were able to vote while their children would be taken care of. Transportation and food were provided, creating less hassle for Filipinos that may or may not have financial abilities to go out and vote. The National Assembly passed Commonwealth Act No. 34 which was approved on 30 September 1936; the act provided for the holding of the plebiscite for women's suffrage the following year. As mandated by Commonwealth Act No. 34, women who met the same qualification as men would be qualifies to vote in the plebiscite. Out of the total of 500,000 women that voted in 30 April 1937, 447,725 women voted in favor of extending the right to vote to women while 52,275 voted against. As a result of the majority of affirmative votes cast, the right of suffrage was extended to women, in compliance with section 10 of Commonwealth Act No. 34.\n\nLegacy\nThe Philippines is one of the earliest countries in South East Asia to have a female president, Corazon Aquino, who was in office from 25 February 1986 to 30 June 1992; the country also has high percentages of women participation in the political realm. The current 1987 Constitution grants equality for both men and women. Some of the equal political rights are the right of suffrage, the right to run for public service, right to political expression, and the right to information. The Philippines is one of the countries that is a signatory to the United Nations Convention on the Political Rights of Women (CEDAW). In 1939, two years after Philippine women were granted the right to vote, the first woman senator was elected: Geronima T. Pecson. The election of Pecson sparked the start of many leadership positions for women such as the election of two women presidents, a vice president, congresswomen, senators, mayors and many other leadership positions along with those.\n\nPlebiscite results\n\nRules: In order to be approved, there should be 300,000 or more \"Yes\" votes.\n\nSee also\n Commission on Elections\n Politics of the Philippines\n Philippine elections\n Suffrage\n\nReferences\n\nExternal links\n Official website of the Commission on Elections\n Commonwealth Act No. 34\n\n1937 referendums\n1937 in the Philippines\nWomen's suffrage in the Philippines\nSuffrage referendums\nPresidency of Manuel L. Quezon\n1937 in women's history\nReferendums in the Philippines", "A referendum on the introduction of women's suffrage in national elections was held in Liechtenstein on 1 July 1984. Following the introduction of female suffrage in neighbouring Switzerland at the federal level after a referendum in 1971 (although women had had the right to vote in many cantons and municipalities before this), Liechtenstein had been the only remaining European country to deny women the right to vote. Referendums had been held in 1968, 1971 and 1973 (the latter two limited to men), but on each occasion voters had rejected its introduction, despite the support of newspapers and both major political parties. Nevertheless, some municipalities had since introduced female suffrage at a local level, starting with Vaduz in 1976, and women had been elected to the local councils of Vaduz and Gamprin in 1983.\n\nThis referendum was also limited to male voters, and again both main parties had argued for its introduction. This time the referendum produced a vote in favour of the change, although only by the narrow margin of 119 votes, with 2,370 in favour and 2,251 against. Support was greater in Unterland than in Oberland. Voter turnout was 86.19%.\n\nFollowing the referendum, amendments were made to the constitution to grant women the right to vote in national elections, although they did not gain the right to vote in local elections in three municipalities until 1986. The first national elections in which women could vote took place in 1986, and saw Emma Eigenmann elected to the Landtag on the Progressive Citizens' Party (FBP) list, becoming the first female member of the Landtag. In 1993 Cornelia Gassner of the FBP became the country's first female cabinet member.\n\nResults\n\nSee also\nWomen's suffrage in Liechtenstein\n\nReferences\n\nLiechtenstein\n1984 in Liechtenstein\nReferendums in Liechtenstein\nWomen's suffrage in Liechtenstein\nSuffrage referendums\nJuly 1984 events in Europe\n1984 in women's history" ]

[ "Alice Paul", "Silent Sentinels", "what are silent sentenials?", "The pickets, participating in a nonviolent civil disobedience campaign known as the \"Silent Sentinels,\" held banners demanding the right to vote.", "did they gain the right to vote?", "I don't know." ]

[ "Annette Evans (born 28 May 1944) is a Scottish former international lawn bowler.\n\nBowls career\nEvans won the Women's Scottish National Bowls Championships title in 1987 and subsequently won the singles at the British Isles Bowls Championships in 1988. Her biggest accomplishment was winning gold in the fours during the 1985 World Outdoor Bowls Championship with Sarah Gourlay, Elizabeth Christie and Frances Whyte .\n\nEvans retired in 1990 from international competition.\n\nReferences\n\nScottish female bowls players\nLiving people\n1944 births\nBowls World Champions", "Emily Dwyer (born c. 1993) is a Canadian curler from Lower Sackville, Nova Scotia. She currently skips a team on the World Curling Tour. Dwyer was born in Ottawa, Ontario.\n\nAmong Dwyer's junior accolades including winning two Under-18 provincial titles (2010 and 2011), and representing Nova Scotia at the 2011 Canada Winter Games, finishing fourth on home ice at the Mayflower Curling Club. However, her biggest junior accomplishment was representing Nova Scotia at the 2012 Canadian Junior Curling Championships. She skipped her Nova Scotia rink to a 7–5 record, just missing the playoffs.\n\nThe 2014–15 season was the first season for Dwyer on the World Curling Tour (WCT). Her first event was the Gibson's Cashspiel played in her hometown of Lower Sackville. Her team won two games. In just her second ever WCT event, the 2014 Skyy Vodka Ladies Cashspiel, Dwyer and her rink won, defeating former World Champion Mary-Anne Arsenault in the final.\n\nOn March 30, 2020 Dwyer announced she had recovered from COVID-19.\n\nReferences\n\nExternal links\n \n\nLiving people\nSportspeople from Halifax, Nova Scotia\nCurlers from Nova Scotia\nCurlers from Ottawa\nCanadian women curlers\n1990s births" ]

[ "Alice Paul", "Silent Sentinels", "what are silent sentenials?", "The pickets, participating in a nonviolent civil disobedience campaign known as the \"Silent Sentinels,\" held banners demanding the right to vote.", "did they gain the right to vote?", "I don't know.", "what was her biggest accomplishment?", "After the United States entered World War I in April 1917, many people viewed the picketing Silent Sentinels as disloyal." ]

[ "For Cause and Comrades: Why Men Fought in the Civil War is a book by the Pulitzer Prize–winning author James M. McPherson. The book was published by Oxford University Press in 1997 and covers the lives and ideals of American Civil War soldiers from both sides of the war. Drawing from a compilation of over 25,000 letters and 250 personal diaries, For Cause and Comrades tells the story of the American Civil War's soldiers through their own uncensored point of view.\n\nOverview\n\nConfederate motivations\nIn the book, McPherson contrasts the views of the Confederates regarding slavery to that of the colonial-era American revolutionaries of the late 18th century. He stated that while the American colonists of the 1770s saw an incongruity with slave ownership and proclaiming to be fighting for liberty, the Confederates did not, as the Confederacy's overriding ideology of white supremacy negated any contradiction between the two:\n\nMcPherson states that the Confederates did not discuss the issue of slavery as often as Union soldiers did, because most Confederate soldiers readily accepted as an obvious fact that they were fighting to perpetuate slavery, and thus did not feel a need to debate over it:\n\nContinuing, McPherson also stated that of the hundreds of Confederate soldiers' letters he read, none of them contained any anti-slavery sentiment whatsoever:\n\nHowever, McPherson notes that in his sampling of letters, Confederates from slave-owning families were over-represented.\n\nUnion motivations\nMcPherson also examined the motivations behind Union soldiers and what drove them to fight for the United States in the war. He stated that although Union soldiers primarily fought to preserve the United States as a country, they fought to end slavery as well, stating that:\n\nReception\nReaction to the book was highly positive. According to the School Library Journal Review, \"This powerful commentary by today's premier Civil War historian is truly compelling in its depth and intensity.\" \n\nThe School Library Journal Review also gave a favorable review, saying \"McPherson uses these letters well: they not only support his arguments but provide the intensely human elements of fear, sickness, loneliness and exhaustion that make the question of motivations so poignant.\" \n\nThe Choice Review lauded the book as well, saying \"McPherson offers a persuasive and provocative account of why Civil War soldiers fought.\"\n\nAwards\nFor Cause and Comrades: Why Men Fought in the Civil War won the Lincoln Prize in 1998.\n\nSee also\n\nBattle Cry of Freedom\n\nReferences\n\nExternal links\n\nPresentation by McPherson on For Cause and Comrades, May 21, 1998\n\n1997 non-fiction books\nAmerican history books\nHistory books about the American Civil War\nOxford University Press books", "The appeal to loyalty is a logical fallacy committed when the premise of an argument uses a perceived need for loyalty of some sort to distract from the issue being discussed.\n\nExample\nB questions A's statement of x.\nAnyone who questions A is disloyal.\nTherefore, B is wrong.\n\nProblem: Even if B is disloyal, that doesn't mean that B is wrong, as A is not necessarily always right.\n\nSee also\nGroupthink\nBlood is thicker than water\n\nReferences\n\nLoyalty\nGenetic fallacies" ]

[ "Alice Paul", "Silent Sentinels", "what are silent sentenials?", "The pickets, participating in a nonviolent civil disobedience campaign known as the \"Silent Sentinels,\" held banners demanding the right to vote.", "did they gain the right to vote?", "I don't know.", "what was her biggest accomplishment?", "After the United States entered World War I in April 1917, many people viewed the picketing Silent Sentinels as disloyal.", "why did they view them as disloyal?", "In June 1917, picketers were arrested on charges of \"obstructing traffic.\"" ]

[ "\"Toward a Fair Use Standard\", 103 Harv. L. Rev. 1105 (1990), is a law review article on the fair use doctrine in US copyright law, written by then-District Court Judge Pierre N. Leval. The article argued that the most critical element of the fair use analysis is the transformativeness of a work, the first of the statutory factors listed in the Copyright Act of 1976, . \n\nLeval's article is cited in the Supreme Court's 1994 decision in Campbell v. Acuff-Rose Music, Inc., which marked a shift in judicial treatment of fair use toward a transformativeness analysis and away from emphasizing the \"commerciality\" analysis of the fourth factor. Prior to Leval's article, the fourth factor had often been described as the most important of the factors. \n\nIn his article, Leval noted: \nI believe the answer to the question of justification turns primarily on whether, and to what extent, the challenged use is transformative. The use must be productive and must employ the quoted matter in a different manner or for a different purpose from the original. ...[If] the secondary use adds value to the original—if the quoted matter is used as raw material, transformed in the creation of new information, new aesthetics, new insights and understandings—this is the very type of activity that the fair use doctrine intends to protect for the enrichment of society.\n\nTransformative uses may include criticizing the quoted work, exposing the character of the original author, proving a fact, or summarizing an idea argued in the original in order to defend or rebut it. They also may include parody, symbolism, aesthetic declarations, and innumerable other uses.\n\nLeval's article was published with an accompanying article by Lloyd Weinreb \"Fair's Fair: A Comment on the Fair Use Doctrine\", 103 Harvard Law Review 1137 (1990), which generally critiqued Leval's thesis.\n\nFurther reading \n \n \n\n1990 essays\n1990 in law\nFair use\nCopyright law literature\nLegal literature\nWorks originally published in the Harvard Law Review\nUnited States copyright law", "A fact is something that is true. The usual test for a statement of fact is verifiability, that is whether it can be demonstrated to correspond to experience. Standard reference works are often used to check facts. Scientific facts are verified by repeatable careful observation or measurement by experiments or other means.\n\nFor example, \"This sentence contains words.\" accurately describes a linguistic fact, and \"The sun is a star\" accurately describes an astronomical fact. Further, \"Abraham Lincoln was the 16th President of the United States\" and \"Abraham Lincoln was assassinated\" both accurately describe historical facts. Generally speaking, facts are independent of belief and of knowledge and opinion.\n\nEtymology and usage \nThe word fact derives from the Latin factum. It was first used in English with the same meaning: \"a thing done or performed\"a meaning now obsolete. The common usage of \"something that has really occurred or is the case\" dates from the mid-16th century.\n\nBarbara J. Shapiro wrote in her book \"A Culture of Fact\", how the concept of a fact evolved, starting within the English legal tradition of the 16th century. \nIn 1870, Charles Sanders Peirce described in his book \"The Fixation of Belief\" four methods which people use to decide what they should believe: tenacity, method of authority, a priori and scientific method \n\nThe term fact also indicates a matter under discussion deemed to be true or correct, such as to emphasize a point or prove a disputed issue; (e.g., \"... the fact of the matter is ...\").\n\nAlternatively, fact may also indicate an allegation or stipulation of something that may or may not be a true fact, (e.g., \"the author's facts are not trustworthy\"). This alternate usage, although contested by some, has a long history in standard English according to the American Heritage Dictionary of the English Language' The Oxford English Dictionary dates this use to 1729.Fact may also indicate findings derived through a process of evaluation, including review of testimony, direct observation, or otherwise; as distinguishable from matters of inference or speculation. This use is reflected in the terms \"fact-find\" and \"fact-finder\" (e.g., \"set up a fact-finding commission\").\n\nFacts may be checked by reason, experiment, personal experience, or may be argued from authority. Roger Bacon wrote \"If in other sciences we should arrive at certainty without doubt and truth without error, it behooves us to place the foundations of knowledge in mathematics.\"\n\nIn philosophy\n\nIn philosophy, the concept fact is considered in the branch of philosophy concerned with knowledge, called epistemology and ontology, which studies concepts such as existence, being, becoming, and reality. Questions of objectivity and truth are closely associated with questions of fact. A fact can be defined as something, that is the case, in other words, a state of affairs.Wittgenstein, Tractatus Logico-Philosophicus, Proposition 2: What is the case—a fact—is the existence of states of affairs.\n\nFacts may be understood as information, which makes a true sentence true: \"A fact is, traditionally, the worldly correlate of a true proposition, a state of affairs whose obtaining makes that proposition true.\" Facts may also be understood as those things to which a true sentence refers. The statement \"Jupiter is the largest planet in the solar system\" is about the fact Jupiter is the largest planet in the solar system.\n\nCorrespondence and the slingshot argument\n\nPascal Engel's version of the correspondence theory of truth explains that what makes a sentence true is that it corresponds to a fact.\nThis theory presupposes the existence of an objective world.\n\nThe Slingshot argument claims to show that all true statements stand for the same thing, the truth value true. If this argument holds, and facts are taken to be what true statements stand for, then one arrives at the counter-intuitive conclusion that there is only one fact: the truth.\n\nCompound facts\n\nAny non-trivial true statement about reality is necessarily an abstraction composed of a complex of objects and properties or relations.\"Facts possess internal structure, being complexes of objects and properties or relations\" For example, the fact described by the true statement \"Paris is the capital city of France\" implies that there is such a place as Paris, there is such a place as France, there are such things as capital cities, as well as that France has a government, that the government of France has the power to define its capital city, and that the French government has chosen Paris to be the capital, that there is such a thing as a place or a government, and so on. The verifiable accuracy of all of these assertions, if facts themselves, may coincide to create the fact, that Paris is the capital of France.\n\nDifficulties arise, however, in attempting to identify the constituent parts of negative, modal, disjunctive, or moral facts.\n\nFact–value distinction\n\nMoral philosophers since David Hume have debated whether values are objective, and thus factual. In A Treatise of Human Nature Hume pointed out there is no obvious way for a series of statements about what ought to be the case to be derived from a series of statements of what is the case. Those who insist there is a logical gulf between facts and values, such that it is fallacious to attempt to derive values from facts, include G. E. Moore, who called attempting to do so the naturalistic fallacy.\n\nFactual–counterfactual distinction\n\nFactuality —what has occurred— can also be contrasted with counterfactuality:\nwhat might have occurred, but did not. A counterfactual conditional or subjunctive conditional is a conditional (or \"if-then\") statement indicating what would be the case if events had been other than they were. For example, \"If Alexander had lived, his empire would have been greater than Rome.\" This contrasts with an indicative conditional, which indicates what is (in fact) the case if its antecedent is (in fact) true—for example, \"If you drink this, it will make you well.\" Such sentences are important to modal logic, especially since the development of possible world semantics.\n\nIn mathematics\n\nIn mathematics, a fact is a statement (called a theorem) that can be proven by logical argument from certain axioms and definitions.\n\nIn science\n\nThe definition of a scientific fact is different from the definition of fact, as it implies knowledge. A scientific fact is the result of a repeatable careful observation or measurement by experimentation or other means, also called empirical evidence. These are central to building scientific theories. Various forms of observation and measurement lead to fundamental questions about the scientific method, and the scope and validity of scientific reasoning.\n\nIn the most basic sense, a scientific fact is an objective and verifiable observation, in contrast with a hypothesis or theory, which is intended to explain or interpret facts.\n\nVarious scholars have offered significant refinements to this basic formulation. Philosophers and scientists are careful to distinguish between: 1) states of affairs in the external world and 2) assertions of fact that may be considered relevant in scientific analysis. The term is used in both senses in the philosophy of science.\n\nScholars and clinical researchers in both the social and natural sciences have written about numerous questions and theories that arise in the attempt to clarify the fundamental nature of scientific fact. Pertinent issues raised by this inquiry include:\n the process by which \"established fact\" becomes recognized and accepted as such;\n whether and to what extent \"fact\" and \"theoretic explanation\" can be considered truly independent and separable from one another;\n to what extent \"facts\" are influenced by the mere act of observation; and\n to what extent factual conclusions are influenced by history and consensus, rather than a strictly systematic methodology.\n\nConsistent with the idea of confirmation holism, some scholars assert \"fact\" to be necessarily \"theory-laden\" to some degree. Thomas Kuhn points out that knowing what facts to measure, and how to measure them, requires the use of other theories. For example, the age of fossils is based on radiometric dating, which is justified by reasoning that radioactive decay follows a Poisson process rather than a Bernoulli process. Similarly, Percy Williams Bridgman is credited with the methodological position known as operationalism, which asserts that all observations are not only influenced, but necessarily defined, by the means and assumptions used to measure them.\n\n The scientific method \nApart from the fundamental inquiry into the nature of scientific fact, there remain the practical and social considerations of how fact is investigated, established, and substantiated through the proper application of the scientific method. Scientific facts are generally believed independent of the observer: no matter who performs a scientific experiment, all observers agree on the outcome.\nIn addition to these considerations, there are the social and institutional measures, such as peer review and accreditation, that are intended to promote factual accuracy among other interests in scientific study.\n\n In history \n\nA common rhetorical cliché states, \"History is written by the winners.\" This phrase suggests but does not examine the use of facts in the writing of history.\n\nE. H. Carr in his 1961 volume What is History? argues that the inherent biases from the gathering of facts makes the objective truth of any historical perspective idealistic and impossible. Facts are, \"like fish in the Ocean,\" of which we may only happen to catch a few, only an indication of what is below the surface. Even a dragnet cannot tell us for certain what it would be like to live below the Ocean's surface. Even if we do not discard any facts (or fish) presented, we will always miss the majority; the site of our fishing, the methods undertaken, the weather and even luck play a vital role in what we will catch. Additionally, the composition of history is inevitably made up by the compilation of many different biases of fact finding – all compounded over time. He concludes that for a historian to attempt a more objective method, one must accept that history can only aspire to a conversation of the present with the past – and that one's methods of fact gathering should be openly examined. The set of highlighted historical facts, and their interpretations, therefore changes over time, and reflect present consensuses.\n\nIn law\n\nThis section of the article emphasizes common law jurisprudence as primarily represented in Anglo-American–based legal tradition. Nevertheless, the principles described herein have analogous treatment in other legal systems such as civil law systems as well.\n\nIn most common law jurisdictions, the general concept and analysis of fact reflects fundamental principles of jurisprudence, and is supported by several well-established standards. Matters of fact have various formal definitions under common law jurisdictions.\n\nThese include:\n\n an element required in legal pleadings to demonstrate a cause of action;\n\n the determinations of the finder of fact after evaluating admissible evidence produced in a trial or hearing;\n a potential ground of reversible error forwarded on appeal in an appellate court; and\n any of various matters subject to investigation by official authority to establish whether a crime has been perpetrated, and to establish culpability.\n\n Legal pleadings \n\nA party to a civil suit generally must clearly state all relevant allegations of fact that form the basis of a claim. The requisite level of precision and particularity of these allegations varies, depending on the rules of civil procedure and jurisdiction. Parties who face uncertainties regarding facts and circumstances attendant to their side in a dispute may sometimes invoke alternative pleading. In this situation, a party may plead separate sets of facts that when considered together may be contradictory or mutually exclusive. This seemingly logically-inconsistent presentation of facts may be necessary as a safeguard against contingencies such as res judicata'' that would otherwise preclude presenting a claim or defense that depends on a particular interpretation of the underlying facts and ruling of the court.\n\nSee also\n Brute fact\n Consensus reality\n Counterfactual history\n De facto\n Factoid\n fiction\n Lie\n\nReferences\n\nExternal links \n\n \n\nConcepts in epistemology\nConcepts in ethics\nConcepts in logic\nConcepts in metaphilosophy\nConcepts in metaphysics\nConcepts in the philosophy of mind\nConcepts in the philosophy of science\nMetaphysics of mind\nMetatheory\nPhilosophical logic\nPhilosophy of logic\nPhilosophy of science\nReality\nStatements\nTruth" ]

[ "Alice Paul", "Silent Sentinels", "what are silent sentenials?", "The pickets, participating in a nonviolent civil disobedience campaign known as the \"Silent Sentinels,\" held banners demanding the right to vote.", "did they gain the right to vote?", "I don't know.", "what was her biggest accomplishment?", "After the United States entered World War I in April 1917, many people viewed the picketing Silent Sentinels as disloyal.", "why did they view them as disloyal?", "In June 1917, picketers were arrested on charges of \"obstructing traffic.\"", "what is the most imiportant fact in this article?", "public heard the news of the first arrests some were surprised that leading suffragists and very well-connected women were going to prison for peacefully protesting." ]

[ "Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books", "Ahmad Mustafa Ghany (born September 27, 1984) is a 2004 graduate of McMaster University's health sciences program, and was one of 17 people initially arrested in the 2006 Toronto terrorism arrests.\n\nTwo years later, he was among the suspects in the alleged terrorism case who were released and had all charges dropped.\n\nLife\nGhany is the son of urologist Ghany, who moved to Canada from Trinidad and Tobago in 1955.\n\nArrest\nOn June 2, 2006, the 21-year-old Ghany was driving his Lexus car along the Gardiner Expressway in Toronto, when police vehicles surrounded him and forced the car to the side of the road, where they arrested, handcuffed and searched Ghany. .\n\nFriends and family expressed disbelief at Ghany's arrest, stating that he was \"the most quiet guy ever\", and \"kind of a nerd\". People were shocked to hear this news and didn't believe what happened.\n\nCharges, bail and release\nRepresented by Rocco Galati, Ghany was held at the Maplehurst Correctional Complex. He was charged under the Canadian Anti-Terrorism Act with participating in a terrorist group, and training for terrorist purposes. The charges stemmed from the fact he attended a winter camp near Washago that prosecutors have alleged was planned as an opportunity to hone their terrorist skills. Ghany was only at the camp for three days, helping to set up the site, playing paintball and leaving early.\n\nSix weeks after the arrests, Ghany became the second suspect to be granted bail as he was released by Justice Hilda Weiss on a $140,000 pledge on July 20 on the condition that he could not leave his parents' house unaccompanied unless going to school, work or to see his lawyer. He had to report to police weekly, and could not communicate with the other suspects in the case.\n\nOn April 15, 2008, nearly two years after the arrests, all charges were dropped against Ghany, Qayyum Abdul Jamal, Ibrahim Aboud and Yasim Mohamed.\n\nReferences\n\n1984 births\nLiving people\nMcMaster University alumni\nPeople from Mississauga\nCanadian people of Trinidad and Tobago descent" ]

[ "Alice Paul", "Silent Sentinels", "what are silent sentenials?", "The pickets, participating in a nonviolent civil disobedience campaign known as the \"Silent Sentinels,\" held banners demanding the right to vote.", "did they gain the right to vote?", "I don't know.", "what was her biggest accomplishment?", "After the United States entered World War I in April 1917, many people viewed the picketing Silent Sentinels as disloyal.", "why did they view them as disloyal?", "In June 1917, picketers were arrested on charges of \"obstructing traffic.\"", "what is the most imiportant fact in this article?", "public heard the news of the first arrests some were surprised that leading suffragists and very well-connected women were going to prison for peacefully protesting.", "what happened after the arrests?", "President Wilson received bad publicity from this event, and was livid with the position he was forced into." ]

[ "Everyone Deserves Music is the fourth studio release by Michael Franti & Spearhead.\n\nTrack listing\nAll songs written by Michael Franti, Dave Shul and Carl Young except where indicated.\n\n \"What I Be\" (4:45)\n \"We Don't Stop\" (Franti, Shul, Young, Wood Farguheson, Jr., Tim Parker) (4:36)\n \"Everyone Deserves Music\" (4:36)\n \"Never Too Late\" (4:50)\n \"Bomb the World\" (4:28)\n \"Pray for Grace\" (4:52)\n \"Love, Why Did You Go Away\" (4:29)\n \"Yes I Will\" (4:01)\n \"Feelin' Free\" (3:54)\n \"Love Invincible\" (3:50)\n \"Bomb the World (Armageddon Version)\" (Franti, Shul, Young, Farguheson) (4:44)\n \"Crazy, Crazy, Crazy\" (3:30)\n\nCharts\n\nCertifications\n\nReferences\n\nMichael Franti albums\n2001 albums", "Much Against Everyone's Advice is the second studio album by Belgian alternative rock band Soulwax. It includes a hidden track that can be found by rewinding about 50 seconds before \"Conversation Intercom\". According to the booklet, it is called \"Turn on the A.C.\".\n\nTrack listing\n\nBelgian/European release\n\"Conversation Intercom\" – 3:06\n\"Saturday\" – 3:11\n\"When Logics Die\" – 3:29\n\"Much Against Everyone's Advice\" – 2:48\n\"Overweight Karate Kid\" – 2:04\n\"Proverbial Pants\" – 4:27\n\"The Salty Knowledge Of Tears\" – 2:42\n\"Flying Without Wings\" – 3:47\n\"More Than This\" – 4:21\n\"Too Many DJs\" – 4:11\n\"Temptingly Yours\" – 2:26\n\"My Cruel Joke\" – 4:23\n\"Scream\" – 3:38\n\"Funny\" – 4:34\n\nUK release\n \"Conversation Intercom\" – 3:06\n \"Saturday\" – 3:11\n \"When Logics Die\" – 3:30\n \"Much Against Everyone's Advice\" – 2:48\n \"Overweight Karate Kid\" – 2:04\n \"Proverbial Pants\" – 4:27\n \"More Than This\" – 4:22\n \"Too Many DJs (New Version)\" – 4:31\n \"Temptingly Yours\" – 2:27\n \"Scream\" – 3:38\n \"Funny\" – 4:34\n\nUS release\n\"Conversation Intercom\" – 3:06\n\"Saturday\" – 3:11\n\"When Logics Die\" – 3:29\n\"Much Against Everyone's Advice\" – 2:48\n\"Overweight Karate Kid\" – 2:04\n\"Proverbial Pants\" – 4:27\n\"The Salty Knowledge Of Tears\" – 2:42\n\"Flying Without Wings\" – 3:47\n\"More Than This\" – 4:21\n\"Too Many DJs\" – 4:31\n\"Temptingly Yours\" – 2:26\n\"Scream\" – 3:38\n\"Funny\" – 4:34\n\nCertifications\n\nBonustrack \n1997: Wouldn't It Be Good\n\nReferences\n\n1998 albums\nSoulwax albums\nAlmo Sounds albums\nAvex Trax albums\nPIAS Recordings albums\nAlbums produced by Dave Sardy" ]

[ "Alice Paul", "Silent Sentinels", "what are silent sentenials?", "The pickets, participating in a nonviolent civil disobedience campaign known as the \"Silent Sentinels,\" held banners demanding the right to vote.", "did they gain the right to vote?", "I don't know.", "what was her biggest accomplishment?", "After the United States entered World War I in April 1917, many people viewed the picketing Silent Sentinels as disloyal.", "why did they view them as disloyal?", "In June 1917, picketers were arrested on charges of \"obstructing traffic.\"", "what is the most imiportant fact in this article?", "public heard the news of the first arrests some were surprised that leading suffragists and very well-connected women were going to prison for peacefully protesting.", "what happened after the arrests?", "President Wilson received bad publicity from this event, and was livid with the position he was forced into.", "did he release everyone?", "He quickly pardoned the first women arrested on July 19, two days after they had been sentenced, but reporting on the arrests and abuses continued." ]

[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]

[ "The Kinks", "Musical style" ]

[ "Poison was a German extreme metal band from Ulm, Baden-Württemberg, Germany that formed in 1982. The band was prolific within the Teutonic thrash underground until their disestablishment in 1987. Throughout their career, the band released eight demos, one album, and one compilation called Further Down into the Abyss that was released in 2006.\n\nHistory\n\nEarly years \nThe band was formed in 1982 by close friends Uli Hildenbrand, Armin Weber, Alex Gilliar, and Andy Krampulz. They were huge fans of the bands Venom (the name Poison comes from the Venom song of the same name), Hellhammer, and Sodom, which the band tried to emulate on many of their early demos. In 1984, the Sons of Evil demo was released by the band. The demo was mocked by fanzines, deriding its raw production and Venom/Hellhammer worship. A year later, the demo called Live Terror was released. This demo consisted of rough recordings of songs played at their first live gig in Kupferdächle in Pforzheim, Germany. Later that same year, they released their Bestial Death demo. That demo had songs that were more tightly knit together and at times more technical than their first output that was Hellhammer style punk-metal. That style is what the band would continue with for the rest of their career.\n\nFallout with Roadrunner and final years \nIn 1987, Poison partook on the Roadrunner Records sampler LP called Teutonic Invasion Part I and also a chance to be signed. By partaking in that, Poison was not allowed to talk or make deals with any other labels, which greatly hindered them. The only bands that got signed were Violent Force and Paradox that were on the Teutonic Invasion LP. Poison released one last demo called Into the Abyss before calling it quits. Into the Abyss was later re-released as a proper studio album by Midian Creations and then later by Iron Pegasus Records.\n\nStyle \n\nPoison is often cited as one of the first black metal bands to use extreme fast tempos and blasting beats, along with Sarcófago and Mayhem, and was very important for what would end up as the second wave of black metal.\n\nReferences\n\nGerman black metal musical groups\nGerman death metal musical groups\nGerman thrash metal musical groups\nGerman musical groups\nMusical groups established in 1982\nMusical groups disestablished in 1987\n1982 establishments in Germany", "Gridlink was an American grindcore band, founded in 2004 in Hoboken, New Jersey. Their style can be described as technical grindcore with lyrical themes focused around abstract concepts and science fiction.\n\nThe band's song \"Orphan\", from their EP also titled Orphan, was played sporadically as torture in the episode Blind Spot, of the Showtime television series, \"Homeland\". Under their recent Facebook post, they commented saying that \"We have no plans to reform\"\n\nMembers\nJon Chang – vocals (Discordance Axis, Hayaino Daisuki, No One Knows What the Dead Think)\nTakafumi Matsubara – guitar (Mortalized, Hayaino Daisuki)\nBryan Fajardo – drums\n\nDiscography\n Amber Grey (2008), Hydra Head Records\n Orphan (2011), Hydra Head Records\n Longhena (2014), Handshake, Inc. Bandcamp\n\nReferences\n\nExternal links\n\nAmerican grindcore musical groups\nMusical groups established in 2004\nMusical groups disestablished in 2014\nMusical quartets\nHeavy metal musical groups from New Jersey" ]

[ "The Kinks", "Musical style", "What was their musical style?", "popular R&B and blues styles; then, under the influence of The Kingsmen's \"Louie Louie\" recording, developed louder rock and hard rock sounds" ]

[ "Wannabe Wicked is a talent competition conceived for fans of the musical Wicked. Contestants compete in a series of performances judged by industry professionals, and those who perform successfully move on later rounds. The criteria that must be met in order to succeed is based on vocal quality, performance delivery, vocal accuracy and overall performance. In the end, the winner receives a walk-on role onto the hit musical Wicked.\n\nWannabe Wicked Origins\nThe concept for Wicked fans to experience a day in a life of a Wicked performer originated in Great Britain in which fans submitted auditions videos singing an excerpt of a song from the musical. From those videos, a select few were chosen to compete in later rounds. The winner of the Wannabe Wicked contest in Great Britain was Louise Henderson. She won a walk-on role and was able to experience the many aspects of the daily routine of the Wicked performers.\n\nFor more information of the British version of the competition check out: Wannabe Wicked UK\n\nWannabe Wicked in North America\nThe Wannabe Wicked contest made its way to Los Angeles, California in the summer of 2008. It involved a series of three rounds that the contestants had to contend with, which consisted of the video audition, semi-finals live performance at City Walk at Universal Studios Hollywood, and the finals live performance at City Walk at Universal Studios Hollywood. All of this was part of the Wicked Wednesday summer series at Universal Studios.Universal Studios Hollywood.\n\nContestants chosen from the video auditions were notified of their day to perform live in the semi-finals. The performances for the semi-finals and finals were to be judged by top industry professionals. There were five days of semi-finals competition each with a total of ten contestants. At the end of each of the semi-final rounds, three contestants were selected to move onto the final round, which was held on August 20, 2008. There were a total of fifteen contestants that performed during the finals, and the talent was fierce. Prior to the finals, a separate contest, which was called the Fan Favorite, was posted online to showcase all the finalists' performances from the semi-finals. Online viewers were given the option to vote for their favorite performer.\n\nAs great as the performances were on the online videos, the finals revealed a more ready, talented and ferocious group of performers, which was not reflective of what was seen online. The contestants all performed ultimately better than what was seen from the semi-finals. Every contestant brought their own personalities to their songs, and performed in front of a massive crowd showing off what they were made to do. One contestant, Kingsley Malang, was noted by the emcee as being the only male of the competition to perform a song written for the part of a female, in which he succeeded. His performance included the actual blocking that Elphaba performs from the stage production.\n\nLocal news media was also present at the event capturing all the performances in anticipation of the selected winner. NBC was one of the media presences that took coverage of the event.\n\nFan Favorite\nNot only was a winner for the walk-on role to be selected but also a fan favorite. The fan favorite was determined by an online site, which showcased the semi-final performances of each of the fifteen contestants and allowed people to vote for their favorite. On August 20, 2008, the fan favorite was announced along with the winner of the walk-on role. Dawn Borroso was the lucky winner of the fan favorite.\n\nThe Contestant Lineup\nThe following shows the contestants and the song they performed in no particular order:\n\nContestants were given the choice of singing the following excerpts from the musical:\n\n Popular\n Defying Gravity\n The Wizard and I\n Dancing Through Life\n For Good\n\nThe Winner\nDespite the immense talent that was showcased, only one winner was to be chosen. There was a panel of five judges consisting of industry professionals during the finals, and they were hard pressed to come to a decision. Ultimately, the crowd waited in suspense as the winner was announced. The winner, Connie Zamora, not only won a walk-on role in the Los Angeles production of Wicked at the Pantages Theater but also won several tickets to bring anyone she chooses to come watch at the time of her performance. The local news media was ready to capture her excitement upon the conclusion and results of the competition.\n\nWannabe Wicked LA\n\nNotes\n\nSee also\n Wicked The Musical\n\nReferences\n Wannabe Wicked LA\n Wannabe Wicked UK\n The Tolucan Times\n Broadway World\n Daily Press\n Theater Mania\n\nThe Wicked Years", "The second season of the Syfy reality television series Face Off premiered on January 11, 2012 and ended on March 14, 2012. The season featured 14 prosthetic makeup artists competing in a series of challenges to create makeup effects. The winner of this season, Rayce Bird of Shelley, Idaho, received cash, worth of makeup from Alcone, and the 2012 Toyota Camry Hybrid.\n\nThe season 2 premiere episode posted the best ratings performance for any Syfy original series since November 2009.\n\nJudges\nGlenn Hetrick\nVe Neill\nPatrick Tatopoulos\nMcKenzie Westmore (Host)\n\nContestants\n\nProduction\nGuest judges for the season include Asher Roth, Tom Savini, Catherine O'Hara, Sam Huntington, Vivica A. Fox and LeVar Burton.\n\nContestant progress\n\n The contestant won Face Off.\n The contestant was a runner-up.\n The contestant won a Spotlight Challenge.\n The contestant was part of a team that won the Spotlight Challenge.\n The contestant was in the top in the Spotlight Challenge.\n The contestant was declared one of the best in the Spotlight Challenge but was not in the running for the win.\n The contestant was in the bottom in the Spotlight Challenge.\n The contestant was a teammate of the eliminated contestant in the Spotlight Challenge.\n The contestant was eliminated.\n‡ The contestant won the Foundation Challenge.\n\nEpisodes\n\n{| class=\"wikitable plainrowheaders\" style=\"width:100%; margin:auto;\"\n|-\n|-style=\"color:white\"\n! scope=\"col\" style=\"background-color: #b1b3a8; width:12em;\" |No. inseries\n! scope=\"col\" style=\"background-color: #b1b3a8; width:12em;\" |No. inseason\n! scope=\"col\" style=\"background-color: #b1b3a8;\" |Title\n! scope=\"col\" style=\"background-color: #b1b3a8; width:12em;\" |Original air date\n! scope=\"col\" style=\"background-color: #b1b3a8; width:12em;\" |U.S. viewers(million)\n! scope=\"col\" style=\"background-color: #b1b3a8; width:12em;\" |18-49Rating\n\n|}\n\nFootnotes\n\n Brea's model for the Spotlight Challenge passed out and was taken to the hospital. She was given a new model to work with and was allowed to perform the same body painting on the new model. He was later superimposed over the photo taken of Matt's model and their backdrop.\n Ian's model had a bad reaction to the makeup and left the reveal stage after judging.\n Other animals provided to the contestants included a white rhinoceros and gray wolves\n RJ's model had a bad reaction to the makeup and was replaced with a model who was unrelated to the models on his team.\n One of the Greens was a fraternal triplet to the other two identicals.\n Rayce's trio of makeups was the audience favorite, something that would be taken into consideration when the judges made their final decision.\n\nReferences\n\nExternal links\n\n \n \n\n2012 American television seasons\nFace Off (TV series)" ]

[ "The Kinks", "Musical style", "What was their musical style?", "popular R&B and blues styles; then, under the influence of The Kingsmen's \"Louie Louie\" recording, developed louder rock and hard rock sounds", "What was their favorite style to perform?", "Dave Davies was \"really bored with this guitar sound - or lack of an interesting sound\" so he purchased \"a little green amplifier ..." ]

[ "The Fender Harvard is a vacuum tube (valve) guitar amplifier made by Fender from 1955 to 1963. The Harvard appeared only in a tweed covered \"narrow-panel\" cabinet, but in two very different circuit designs, namely 5F10 (1955–61) and 6G10 (1962–63).\n\nThe \"Tweed\" 5F10 model, launched in 1955, but not in time for the Fender catalog of that year, was a 10-watt amplifier utilising a 6AV6 (from 1956 a 6AT6) preamplifier tube, 12AX7 phase inverter tube, a pair of 6V6GT power amplifier tubes, and one 5Y3GT rectifier tube, with a Jensen P10R 10-inch speaker. The amplifier had a very simple circuit and used only a single channel with a two-stage preamp, with just a volume and (treble-cut) tone control. The Harvard was a fixed bias amplifier, using a basic cathodyne phase inverter, but did include a selenium rectifier in the bias circuit. The 5F10 was discontinued in 1961.\n\nThe extremely rare 1962–63 6G10 Harvard used a single 12AX7, 6V6GT and 5Y3GT; it was simply a way to use up leftover 50's Princeton (5F2-A) chassis and tweed cabinets, after Fender had re-launched an all-new class AB Princeton (6G2) in a Tolex-covered \"brownface\" version. These Harvards sometimes even use old 5F2-A tube charts with the Princeton name scratched out; they can be identified by their Schumacher transformers (the same ones used in the new brown Princeton) and 1960s date stamps.\n\nUnusually for Fender, the Harvard had no predecessor and, although the Harvard name was revived later by Fender, no descendants. The Harvard filled a gap between the student Champ and Princeton models and the professional Deluxe. The companion 5F11 Vibrolux was essentially identical to the Harvard, but with an added tremolo circuit driven by one side of a dual-triode 12AX7 which replaced the Harvard's single-triode 6AV6/6AT6, and was built into a Deluxe cabinet.\n\nThe 5F10 Harvard's dimensions were 16.5 × 18 × 8.75 inches (42 × 46 × 22 cm), and it weighed 20 pounds (9 kg).\n\nThe most famous user of the Fender Harvard, in conjunction with a Fender Telecaster (or Esquire) guitar, was Steve Cropper, who said that he used the amplifier for most of the classic recordings made with the Stax house band Booker T. & the M.G.'s, including Green Onions and (Sittin' On) The Dock of the Bay.\n\nReferences\n\nHarvard\nInstrument amplifiers", "An error amplifier is most commonly encountered in feedback unidirectional voltage control circuits, where the sampled output voltage of the circuit under control, is fed back and compared to a stable reference voltage. Any difference between the two generates a compensating error voltage which tends to move the output voltage towards the design specification.\n\nAn error amplifier is essentially what its name says, that is, it amplifies an error signal. This error is based on the difference between a reference signal and the input signal. It can also be treated as the difference between the two inputs. These are usually used in unison with feedback loops, owing to their self-correcting mechanism. They have an inverting and a non-inverting input pin set, which is what is responsible for the output to be the difference of the inputs.\n\nDevices\nDiscrete Transistors\nOperational amplifiers\n\nApplications\nRegulated power supply.\nD.C Power Amplifiers\nMeasurement Equipment\nServomechanisms\n\nSee also\nDifferential amplifier\n\nExternal links \n\n Error Amplifier Design and Application , alphascientific.com. Originally accessed 27 April 2009, now 404. Try https://web.archive.org/web/20081006222215/http://www.alphascientific.com/technotes/technote3.pdf\n Error amplifier as an element in a voltage regulator:Stability analysis of low-dropout linear regulators with a PMOS pass element \n\nElectronic amplifiers" ]

[ "The Kinks", "Musical style", "What was their musical style?", "popular R&B and blues styles; then, under the influence of The Kingsmen's \"Louie Louie\" recording, developed louder rock and hard rock sounds", "What was their favorite style to perform?", "Dave Davies was \"really bored with this guitar sound - or lack of an interesting sound\" so he purchased \"a little green amplifier ...", "What did the green amplifier do?", "cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing." ]

[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]

[ "The Kinks", "Musical style", "What was their musical style?", "popular R&B and blues styles; then, under the influence of The Kingsmen's \"Louie Louie\" recording, developed louder rock and hard rock sounds", "What was their favorite style to perform?", "Dave Davies was \"really bored with this guitar sound - or lack of an interesting sound\" so he purchased \"a little green amplifier ...", "What did the green amplifier do?", "cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing.", "Are there any other interesting aspects about this article?", "From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture," ]

[ "The Gurus were an American psychedelic rock band from the 1960s. They were among the first to incorporate Middle Eastern influences, maybe more than any other band of that era. The band broke up without making a large impact on the music scene of the time, although they did release two singles on United Artists Records in 1966 and 1967. Their album, The Gurus Are Hear, failed to be released in 1967, which was noted as the reason for the band splitting up.\n\nThe album was finally released in 2003.\n\nReferences\n\nAmerican psychedelic rock music groups", "Microwave Jenny is an Australian pop/folk/jazz duet that consists of Tessa Nuku on vocals and Brendon Boney on guitar and vocals. They both have Indigenous backgrounds with Brendon having been born and raised in Wagga Wagga, and Tessa having been born in Ulladulla, New South Wales before moving to and growing up in Umina Beach, New South Wales Brendon was the singing voice for the character Willie in film Bran Nue Dae. The phrase 'Microwave Jenny' comes from the 1997 film The Castle. The duo are married and have a daughter. Brendon has a solo alternative, hip/hop project called The Magpie Swoop.\n\nLive performance \nThe band play live in multiple formats either as an Acoustic Duet, Trio, Quartet or full band. The duo feature heavily on the Australian music festival circuit with notable live performances including Bluesfest, Woodford Folk Festival, Peats Ridge Festival and Nannup Music Festival.\n\nThey also supported Thirsty Merc on their 2011 national tour of Australia.\n\nInfluences \n\nMicrowave Jenny have cited James Taylor, Janis Ian, Bill Withers and Van Morrison as musical influences.\n\nAwards and nominations\nThey were recipients of the 2009 Peter Garrett Breathrough Grant. Brendon won an APRA Professional Development Award in 2011 for his songwriting and composing. In 2009, Microwave Jenny was nominated for a Deadly Award for Most Promising New Artist but did not win.\n\nDiscography \nThey have released two EPs\n\nSummer \n\n1. \"Mellow\" – 3:59\n2. \"Mr Man in the Moon\" – 3:47\n3. \"I'll Never Learn\" – 5:02\n4. \"Summer\" – 3:35\n\nCrazy, Crazy Things \n\n1. \"Stuck on the Moon\" – 3:06\n2. \"Homemade Lemonade\" – 3:52\n3. \"Lyin\" – 3:18\n4. Locked in the Closet\" – 3:54\n\nReferences\n\nExternal links\n http://www.microwavejenny.com\n\nAustralian pop music groups" ]

[ "The Kinks", "Musical style", "What was their musical style?", "popular R&B and blues styles; then, under the influence of The Kingsmen's \"Louie Louie\" recording, developed louder rock and hard rock sounds", "What was their favorite style to perform?", "Dave Davies was \"really bored with this guitar sound - or lack of an interesting sound\" so he purchased \"a little green amplifier ...", "What did the green amplifier do?", "cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing.", "Are there any other interesting aspects about this article?", "From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture,", "Did they have any influences?", "styles; then, under the influence of The Kingsmen's \"Louie Louie\" recording," ]

[ "The Gurus were an American psychedelic rock band from the 1960s. They were among the first to incorporate Middle Eastern influences, maybe more than any other band of that era. The band broke up without making a large impact on the music scene of the time, although they did release two singles on United Artists Records in 1966 and 1967. Their album, The Gurus Are Hear, failed to be released in 1967, which was noted as the reason for the band splitting up.\n\nThe album was finally released in 2003.\n\nReferences\n\nAmerican psychedelic rock music groups", "An operational context (OLC) for an operation is the external environment that influences its operation. For a mobile application, the OLC is defined by the combined hardware/firmware/software configurarions of several appliances or devices, as well as the bearer of the mobiles of these units and other work position environment this person as the key stakeholder makes use of in timely, spatial and modal coincidence. \n\nThis concept differs from the operating context and does not address the operating system of computers.\n\nExample \n\nThe classic example is defined by the electronic leash configuration, where one mobile appliance is wirelessly tethered to another such appliance. The function of this electronic leash is to set an aural alarm with any of these two in case of unintentional leaving one of these two behind.\n\nImplementing the example \n\nSeveral suppliers offer the electronic leash solution. A new aspect has been launched with Bluetooth low energy for better economised battery life cycle. Special trimming serves for two years operation from a button cell.\n\nReferences\n\nSee also\n Context\n Operating context, the external environment that influences an operation;\n Unilateration\n\nWireless networking" ]

[ "The Kinks", "Musical style", "What was their musical style?", "popular R&B and blues styles; then, under the influence of The Kingsmen's \"Louie Louie\" recording, developed louder rock and hard rock sounds", "What was their favorite style to perform?", "Dave Davies was \"really bored with this guitar sound - or lack of an interesting sound\" so he purchased \"a little green amplifier ...", "What did the green amplifier do?", "cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing.", "Are there any other interesting aspects about this article?", "From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture,", "Did they have any influences?", "styles; then, under the influence of The Kingsmen's \"Louie Louie\" recording,", "Any other influences?", "baroque music through use of harpsichord, acoustic guitar, mellotron, and horns, and creating some of the most influential and important music of the period." ]

[ "Kurudumale is a village in the Mulbagal taluk, Kolar district of Karnataka state, India. It is located about 10 km from the mulubagal town, northerly. The giant, thirteen and a half foot sculpture of kurudumale Ganesha and the Someshwara temple of lord Shiva attract thousands of visitors from the surrounding states. This place was believed to be the place where Devas would descend from the heavens for recreation on earth.\n\nThere is another temple dedicated to Shiva called the Someshwara temple which is also situated in Kurudumale. The interesting thing about this temple is that it is built of a rock without any foundations. Another interesting thing is the architectural style of the temple; this temple is considered to be older than the Ganesha temple and was built during the Cholas period. Half of the temple has different style of carving, believed to have been done by artist Jakanachari and the other half is believed to have been carved by his son Dankanachari. The part of the temple supposedly built by Dankana's has statues and carvings which are more intricate and sophisticated.\n\nGallery\n\nHindu temples in Kolar district\nVillages in Kolar district", "Stare Dobre Małżeństwo (in English translation \"good old marriage\") is a Polish music group.\n\nThe band derives from the so-called \"student music\", popular in Poland. This musical style is characterised by the use of a guitar for accompaniment, while the lyrics often talk about hiking in the Polish mountains, love and adventure. SDM, however, quickly created their own style, and became famous due to their interesting musical interpretations of poems written by the famous Polish poet Edward Stachura. Another important author, who worked with the band, is the Polish poet Adam Ziemianin.\n\nCurrently, the band has moved away from \"student music\" towards what can be described as acoustic blues. Furthermore, they often use poems of the forgotten poet Jan Rybowicz whose work addressed important questions about human existence.\n\nDiscography\n\nReferences\n\nExternal links \n \n\nSung poetry of Poland\nPolish musical groups" ]

[ "Marc Márquez", "125cc World Championship" ]

[ "The 1964 Sandown 6 Hour International was an endurance race for saloon cars complying with FIA Group 1 regulations. The event was held at the Sandown Park circuit in Victoria, Australia on 29 November 1964 and was the genesis of what is now known as the Sandown 500. The race was won by Roberto Bussinello and Ralph Sachs, driving an Alfa Romeo Giulia TI Super.\n\nClasses\nEntries competed in seven classes as follows:\nClass A : Over 3000cc\nClass B : 2501-3000cc\nClass C : 2001-2500cc\nClass D : 1601-2000cc\nClass E : 1301-1600cc\nClass F : 900-1300cc\nClass G : Open (ineligible for outright awards)\n\nClass G was for entries which were modified to FIA Group 2 specifications.\n\nResults\n\nThere were 37 starters in the race and 28 cars were classified as finishers.\n\nReferences\n\nFurther reading\n Trevor Davis, Italy Successful in Six-Hour Saloon Car Race, The Age, Monday, 30 November 1964\n Official Programme, Sandown, Sunday, November 21, 1965\n\nExternal links\n Youtube video\n\nMotorsport at Sandown\nSandown 6 Hour International", "The Polaris RMK is a series of snowmobiles made by Polaris Industries. All RMK models are powered by two-stroke engines. The RMK was introduced in the 1996 model year by Polaris to compete in the mountain market. The acronym originally stood for \"Rocky Mountain King\". The RMK name is still in use today, has been used on many chassis and engine variations, and is primarily used to indicate the snowmobile is designed for mountain or deep-snow use.\n\nModels\n\nHistory\nThe Polaris RMK was originally introduced on the 1995 Polaris Ultra 680cc triple, Indy 580, Storm, and Xlt. They featured a 15x133x1.5” track.\n\n1997-1998\nFor the 1997 model year Polaris added twin cylinder case-reed inducted 600cc and 700cc engines. Both the 600cc and 700cc engines were built in the US and used 39mm Keihin D-slide carburetors and digital CDI ignition and utilized a 136\"x15\"x1.75\" track with an estimated dry weight of 496lbs in the wedge chassis.,\n\n1999\nFor 1999 the chassis of the RMK was upgraded to the Gen II style, but still retained the same 136\" track as well as the 500cc, 600cc and 700cc engines.\n\n2000\nFor the 2000 model year the 800cc engine was also added to lineup. The chassis also received upgrades in the form of new seat, gas tank, 2\" higher handle bars, sidehiller skis, as well as the Xtra-Lite suspension. The primer for the carburetor was deleted. The 600cc, 700cc, and 800cc models used the 136\"x15\"x1.75\" track and the 500cc model used the 136\"x15\"x1.5\" track.\n\n2001\nFor the 2001 model year the track of the 800cc model was upgraded to 144\"x15\"x2.0\" and the 700cc model had the option of the 136\"x15\"x1.75\" or 144\"x15\"x2.0\" tracks. With the 600cc retaining the 136\"x15\"x1.75\" track and the 500cc keeping the 136\"x15\"x1.5\" track.\n\n2002\nThe 600cc, 700cc, and 800cc models were upgraded from the Gen II chassis to the Edge chassis, as well all three motors were upgraded with a Variable Exhaust System (VES) and 38mm Mikuni flatside carburetors. While the 500cc model retained the Gen II chassis. 800cc models also had the option of 144\"x15\"x2.0\" or 151\"x15\"x2.0\" snow check models had a 156\"x15\" ×2\" tracks.\n\n2003\nThe 500cc model was dropped from the lineup. The 600cc model receives the 144\"x15\"x2.0\" track, and both the 700cc and 800cc models have a choice of the 144\"x15\"x2.0\" or 151\"x15\"x2.0\" tracks.\n\n2004-2005\nFor 2004 all engines have PERC electronic reverse, allowing reverse of the snowmobile by reversing the engine crankshaft direction. A 159\"15\"x2.0\" track was available on 700cc and 800cc models.\n\n2006\nFor 2006 the RMK was upgraded to the Dragon chassis. The 800cc engine was dropped from the lineup and a 900cc reed-valve fuel injected twin was added, while the 700cc engine was redesigned and had fuel injection added.\n\nSee also\n Ski-doo\n\nReferences\n\nSnowmobile brands" ]

[ "Marc Márquez", "125cc World Championship", "what was the 125cc?", "championship" ]

[ "The 2007 FedEx Cup Playoffs were held from August 23 to September 16. They consisted of four events. The events in order are The Barclays, Deutsche Bank Championship, BMW Championship and The Tour Championship. These were the first FedEx Cup playoffs being held. Tiger Woods won the playoffs and took home $10,000,000.\n\nThe point distribution can be seen here.\n\nRegular season rankings\n\nFor the full list see here\n\nThe Barclays\nThe Barclays was played August 23–26. 144 players were eligible to play but 6 of them did not enter. Of the 138 players who entered the tournament, 75 of them made the cut. The cut was even par. Steve Stricker won by shooting −16 to win the first ever FedEx Cup playoff event. Tiger Woods did not participate in the tournament. The top 120 players in the points standings advanced to the Deutsche Bank Championship.\n\nFull leaderboard\n\nDeutsche Bank Championship\nThe Deutsche Bank Championship was played from August 31 to September 3. 120 players were eligible to play but 4 of them did not enter. Of the 116 players who entered the tournament, 75 of them made the cut. The cut was 1 over-par. Phil Mickelson won by shooting −16. Tiger Woods finished tied for 2nd, two strokes behind Mickelson. The top 70 players in the points standings advanced to the BMW Championship.\n\nFull leaderboard\n\nBMW Championship\nThe BMW Championship was played September 6–9. 70 players were eligible to play but three of them did not enter. There was no cut for this tournament. Tiger Woods won by shooting −22. This was Tiger's 60th win on the PGA Tour. The top 30 players in the points standings advanced to The Tour Championship.\n\nFull leaderboard\n\nThe Tour Championship\nThe Tour Championship was played September 13–16. All 30 players eligible to play did so. There was no cut for this tournament. Tiger Woods won by shooting −23. This was Tiger's 61st win on the PGA Tour. He also won the FedEx Cup.\n\nFull leaderboard\n\nFinal leaderboard\n\nFor the full list see here\n\nTable of qualifying players\n\nTable key:\n\nFedEx Cup\nFedEx Cup Playoffs", "Anthony Gleeson was a dual player from Tralee, County Kerry. He played at full back for most of his career. Gleeson was unlucky not to have won any senior honors with Kerry, he missed out on the Munster Championship win in 1991 and despite playing in the first round in 1996 did not play another game and therefore did not receive a Munster medal. He did win a Munster Under 21 Championship in 1988. He also played underage hurling with Kerry in the late 80's, he was captain of the team in 1987 when they won the Leinster Minor B Championship. He gave up hurling at a young age to focus on football. He also played with the Kerry Vocational Schools team in the late 80's winning 2 All-Ireland Vocational Schools Championships in 1986 and 1987.\n\nAt club level he played football with John Mitchels. He had little success with the club failing to win a County Championship, he did however played in the 1989 final when John Mitchels were beaten by Laune Rangers. He played hurling with Austin Stacks and won a County Minor Championship with them in 1986. He also played with Dublin club St Vincents.\n\nReferences\n http://www.terracetalk.com/kerry-football/player/101/Anthony-Gleeson\n https://web.archive.org/web/20111009064219/http://munster.gaa.ie/history/u21f_teams/\n\n \n\nYear of birth missing (living people)\nLiving people\nDual players\nJohn Mitchels (Kerry) Gaelic footballers\nSt Vincents (Dublin) Gaelic footballers\nAustin Stacks hurlers\nKerry inter-county hurlers" ]

[ "Marc Márquez", "125cc World Championship", "what was the 125cc?", "championship", "did he win the championship?", " Marquez achieved his first podium on 22 June" ]

[ "What's Another Year is the second studio album by Australian-born Irish singer and composer Johnny Logan. The album includes his 1980 Eurovision Song Contest winning song \"What's Another Year\".\n\nThe album was released internationally under the titles What's Another Year and The Johnny Logan Album, which slightly different track listings.\n\nTrack listing\nLP/Cassette\n\nCharts\n\nReferences\n\nJohnny Logan (singer) albums\n1980 albums", "What A Summer (foal in 1973) was an American Thoroughbred Champion racehorse who defeated both male and female competitors. She was bred in Maryland by Milton Polinger. She was a gray out of the mare Summer Classic who was sired by Summer Tan. Her sire was What Luck, a multiple stakes winning son of U.S. Racing Hall of Fame inductee Bold Ruler. What A Summer is probably best remembered for her win in the Grade II $65,000 Black-Eyed Susan Stakes over stakes winners Dearly Precious and Artfully on May 14, 1976.\n\nTwo-year-old season \n\nWhat A Summer was trained very early in her career by Hall of Fame conditioner Bud Delp while racing for her breeder, Milton Polinger. She was bought by Mrs. Bertram Firestone following Polinger's death in the early fall of 1976. That death delayed her the first start of her career until late in the year. Mrs. Firestone turned the mare over to trainer LeRoy Jolley. What A Summer did not start racing until near the end of her two-year-old season, when she broke her maiden at Philadelphia Park. Near the end of the year, she won an allowance race. She ended the year with two wins in four starts.\n\nThree-year-old season \nIn January, What A Summer placed second in her first stakes race, the $25,000 Heirloom Stakes at the old Liberty Bell Race Track in Philadelphia. Two months later, she won her second allowance race over winners and convinced her connections that she was ready to step up in class and take on stakes winners in the Grade II $65,000 Black-Eyed Susan Stakes. In that race, she withstood a fast closing challenge down the stretch to hold off a late charge by 4:5 favorite Dearly Precious in a final time of 1:42.40 for the mile and one sixteenth on the dirt track at Pimlico Race Course in Baltimore, Maryland. Her jockey, Chris McCarron, was credited with a solid ride by conserving energy with moderate fractions in the middle portion of the race. Stakes winner Artfully held on for third in the field of ten three-year-old fillies. In December 1976, What A Summer won the $50,000 Anne Arundel Stakes at Laurel Park Racecourse, beating Turn the Guns and Avum in 1:38.20 for the mile under McCarron.\n\nFour-year-old season \n\nIn 1977, What A Summer won the $75,000 Fall Highweight Handicap twice, carrying the high weight of 134 pounds under jockey Jacinto Vásquez. The Fall Highweight is run in November of each year at Aqueduct Racetrack. In the 1977 race, she finished in a time of 1:09.4 and she broke the stakes record for six furlongs. That year, she also won the $40,000 Silver Spoon Handicap, the $50,000 Maskette Handicap and the $35,000 Distaff Handicap. She placed second in the grade one Beldame Stakes at Belmont Park and showed in both the $40,000 Grey Flight Handicap and the $25,000 Regret Stakes.\n\nFive-year-old season \n\nIn 1978 as a five-year-old, What A Summer repeated two of her victories from the year before in both the Fall Highweight Handicap, under Hall of Fame jockey Ángel Cordero Jr., and the $40,000 Silver Spoon Handicap. She also won the $40,000 First Flight Handicap. She placed second in the grade two Vosburgh Stakes, the grade three Vagrancy Handicap, the Sport Page Handicap, the Suwanee River Handicap and the Egret Handicap.\n\nHonors \n\nWhat A Summer was named Maryland-bred horse of the year in 1977 and twice was named champion older mare for the state of Maryland in both 1977 and 1978. She was retired in 1978 and as a broodmare she produced several graded stakes winners. After her retirement, Laurel Park Racecourse named a race in honor, the What A Summer Stakes. She was an Eclipse Award winner and was named American Champion Sprint Horse in 1977.\n\nWhat A Summer ended her career with a record of 18 wins out of 31 starts in her career. Her most memorable race was perhaps her dominating performance in the de facto second leg of the filly Triple Crown, the Black-Eyed Susan Stakes. In addition to her 18 wins, she placed nine times with earnings of $479,161. That record of 27 first or second finishes in 31 starts at 87% is among the best in history.\n\nReferences\n What A Summer's pedigree and partial racing stats\n\n1973 racehorse births\nRacehorses bred in Maryland\nRacehorses trained in the United States\nEclipse Award winners\nThoroughbred family 17-b" ]

[ "Marc Márquez", "125cc World Championship", "what was the 125cc?", "championship", "did he win the championship?", " Marquez achieved his first podium on 22 June", "what year?", "2008" ]

[ "Thomas McPherson Brown (1906–1989) was a rheumatologist who held unorthodox views about the basis of rheumatoid arthritis (RA), and believed it could be cured with antibiotics.\n\nBrown graduated from Swarthmore College then attended Johns Hopkins Medical School. He did his medical residency at the hospital associated with the Rockefeller Institute.At Rockefeller he did research on synovial fluid from people with RA and in 1937 found Mycoplasma in the fluid from some patients, leading him to believe that RA might be an infectious disease. His work was interrupted by service in World War II; after the war he obtained a position at George Washington University and began to experimentally treat some people with RA with antibiotics, which at the time were a new class of drugs. Some of the people he treated were members of Congress or ambassadors, and some of them responded positively. He presented his work at a conference in 1949; at the same conference, the new drug cortisone was presented, and it overshadowed his work and became the leading treatment for RA.\n\nThroughout his career, Brown fought to have his antibiotic treatments recognized by the medical establishment; they were not.\n\nFootnotes\n\n1906 births\n1989 deaths\nAmerican rheumatologists\n20th-century American physicians", "Ben Thigpen (November 16, 1908 – October 5, 1971) was an American jazz drummer. He is the father of drummer Ed Thigpen.\n\nHe was born Benjamin F. Thigpen in Laurel, Mississippi. Ben Thigpen played piano as a child, having been trained by his sister Eva. He played in South Bend, Indiana with Bobby Boswell in the 1920s, and then moved to Chicago to study under Jimmy Bertrand. While there he played with many noted Chicago bandleaders and performers, including Doc Cheatham. He played with Charlie Elgar's Creole Band during 1927-1929 but did not record with them. Following this he spent time in Cleveland with J. Frank Terry, and then became the drummer for Andy Kirk's Clouds of Joy, where he stayed from 1930 to 1947. Much of his work is available on collections highlighting the piano work of Mary Lou Williams, who also played in this ensemble.\n\nAfter his time with Kirk, Thigpen's career is poorly documented. He led his own quintet in St. Louis and recorded with Singleton Palmer in the 1960s.\n\nReferences\n[ Ben Thigpen] at Allmusic\n\nExternal links\n Ben Thigpen recordings at the Discography of American Historical Recordings.\n\nAmerican jazz drummers\n1908 births\n1971 deaths" ]

[ "Marc Márquez", "125cc World Championship", "what was the 125cc?", "championship", "did he win the championship?", " Marquez achieved his first podium on 22 June", "what year?", "2008", "who did he work with?", "Assen and Catalonia" ]

[ "Anything Anything with Rich Russo is a weekly two-hour freeform radio program that airs on Sunday nights at 9 PM in the New York City market. The program's weekly playlists range from deep tracks of known artists, punk, non album b-sides, bubblegum pop, TV themes, jazz, blues, country, novelty and unsigned local artists. Dramarama’s \"Anything, Anything (I'll Give You)\" is the theme song and the Live at the China Club version begins 99% of the shows (occasionally an acoustic or piano version is played). The show has world premiered tracks by Bruce Springsteen, Green Day, and Tegan and Sara. fun.'s \"We Are Young\" had its first airing in October 2011 on Anything Anything with Rich Russo. The show has also had numerous guests including Andrew WK, Joan Jett, Mike Ness, Brandon Flowers, Jim James of My Morning Jacket, The Buried Life, Darryl \"DMC\" McDaniels, Girl in a Coma, Little Steven Van Zandt, Alejandro Escovedo, Steel Train, The Bangles, Urge Overkill, The Smithereens, Jesse Malin, Paul Collins, Garland Jeffreys, Lucero and Prima Donna.\n\nBroadcast History\nThe show began on November 9, 2008 on WRXP-FM. Upon their sale and format switch in July 2011, the show began airing on WXPK-FM on September 25, 2011. On October 2, 2011 the show also began airing on WDHA-FM. On April 21, 2013, the show began airing on 820 AM The Gamut (WWFD) in Frederick, Maryland, WTOP 103.5 HD-3 in Washington, DC and 107.7 HD-3 WWWT-FM in Manassas, VA. On October 6, 2013, the show also began airing on WRAT in the Monmouth-Ocean NJ radio market. On March 16, 2014, the show also began airing on WLZX in the Springfield MA radio market. On September 6, 2015, the show began airing on WWSK in the Nassau-Suffolk Radio market. \n\nStations currently airing Anything Anything include WXPK, WDHA, WRAT, WWSK, WMGM-FM, WMRQ-FM, WLZX-FM, WAQY, WMOS, WTKW, KTRX and WTOP-FM HD3.\n\nRusso also hosts and curates The Jersey Guy Does Jersey on Sirius/XM's Little Steven's Underground Garage and also the Midnight Malfeasance on the same channel.\n\nInfluences\nHost Rich Russo cites as his influences the following radio personalities and shows:\n\nRodney Bingenheimer (Rodney on the ROQ)\nDr. Demento (The Dr. Demento Show), who has appeared on the show 4 times as Super Bowl counterprogramming\nJohn Peel (Peel Sessions)\nVin Scelsa (Idiot's Delight)\nNic Harcourt \nLittle Steven Van Zandt (Little Steven's Underground Garage)\nWFMU\n\nPhilosophies and Views\n\nThe anything anything year end charts:\n\nTop 30 Songs of 2014\nTop 20 albums of 2013\nTop 30 Songs of 2013\nTop 20 Best Covers of 2013\nTop 12 albums of 2012\nTop 36 Songs of 2012\nTop 12 Cover Versions of 2012\nTop 20 Albums of 2011\n\nRich's philosophies on bands and the music industry are covered on air and via his blog:\n\nWhy The Strokes Are A Waste of Time\nWhat if the Presale Lays an Egg\nWhy Bon Jovi is Wrong about Steve Jobs\nIt's Really Bad Karma to Buy Music on Amazon\nWhy Don Kirshner Mattered\nWhy I Won't Ever Play 30 Seconds to Mars\n\nNotable On-Air Events\n\nAugust 30, 2009 Brandon Flowers of The Killers calls in and gives the show an exclusive live version of \"A Dustland Fairytale\" to play on the air.\n\nFebruary 28, 2010 Andrew WK was a guest in studio for the first ever extended broadcast of the show.\n\nMay 15, 2011 Darryl DMC McDaniels was a guest on the show. Rich read Sara Quin's entire letter about Tyler the Creator and there was spirited dialogue that followed.\n\nOctober 9, 2011 As a tribute to the passing of Steve Jobs, Rich played only songs that began with the word \"I\" \n\nOctober 21, 2012 For John Wesley Harding's birthday Rich played an hour of his music \n\nJuly 28, 2013 As a tribute to Hoboken Music Venue Maxwell's closing, Rich only played songs that were recorded live at the club on his WDHA show \n\nEvery Super Bowl Sunday since 2011, Dr. Demento serves as the co-host for a special all novelty edition show.\n\nNotable Off Air Events\n\nAs an extension of the radio show, Russo began doing events with local unsigned bands on Staten Island, which then led to events in Brooklyn and New Jersey and then New York City.\n\nAn Anything Anything show at Santos Party House drew over 700 people for a group of unsigned bands and featured a guest appearance by Andrew WK for the encore.\n\nRusso also hosted a series of residency shows with Jesse Malin at Bowery Electric. Every show in the concert series sold out and featured guests including Billie Joe Armstrong from Green Day, Moby, and Eugene Hutz from Gogol Bordello\n\nAnything Anything was given the exclusive on both Foxboro Hot Tubs (Green Day) shows to announce, promote and give away tickets.\n\nA special secret show was held to celebrate Alejandro Escovedo’s appearance on Letterman; it sold out immediately and was featured in a write up in Rolling Stone by David Fricke.\n\nNovember 2010, the Anything Anything 2nd Anniversary Show was featured in the gossip pages of the Daily News (due to Lady Gaga, Madonna and Joan Jett being in attendance).\n\nFor Record store day 2010, a special limited edition of 500 copies of live performances from the Anything Anything radio show featuring all unsigned local acts, sold 468 copies in one day and was the 68th best selling album of the week in the NY Market. There was an Anything Anything bus tour visiting local record stores that day and received local TV coverage. 100% of the profits of the record went directly to the record stores.\n\nRusso serves as emcee with Vincent Pastore of the annual Light of Day concerts in Asbury Park, NJ where he has brought Bruce Springsteen on stage on two different occasions.\n\nRusso also served as emcee with Vincent Pastore and Maureen Van Zandt at Little Kids Rock Benefit at Hammerstein Ballroom on October 20th, 2014, performers included Joan Jett, Alice Cooper, Cheap Trick, Billie Joe Armstrong, Mike Ness, Darlene Love, Jake Clemons, Tommy James and Brody Dalle, \n\nThe Anything Anything 4th Anniversary Party with Social Distortion at Starland Ballroom was cancelled due to Hurricane Sandy.\n\nThe Anything Anything 5th Anniversary Party with Tegan and Sara, Willie Nile and Plastiq Passion was on September 27th, 2013 at Starland Ballroom.\n\nThe Anything Anything 6th Anniversary Party Part 1 with Social Distortion, The Whigs and Jonny Two Bags was September 4th, 2014 at Starland Ballroom.\n\nThe Anything Anything 6th Anniversary Party Part 2 With Joan Jett and the Blackhearts and Jesse Malin was October 11, 2014 at the Count Basie Theatre.\n\nThe Anything Anything 8th Anniversary Party Part 1 with Lucero, Cory Branan and was October 21, 2016 at the House of Independents, Asbury Park\n\nThe Anything Anything 8th Anniversary Party Part 2 with David Cassidy, The Battery Electric and Hell Yeah Babies was October 27, 2016 at the Count Basie Theatre\n\nReception and Reviews\n\nRich was voted the best DJ in the October 19–25, 2011 Village Voice Best of NYC Issue\n\nReferences\n\nExternal links\nAnything Anything with Rich Russo, official site\nRolling Stone Magazine article about Bowery Ballroom concert presented by Anything Anything with Rich Russo\nNJ.com interview with DJ/Host Rich Russo\nHuffington Post article about Anything Anything with Rich Russo\nCranford Patch, interview with DJ and host Rich Russo\n2010 interview with Rich Russo from the Staten Island Advance\nArticle about Record Store Day and independent music from 2010\nPlaylists from Anything, Anything with Rich Russo\nTegan and Sara sizzle, shimmer, and swoon at Starland\n\nAmerican music radio programs\nFreeform (radio format)", "\"If You Can Do Anything Else\" is a song written by Billy Livsey and Don Schlitz, and recorded by American country music artist George Strait. It was released in February 2001 as the third and final single from his self-titled album. The song reached number 5 on the U.S. Billboard Hot Country Singles & Tracks chart in July 2001. It also peaked at number 51 on the U.S. Billboard Hot 100.\n\nContent\nThe song is about man who is giving his woman the option to leave him. He gives her many different options for all the things she can do. At the end he gives her the option to stay with him if she really can’t find anything else to do. He says he will be alright if she leaves, but really it seems he wants her to stay.\n\nChart performance\n\"If You Can Do Anything Else\" debuted at number 60 on the U.S. Billboard Hot Country Singles & Tracks for the week of March 3, 2001.\n\nYear-end charts\n\nReferences\n\n2001 singles\n2000 songs\nGeorge Strait songs\nSongs written by Billy Livsey\nSongs written by Don Schlitz\nSong recordings produced by Tony Brown (record producer)\nMCA Nashville Records singles" ]

[ "Pablo Escobar", "Escobar at the height of his power" ]

[ "Mynor Haroldo Escobar Espinoza (born June 10, 1964) professionally known as Mynor Escobar, is a Guatemalan architect, Visual Artist, painter, political and writer. Escobar is best known for his pictorial series called TUKUR. Escobar is the author of the books Blue Eyes (poetry), Versus and other tales and Stories of a Tukur.\n\nEarly life and education \nEscobar was born on June 10, 1964 in Guatemala, Central America to Alfredo Escobar and Zulma Lili Espinoza Martínez. He grew up in an integrated Catholic family along with two younger brothers Rodmy and Zulma Avalesca. His father was a politician, a medalist swimmer, and a musician.\n\nAfter graduating from the Colegio Marista Liceo Coatepeque with a high school, Escobar studied at the University of San Carlos de Guatemala, earning a bachelor’s degree in Architecture. In 1989 he was appointed as a student representative of the Faculty of Architecture.\n\nCareer \nEscobar began his career when he was still in university. In 1985 he joined the Youth branch of the newly founded Democratic Socialist Party. During this time, Escobar received political training courses and worked alongside the party leader, Mr. Mario Solórzano Martínez. When he was 21 years old, Escobar became a young candidate for deputy to the Central American Parliament for the National List, in the first so-called democratic General Elections in Guatemala, that took place during the internal armed conflict. Escobar then joined the Trade Union Movement, working from the Toral National Union of Plastic Artists -SINTAP.\n\nDuring this period, Escobar started his career as an artist. He began the self-training process by enrolling in human figure classes with the architect and painter Juan José Rodríguez. It was in 1985 he organized his first personal exhibition in the facilities of the Faculty of Architecture of the University of San Carlos de Guatemala. At the same time, Escobar also became an assistant professor of Means of Expression at the Faculty of Architecture.\n\nIn 1987, Escobar joined the School of Graphic Design, the Faculty of Architecture of the University of San Carlos de Guatemala. He also assumed the post of an Assistant Professor from the painters and architects Salvador Gálvez Mora and Efraín Amaya and later served as a professor.\n\nA year later, Escobar also started working for Prensa Libre, a communication medium company. He worked for two years on the internal process of editorial re-adaptation of Children's Magazine Chicos. For over a decade, Escobar worked at the university and also as a freelancer at several Guatemalan advertising agencies.\n\nIn 2009, Escobar joined the Higher School of Art as a teacher, an academic institution as a Coordinator of the Bachelor of Visual Arts. In the same year, his work got featured in the cultural radio magazine called La Galería, under the theme of contemporary Guatemalan art. For two years he took interviews for this radio magazine of contemporary Guatemalan artists, ultimately documenting an archive with a hundred interviews on university radio.\n\nEscobar’s work over the years has become a subject of study by Guatemalan research centers and universities that seek to document the work of Guatemalan artists. In 2020 he was also honored at the 23 Historic Center Festival de Guatemala, an event sponsored by the Municipality of Guatemala City, the Ministry of Culture and Sports, the Guatemalan Institute of Tourism, the University of San Carlos de Guatemala, and sponsored by La Cervecería Centroamericana in the short film - Mynor Escobar, Discovering Tukur, an audiovisual project.\n\nStyle \nEscobar is known for his pictorial work, recognized as Tukur Painting, explicit themes, use of language (in poetry), and the links established via art to tradition and culture. His work is full of imagery, and symbolism and imbibes a background of comprehensibility, originality, significant formal & cultural elements. Escobar's work is completely anthropological and contains elements of popular culture.\n\nHis work revolves around conscious intentions, on issues of recognition and affirmation of cultural identity both at the personal level and at the ethnic-social group level. Escobar's artistic language goes beyond the pre-Columbian and colonial roots of Guatemalan official culture. It is highly expressive and aims at finding a balance that functions as an ideal within the national imagination.\n\nPersonal life \nEscobar is the father of Alessandra, Camila and Rodrigo.\n\nReferences \n\n1964 births\nLiving people\nGuatemalan architects", "Alcides Escobar (; born December 16, 1986) is a Venezuelan professional baseball infielder for the Washington Nationals of Major League Baseball (MLB). He previously played in MLB with the Milwaukee Brewers and Kansas City Royals and the Tokyo Yakult Swallows of Nippon Professional Baseball (NPB).\n\nEarly and personal life \nEscobar was born in La Sabana, Venezuela. Escobar is cousin to pitchers Edwin Escobar and Kelvim Escobar, as well as outfielder Ronald Acuña Jr. He is also the nephew of shortstop José Escobar. Escobar began playing baseball when he was four years old, stating how he idolized fellow Venezuelan shortstop Omar Vizquel.\n\nBaseball career\n\nMilwaukee Brewers \nOn July 9, 2003, Escobar signed with the Milwaukee Brewers as an international free agent for $35,000 at age 16. Escobar made his professional debut in 2004 with the rookie-level Helena Brewers. In 2005, he played for the Single-A West Virginia Power, batting .271/.305/.362 with 2 home runs and 36 RBI. The following season, Escobar slashed .257/.296/.306 in 87 games for the High-A Brevard County Manatees. In 2007, he split time between Single-A and Double-A, playing 63 games for Brevard County in the Class A-Advanced Florida State League and 62 games for the Double-A Huntsville Stars of the Southern League. He batted a combined .306 with one home run and 53 runs batted in.\n\nIn 2008, Escobar played mostly for Huntsville. On September 1, 2008, when rosters expanded, Escobar was called up to the Majors for the first time and made his debut two days later as a defensive replacement at shortstop. He picked up his first career hit in his first at-bat in the same game, a single against pitcher Scott Schoeneweis of the New York Mets.\n\nBefore the 2009 season, Baseball America rated Escobar the 19th best prospect in baseball. In 2009, Escobar appeared in the All-Star Futures Game as the starting shortstop for the World team. During the game, he went 2-for-4 and scored the go-ahead run. On August 12, Escobar was called up to the Brewers from the Triple-A Nashville Sounds to replace J. J. Hardy, who had been optioned down. He made his first major league appearance of the season that night, pinch running for Prince Fielder in the bottom of the 9th inning against the San Diego Padres. Escobar stole second base, his first stolen base of his career.\n\nAfter the end of the 2009 season, the Brewers traded Hardy to the Minnesota Twins, making Escobar the starting shortstop for the Brewers in 2010. Prior to the 2010 season, Baseball America rated Escobar as the best prospect in baseball.\n\nKansas City Royals \nOn December 18, 2010, the Brewers traded Escobar, Lorenzo Cain, Jeremy Jeffress, and Jake Odorizzi to the Kansas City Royals for Zack Greinke and Yuniesky Betancourt. In 2011 he batted .254/.290/.343 with 4 home runs and 46 RBI in 158 games.\n\nOn March 15, 2012, Escobar signed a four-year, $10 million extension through 2015 with club options for 2016 and 2017 with the Royals. If both options were exercised, Escobar could earn $21.75 million. Escobar, who was slated to earn $519,500 in 2012, would instead earn $1 million in 2012 and $3 million a year from 2013 to 2015. His 2016 option was worth $5.25 million and had a $500,000 buyout. His 2017 option was worth $6.5 million and had a $500,000 buyout. The extension covered his final pre-arbitration season and his three arbitration-eligible seasons. The club options covered his first year of free agency.\n\nIn 2013, he batted .234/.259/.300, and his .259 on base percentage was the lowest of all qualified MLB batters. His .300 slugging percentage was also the lowest among all qualified batters in MLB. In 2014, Escobar, along with Evan Longoria, Hunter Pence and Freddie Freeman were the only players in the MLB to start in all 162 regular season games for their respective teams. He finished the season hitting .285, with 74 runs scored, 50 RBIs, and 31 stolen bases.\n\nIn 2015, he batted .257/.293/.320. He led the majors in sacrifice hits, with 11. His .320 slugging percentage was the lowest of all qualified major league batters. He also had the lowest ISO (Isolated Power) of all MLB players in 2015, at .064.\n\nDuring the 2015 ALCS, Escobar set a postseason record by getting a leadoff hit in four consecutive games. He was selected as the 2015 ALCS MVP as he batted .478 in the series. In Game 1 of the 2015 World Series, Escobar hit an inside-the-park home run on the first pitch thrown by the New York Mets' Matt Harvey. It was the first time a player had hit an inside-the-park home run in a World Series game since 1929. He followed that by driving in two runs and scoring once on two hits in Game 2. In Game 5, Escobar hit a double in the 12th inning allowing Christian Colon to score to help the Royals defeat the Mets 7–2 in 12 innings making the 2015 Kansas City Royals World Series Champions. In the 2015 postseason, Escobar hit .329 in 70 at bats. He had 23 hits including four doubles and three triples, 13 runs scored, and 9 RBI. He was awarded the 2015 Rawlings AL Gold Glove for shortstops.\n\nIn 2016, he batted .261/.292/.350. He again led the majors in sacrifice hits, with 10. On June 3, Escobar got his 1000th career Major League hit against Cleveland Indians pitcher Danny Salazar. On October 10, 2016, the Royals exercised Escobar's 2017 option. The Royals paid him $6.5 million in 2017. He batted .250/.272/.357 in 599 at bats, and shared the major league lead in sacrifice hits, with 7. His .272 on base percentage was the lowest, and his .357 slugging percentage was the third-lowest, among all qualified batters in MLB. He stole four bases, but was caught seven times.\n\nOn January 29, 2018, Escobar re-signed with the Royals with a one-year, $2.5 million deal. In 2018 he batted .231 (a career low)/.279/.313. His .313 slugging percentage was the second-lowest among all qualified batters in MLB.\n\nBaltimore Orioles \nOn February 16, 2019, Escobar signed a minor-league contract with the Baltimore Orioles which included an invitation to spring training. On March 20, 2019, Escobar was granted his outright release from the Orioles.\n\nChicago White Sox \nOn March 22, 2019, Escobar signed a minor league deal with the Chicago White Sox. He was assigned to the Triple-A Charlotte Knights to begin the year. After hitting .286/.343/.444 with 10 home runs and 70 RBI, Escobar was released by the organization on August 2.\n\nTokyo Yakult Swallows \nOn October 30, 2019, Escobar signed with the Tokyo Yakult Swallows of Nippon Professional Baseball (NPB). On January 31, 2020, he held a press conference with Gabriel Ynoa and Matt Koch.\n\nOn June 19, he made his NPB debut. On July 15, Escobar hit his first career NPB home run off Hanshin Tigers pitcher Onelki García. In 104 games with Yakult, Escobar slashed .273/.312/.329 with 1 home run and 30 RBI. On November 23, 2020, he became a free agent.\n\nKansas City Royals (second stint)\nOn May 4, 2021, Escobar signed a minor league contract with the Kansas City Royals organization and was assigned to the Triple-A Omaha Storm Chasers. In 35 games with Omaha, Escobar posted a .274/.311/.452 slash with 5 home runs and 16 RBI.\n\nWashington Nationals\nOn July 2, 2021, Escobar was traded to the Washington Nationals in exchange for cash considerations. He was selected to the active roster on July 3. On July 18, Escobar hit his first major-league home run since the 2018 season against the San Diego Padres to pull the Nationals within one run in the eighth inning, and hit a walk-off single in the ninth to lead them to an 8–7 victory. Escobar finished out the 2021 season with the Nationals batting .288/.340/.404, his best totals since 2012; he then signed a one-year contract extension through the 2022 season on October 5, 2021. In 2021, he had the lowest average exit velocity of all major league batters, at 81.7 mph.\n\nSee also \n List of players from Venezuela in Major League Baseball\n\nReferences\n\nExternal links \n\n \n\n1986 births\nLiving people\nAmerican League All-Stars\nAmerican League Championship Series MVPs\nBrevard County Manatees players\nCardenales de Lara players\nCharlotte Knights players\nAlcides\nHelena Brewers players\nHuntsville Stars players\nKansas City Royals players\nMajor League Baseball players from Venezuela\nMajor League Baseball shortstops\nMilwaukee Brewers players\nNashville Sounds players\nNippon Professional Baseball shortstops\nPeoria Javelinas players\nTokyo Yakult Swallows players\nVenezuelan expatriate baseball players in Japan\nVenezuelan expatriate baseball players in the United States\nWashington Nationals players\nWest Virginia Power players\nWorld Baseball Classic players of Venezuela\n2017 World Baseball Classic players\nPeople from Vargas (state)" ]

[ "Pablo Escobar", "Escobar at the height of his power", "When was escobar at the height of his power?", "At the height of his power, drug traffickers from Medellin and other areas were handing over between 20% and 35% of their Colombian cocaine-related profits to Escobar," ]

[ "A List of Revenues of the Darius I, Great King of Persia, is reported by Greek Historian Herodotus c 480 BC. This serves to show the greatness of Darius and the Persian empire, show who was paying tribute to the empire and how much they were capable of paying.\n\nA talent of silver was a considerable sum of money, but making exact conversions to modern currency is problematical at best. Further compounding the problem are differences in how weights were measured.\n\nAnnual tribute (in silver talents)\n\nReferences\n\nSources\n Herodotus III. 90-96 and cf. A. R. Burn, Persia & the Greeks (New York, 1962), pp. 123–126.\n\nDarius the Great\nGovernment of the Achaemenid Empire", "GTO: Gangsters Takin' Over is the second album released by Oran \"Juice\" Jones. It was released in 1987 through Def Jam Recordings and was produced entirely by Russell Simmons and Vincent Bell. GTO failed to find the same success as his previous album, only making it to 36 on the Top R&B/Hip-Hop Albums chart, and the album's only charting single, \"Cold Spendin' My Money\" wasn't much of a success either, only making it to 41 on the Hot R&B/Hip-Hop Singles & Tracks.\n\nTrack listing\n\"Cold Spendin' My Money\"- 4:24\n\"Not on the Outside\"- 4:28\n\"You Don't Miss the Rain\"- 4:14\n\"How to Love Again\"- 4:42 (Featuring Alyson Williams)\n\"We Were Friends\"- 3:53\n\"I Just Can't Say Goodbye\"- 3:47\n\"Rock the Night Away\"- 4:18\n\"Baby Don't Walk Out on Me\"- 4:24\n\"Your Song\"- 4:36\n\"U Bring Out\"- 4:02\n\n1987 albums\nColumbia Records albums\nDef Jam Recordings albums\nOran \"Juice\" Jones albums" ]

[ "Pablo Escobar", "Escobar at the height of his power", "When was escobar at the height of his power?", "At the height of his power, drug traffickers from Medellin and other areas were handing over between 20% and 35% of their Colombian cocaine-related profits to Escobar,", "How much money was he making?", "Medellin Cartel brought in more than US $70 million per day (roughly $26 billion in a year)." ]

[ "Big Jake was a famous lobster caught off the coast of Boston, Massachusetts that was sold to Jeffrey Pyska of Anchorage, Alaska who requested a large lobster. Big Jake was a popular due to his large size and weight, at 25 pounds, to Pyska's customers. Big Jake was being sold for $212 and was handled to such an extent that he became sick and ill. It was later decided that the lobster would be shipped back to Boston to be rehabilitated, but upon arrival to Logan International Airport, Big Jake was dying. The lobster was later flown back to Anchorage, where his owner is reported to have Jake taxidermied. The lobster gained even more popularity due to Associated Press stories throughout January 1984. The lobster is possibly the largest lobster ever flown in the United States.\n\nReferences\n\n1984 animal deaths\n1934 animal births", "Alonzo Tucker was an African American boxer and owned a gym in Coos Bay, Oregon. He was accused by Mrs. Dennis for assault. After the lynching, Dennis and her family quickly left town and headed to California. Tucker is the only documented lynching of a black man in Oregon.\n\nBiography \nAlonzo Tucker was a bootblack (shoeshiner) in a barbershop, a boxer, and he owned a gym in Coos Bay, Oregon. The 1900 census listed 36 Black people living in Coos County. \n\nOn September 18, 1902, the only lynching ever to be documented in Oregon occurred in Coos Bay, of Alonzo Tucker. He was accused of raping a white woman and escaping from jail. According to newspaper accounts, Tucker was discovered by two young boys who began shooting him with airguns. After a brief pursuit, local miners apprehended Tucker, who was hiding inside a store. The mob considered hanging him inside the store, but decided to return him to the site of the alleged rape at a nearby bridge. Tucker was shot twice and then hung from the 7th Street bridge, which spanned what is now Golden Field, a high school soccer field.\n\nNo charges were ever brought against the mob as officials determined \"the deceased came to his death at the hands of parties unknown while resisting arrest for a felony, and that no crime was committed thereby.\" Despite the claim that those in the mob were unknown, the participation of multiple people, including the husband of the alleged rape victim, was noted in local newspapers. One newspaper at that time reported the mob was \"quiet and orderly\" and another paper wrote, \"'Well done' is the consensus of public opinion.\" Tucker's cause of death was asphyxiation. According to the coroner's report, cause of death was blood loss from the gunshot wound in Tucker's right thigh, in which case he died before being hanged on the Marshfield bridge.\n\nEyewitness accounts \nIn 1974 the Coos Bay World interviewed three elderly men who had witnessed the killing as children. One of the men, Martin Steckel, recalled, \"I was not over 20 feet from Tucker when they shot him. I was about seven years old. They accused him of assaulting a woman. But I don’t believe he ever did.” The men said that Tucker ran every morning for exercise and that he would meet a woman near the old cemetery. The men said that the local doctor caught the two lovers when riding past on his horse and buggy, \"And she saw she was caught, so to clear her skirts, she claimed he attacked her.” The last words Steckel heard Tucker say were, \"Lord have mercy on a colored man.\"\n\nReferences \n\nLynching deaths in Oregon\n1902 in Oregon\n1902 murders in the United States\nCoos Bay, Oregon\nAfrican-American history of Oregon\n deaths by firearm in Oregon" ]

[ "Pablo Escobar", "Escobar at the height of his power", "When was escobar at the height of his power?", "At the height of his power, drug traffickers from Medellin and other areas were handing over between 20% and 35% of their Colombian cocaine-related profits to Escobar,", "How much money was he making?", "Medellin Cartel brought in more than US $70 million per day (roughly $26 billion in a year).", "Was he ever caught?", "people from Medellin often helped Escobar avoid police capture by serving as lookouts, hiding information from authorities, or doing whatever else they could to protect him." ]

[ "Kimbrough v. United States, 552 U.S. 85 (2007), was a United States Supreme Court case in which the Court confirmed that federal district judges utilize, in an advisory (not as law) fashion, Federal Sentencing Guidelines, in cases involving conduct related to possession, distribution, and manufacture of crack cocaine.\n\nBackground \nDerrick Kimbrough was indicted in September 2004 in federal court in Virginia on four drug-related counts: conspiracy to distribute both crack and powder cocaine; possession with intent to distribute more than 50 grams of crack cocaine; possession with intent to distribute powder cocaine; and possession of a firearm in furtherance of a drug trafficking offense. Kimbrough pleaded guilty to all four counts. Under the statutes that define these respective crimes, Kimbrough faced a sentence of between 15 years and life in prison. Based on the facts, Kimbrough admitted at his change-of-plea hearing, as well as the fact that Kimbrough had testified falsely at a codefendant's trial, the district court computed the applicable range under the federal sentencing guidelines at 18 to 22.5 years in prison.\n\nKimbrough's Guidelines range was so high because his offense involved both crack and powder cocaine. US District Court Judge Raymond Alvin Jackson observed that if Kimbrough's crime had involved powder cocaine only, his sentencing range would have been 97 to 106 months. The mandatory minimum sentence, in turn, was 180 months in prison, and the district judge imposed that sentence. Kimbrough was represented by Assistant Federal Public Defender Riley H. Ross III. The government was represented by Assistant United States Attorney William D. Murh.\n\nThe Fourth Circuit Court of Appeals vacated the sentence and remanded for further proceedings. Relying on a prior opinion, the appellate court stated that any sentence that fell outside the Guidelines range was per se unreasonable if that sentence was based on a policy disagreement with the fact that crack cocaine offenses are punished more harshly than powder cocaine offenses. The United States Supreme Court agreed to review the Fourth Circuit's reasoning in this case.\n\nMajority opinion\nUnder the Federal Sentencing Guidelines, a drug trafficker dealing in crack cocaine is subject to the same sentence as one who trafficks in 100 times as much powder cocaine. The two drugs are chemically similar; they produce the same high, although the modes of ingestion differ. The result of the 100-to-1 ratio is that sentences for crack cocaine offenders are three to six times longer than those for powder cocaine offenders. As the United States Sentencing Commission concluded in a 2002 report, a \"major supplier of powder cocaine may receive a shorter sentence than a low-level dealer who buys powder from the supplier but then converts it into crack\" cocaine.\n\nIn the Anti-Drug Abuse Act of 1986, heroin received a 10-to-1 ratio. Defendants responsible for 100 grams of heroin were subject to a five-year mandatory minimum, but defendants responsible for 1000 grams were subject to a ten-year mandatory minimum sentence. However, the Act imposed a 100-to-1 ratio for powder to crack cocaine. The same five-year mandatory minimum sentence applies to defendants who are held responsible for either 500 grams of powder cocaine or 5 grams of crack. The ten-year mandatory minimum applied to defendants responsible for either 5000 grams of powder cocaine or 50 grams of crack. The Sentencing Commission followed this approach when fixing penalties for powder and crack cocaine, even as it relied on empirical evidence culled from actual sentences imposed in other kinds of criminal cases to formulate the new Sentencing Guidelines.\n\nLater, however, the Sentencing Commission came to the conclusion that the 100-to-1 ratio was \"generally unwarranted.\" The ratio rests on unwarranted assumptions about the relative harmfulness of the two forms of the drugs. Crack cocaine was associated with \"significantly less trafficking-related violence than previously assumed.\" It is no more harmful to developing fetuses than powder cocaine. The epidemic of crack addiction that had been feared in 1986 failed to materialize. Moreover, the 100-to-1 ratio indeed had the effect of punishing low-level dealers more harshly than major traffickers, because it was the low-level dealers and not the traffickers who converted the powder cocaine into crack. Finally, the ratio promoted widespread disrespect and distrust in the criminal justice system, especially because it promoted a racial discrepancy between the sentences imposed on cocaine defendants. Powder cocaine defendants tend to be white and receive shorter sentences than crack cocaine defendants, who tend to be black.\n\nIn 1995, the Commission proposed reducing the ratio to 1-to-1 and adding other enhancements targeted at crack cocaine crimes involving violence. Congress exercised its statutory authority to overrule this proposal. Undaunted, the Commission recommended reducing the ratio twice more—to 5-to-1 in 1997, and to 20-to-1 in 2002. Congress ignored these proposals. In 2006, the Commission unilaterally altered the sentencing ranges associated with crack cocaine, achieving in effect a 10-to-1 ratio in sentencing quantities. At the same time, however, it urged Congress to adopt a more comprehensive solution.\n\nWith the Court's decision in United States v. Booker, , which made the then-mandatory Guidelines \"effectively advisory,\" district courts were again free to impose sentences that took into account the \"history and characteristics of the defendant,\" the \"nature and circumstances of the offense,\" disparities in sentences that might be \"unwarranted,\" and other factors to fashion a sentence that is \"sufficient but not greater than necessary\" to achieve the overall goals of sentencing. Even though the commission had implemented the ratio in the Guidelines, the Government contended that the commission could not alter the 100-to-1 ratio because that was a policy choice that Congress had required the commission to implement. The Court rejected this argument for three reasons.\n\nFirst, it lacked any foundation in the text of the 1986 Anti-Drug Act. Hence, if before Booker the Act could not require the Commission to implement any particular ratio, it cannot impose the same requirement on sentencing judges after Booker.\n\nSecond, the fact that in 1995 Congress disapproved the commission's effort to impose a 1-to-1 ratio did not mean that Congress meant for the 100-to-1 ratio to apply in perpetuity. Indeed, when the Commission effectively changed the ratio to 10-to-1, Congress did not disapprove.\n\nThird, \"as we explained in Booker, advisory Guidelines combined with appellate review for reasonableness and ongoing revision of the Guidelines in response to sentencing practices\" will help to avoid disparities that might result from relaxing the 100-to-1 ratio. Accordingly, the Court affirmed the 180-month sentence the district court had imposed on Kimbrough.\n\nDissenting opinions\nJustice Thomas continued to assert his disapproval of the remedial holding in United States v. Booker. \"As a result of the Court's remedial approach, we are called upon to decide a multiplicity of questions that have no discernibly legal answers.\" One such question, in his view, was whether the district courts are free to disregard a \"categorical policy judgment reflected in the Guidelines\" when imposing a \"reasonable\" sentence. \"But the Court's answer to that question necessarily derives from something other than the statutory language or congressional intent.\"\n\nJustice Alito dissented for the same reason as he did in Gall v. United States.\n\nSee also \n Fair Sentencing Act\n\nExternal links\n \n Merits brief of petitioner Kimbrough\n Links to defense-side merits and amicus briefs\n Brief of the Government as respondent\n Info from the ACLU\n Unpublished decision of the Fourth Circuit\n\nUnited States Supreme Court cases\nDrug control law in the United States\n2007 in United States case law\nUnited States Federal Sentencing Guidelines case law\nUnited States Supreme Court cases of the Roberts Court\nCocaine in the United States", "Raymond Alvin Jackson (born 1949) is a Senior United States District Judge of the United States District Court for the Eastern District of Virginia.\n\nEducation and career\n\nBorn in Sussex, Virginia, Jackson received a Bachelor of Arts degree from Norfolk State University in 1970 and a Juris Doctor from the University of Virginia School of Law in 1973. He was in the United States Army, JAG Corps, from 1973 to 1977, attaining the rank of captain. He thereafter remained in the United States Army Reserve, achieving the rank of colonel. He was an Assistant United States Attorney of the Eastern District of Virginia from 1977 to 1993, and was an adjunct lecturer at the College of William and Mary, Marshall-Wythe School of Law, from 1981 to 1991 and in 1993.\n\nFederal judicial service\n\nOn September 24, 1993, Jackson was nominated by President Bill Clinton to a seat on the United States District Court for the Eastern District of Virginia vacated by Richard Leroy Williams. Jackson was confirmed by the United States Senate on November 20, 1993, and received his commission on November 22, 1993. He assumed senior status on November 23, 2021.\n\nNotable cases\n\nJackson was the district court judge in the critical Supreme Court decision in Kimbrough v. United States (2007). Derrick Kimbrough was indicted in September 2004 on four drug-related counts: conspiracy to distribute both crack and powder cocaine; possession with intent to distribute more than 50 grams of crack cocaine; possession with intent to distribute powder cocaine; and possession of a firearm in furtherance of a drug trafficking offense. Kimbrough pleaded guilty to all four counts. Under the statutes that define these respective crimes, Kimbrough faced a sentence of between 15 years and life in prison. Based on the facts, Kimbrough admitted at his change-of-plea hearing, as well as the fact that Kimbrough had testified falsely at a codefendant's trial, Jackson computed the applicable range under the federal sentencing guidelines at 228 to 270 months in prison.\n\nKimbrough's Guidelines range was so high because his offense involved both crack and powder cocaine. Jackson observed that if Kimbrough's crime had involved powder cocaine only, his sentencing range would have been 97 to 106 months. The mandatory minimum sentence, in turn, was 180 months in prison, and Jackson imposed that sentence.\n\nThe Fourth Circuit Court of Appeals vacated the sentence and remanded for further proceedings. Relying on a prior opinion, the appellate court stated that any sentence that fell outside the Guidelines range was per se unreasonable if that sentence was based on a policy disagreement with the fact that crack cocaine offenses are punished more harshly than powder cocaine offenses. The United States Supreme Court agreed to review the Fourth Circuit's reasoning in this case and reversed the Fourth Circuit's opinion, holding that the Federal Sentencing Guidelines for cocaine are advisory only, and a judge may consider the disparity between the Guidelines' treatment of crack and powder cocaine offenses when imposing a sentence sufficient, but not greater than necessary.\n\nPersonal life\nJackson is married to retired judge Gwendolyn Jackson from the 4th Judicial District of Virginia. Their daughter Candace Jackson-Akiwumi is a judge of the United States Court of Appeals for the Seventh Circuit.\n\nSee also\n List of African-American jurists\n\nExternal links\n\n1949 births\nLiving people\n20th-century American judges\n21st-century American judges\nAfrican-American judges\nAssistant United States Attorneys\nCollege of William & Mary faculty\nJudges of the United States District Court for the Eastern District of Virginia\nNorfolk State University alumni\nPeople from Sussex County, Virginia\nUnited States district court judges appointed by Bill Clinton\nUnited States Army officers\nUniversity of Virginia School of Law alumni" ]

[ "Pablo Escobar", "Escobar at the height of his power", "When was escobar at the height of his power?", "At the height of his power, drug traffickers from Medellin and other areas were handing over between 20% and 35% of their Colombian cocaine-related profits to Escobar,", "How much money was he making?", "Medellin Cartel brought in more than US $70 million per day (roughly $26 billion in a year).", "Was he ever caught?", "people from Medellin often helped Escobar avoid police capture by serving as lookouts, hiding information from authorities, or doing whatever else they could to protect him.", "How much cocaine did he distribute", "Smuggling 15 tons of cocaine per day, worth more than half a billion dollars, into the United States," ]

[ "Peugh v. Davis, 113 U.S. 542 (1885), was a suit in equity for redeeming unoccupied and unenclosed city lots from a mortgage, continued from a case brought to the high court during the October 1877 term, (Peugh v. Davis, 96 U. S. 332) the question then was whether certain instruments of writing, made by Peugh to Davis constituted an absolute conveyance of lots in the District of Columbia or were in the nature of a mortgage security for loan of money. The court was of opinion that, on all the facts of the case, the latter was the true construction of the transaction between the parties. Respondent defended against complainant's claim to redeem by setting up that the alleged mortgage was an absolute conveyance. This being decided adversely, held that, in accounting as mortgagee in constructive possession, he was not liable for a temporary speculative rise in the value of the tract, which subsequently declined—both during the time of such possession.\n\nIn the prior case, the court below was directed to permit the plaintiff Peugh to redeem the property by the payment of the loan, with interest at six percent per annum, and, as it appeared that the defendant had taken possession of the property, it was said in the opinion that he \"should be charged with a reasonable sum for the use and occupation of the premises from the time he took possession in 1865, and allowed for the taxes paid and other necessary expenses incurred by him.\"\n\nUpon the return of the case to the Supreme Court of the District of Columbia, it was referred to an auditor to ascertain the sum necessary to redeem on that basis. Two reports were made, neither of which were entirely acceptable to the parties or to the court, which finally, by a decree in general term, allowed nothing for use and occupation by defendant, but did make an allowance for a sum received from the United States for its use, after deducting from this latter sum the amount paid to an agent for its collection.\n\nThe appellant assigns for error that no allowance was made him for the use and occupation by defendant.\nThe reply to this was that he never used and occupied it received any rents except the amount for which he is charged as received from the government.\nThe lots were open, unenclosed, with no buildings on them, and no actual possession or use of them was had by the defendant. His possession was merely constructive under his interpretation of the contract, that the land was his own. The witnesses say it was worth nothing in its actual condition, and no evidence is given to the contrary.\nIt was urged that a sum equal to the interest on the money borrowed by Peugh should be allowed as rent, or for occupation, from the time Davis asserted his ownership and possession. We can see no reason for this, and it would have been in conflict with the instruction contained in the opinion of this Court that he \"should be charged a reasonable sum for the use and occupation.\" If this was worth nothing, that was the end of that matter.\nIt was stated that during the period in question, the land rapidly rose in value and afterwards declined; that Peugh could have sold it, and probably was offered a sum for it which would have left him a large profit, and that he ought in this transaction to set off this loss against the amount he must pay to redeem.\n\nThis is not allowance for use and occupation. It is damages for a tort. It cannot be recovered in this suit, if it could be recovered in any.\n\nThe short answer to all this is that Mr. Peugh owed the money he had borrowed from Davis. What he is now claiming in the original suit is the right to pay the money and have a reconveyance of the land. Nothing hindered during all this time that he should pay this money, and if, as he alleges, Davis denied his right to do so, then he should have made a regular and lawful tender of the amount due.\n\nIf he had done so, the interest would have ceased to run against him, and the amount that he is now required to pay would have been diminished by more than one-half\n\nAn attempt was made to show that he did make this tender. Some evidence is offered that he told Davis that he was ready to account with him and pay what was due, and that he had the money with him. \n\nBut in order to make a tender that would have caused the interest to cease, he should have ascertained for himself the sum due, or have fixed upon a sum which was sufficient and then made a formal tender by counting out or offering that sum to Davis distinctly and directly as a tender.\n\nThe fact that he did not do this is the answer to all that he now claims in this Court. He has been permitted to redeem. His own assertion of that right has been allowed him; but if he ever had this money and was ready and willing to pay it, he did not do so. He did not produce or show it. He did not fix the amount he was ready to pay, but he took the money away with him, and used it himself, and there is no hardship in requiring him to pay six percent interest on it if he wishes to redeem the lots.\n\nThe decree of the Supreme Court of the district was affirmed.\n\nSee also\nList of United States Supreme Court cases, volume 113\n\nReferences\n\nExternal links\n \n\nUnited States Supreme Court cases\nUnited States Supreme Court cases of the Waite Court\n1885 in United States case law", "What Has Government Done to Our Money? is a 1963 book by Murray N. Rothbard that details the history of money, from early barter systems, to the gold standard, to present day systems of paper money. It is available for purchase and as free digital pdf, html, ebook, pdf, and with translations (see External links).\n\nTopics\n\nHow money developed \nRothbard explains how money was originally developed, and why gold was chosen as the preferred commodity to use as money.\n\nThe gold standard \nThe essay, \"What Has Government Done to Our Money?\" was written by Rothbard as an objective historical account with a provocative title. In contrast, \"The Case for a 100 Percent Gold Dollar\" was an essay with an ethical agenda. Both essays are normally found together in one binding.\n\nIn \"The Case for a 100 Percent Gold Dollar\", Rothbard argues that having a currency permanently fixed by law at a certain weight in gold, and always redeemable in gold, greatly incentivizes governments and banks to be much more ethical, civil, and honest in their lending methods, accounting methods, and in their honorable pursuits of other profits related to managing and supplying money to society.\n\nIn this section, Rothbard argues against any monetary policy that increases the amount of money in circulation. According to Rothbard, increasing the supply of money confuses society's ability to calculate relative costs during the time of monetary expansion. This is because the money is not injected into all areas of the economy at once, resulting in what Rothbard describes as deceiving investors with \"wasteful booms\" and subsequent readjustments, instead of normal and healthy opportunities for investment.\n\nLeaving the gold standard \nRothbard states that many European governments went bankrupt due to World War I, and how they left the gold standard in order to try to solve their financial issues. He also argues that this strategy was partially responsible for World War II, and led to economic problems throughout the world.\n\nReferences\n\nExternal links \n Book's Publisher page - Mises.org (all versions, free and for purchase)\n\n What Has Government Done to Our Money - English, PDF file\n What Has Government Done to Our Money - English, HTML\n Audiobook - What Has Government Done to Our Money - mp3, read by Jeff Riggenbach\n What Has Government Done to Our Money - English, epub eBook\n Qué ha hecho el gobierno de nuestro dinero - Español - Spanish, PDF\n Hvad Har Staten Gjort Ved Vores Penge - Dansk - Danish, PDF\n Mit Művelt A Kormány A Pénzünkkel - Magyar - Hungarian, PDF\n What Government Is Doing to Our Money - 2006 Speech by Lew Rockwell\n\n1963 non-fiction books\nBooks about economic history\nBooks by Murray Rothbard\nHistory of money" ]

[ "Pablo Escobar", "Escobar at the height of his power", "When was escobar at the height of his power?", "At the height of his power, drug traffickers from Medellin and other areas were handing over between 20% and 35% of their Colombian cocaine-related profits to Escobar,", "How much money was he making?", "Medellin Cartel brought in more than US $70 million per day (roughly $26 billion in a year).", "Was he ever caught?", "people from Medellin often helped Escobar avoid police capture by serving as lookouts, hiding information from authorities, or doing whatever else they could to protect him.", "How much cocaine did he distribute", "Smuggling 15 tons of cocaine per day, worth more than half a billion dollars, into the United States,", "What did he use his money for?", "he was credited with building football fields and multi-sports courts, as well as sponsoring children's football teams." ]

[ "Robert Else (17 November 1876 – 16 September 1955) was an English first-class cricketer who played for Derbyshire in 1901 and 1903.\n\nElse was born at Lea, Holloway, Derbyshire, the son of John Else and his wife Henrietta Lowe. His father was a bobbin maker and in 1881 they were all living with his grandparents at the Old Hat Factory in Wirksworth. Else made his debut for Derbyshire in May 1901 against Surrey, when his scores were 1 and 2. He played again that season against the South Africans when he opened the batting scoring a duck in the first innings and surviving the whole of the second innings for 6 not out. He did not play again until July 1903 when against London County he took a wicket and made his top score of 28. He played his last two matches in 1903 and made little impression in them.\n\nElse was a left-hand batsman and played ten innings in five first-class matches with an average of 7.3 and a top score of 28. He bowled fifteen overs and took 1 first-class wicket for 61 runs in total.\n\nElse died at Broomhill, Sheffield, Yorkshire at the age of 78.\n\nReferences\n\n1876 births\n1955 deaths\nDerbyshire cricketers\nEnglish cricketers\nPeople from Dethick, Lea and Holloway", "Fredrick Else (31 March 193320 July 2015) was an English footballer, who played as a goalkeeper. Else gained over 600 professional appearances in his career playing for three clubs, Preston North End, Blackburn Rovers and Barrow.\n\nClub career\nElse was born in Golborne near Wigan on 31 March 1933. Whilst on national service in the north-east he played for amateur club Axwell Park Colliery Welfare in the Derwent Valley League. He attracted the attention of Football League teams and signed as a junior for Preston North End in 1951, and as a professional in 1953. He made his debut for Preston against Manchester City in 1954, but was restricted to 14 appearances over his first three seasons. He eventually became first choice, displacing George Thompson, and played 238 times for North End. During this time Preston's most successful season came in 1957–58, when the club finished as runners up in Division One.\n\nThe 1960–61 season ended in relegation for Preston and Else was sold to neighbours Blackburn Rovers for £20,000. Else became a first choice for Blackburn straight away and played 221 times for the club. A collarbone injury in 1964–65 resulted in a period out of the game, though Else returned to regain the goalkeeper's jersey at Blackburn. Nonetheless the team were relegated the following season and Else was released. During the summer of 1966 Else signed with Barrow of the Fourth Division. Else became part of Barrow's most successful team, with the side winning promotion to the Third Division in his first season there. Else was Barrow's first choice keeper for the entire period that they were in the third division, and played 148 league matches for the club. He retired from football after Barrow's relegation in 1970 following a leg infection. His final season included a brief stint as caretaker manager at Barrow.\n\nHonours\n Football League Division One Runner-up 1957–1958\n Football League Division Four Promotion 1966–1967\n\nInternational career\nElse has been described by fans of the clubs that he played for as one of the best English goalkeepers never to win a full international cap. He did, however, make one appearance for the England B team in 1957 against Scotland B, as well as participating in a Football Association touring side of 1961.\n\nPersonal life and death\nElse met his wife Marjorie in 1949 in Douglas on the Isle of Man. They married when Else was 22 and Marjorie 20, on 29 October 1955, a Saturday morning. The wedding was held in Marjorie's home town of Blackpool and the date was chosen so that the couple could marry in the morning and Else could then travel either to Deepdale, to play for Preston North End's reserve team, or to Bloomfield Road where Preston's first team was due to be playing Blackpool F.C. In the event Else was selected for the reserves and the couple had to travel by bus to Preston.\n\nAfter retiring from football, Else remained in Barrow-in-Furness, becoming a geography and maths teacher at a local secondary school. He retired from teaching in 1999 and moved to Cyprus, though still attended some Barrow matches. Else died in Barrow-in-Furness on 20 July 2015, aged 82.\n\nReferences\n\n2015 deaths\n1933 births\nBarrow A.F.C. managers\nBarrow A.F.C. players\nBlackburn Rovers F.C. players\nPreston North End F.C. players\nPeople from Golborne\nEnglish footballers\nAssociation football goalkeepers\nSchoolteachers from Cumbria\nEnglish Football League players\nEngland B international footballers\nEnglish football managers" ]

[ "Oklahoma!", "Reception" ]

[ "Timothy D. Leonard (born 1940) is an inactive Senior United States District Judge of the United States District Court for the Western District of Oklahoma.\n\nEducation and career\n\nBorn in Beaver, Oklahoma, Leonard received a Bachelor of Arts degree from the University of Oklahoma in 1962 and a Juris Doctor from the University of Oklahoma College of Law in 1965. He was in the United States Navy Lieutenant Commander, JAG Corps from 1965 to 1968. He was a United States Naval Reserve Lieutenant from 1968 to 1972. He was an assistant state attorney general of Oklahoma from 1969 to 1971. He was in private practice in Oklahoma City in 1971. He was in private practice in Beaver from 1971 to 1988. He was a member of the Oklahoma State Senate from 1979 to 1988. He was a minority floor leader from 1985 to 1986. He was in private practice in Oklahoma City from 1988 to 1989. He was a guest lecturer and adjunct professor, Oklahoma City University from 1988 to 1989. He was the United States Attorney for the Western District of Oklahoma from 1989 to 1992.\n\nFederal judicial service\n\nLeonard was nominated by President George H. W. Bush on November 20, 1991, to a seat on the United States District Court for the Western District of Oklahoma vacated by Judge Layn R. Phillips. He was confirmed by the United States Senate on August 11, 1992, and received his commission on August 12, 1992. He assumed senior status on August 21, 2006.\n\nReferences\n\nSources\n \n\n1940 births\nLiving people\nJudges of the United States District Court for the Western District of Oklahoma\nOklahoma City University faculty\nOklahoma state senators\nPeople from Beaver County, Oklahoma\nUnited States Attorneys for the Western District of Oklahoma\nUnited States district court judges appointed by George H. W. Bush\n20th-century American judges\nUnited States Navy officers\nUniversity of Oklahoma alumni\nUniversity of Oklahoma College of Law alumni\n21st-century American judges", "Daniel David Draper Jr. (April 12, 1940 – November 18, 2004) was an American attorney and politician from the U.S. state of Oklahoma. He served as a member of the Oklahoma House of Representatives from 1971 until 1983, and served as the 32nd Speaker of the Oklahoma House of Representatives, beginning in 1979 until his conviction of a felony in the 1980s.\n\nBackground\nBorn in Tahlequah, Oklahoma, he received his bachelor's degree in accounting from Oklahoma State University. He then went to University of Oklahoma College of Law and later received his law degree from Washington University School of Law. He was the Stillwater, Oklahoma city attorney and taught business law at Oklahoma State University. He died in Stillwater, Oklahoma.\n\nPolitical career\nDraper was first elected to the Oklahoma House of Representatives in 1971. In 1978, Draper was presiding in the chair during the final day of session when there was a dispute over adjournment.\n\nHe was first elected speaker in 1979. The speaker's race was competitive, with five vying for the seat, and he won the race with the support of a group of conservative, rural Democrats led by Vernon Dunn and a group of progressive Democrats led by Cleta Deatherage and Jim Fried.\n\nDraper was convicted of a felony, forcing him out of office, and was succeeded by Jim Barker. The felony charge of voter tampering was eventually overturned by a federal judge.\n\nSee also\nOklahoma Democratic Party\n\nReferences\n\nExternal links\nHistoric members of the Oklahoma House of Representatives\n\n1940 births\n2004 deaths\nPeople from Tahlequah, Oklahoma\nPeople from Stillwater, Oklahoma\nOklahoma State University alumni\nUniversity of Oklahoma College of Law alumni\nWashington University School of Law alumni\nOklahoma lawyers\nOklahoma Democrats\n20th-century American politicians\nSpeakers of the Oklahoma House of Representatives" ]

[ "Oklahoma!", "Reception", "How was Oklahoma received?", "The original production of Oklahoma! was an unprecedented critical and popular success." ]

[ "Say What may refer to:\n\nBooks\nSay What? - Talk like a local without putting your foot in it, by Lonely Planet, 2004 \n\nSay What? by Margaret Peterson Haddix and James Bernardin 2005\n\nFilm and TV\n Say What?, an MTV television series in the 1990s\n\nGames\n Say What?! (video game) Sony music game\n\nMusic\n Say What! (Stevie Ray Vaughan song), a track by Stevie Ray Vaughan from the album Soul to Soul, 1985\n Say What! (Trouble Funk album), 1986 live album\n \"Say What\" (LL Cool J song), a song by LL Cool J\n \"Say What\", a song by Kovas (musician) \n\"Say What\", single by Jesse Winchester, 1981", "\"Boys! (What Did the Detective Say?)\" is the debut single by Australian rock band the Sports. The song was written by band members Stephen Cummings and Ed Bates and produced by Joe Camilleri. Released in March 1978 as the lead single from the band's debut studio album Reckless (1978), the song peaked at number 55 on the Australian Kent Music Report.\n\nJohn Magowan of Woroni described the song as \"adolescent bravado\".\n\nTrack listing\n Australian 7\" single (K 7089)\nSide A \"Boys! (What Did the Detective Say?)\" - 2:25\nSide B \"Modern Don Juan\"\n\nCharts\n\nReferences\n\n1978 songs\n1978 debut singles\nThe Sports songs\nSong recordings produced by Joe Camilleri\nMushroom Records singles\nSongs written by Stephen Cummings" ]

[ "Oklahoma!", "Reception", "How was Oklahoma received?", "The original production of Oklahoma! was an unprecedented critical and popular success.", "What did critics say?", "\"a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything\"." ]

[ "The online music magazine Pitchfork Media began awarding songs Best New Track (BNT) in its track reviews in 2009 as part of its Best New Music section. A total of 98 tracks, which the source reviewed album-only cuts, singles, remixes, a-sides and b-sides of singles and so forth, were given the title in its first year. All BNTs have a rating of 8/10 or higher, although not all tracks awarded 8/10 were titled BNT. Only two tracks were awarded a perfect 10/10 score in 2009: \"While You Wait for the Others\" (Grizzly Bear) and \"What Would I Want? Sky\" (Animal Collective). This list does not contain tracks that were included on Pitchfork's best of year lists but did not receive BNT.\n\nReferences\n\nLists of songs", "Just Reality is the second solo studio album by Jamaican dancehall/reggae recording artist Shabba Ranks. It was released in 1990 via VP Records, and produced by Bobby \"Digital\" Dixon.\n\nThis album did not receive as many good reviews as its predecessor, however, it did include the huge hit \"Wicked Inna Bed\" and the hugely influential track \"Dem Bow\", which went on to be instrumental in the birth of reggaeton as a genre.\n\nTrack listing\n\nReferences\n\nExternal links\n\n1991 albums\nShabba Ranks albums" ]

[ "Oklahoma!", "Reception", "How was Oklahoma received?", "The original production of Oklahoma! was an unprecedented critical and popular success.", "What did critics say?", "\"a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything\".", "What other reviews did it receive?", "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty." ]

[ "On the review aggregator website Rotten Tomatoes, a film has a rating of 100% if each professional review recorded by the website is, overall, assessed as positive rather than negative.\n\nCriteria\nThe percentage is based on the film's reviews aggregated by the website and assessed as positive or negative, and when all aggregated reviews are positive, the film has a 100% rating. Listed below are films with 100% ratings that have a critics' consensus or have been reviewed by at least twenty film critics. Many of these films, particularly those with a high number of positive reviews, have achieved wide critical acclaim and are often considered among the best films ever made. A number of these films also appear on the AFI's 100 Years...100 Movies lists, but there are many others and several entries with dozens of positive reviews, which are considered surprising to some experts. To date, Leave No Trace holds the site's record, with a rating of 100% and 248 positive reviews.\n\nLoss of perfect rating\nThe 100% rating is vulnerable to a film critic gaming the system by purposely submitting a negative review. For example, Lady Bird had a 100% rating based on 196 positive reviews when film critic Cole Smithey submitted a negative review solely in response to the perfect rating. To date, Lady Bird has a 99% rating with 394 positive reviews and four negative reviews. Paddington 2 held a perfect rating from its release in 2017 until film critic Eddie Harrison published a negative review in June 2021. The film has a 99% rating with 247 reviews, with one negative review from the aforementioned critic. The 100% rating could also be affected by rediscovering negative reviews, as in the case with Citizen Kane when an 80-year-old negative review from the Chicago Tribune affected its former 100% rating with 115 reviews.\n\nList\n\nSee also \n List of films considered the best\n List of films considered the worst\n List of films with a 0% rating on Rotten Tomatoes\n AFI's 100 Years...100 Movies (10th Anniversary Edition)\n\nReferences \n\nRotten Tomatoes\nRotten Tomatoes", "Infinity is a role-playing game published by The Infinity Company in 1979.\n\nDescription\nInfinity is a universal system, with brief rules for character attributes, skills, and magic, plus more detailed rules for all sorts of movement (including vehicles) and combat. The game is designed with rules that allow consistent movement and combat in any time period.\n\nPublication history\nInfinity was designed by Derrick Charbonnet and Terry Podgorski, and published by The Infinity Company in 1979 as a 36-page book.\n\nReception\n\nFew copies were ever distributed. It received some positive reviews for being a \"universal\" role playing system, but few other positive reviews.\n\nReferences\n\nRole-playing games introduced in 1979\nUniversal role-playing games" ]

[ "Oklahoma!", "Reception", "How was Oklahoma received?", "The original production of Oklahoma! was an unprecedented critical and popular success.", "What did critics say?", "\"a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything\".", "What other reviews did it receive?", "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty.", "Did it have any other positive reviews?", "but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones.\"" ]

[ "\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer", "Self Made (Hebrew: Boreg) is a 2014 Israeli film directed by Shira Geffen.\n\nSynopsis\nThe film follows an Israeli artist (Michal) and Palestinian DIY store clerk (Nadine) who swap their lives because of a mix-up at a border security checkpoint.\n\nCast\n\nZidane Awad as Ebrahem\nSarah Adler as Michal\nSamira Saraya as Nadine\nDoraid Liddawi\nNa'ama Shoham\nZiyad Bakri\n\nCritical reception\nThe film was presented at the Cannes Film Festival and at the Jerusalem Film Festival. It was also shown at the opening night of the AICE Israeli Film Festival in Melbourne, Australia.\n\nIn a review for The Hollywood Reporter, critic Clarence Tsui said the film was full of \"black humor\" and \"surreal episodes to talk about gritty issues in reality.\" She added, \"What Geffen is trying to put across is how an individual's appearance is just a façade.\" She concluded that it was, \"an entertaining and pensive thought about the straitjackets imposed on women or maybe just about everyone else too.\"\n\nReferences\n\n2014 films\nIsraeli films" ]

[ "Oklahoma!", "Reception", "How was Oklahoma received?", "The original production of Oklahoma! was an unprecedented critical and popular success.", "What did critics say?", "\"a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything\".", "What other reviews did it receive?", "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty.", "Did it have any other positive reviews?", "but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones.\"", "What else is significant about the reception?", "In the New York Daily News, Burns Mantle declared that \"Oklahoma! really is different - beautifully different." ]

[ "Anyone Else may refer to:\n \"Anyone Else\" (Collin Raye song), 1999\n \"Anyone Else\" (Matt Cardle song), 2012", "Ruwida El-Hubti (born 16 April 1989) is an Olympic athlete from Libya. At the 2004 Summer Olympics, she competed in the Women's 400 metres. She finished last in her heat with a time of 1:03.57, almost 11 seconds slower than anyone else in the heat, and the slowest of anyone in the competition. However, she did set a national record.\n\nReferences\n\n1989 births\nLiving people\nOlympic athletes of Libya\nAthletes (track and field) at the 2004 Summer Olympics" ]

[ "Oklahoma!", "Reception", "How was Oklahoma received?", "The original production of Oklahoma! was an unprecedented critical and popular success.", "What did critics say?", "\"a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything\".", "What other reviews did it receive?", "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty.", "Did it have any other positive reviews?", "but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones.\"", "What else is significant about the reception?", "In the New York Daily News, Burns Mantle declared that \"Oklahoma! really is different - beautifully different.", "Did anyone else give a notable review?", "\". New York World-Telegram critic Burton Rascoe particularly emphasized the groundbreaking choreography," ]

[ "Steel Guitar Jazz is a 1963 studio album by steel guitarist Buddy Emmons. It was reissued in 2003 by Verve Records.\n\nReception\n\nKen Dryden reviewed the album for Allmusic and wrote that \"Buddy Emmons wasn't the first musician to be featured playing a pedal steel guitar in a jazz setting, but it is unlikely that anyone else recorded an entire date playing one prior to this 1963 session. He's surrounded by some top players...he also interacts with the band rather than overdoing the special effects available to him, especially the horn-like sounds obtained from his use of the slide. Emmons also chose an intriguing mix of material...This was pretty much a one-time affair for Emmons, who returned to country music, though he did record some additional jazz with guitarist Lenny Breau during the 1970s\".\n\nKevin Whitehead reviewed the album in 2003 for National Public Radio's Fresh Air.\n\nTrack listing \n \"Bluemmons\" (Buddy Emmons) – 2:59\n \"Anytime\" (Herbert \"Happy\" Lawson) – 2:47\n \"Where or When\" (Lorenz Hart, Richard Rodgers) – 3:15\n \"(Back Home Again in) Indiana\" (James F. Hanley, Ballard MacDonald) – 3:13\n \"Gravy Waltz\" (Steve Allen, Ray Brown) – 3:58\n \"Oleo\" (Sonny Rollins) – 3:11\n \"The Preacher\" (Horace Silver) – 3:04\n \"Cherokee\" (Ray Noble) – 3:56\n \"Witchcraft\" (Cy Coleman, Carolyn Leigh) – 3:33\n \"Gonna Build a Mountain\" (Leslie Bricusse, Anthony Newley) – 3:16\n \"There Will Never Be Another You\" (Irving Gordon, Harry Warren) – 3:43\n\nPersonnel \n Buddy Emmons - steel guitar\n Bobby Scott - piano\n Jerome Richardson - tenor saxophone, soprano saxophone\n Art Davis - double bass\n Charlie Persip - drums\n\nProduction\n Hollis King - art direction\n Sherniece Smith - art producer\n Ken Druker - executive producer\n Bob Irwin - mastering\n Hal Mooney - producer\n Bryan Koniarz - reissue producer\n Mark Cooper Smith - production assistant\n\nReferences\n\n1963 albums\nAlbums produced by Hal Mooney\nBuddy Emmons albums\nMercury Records albums\nInstrumental albums", "Swords & Sorcery is a 1978 board wargame published by Simulations Publications, Inc.\n\nGameplay\nSwords & Sorcery is a fantasy game that includes an army game and a quest game.\n\nReception\nDavid J. Butler reviewed Swords & Sorcery in The Space Gamer No. 19. Butler commented that \"this is a fine, second generation fantasy and role playing wargame\". David James Ritchie also reviewed Swords & Sorcery in The Space Gamer No. 19. Ritchie commented that \"the conception was so poorly thought out. The entire rationale of the game is included in the title: Swords and Sorcery. Beyond playing around with the genre, nothing else seems to have struck the designers as important.\"\n\nDavid Ritchie reviewed Swords and Sorcery in Ares Magazine #1, rating it a 6 out of 9. Ritchie commented that \"The game is presented in a series of scenarios and adventures rather than a massive campaign game, which is just as well since the wealth of information presented is almost too much to handle in a lump. Quite complex. The average scenario takes about three hours to play. If you can get past the truly awful puns, it's worth more than a few replays.\"\n\nReviews\nPhoenix #22 (November/December 1979)\n\nReferences\n\nBoard games introduced in 1978\nSimulations Publications games" ]

[ "Oklahoma!", "Reception", "How was Oklahoma received?", "The original production of Oklahoma! was an unprecedented critical and popular success.", "What did critics say?", "\"a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything\".", "What other reviews did it receive?", "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty.", "Did it have any other positive reviews?", "but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones.\"", "What else is significant about the reception?", "In the New York Daily News, Burns Mantle declared that \"Oklahoma! really is different - beautifully different.", "Did anyone else give a notable review?", "\". New York World-Telegram critic Burton Rascoe particularly emphasized the groundbreaking choreography,", "Who else reviewed the production?", "In The New York Sun, Ward Morehouse commented that \"Oklahoma! is charming and leisurely." ]

[ "Goodnight Already! is a children's book series by American author Jory John, illustrated by Benji Davies and published by HarperCollins. The series includes four books: Goodnight Already! (2014), I Love You Already! (2015), Come Home Already! (2017), and All Right Already! (2018).\n\nGoodnight Already! \nGoodnight Already! was published December 2, 2014.\n\nThe book received positive reviews from Booklist and Publishers Weekly, as well as a mediocre review from Kirkus Reviews. It also received the following accolades:\n\n Goodreads Choice Award Nominee for Picture Books (2015)\n E. B. White Read-Aloud Honor Book (2015)\n\nI Love You Already! \nI Love You Already! was published December 22, 2015.\n\nThe book received positive reviews from Publishers Weekly and Booklist, as well as a mediocre review from Kirkus Reviews.\n\nCome Home Already! \nCome Home Already! was published December 5, 2017.\n\nThe book received a positive review from Kirkus Reviews and was named one of Bank Street College of Education's Best Children's Books of the Year (2018).\n\nAll Right Already! \nAll Right Already! was published November 13, 2018.\n\nThe book received a positive review from School Library Journal.\n\nReferences \n\nHarperCollins books\nSeries of children's books", "On the review aggregator website Rotten Tomatoes, a film has a rating of 100% if each professional review recorded by the website is, overall, assessed as positive rather than negative.\n\nCriteria\nThe percentage is based on the film's reviews aggregated by the website and assessed as positive or negative, and when all aggregated reviews are positive, the film has a 100% rating. Listed below are films with 100% ratings that have a critics' consensus or have been reviewed by at least twenty film critics. Many of these films, particularly those with a high number of positive reviews, have achieved wide critical acclaim and are often considered among the best films ever made. A number of these films also appear on the AFI's 100 Years...100 Movies lists, but there are many others and several entries with dozens of positive reviews, which are considered surprising to some experts. To date, Leave No Trace holds the site's record, with a rating of 100% and 248 positive reviews.\n\nLoss of perfect rating\nThe 100% rating is vulnerable to a film critic gaming the system by purposely submitting a negative review. For example, Lady Bird had a 100% rating based on 196 positive reviews when film critic Cole Smithey submitted a negative review solely in response to the perfect rating. To date, Lady Bird has a 99% rating with 394 positive reviews and four negative reviews. Paddington 2 held a perfect rating from its release in 2017 until film critic Eddie Harrison published a negative review in June 2021. The film has a 99% rating with 247 reviews, with one negative review from the aforementioned critic. The 100% rating could also be affected by rediscovering negative reviews, as in the case with Citizen Kane when an 80-year-old negative review from the Chicago Tribune affected its former 100% rating with 115 reviews.\n\nList\n\nSee also \n List of films considered the best\n List of films considered the worst\n List of films with a 0% rating on Rotten Tomatoes\n AFI's 100 Years...100 Movies (10th Anniversary Edition)\n\nReferences \n\nRotten Tomatoes\nRotten Tomatoes" ]

[ "Oklahoma!", "Reception", "How was Oklahoma received?", "The original production of Oklahoma! was an unprecedented critical and popular success.", "What did critics say?", "\"a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything\".", "What other reviews did it receive?", "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty.", "Did it have any other positive reviews?", "but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones.\"", "What else is significant about the reception?", "In the New York Daily News, Burns Mantle declared that \"Oklahoma! really is different - beautifully different.", "Did anyone else give a notable review?", "\". New York World-Telegram critic Burton Rascoe particularly emphasized the groundbreaking choreography,", "Who else reviewed the production?", "In The New York Sun, Ward Morehouse commented that \"Oklahoma! is charming and leisurely.", "Were all reviews positive?", "The only negative review of the musical appeared in the New York Post: The critic wrote that \"it all seemed just a trifle too cute\"," ]

[ "Elections to West Lindsey District Council were held on 3 May 2007. One third of the council was up for election and the Liberal Democrat Party held overall control of the council after what was seen as a straight fight with the Conservative Party.\n\nThe election in Scotter ward was decided by the toss of a coin which the Conservative candidate won.\n\nAfter the election, the composition of the council was:\n Liberal Democrat 20\n Conservative 16\n Independent 1\n\nElection result\n\nOne Independent candidate was unopposed.\n\nWard results\n\nReferences\n\n 2007 West Lindsey election result\n Ward results\n\n2007\n2007 English local elections\n2000s in Lincolnshire", "The St. Charles Borromeo Cathedral () Also Chillán Cathedral Is a temple of the Catholic Church, home of the Diocese of Chillán located in the center of the city of Chillán, Chile in front of the Plaza de Armas, in the corner of streets Arauco and Libertad. It is also a symbol and icon of the city, as a result of the city's progress after the Chillan earthquake of 1939. It was declared a National Monument in December 2014.\n\nThe first cathedral of the city of Chillán was established in what today is known as Old Chillán, but this one was destroyed after the earthquake that affected the zone in 1835. As a result, the city was devastated and was transferred and reconstructed in Its current location. The cathedral at that time was made of lime and brick.\n\nAfter the Chillán earthquake of 1939, the cathedral was completely destroyed again, beginning that same year the reconstructions that culminated in 1950. In this new reconstruction, the architect Hernán Larraín Errázuriz was based on ideas of modernism. The figure of the 10 arches represent the prayer and the sign that is made with the hands at the moment of praying intercalando the fingers of the hands and closing them of oval form.\n\nSee also\nRoman Catholicism in Chile\nSt. Charles Borromeo\n\nReferences\n\nRoman Catholic cathedrals in Chile\nRoman Catholic churches completed in 1950\nDiguillín Province\n20th-century Roman Catholic church buildings in Chile\nModernist architecture in Chile\nRebuilt buildings and structures in Chile" ]

[ "Shakespeare in Love", "Production" ]

[ "Almost a Gentleman is a 1939 American drama film directed by Leslie Goodwins from a screenplay by David Silverstein and Jo Pagano, based on the story by Harold Shumate. The film stars James Ellison, Helen Wood and Robert Kent. It was released by RKO Radio Pictures on March 31, 1939.\n\nPlot\nAfter his new wife's family convinces her to leave him, attorney Dan Preston leaves his law practice and sets off to travel around the country as a vagabond. When he returns home he finds his house rented by a novelist, Shirley Haddon. He adopts a mongrel dog, Picardy Max, and sets out to avenge himself against his ex-wife's family by entering Max into dog shows to compete against their pedigreed animals. Preston also begins a romantic relationship with Haddon.\n\nRobert Mabrey, Preston's ex-brother-in-law, takes great stock in his dog winning the competition, and when he learns that Max is quite impressive in his training, he begins to get a bit concerned. When a local bully is killed by a wild animal, Mabrey sees an opportunity to rid himself of the competition, and blames the attack on Max. Faced with the impending execution of the dog, Preston resumes his legal robes and defends the dog in court. During the hearing it is discovered that the man was killed by an escaped wildcat from a visiting circus, and Max is vindicated.\n\nWhen Marian Mabrey, Preston's ex-wife, is kidnapped, Max tracks the culprits down and she is saved by Preston and Max. Preston and Robert Mabrey reconcile, and Preston and Haddon begin a life together.\n\nCast\n\nProduction\nThe film's original title was Picardy Max, the name of the dog in the picture. This was the third film which featured Ace, the Wonder Dog; the first two were Blind Alibi (1938), and The Rookie Cop (1939). In August 1938, Picardy Max was one of twelve films which were set to shortly begin production for RKO, and Variety reported that production on the film would begin on September 7, 1938. In October, Chester Morris was attached to the picture, although he did not appear in the final version. In November, it was reported that RKO had signed Ellison to a contract, and the following month it was announced he had been selected to play the lead in Picardy Max. At the same time it was revealed that the story would be penned by Harold Shumate, and Leslie Goodwins would direct under the production of Cliff Reid. Even though production was scheduled to begin in September, it was delayed, and Variety announced in December that it would begin filming in January. Production on the picture began in the first week of January 1939, and lasted through the end of February.\n\nIn February, Variety reported that the title of the film was changed from Picardy Max, to Almost a Gentleman, and the premier date was set for March 31. In mid-March the National Legion of Decency classified the film as suitable all audiences, Class A-I. The film was released on March 31, 1939. The film was released in the U.K. under the title Magnificent Outcast.\n\nResponse\nThe Film Bulletin did not speak highly of the film, calling it \"feeble\", and of \"negligible entertainment value\". The magazine claimed the plot and acting were both amateurish with \"practically nothing to offer\". Variety also did not give the film a positive review, calling it \"dull\" and saying the only saving grace for the film was the performance of Ace. The National Board of Review selected the film as one of its picks for suitability for both family and juvenile audiences. Harrison's Reports gave the picture a lukewarm reception, calling it \"...suitable mostly for those who enjoy pictures about dogs.\" They found the lead unsympathetic, but blamed that on the script, for they found his romance with Wood \"pleasant.\" Motion Picture Daily said, \"The world's people are of two kinds with reference to dogs. Some like them and some don't. This, like all dog pictures, is for those who do.\" Outside of the scenes which showcased Ace, they felt the film was simply routine.\n\nReferences\n\nExternal links\n \n \n \n\n1939 films\n1939 drama films\nAmerican films\nAmerican drama films\nEnglish-language films\nAmerican black-and-white films\nFilms produced by Cliff Reid\nFilms directed by Leslie Goodwins\nRKO Pictures films", "The Stars at Noon is an upcoming romantic thriller film directed by Claire Denis, based on the novel of the same name by Denis Johnson.\n\nPremise\nA British journalist and American journalist who struck up a romance must now team up to escape Nicaragua during the Nicaraguan Revolution.\n\nCast\nMargaret Qualley\nJoe Alwyn\nDanny Ramirez\n\nProduction\nClaire Denis read Johnson's novel a decade earlier and assessed it as a love story between two people who develop a relationship solely due to the context of the revolution. She added, \"It's also about the fear and the terror of love, the fear of failure.\"\n\nIt was announced in February 2020 that A24 had acquired North American distribution rights to Claire Denis' next directorial effort, with Robert Pattinson and Margaret Qualley. Filming was planned to begin that summer. Filming was then expected to begin in April 2021 but did not begin at that time. Pattinson would exit the film due to scheduling conflicts by July, with Taron Egerton replacing him, and filming now set for an October 2021 start in Panama. This did not come to pass, and in November Egerton left the project due to personal reasons, being replaced by Joe Alwyn. In January 2022 Danny Ramirez was announced as part of the cast.\n\nFilming took place in Panama, beginning by December 2021. Production wrapped later that same month. Denis wished to shoot the film in Nicaragua but the re-election of President Daniel Ortega swayed her away from doing so, saying, \"I knew I could not, it would have been immoral.\"\n\nReferences\n\nExternal links\n \n\nUpcoming films\nFrench films\nBrazilian films\nRomantic drama films\nThriller films\nFilms directed by Claire Denis\nFilms based on American novels\nFilms set in Nicaragua\nFilms shot in Panama\nA24 (company) films\nFilms set in 1984" ]

[ "Shakespeare in Love", "Production", "When did the film begin production?", "The film went into production in 1991" ]

[ "Gordon's Great Escape is a television series presented by chef Gordon Ramsay.\n\nSeries 1 follows Ramsay's first visit to India, where he explores the country's culinary traditions. Produced by One Potato Two Potato, in association with Optomen, the series aired on three consecutive nights between 18 and 20 January 2010 as part of Channel 4's 'Indian Winter' promotion.\n\nThe second series aired in May 2011, where Ramsay explored the culinary traditions of Southeast Asia, visiting Thailand, Cambodia, Malaysia, and Vietnam.\n\nBackground\nRamsay had taken an interest in Indian cuisine since his mother took him out for curry as a child. His mother also learned curry recipes from their Indian landlord in Birmingham. In 2009, he filmed the series in the midst of financial and personal problems back home. Ramsay stated, \"It was me and a rucksack and a month of being on the road going back to what I love doing best — cooking...One minute I was all over the newspapers, the next I was on a continent where no one really knew who I was.\"\n\nEpisodes\n\nReferences\n\nExternal links\n\nProduction site\n\n2010 British television series debuts\n2011 British television series endings\nChannel 4 original programming\nBritish cooking television shows\nFood travelogue television series\nTelevision shows filmed in India\nTelevision shows filmed in Cambodia\nTelevision shows filmed in Vietnam\nTelevision shows filmed in Malaysia\nTelevision shows filmed in Thailand", "This is a timeline documenting events and facts about stand-up comedy in the year 2016.\n\nEvents \n\n January 7: NBCUniversal launches its comedy streaming subscription service, Seeso.\n May 10: George Carlin's daughter, Kelly Carlin, announces the donation of her late father's archives to the forthcoming National Comedy Center's museum, set to open in 2017.\n July 20: Mike Ward is ordered by Quebec’s Human Rights Tribunal to pay $35,000 to Jérémy Gabriel, a French Canadian singer with Treacher Collins syndrome, and $7,000 to Jérémy's mother, for jokes he performed in regards to Jérémy's handicap and singing in his shows from 2010 to 2013.\n September 18: Patton Oswalt wins the Primetime Emmy Award for Outstanding Writing for a Variety Special for his Netflix special, Talking for Clapping.\n\nDeaths \n\n March 24: Garry Shandling dies at the age of 66 in Los Angeles, suffering from hyperparathyroidism.\n April 20: Victoria Wood dies at the age of 62 in London, suffering from terminal cancer.\n October 21: Kevin Meaney dies at the age of 60 in Forestburgh.\n December 26: Ricky Harris dies of a heart attack at the age of 54.\n\nReleases\n\nJanuary \n\n January 7: Matt Besser's one-hour special Besser Breaks the Record is released on Seeso. The special was filmed at the UCB Theatre in Los Angeles.\n January 7: Rory Scovel's one-hour special The Charleston Special is released on Seeso. The special was filmed at the Woolfe Street Playhouse in Charleston.\n January 8: Tom Segura's one-hour special Mostly Stories is released on Netflix. The special was filmed at the Neptune Theatre in Seattle.\n January 15: Tony Hinchcliffe's one-hour special One Shot is released on Netflix. The special was filmed at The Ice House in Pasadena.\n January 23: Whitney Cummings's one-hour special I'm Your Girlfriend is released on HBO. The special was filmed at The Broad Stage in Santa Monica.\n\nFebruary \n\n February 1: Brett Erickson's one-hour special Brett Erickson Wants You to Stop Calling Him a Prophet is released on Vimeo. The special was filmed at the Skyline Comedy Cafe in Appleton.\n February 5: Hannibal Buress's one-hour special Comedy Camisado is released on Netflix. The special was filmed at the Varsity Theater in Minneapolis.\n February 19: Alonzo Bodden's one-hour special Historically Incorrect is released on Showtime. The special was filmed at The Vic Theatre in Chicago.\n February 26: Theo Von's one-hour special No Offense is released on Netflix. The special was filmed at the Civic Theatre.\n\nMarch \n\n March 18: Jimmy Carr's one-hour special Funny Business is released on Netflix. The special was filmed at the Hammersmith Apollo in London.\n March 18: Steve-O's one-hour special Guilty as Charged is released on Showtime. The special was filmed at The Paramount Theatre in Austin.\n March 21: Stephen Lynch's one-hour special Hello, Kalamazoo! is released on Vimeo. The special was filmed at The Little Theatre in Kalamazoo.\n March 24: Cameron Esposito's one-hour special Marriage Material is released on Seeso. The special was filmed at the Thalia Hall in Chicago.\n\nApril \n\n April 1: Frankie Boyle's one-hour special Hurt Like You’ve Never Been Loved is released on Netflix. The special was filmed at the Citizens Theatre in Glasgow.\n April 9: Nikki Glaser's one-hour special Perfect is released on Comedy Central. The special was filmed at the Gerald W. Lynch Theater in New York.\n April 13: Garfunkel and Oates's one-hour special Trying to Be Special is released on Vimeo. The special was filmed at the Neptune Theater in Seattle.\n April 17: Daniel Tosh's one-hour special People Pleaser is released on Comedy Central. The special was filmed at the Wilshire Ebell Theater in Los Angeles.\n April 22: Sean Hughes's one-hour special Mumbo Jumbo is released on Go Faster Stripe. The special was filmed at the Chapter Arts Centre in Cardiff.\n April 22: Patton Oswalt's one-hour special Talking for Clapping is released on Netflix. The special was filmed at The Fillmore in San Francisco.\n April 23: Rachel Feinstein's one-hour special Only Whores Wear Purple is released on Comedy Central. The special was filmed at the Gerald W. Lynch Theater in New York.\n April 29: W. Kamau Bell's one-hour special Semi-Prominent Negro is released on Showtime. The special was filmed at the Roulette Intermedium in New York.\n April 30: Chris Hardwick's one-hour special Funcomfortable is released on Comedy Central. The special was filmed at the Palace of Fine Arts in San Francisco.\n\nMay \n\n May 1: Gary Gulman's one-hour special It’s About Time is released on Netflix. The special was filmed at the Highline Ballroom in New York.\n May 6: Ali Wong's one-hour special Baby Cobra is released on Netflix. The special was filmed at the Neptune Theater in Seattle.\n May 13: Michael Ian Black's one-hour special Noted Expert is released on Epix. The special was filmed at the John Jay College in New York.\n May 20: Brad Williams's one-hour special Daddy Issues is released on Showtime. The special was filmed at the Alex Theatre in Glendale.\n May 21: Dan Soder's one-hour special Not Special is released on Comedy Central. The special was filmed at the Trocadero Theatre in Philadelphia.\n\nJune \n\n June 2: Quincy Jones's one-hour special Burning the Light is released on HBO. The special was filmed at The Teragram Ballroom in Los Angeles.\n June 3: Bo Burnham's one-hour special Make Happy is released on Netflix. The special was filmed at the Capitol Theatre in Port Chester.\n June 3: Ben Gleib's one-hour special Neurotic Gangster is released on Showtime. The special was filmed at the Lobero Theatre in Santa Barbara.\n June 17: Big Jay Oakerson's one-hour special Live at Webster Hall is released on Comedy Central. The special was filmed at the Webster Hall in New York.\n June 25: Deon Cole's one-hour special Cole Blooded Seminar is released on Comedy Central. The special was filmed at the Lincoln Theatre in Washington.\n June 28: Simon Munnery's one-hour special ...And Nothing But is released on Go Faster Stripe. The special was filmed at the Bloomsbury Theatre in London.\n\nJuly \n\n July 1: Willie Barcena's one-hour special The Truth Hurts is released on Netflix. The special was filmed at The Comic Strip in El Paso.\n July 1: Jim Jefferies's one-hour special Freedumb is released on Netflix. The special was filmed at the James Polk Theater in Nashville.\n July 1: Dwayne Perkins's one-hour special Take Note is released on Netflix. The special was filmed at the Japanese American National Museum in Los Angeles.\n July 4: Brendon Burns's one-hour special Selfies in the Grand Canyon is released on YouTube. The special was filmed at the Tiger Lounge in Manchester.\n July 22: Brian Posehn's one-hour special Criminally Posehn is released on Seeso. The special was filmed at the House of Blues in San Diego.\n July 26: Josh Blue's one-hour special Delete is released on Hulu. The special was filmed at the University of Denver in Denver.\n\nAugust \n\n August 1: Luke Capasso's one-hour special Talkn' Loud & Sayn' Nothin''' is released on Gumroad. The special was filmed at the Yellow Springs Art Center in Yellow Springs.\n August 5: David Cross's one-hour special Making America Great Again! is released on Netflix. The special was filmed at The Paramount Theatre in Austin.\n August 11: Henry Phillips's one-hour special Neither Here Nor There is released on Vimeo. The special was filmed at The Lyric Theatre in Los Angeles.\n August 12: Godfrey's one-hour special Regular Black is released on Showtime. The special was filmed at the UP Comedy Club in Chicago.\n August 26: Jeff Foxworthy & Larry the Cable Guy's one-hour special We’ve Been Thinking... is released on Netflix. The special was filmed at the Orpheum Theatre in Minneapolis.\n\n September \n\n September 9: Martin Lawrence's one-hour special Doin' Time: Uncut is released on Showtime. The special was filmed at the Orpheum Theatre in Los Angeles.\n September 15: Wil Hodgson's one-hour special Live on Bonfire Night is released on Go Faster Stripe. The special was filmed at the Bloomsbury Theatre in London.\n September 15: Doug Stanhope's one-hour special No Place Like Home is released on Seeso. The special was filmed at the Bisbee Royale in Bisbee.\n September 16: Cedric the Entertainer's one-hour special Live from the Ville is released on Netflix. The special was filmed at the Ryman Auditorium in Nashville.\n September 23: Iliza Shlesinger's one-hour special Confirmed Kills is released on Netflix. The special was filmed at The Vic Theatre in Chicago.\n\n October \n\n October 1: Sebastian Maniscalco's one-hour special Why Would You Do That? is released on Showtime. The special was filmed at the Beacon Theatre in New York.\n October 7: Lewis Black's one-hour special Black to the Future is released on Comedy Central. The special was filmed at the Marquis Theatre in New York.\n October 7: Russell Peters's one-hour special Almost Famous is released on Netflix. The special was filmed at the Massey Hall in Toronto.\n October 14: Kevin Hart's one-hour special What Now? is released by Universal Studios. The special was filmed at the Lincoln Financial Field in Philadelphia.\n October 15: Kyle Kinane's one-hour special Loose in Chicago is released on Comedy Central. The special was filmed at the Metro in Chicago.\n October 20: Jena Friedman's one-hour special American Cunt is released on Seeso. The special was filmed at The Slipper Room in New York.\n October 21: Joe Rogan's one-hour special Triggered is released on Netflix. The special was filmed at The Fillmore in San Francisco.\n October 21: Wanda Sykes's one-hour special What Happened...Ms. Sykes? is released on Epix. The special was filmed at The Theatre at Ace Hotel in Los Angeles.\n October 23: Barry Crimmins's one-hour special Whatever Threatens You is released on LouisCK.net. The special was filmed at the Lawrence Arts Center in Lawrence.\n October 27: Janeane Garofalo's one-hour special If I May is released on Seeso. The special was filmed at The Independent Theatre in San Francisco.\n October 29: Pete Davidson's one-hour special SMD is released on Comedy Central. The special was filmed at the Skirball Center in New York.\n\n November \n\n November 1: Christopher Titus's one-hour special Born with a Defect is released on ChristopherTitus.com. The special was filmed at the Center for the Arts in Escondido.\n November 2: Bill Maher's one-hour special Whiny Little Bitch is released on Facebook. The special was filmed at the Largo at the Coronet in Los Angeles.\n November 3: Mo Mandel's one-hour special Negative Reinforcement is released on Seeso. The special was filmed at the Gothic Theatre in Englewood.\n November 4: Dana Carvey's one-hour special Straight White Male, 60 is released on Netflix. The special was filmed at the Wilbur Theatre in Boston.\n November 7: Billy Connolly's one-hour special High Horse Tour Live is released by Universal Studios. The special was filmed at the Hammersmith Apollo in London.\n November 7: Sarah Millican's one-hour special Outsider is released by Universal Studios. The special was filmed at the Brighton Dome in Brighton.\n November 10: Kathleen Madigan's one-hour special Bothering Jesus is released on Netflix. The special was filmed at the Pabst Theater in Milwaukee.\n November 11: Bert Kreischer's one-hour special The Machine is released on Showtime. The special was filmed at The Improv in Irvine.\n November 15: Loyiso Gola's one-hour special Live in New York is released on Vimeo. The special was filmed at the House of Yes in New York.\n November 16: Richard Herring's one-hour special Happy Now? is released on Go Faster Stripe. The special was filmed at the St David's Hall in Cardiff.\n November 17: Dan Levy's one-hour special Lion is released on Seeso. The special was filmed at the Neptune Theater in Seattle.\n November 18: Ben Bailey's one-hour special Ben Bailey Live and Uncensored is released on VHX. The special was filmed at the UP Comedy Club in Chicago.\n November 18: Colin Quinn's one-hour special The New York Story is released on Netflix. The special was filmed at the Schimmel Center in New York.\n November 24: Aries Spears's one-hour special Comedy Blueprint is released on Seeso. The special was filmed at the Trocadero Theatre in Philadelphia.\n November 25: Michael Che's one-hour special Michael Che Matters is released on Netflix. The special was filmed at the Greenpoint Terminal Warehouse in New York.\n November 28: Alan Davies's one-hour special Little Victories is released by Spirit Entertainment. The special was filmed at the Opera House in Wellington.\n November 28: Stewart Francis's one-hour special Pun Gent is released by Spirit Entertainment. The special was filmed at The Lowry in Salford.\n November 28: Rich Hall's one-hour special 3:10 to Humour is released by Universal Studios. The special was filmed at the Vaudeville Theatre in London.\n November 28: Josh Widdicombe's one-hour special What Do I Do Now... Live is released by Universal Studios. The special was filmed at the Hammersmith Apollo in London.\n\n December \n\n December 1: Joe Matarese's one-hour special Medicated is released on Seeso. The special was filmed at The Village Underground in New York.\n December 1: Lachlan Patterson's one-hour special Live from Venice Beach is released on Seeso. The special was filmed at the Venice Ale House in Los Angeles.\n December 2: Tony Roberts's one-hour special Motorcity Motormouth is released on Showtime. The special was filmed at the Music Hall in Detroit.\n December 3: Pete Holmes's one-hour special Faces and Sounds is released on HBO. The special was filmed at The Vic Theatre in Chicago.\n December 6: Reggie Watts's one-hour special Spatial is released on Netflix. The special was filmed at the Soundstage in Los Angeles.\n December 8: Joey Diaz's one-hour special Sociably Unacceptable is released on Seeso. The special was filmed at the Zanies Comedy Club in Rosemont.\n December 9: Jim Florentine's one-hour special A Simple Man is released on VHX. The special was filmed at the George Street Playhouse in New Brunswick.\n December 9: Tom Papa's one-hour special Human Mule is released on Epix. The special was filmed at the Hanna Theatre in Cleveland.\n December 20: Gabriel Iglesias's one-hour special I'm Sorry for What I Said When I Was Hungry is released on Netflix. The special was filmed at the Allstate Arena in Chicago.\n December 22: Nick Thune's one-hour special Good Guy is released on Seeso. The special was filmed at the Star Theater in Portland.\n December 29: Ian Harvie's one-hour special May the Best Cock Win is released on Seeso. The special was filmed at the Revolution Hall in Portland.\n December 29: Laurie Kilmartin's one-hour special 45 Jokes About My Dead Dad is released on Seeso. The special was filmed at The Lyric Theatre in Los Angeles.\n December 30: Ron James's one-hour special True North is released on CBC. The special was filmed at The Grand Theatre in Kingston.\n December 31: Dawn French's one-hour special 30 Million Minutes'' is released on BBC Four. The special was filmed at the Vaudeville Theatre in London.\n\nSee also \n List of stand-up comedians\n\nReferences \n\nStandup\nStand-up comedy\n2010s in comedy" ]

[ "Shakespeare in Love", "Production", "When did the film begin production?", "The film went into production in 1991", "Where was it filmed?", "I don't know." ]

[ "The Indian Actors Association was formed around 1936 and was a non-profit Hollywood based organization. They formed after and were influenced by the War Paint Club, an organization meant to protect rights of Native American actors. Additionally, driven by the Hollywood practice of occasionally casting non-native actors as Indians in films, the Native actors working in Los Angeles at the time seized their opportunity to establish a pool of “authentic” Indian actors to work in film. \n\nTheir goal was also to keep Indian portrayals and culture from being misrepresented on the screen. The Indian Actors Association fought for equality and employment for Indian actors at a time when they were not seen as important or equal. The country’s economic depression and the Western movie hiatus left many Indian actors unemployed.\n\nBackground\n\nDue to the economic depression, coupled with a shift in movie genre popularity, Indian actors struggled to find work. Many Indian actors were Los Angeles-based. Although a few notable Indian actors like Will Rogers, Chief Yowlachie, and Chief John Big Tree had main roles as Indians, other Indian actors would only get hired for smaller roles.\n\nThere were very few leading roles for Indian actors, and even when it came to small parts and extras Indian actors had to compete against other actors who were impersonating Native Americans. Indian Actors found themselves competing against Syrian, Arab, Latino, and American actors for parts designed for Indian actors. By using make-up, braids, tanner, and dark hair actors pretended to be Indian and convinced film studios to give them Indian parts. This obviously did not sit well with Indian actors because a lot of the jobs they were trying to get were given to pseudo-Indians.\n\nMany Native American roles were played by actors of other cultures who were pretending to be Native Americans. Indian dialect was often represented by monosyllabic words which were not accurate and Indian actors were not happy with how they were misrepresented. They set up programs to teach studios about Indian dialect and culture.\n\nIndian actors were also unhappy with the difference in pay between them and non-Indian actors. Non-Indian extras made eleven dollars an hour while Indian extras would only make five dollars and fifty cents an hour. \n\nThe Indian Actors Association, which was affiliated with the screen actors guild, was created in an attempt to correct the inequality Indian actors were facing and to change misrepresentations of Indians in films. They demanded that only “real” Indians play Indian roles, and suggested that studios use Indian technical experts. They believed that this would help eliminate misrepresentations and teach studios about Indian dialect and pictography. The Indian Actors Association criticized pseudo-Indian actors because they misrepresented action and dialect of Native Americans. \n\nThe association established a closed shop agreement for Indian affiliated members.\n\nFounder \nThe Indian Actors Association was first led by Luther Standing Bear from the Lakota (Sioux) Tribe. He was an outspoken and an author, activist, and performer. He believed that western stories misrepresented Indians so he used his standing in Hollywood to try to change the way audiences saw Indian representations. His younger brother Henry Standing Bear also ran an Indian activist group, the Society of American Indians. The group put on plays and pageants representing historical truth and ethnological accuracy. Standing Bear led the Indian Actors Association until his death in 1939. After his death the association was led by many Treaties and Bill Hazlet, a Blackfeet Indian and actor. He was also always one of the chairmen of the Indian Actors Association.\n\nAccomplishments\n\nThe Indian Actors Association was eventually successful in achieving some of their goals and raising awareness about Indian representations. They were able to get the wage difference for Indian extras compared to other actors to be eliminated. Indian extras were eventually paid the equal eleven dollars an hour. The Indian Actors Association was also able to empower Indians and spur formation of reform groups. Many Indian actors shared the belief that the best way to address the struggle of Indian actors in Hollywood was to become a part of Hollywood. One of these groups was National League for Justice to American Indians (NLJAI). The association created a booklet, Screen\nLand’s First Americans. The booklet had twenty unnumbered pages of paintings and portraits of chiefly Indian actors. The booklet featured the officers, directors and lady auxiliary of the Indian Actors Association.\n\nThe Indian Actors Workshop was another group built on the foundation of the Indian Actors Association. Founded by Jay Silverheels, best known for playing Tonto on The Lone Ranger, the Indian Actors Workshop trained Indians for roles in film and television. Similar groups continued to form well into the 1980s.\n\nThe Indian Actors Association was able to function as a support group and provided subsistence funds for out of work Indians. They were able to raise these funds through membership dues, powwows, and performances for local clubs and organizations.\n\nReferences\n\nNative American actors", "The Magic Behind the Voices: A Who's Who of Cartoon Voice Actors () is a 367-page book by Tim Lawson and Alisa Persons, chronicling the artistic achievements and history of cartoon voice actors from the past and the present.\n\nIt was published by the University Press of Mississippi in December 2004.\n\nDrawn from dozens of personal interviews, the book features various biographies, anecdotes, credit listings, and photographs pertaining to thirty-nine of the hidden artists of show business. The featured biographies span many animation studios and production companies, and discuss many details about well-known and distinguished voice actors, such as Beavis and Butthead and King of the Hill creator and lead voice artist Mike Judge, who got his start as an engineer for a weapons contractor); Bart Simpson's voice actress Nancy Cartwright, an Ohio native who became the star protégé of Daws Butler (voice artist for Yogi Bear, Huckleberry Hound, and Quick Draw McGraw); and Wayne Allwine and Russi Taylor, the real-life husband-and-wife duo who, at the time of this book's publication, were the current voice actors for Mickey and Minnie Mouse, respectively.\n\nIn the earliest days of cartoons, voice actors were seldom credited for their work, and prior to 1990, voice actors' potential as real actors was overlooked even by the Screen Actors Guild, with Mel Blanc, the so-named \"Man of 1,000 Voices,\" being the only voice actor known to the general public.\n\nNow, Oscar-winning celebrities clamor to guest star on animated television shows and features (often to the displeasure of dedicated voice actors such as Billy West); however, despite the crushing turnouts at signings for such television series as Animaniacs, The Simpsons, and SpongeBob SquarePants, most voice actors, even in 21st-century animation, continue to work in relative anonymity.\n\nSee also\nI Know That Voice, the 2013 documentary about famous voice actors\n\nReferences\n\nExternal links\nHomepage\n\nMagic Behind the Voices, The\nMagic Behind the Voices, The\nMagic Behind the Voices, The\nVoice acting\nAnimation fandom" ]

[ "Shakespeare in Love", "Production", "When did the film begin production?", "The film went into production in 1991", "Where was it filmed?", "I don't know.", "Who were the actors?", "Julia Roberts, who agreed to play Viola." ]

[ "Else is a feminine given name, appearing in German, Danish and Norwegian. It is a shortened form of Elisabeth.\n\nNotable people with the name include:\n\n Else Alfelt (1910–1974), Danish painter\n Else Ackermann, German physician and pharmacologist\n Else Winther Andersen (born 1941), Danish politician\n Else Berg (1877–1942), Dutch painter\n Else Bugge Fougner (born 1944), Norwegian lawyer and politician\n Else Christensen (1913–2005), Danish neopagan\n Else Feldmann (1884–1942), Austrian writer\n Else Frenkel-Brunswik (1908–1958), Polish-Austrian psychologist\n Else Hench (20th century), Austrian luger\n Else Hirsch (1889–1942/3), German-Jewish teacher\n Else Holmelund Minarik (1920–2012), Danish American author\n Else Jacobsen (1911–1965), Danish swimmer\n Else Krüger (born 1915), German secretary\n Else Lasker-Schüler (1869–1945), Jewish German poet and playwright\n Else Mayer (1891–1962), German nun\n Else Meidner (1901–1987), Jewish German painter\n Else Repål (1930–2015), Norwegian politician\n Else Reppen (1933–2006), Norwegian philanthropist\n Else Sehrig-Vehling (1897–1994), German expressionist\n Else Seifert (1879–1968), German photographer\n Else Ury (1877–1943), German writer\n Else von Richthofen (1874–1973), German social scientist\n\nSee also\nElse-Marie\nElse-Marthe Sørlie Lybekk (born 1978), Norwegian handball player\n\nFeminine given names", "Something Else or Somethin' Else may refer to:\n\nBooks\n Something Else (book), a children's book by Kathryn Cave\n Something Else Press, an American small-press publisher\n Archie's Something Else! by Spire Christian Comics\n\nFilm and television\n Somethin' Else (content agency), a content and talent agency based in London\n Something Else (TV series), a 1978–1982 UK youth TV programme\n Something Else, a 1970–71 American musical variety show hosted by John Byner\n Something Else, a 2001 British children's animated show produced by Studio B Productions\n\nMusic\n\nPerformers\n Somethin' Else!, a rock and roll band featuring Bobby Cochran, nephew of Eddie Cochran\n Something Else (Japanese band), a J-Pop band\n Something Else, a 1970s Scottish band featuring Sheena Easton\n\nAlbums\n Something Else!!!!, a 1958 album by Ornette Coleman\n Somethin' Else (Cannonball Adderley album), or the title song by Miles Davis, 1958\n Somethin' Else (The Kingston Trio album), 1965\n Something Else by The Kinks, a 1967 album\n Something Else from The Move, a 1968 EP\n Something Else (Shirley Bassey album), 1971\n Something Else (Robin Thicke album), 2008\n Something Else, a 2012 album by Elom Adablah\n Something Else (Tech N9ne album), 2013\n Something Else (The Cranberries album), 2017\n Something Else (The Brian Jones Massacre album), 2018\n\nSongs\n \"Somethin' Else\" (song), a 1959 song by Eddie Cochran, covered by several other performers\n \"Something Else\", a song by Diamond Rings from Special Affections\n \"Something Else\", a song by The Doubleclicks from Lasers and Feelings\n \"Something Else\", a song by Gary Jules from Trading Snakeoil for Wolftickets\n \"Something Else\", a song by Good Charlotte from Good Morning Revival\n\nSee also\n Something (disambiguation)" ]

[ "Shakespeare in Love", "Production", "When did the film begin production?", "The film went into production in 1991", "Where was it filmed?", "I don't know.", "Who were the actors?", "Julia Roberts, who agreed to play Viola.", "Who else?", "I don't know." ]

[ "Mona Vasu (born 15 October 1981), sometimes spelled Mona Wasu, is an Indian television actress. She is best known for having played the role of the title character Miilee in the TV series Miilee on STAR Plus.\n\nEarly life\nShe completed her degree in Sociology from Sri Venkateswara College, New Delhi in 2003. She moved to Mumbai to pursue a career in acting.\n\nCareer\n\nTelevision\nMona Vasu started her TV career in 2003 by appearing in many ads for major brands. She hosted the weekly travel show Operation Gold from 2003 to 2004 on STAR Gold. The concept of the show was to know about the life of soldiers in the Indian Army. She played a leading role in the 2004 Sahara One telefilm 30 Day Trial. This light hearted rom-com was the story of a much-in-love couple, Nikhil (Kabir Sadanand) and Shailee (Mona Vasu), who are given an opportunity by their fathers, to live together for 30 days, before they decide to actually marry. Co-written by Suhana Bhatia and Rajen Makhijani, this film was nominated for 'Best Script' at the Indian Telly Awards that year.\n\n Between 2005 and 2006, she played the title role in the primetime daily serial Miilee on Star Plus. In 2007, she hosted the weekly songs countdown show Idea Ek Se Bad Kar Ek on Star One which included categories like 'Top 10 Action Heroes', 'Top 10 Love Triangles' and 'Top 10 Sizzling Singles'.\n\nShe played the role of Savita in the TV serial Jamegi Jodi.com on 9X who is the daughter of Sulbha Arya who runs a match fixing agency, Bandhan. She also did an episodic role in the horror show Ssshhhh...Koi Hai. From 2008 to 2009, she played the role of Rohini, the eldest daughter, in the prime time soap opera Radhaa Ki Betiyaan Kuch Kar Dikhayengi on NDTV Imagine. In 2009, Vasu starred in an episode of Specials @ 10 on Sony TV.\n\nThe actress shot to fame when she won the reality show Iss Jungle Se Mujhe Bachao (the Indian version of I'm A Celebrity, Get Me Out of Here) in 2009.\nShe played the role of the antagonist, Richa Thakral in Balaji Telefilms' Parichay.\nShe was cast in the play, Red Hot directed by Saurabh Shukla which is an adaptation of a comedy play by Neil Simon, Last of the Red Hot Lovers. It was played in 2011 at Kamani in New Delhi, at Bharat Mahaotsav, the largest theatre festival in Asia and at Chaos, the annual festival of IIM Ahmedabad.\n\nFilms\nMona Wasu made her film debut in the 2013 film Maazii.\n\nFilmography\n\nTelevision (fiction)\n\nReality TV shows\n\nAwards and nominations\n\nReferences\n\nExternal links\n \n\n1982 births\nLiving people\nActresses from Kozhikode\nI'm a Celebrity...Get Me Out of Here! winners\nIndian television actresses\nActresses in Hindi television\nIndian film actresses\nActresses in Hindi cinema\n21st-century Indian actresses", "Elinor Virginia Martin (née Crowe; December 21, 1903 – April 26, 1957), known professionally as Elinor Fair, was an American motion picture actress.\n\nEarly years\nElinor Virginia Crowe was born on December 21, 1903, in Richmond, Virginia to Harry Joseph Crowe, a salesman, and Helen Snowden Jones. Her older brother Donald died in 1904 just four months short of his third birthday. During her childhood her family relocated multiple times.\n\nCareer \nWhen Fair was elected a WAMPAS Baby Star in 1924, she had already been in films for a number of years, and in vaudeville before that. She did some of her best work under contract to Cecil B. DeMille, appearing in such productions as Yankee Clipper and Let 'er go Gallagher. She also played in a handful of talkies, (often reduced to minor roles) before disappearing from the big screen in 1934.\n\nPersonal life \nFrom 1926 to 1929, she was married to cowboy actor William Boyd. Boyd's proposal was unique—while filming a scene for the DeMille film The Volga Boatman (1926), Boyd's character professes his love for Fair's character. However, what audiences were not aware of (due to The Volga Boatman being a silent film) was that Boyd was actually proposing for real, and that Fair accepted in character and in real life. They did not have any children together.\n\nOn December 27, 1932, Fair married aviator Thomas W. Daniels. He obtained an annulment, but they reconciled and remarried. They divorced, however, in 1935. She next married to Jack White in 1941, but this marriage too ended in divorce in 1944.\n\nSelected filmography\n The Fires of Conscience (1916) *lost film\n The Road Through the Dark (1918)\n The Turn of a Card (1918)\n The End of the Game (1919)\n Married in Haste (1919)\n The Miracle Man (1919) *lost film, only two fragments survive\n The Girl in Number 29 (1920) *lost film\n Broadway and Home (1920)\n Kismet (1920) *lost film, but the soundtrack survives\n Through the Back Door (1921)\n The Policeman and the Baby (1921) with Wallace Beery\n Big Stakes (1922)\n Dangerous Pastime (1922)\n Driven (1923) *lost film\n Has the World Gone Mad! (1923) *lost film\n The Eagle's Feather (1923)\nThe Mysterious Witness (1923)\n The Law Forbids (1924)\n The Timber Wolf (1925)\n Gold and the Girl (1925)\n Bachelor Brides (1926)\n The Volga Boatman (1926)\n Jim, the Conqueror (1926)\n The Yankee Clipper (1927)\n My Friend from India (1927)\n Sin Town (1929)\n The Night Rider (1932)\n 45 Calibre Echo (1932)\n\nFurther reading\n\nReferences\n\nExternal links\n\n \n \n A website about Elinor Fair\n\nAmerican film actresses\nAmerican silent film actresses\nAmerican child actresses\nActresses from Richmond, Virginia\n1903 births\n1957 deaths\nVaudeville performers\n20th-century American actresses\nWAMPAS Baby Stars\nWestern (genre) film actresses" ]

[ "Shakespeare in Love", "Production", "When did the film begin production?", "The film went into production in 1991", "Where was it filmed?", "I don't know.", "Who were the actors?", "Julia Roberts, who agreed to play Viola.", "Who else?", "I don't know.", "Did she actually star in the film?", "she withdrew from the film, six weeks before shooting was due to begin." ]

[ "The 4th Kuwaiti Federation Cup started on 5 September 2010.\n\nThe fourth Federation Cup is one of four competitions in the Kuwaiti 2010/2011 season. Fourteen clubs are taking part in the tournament.\n\nThey were divided into two groups of seven, and the winner and runner-up of each group will advance to the semi-finals.\n\nGroup stage\n\nGroup 1\n\nGroup 2\n\n1 It is unclear why Al Sahel did not take their place in the semi-final stages after qualifying, although it is not uncommon in Kuwaiti football competitions for teams to withdraw at certain stages of tournaments.\n\nSemi-finals\n\nFinal\n\nKuwait Federation Cup\n2010–11 domestic association football cups\n2010–11 in Kuwaiti football", "Beverly Gooden is an African American writer and social activist known for her groundbreaking work in domestic violence, victimology, and women's health, who created the Why I Stayed hashtag (#WhyIStayed) and movement in 2014. Her writing has appeared in The New York Times, the U.S. Office on Women's Health, and NBC's Today.\n\nEarly life and education\nBorn in Cleveland, Ohio, Beverly lived in foster care until being adopted by the Gooden family as a child. As a sophomore at Hampton University, she was selected as a media scholar with the Summer Research Opportunities Program at the University of Iowa and researched the connection between alcohol advertisements and teen drinking and driving. During her junior year, she interned with the Scripps Howard Foundation Wire as a reporter on Capitol Hill, covering the Iraqi prisoner abuse scandal and NCAA recruiting reform. In 2005, she graduated with a bachelor's degree in journalism and communications. She went on to attend Loyola University Chicago and graduated with a master's degree in social justice in 2009.\n\nActivism\nOn September 8, 2014, Beverly created the hashtag #WhyIStayed in response to the Ray Rice video released by TMZ. A survivor of domestic violence, she tweeted several reasons why she remained in an abusive marriage as a direct response to widespread victim blaming of Janay Rice.\n\nTwo days later, Gooden was interviewed by Robin Roberts on Good Morning America, where she explained her motivations for creating the Why I Stayed movement. \"The reason that I started the hashtag was to give voice to the people out there who had that voice taken away. I think what bothered me most was that the question was 'why did she stay?' and not 'why did he hit her?'. And we do this across the board with violent situations, we do this with domestic violence by asking 'why did she stay?' and we do this with rape by saying 'why did she wear that?' as if your clothing or your mere presence gives someone the right to hurt you.\"\n\nShe has been featured on Good Morning America, CNN, Time, The Washington Post, HLN, Inside Edition, NBC Nightly News, and more.\n\nWhy I Stayed was listed as one of the top social change hashtags of 2014 by Forbes, and one of the \"top 10 hashtags that started a conversation\" by Time magazine. In March 2015, Why I Stayed was recognized as one of \"8 hashtags that changed the world\".\n\nThe Bolt Bag Project\nIn 2014, Beverly founded the Ella Mae Foundation, which supports \"protection and superior upbringing for children as well as self-actualization and equitable rights for women\". She created the Bolt Bag Project, a program that provides basic necessities to anonymous survivors of relationship violence.\n\nCareer\nGooden served as a development intern at the Chicago Alliance to End Homelessness during graduate school in 2008. Following the financial crisis of 2007–2008, she worked for various government and nonprofit agencies to secure or administer housing and food resources for those affected by the crisis. As a grant recipient of American Recovery and Reinvestment Act of 2009 funding while serving as continuum of care coordinator, she worked with organizations to find stable and affordable housing for families facing housing insecurity in Chicago; Hampton Roads, Virginia; and northwest Georgia.\n\nAppearances\nIn September 2014, Gooden made guest appearances on the Dr. Phil show and in Verizon's 2014 Domestic Violence Summit at Paramount Studios in Los Angeles. In October 2015, she contributed a piece to the U.S. Office on Women's Health blog. She was also featured in the short film Why We Stayed by Emmy Award-nominated producers of Private Violence. She wrote an article, \"Why We Stayed\", for The New York Times, and appeared in the December 2015 issue of Redbook magazine. She was featured in the August 2016 issue of Glamour magazine; and appeared in a Toyota commercial discussing her work with the Ella Mae Foundation, sponsored by Investigation Discovery. She was featured in the September 2018 issue of Ebony magazine in an article titled \"The Struggle To Get Out\".\n\nHonors and awards\nBeverly was given the \"Digital Champion\" Heart of Courage award by the Mary Kay Foundation in October 2017. She was chosen by Investigation Discovery and Glamour magazine as the 2015 Inspire A Difference \"Everyday Hero\" award winner. She was honored at an event in New York City alongside Angie Harmon, Grace Gealey, and AnnaLynne McCord.\n\nBook\nHer memoir, Surviving: Why We Stay and How We Leave Abusive Relationships, is set for publication in spring 2022 by Rowman & Littlefield.\n\nPersonal life\nGooden plays three musical instruments, and is an avid children's literature reader with a special interest in fantasy and folklore. She speaks openly about having a total hysterectomy after a decade of debilitating uterine fibroids. She lives in Houston, Texas.\n\nExternal links\n\nFacebook\nTwitter\nInstagram\n\nReferences\n\nPeople from Cleveland\nLiving people\nYear of birth missing (living people)" ]

[ "Shakespeare in Love", "Production", "When did the film begin production?", "The film went into production in 1991", "Where was it filmed?", "I don't know.", "Who were the actors?", "Julia Roberts, who agreed to play Viola.", "Who else?", "I don't know.", "Did she actually star in the film?", "she withdrew from the film, six weeks before shooting was due to begin.", "Why did she withdraw?", "Roberts insisted that only Daniel Day-Lewis could play the role. Day-Lewis was uninterested, and when Roberts failed to persuade him," ]

[ "Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books", "What Happened to Jones may refer to:\n What Happened to Jones (1897 play), a play by George Broadhurst\n What Happened to Jones (1915 film), a lost silent film\n What Happened to Jones (1920 film), a lost silent film\n What Happened to Jones (1926 film), a silent film comedy" ]

[ "Shakespeare in Love", "Production", "When did the film begin production?", "The film went into production in 1991", "Where was it filmed?", "I don't know.", "Who were the actors?", "Julia Roberts, who agreed to play Viola.", "Who else?", "I don't know.", "Did she actually star in the film?", "she withdrew from the film, six weeks before shooting was due to begin.", "Why did she withdraw?", "Roberts insisted that only Daniel Day-Lewis could play the role. Day-Lewis was uninterested, and when Roberts failed to persuade him,", "What happened after that?", "Zwick got Miramax interested in the screenplay, but Miramax chose John Madden as director." ]

[ "The Simplified Airway Risk Index (or SARI) is a multivariate risk score for predicting difficult tracheal intubation.\nThe SARI score ranges from 0 to 12 points, where a higher number of points indicates a more difficult airway. A SARI score of 4 or above indicate a difficult intubation.\nSeven parameters is used to calculate the SARI score: Mouth opening, thyromental distance, Mallampati score, movement of the neck, the ability to create an underbite, body weight and previous intubation history.\n\n\n\nCalculation \n\n Mouth opening: A mouth opening greater than 4 centimeters between the incisors results in 0 points whereas a distance below results in 1 point.\n Thyromental distance:A thyromental distance greater than 6.5 centimeters results in 0 point whereas a distance between 6-6.5 centimeters is given 1 point and finally a distance below 6 centimeters is given 2 points.\n Mallampati score: Class I and II of the modified mallampati scoring results in 0 points whereas a class III is given 1 point and a class IV 2 points.\n Movement of the neck: The ability to move the neck more than 90 degrees results in 0 points whereas a movement range of 80-90 degrees results in 1 point and a movement range below 80 degrees results in 2 points.\n Underbite: If the patient is able to protrude the jaw enough to create an underbite a score of 0 is given if not 1 point.\n Body weight: A weight below 90 kilograms results in 0 points. A weight between 90 and 110 kilograms is given 1 point and a weight above 110 kilograms counts as 2 points.\n Previous intubation history: If the patient has previously been intubated without any difficulties, a score of 0 points is given. If the patient has not previously been intubated, is unsure whether there were any difficulties or no records can be produced, a score of 1 point is given. If there is a positive history of difficulties intubating 2 points is given.\n\nSee also \n Cormack-Lehane classification system\n\nReferences \n\nAnesthesia\nMedical scoring system", "Elections to Blackburn with Darwen Borough Council in June 2004 heralded a shock result as Labour council leader Sir Bill Taylor lost his seat to Liberal Democrat Zamir Khan. \"This morning as I was shaving I thought I could get beat and that is what happened\", commented Taylor after the result. \"I canvassed more for this election than for any other. I spoke to more than a thousand people on their doorsteps and was not given any suggestion there were any difficulties.\" Liberal Democrat leader Paul Browne blamed the defeat on dissatisfaction with British foreign policy, particularly in areas with high numbers of Muslim voters: \"Sir Bill has gone because of what has happened in Iraq. Simple.\" Only 63 of the 64 seats on the council were filled as the Earcroft ward by-election took place a month after due to the death of Mayor Mike Barratt. Yusuf Sidat was elected as an independent in Queen's Park Ward.\n\nElection result\n\n|-\n!colspan=2|Parties\n!Seats\n!Previous\n!NetGain/Loss\n|-\n| \n|33||35||-2\n|-\n| \n|17||15||+2\n|-\n| \n|12||8||+4\n|-\n|\n|align=left|Independent\n|1||2||-1\n|-\n!colspan=2|Total!!63!!60\n|}\n\nSource:\n\nWards\n\nCorporation Park\nElected\nArshid Mahmood (Lab) 790\nPaul James McGurty (Con) 734\nAbdul Rehman (LD) 884\n\nElectorate 4617\nBallot Papers 2781\n% Poll 60.23\n\nReferences\n\n2004 English local elections\n2004\n2000s in Lancashire" ]

[ "Thomas A. Hendricks", "Governor of Indiana" ]

[ "The PNR 8000 class, also known as INKA DMUs, is a class of Diesel Multiple Units (DMUs) operated by the Philippine National Railways since 2019.\n\nPurchase\nAs part of the Philippine National Railways' modernization program, PNR signed a contract worth (US$9.7 million) with the Indonesian firm PT INKA on January 22, 2018 for the purchase of two 3-car diesel multiple units as part of the Reliability and Availability Program. The project was funded from the budget of the then-Department of Transportation and Communications (DOTC) as allocated in the 2015 General Appropriations Act. In 2018, PNR received a budget through the 2018 General Appropriations Act for the purchase of trains.\n\nDesign and features\nThe trains were manufactured by the Indonesian firm Industri Kereta Api, also known as INKA. The 8000 and 8100 DMUs and the 8300 class coaches are all given the designation K3 during their test runs in Indonesia.\n\nExterior\nThe design of the 8000 class was based from PT Kereta Api's existing EA203 series electric multiple units (EMUs), Minangkabau Express, Adi Soemarmo International Airport Railink, Yogyakarta International Airport Railink & Solo Express diesel electric multiple units (DEMU), but the number of doors were increased from two to three double-leaf sliding doors per side.\n\nInterior\nThe trains are the first in the entire PNR system to feature an LED passenger information system display in each train car. Seats are colored orange and longitudinal-type.\n\nOperations\nThe INKA DMUs were inaugurated at Dela Rosa station on December 16, 2019 together with the Philippine National Railways and the Department of Transportation officials. It entered revenue service on the same day. \n\nFrom December 16, 2019 to January 14, 2020, PNR offered free rides on these trainsets between Tutuban and FTI and vice versa, but with 20-passenger limit per station only. Initially, the trainsets were planned to reach Alabang station, but was delayed due to track obstruction and security problems. On March 1, 2020, PNR conducted a trial run from Tutuban to Alabang after track adjustments were made at stations. The trial run was performed by Trainset 8002. On March 11 and 13, 2020, a passenger trial run of the trainset was conducted by PNR and catered passengers between Tutuban and Alabang. The trial run on March 11, 2020 was performed by Trainset 8001, while the trial run on March 13, 2020 was performed by Trainset 8002.\n\nOn June 1, 2020, the INKA DMUs now service the Metro North Commuter line from Tutuban - Govenor Pascual. While running from Govenor Pascual to Bicutan, the LED screen display says Gov. Pascual - FTI instead of Gov. Pascual - Bicutan.\n\nFrom December 2019 to March 2020, the trains serviced the Metro South Commuter line from Tutuban to FTI stations and vice versa, and since June 2020, the trains now service the Metro North Commuter line from Governor Pascual to Bicutan stations and vice versa. Occasionally, the trains service the Metro South Commuter line when the Hyundai Rotem DMUs occupy the MNC services.\n\nIncidents and accidents\nAfter the inauguration of the 8000 class, multiple stoning incidents were recorded in December 2019. The old trains were involved at the incidents such as the PNR Hyundai Rotem DMU, 203 series, and the Kiha 35. The 8000 class were also involved at the stoning incident. The cause of the incidents were from group of minors were they used to throw stones and sometimes used a slingshot.\n\n14 stoning incidents were reported from December 2 to 21, 2019, including a stoning incident in one 8000 class train.\nOn December 28, 2019, an 8000 class was obstructed between España and Sta. Mesa stations.\n\nGallery\n\nReferences\n\nPhilippine National Railways\nRolling stock of the Philippines\nTrain-related introductions in 2019", "The following table indicates the party of elected officials in the U.S. state of Maine:\n Governor\n\nThe table also indicates the historical party composition in the:\n State Senate\n State House of Representatives\n State delegation to the U.S. Senate\n State delegation to the U.S. House of Representatives\n\nFor years in which a presidential election was held, the table indicates which party's nominees received the state's electoral votes.\n\nHistory\n\nThe Republican Party controlled the governorship from the American Civil War to 1932, with the Democratic Party only winning four times. The Greenback Party was active in Maine and its gubernatorial candidates had their vote totals rise from 520 votes in the 1876 election to 41,371 votes in the 1878 election. The Greenbacks aided in the election of Democratic gubernatorial nominees Alonzo Garcelon and Harris M. Plaisted. The Democratic Party did not control the state legislature between 1847 and 1911.\n\nThe Maine Republican Party supported Theodore Roosevelt during the 1912 Republican presidential primaries against President William Howard Taft. The Maine Progressive Party was founded by Roosevelt supporters on July 31, 1912, at a convention in Portland, Maine. The Republicans were weakened after losing members including Charles H. Hitchborn, who was the treasurer of the party, although Warren C. Philbrook, the chair of the party, remained. Woodrow Wilson won Maine in the presidential election while Roosevelt received more votes than Taft.\n\nOn April 5, 1916, the Progressives held their convention and nominated Edwin Lawrence for govenor under the coniditon that they would follow the path of the national party. The national Progressive Party attempted to nominate Roosevelt for president against, but he declined and the party returned to the Republicans. The Maine Progressives withdrew their candidates and supported the Republicans. B. F. Lawrence, who ran for a seat in the Maine House of Representatives, was the only Progressive elected in 1916, but later joined the Republicans.\n\nRobert M. La Follette, who ran as the Progressive presidential nominee in the 1924 election, told Gilbert E. Roe, who was running his campaign in the eastern United States, that the conditions for his campaigns were good in the eastern United States except for in Maine and Vermont. Republican nominee Calvin Coolidge received over 70% of the popular vote while La Follette only received six percent.\n\nTable\n\nSee also\n Law and government in Maine\n\nReferences\n\nPolitics of Maine\nGovernment of Maine\nMaine" ]

[ "Thomas A. Hendricks", "Governor of Indiana", "When did he become Govenor?", "In 1872 Hendricks was elected as the governor of Indiana in his third bid for the office." ]

[ "The following table indicates the party of elected officials in the U.S. state of Maine:\n Governor\n\nThe table also indicates the historical party composition in the:\n State Senate\n State House of Representatives\n State delegation to the U.S. Senate\n State delegation to the U.S. House of Representatives\n\nFor years in which a presidential election was held, the table indicates which party's nominees received the state's electoral votes.\n\nHistory\n\nThe Republican Party controlled the governorship from the American Civil War to 1932, with the Democratic Party only winning four times. The Greenback Party was active in Maine and its gubernatorial candidates had their vote totals rise from 520 votes in the 1876 election to 41,371 votes in the 1878 election. The Greenbacks aided in the election of Democratic gubernatorial nominees Alonzo Garcelon and Harris M. Plaisted. The Democratic Party did not control the state legislature between 1847 and 1911.\n\nThe Maine Republican Party supported Theodore Roosevelt during the 1912 Republican presidential primaries against President William Howard Taft. The Maine Progressive Party was founded by Roosevelt supporters on July 31, 1912, at a convention in Portland, Maine. The Republicans were weakened after losing members including Charles H. Hitchborn, who was the treasurer of the party, although Warren C. Philbrook, the chair of the party, remained. Woodrow Wilson won Maine in the presidential election while Roosevelt received more votes than Taft.\n\nOn April 5, 1916, the Progressives held their convention and nominated Edwin Lawrence for govenor under the coniditon that they would follow the path of the national party. The national Progressive Party attempted to nominate Roosevelt for president against, but he declined and the party returned to the Republicans. The Maine Progressives withdrew their candidates and supported the Republicans. B. F. Lawrence, who ran for a seat in the Maine House of Representatives, was the only Progressive elected in 1916, but later joined the Republicans.\n\nRobert M. La Follette, who ran as the Progressive presidential nominee in the 1924 election, told Gilbert E. Roe, who was running his campaign in the eastern United States, that the conditions for his campaigns were good in the eastern United States except for in Maine and Vermont. Republican nominee Calvin Coolidge received over 70% of the popular vote while La Follette only received six percent.\n\nTable\n\nSee also\n Law and government in Maine\n\nReferences\n\nPolitics of Maine\nGovernment of Maine\nMaine", "Antipolo held its local elections on Monday, May 13, 2019, as a part of the 2019 Philippine general election. Voters elected candidates for the local elective posts in the city: the mayor, the vice mayor, the two district congressmen, the two provincial board members of Rizal (one for each district) and the sixteen councilors (eight for each district).\n\nThere are a total of 336,773 people who voted out of the 482,062 registered voters. Andrea Ynares and Josefina Gatlabayan won the elections undefeated as mayor and vice mayor (for the second time) respectively.\n\nBackground\nIncumbent Mayor Casimiro Ynares III won't ran for re-election. The one who ran in his place is her wife and brother of actor and Senator Bong Revilla, Andrea Bautista-Ynares. Bautista-Ynares ran unopposed.\n\nIncumbent Vice Mayor Josefina \"Pining\" Gatlabayan ran for second term unopposed.\n\nIncumbent First District Representative Chiqui Roa-Puno won't sought re-election. Her husband, former Representative Roberto Puno ran for her instead. Puno was challenged by Macario Aggarao.\n\nIncumbent Second District Representative Romeo Acop was on his third and final term. His wife, Dr. Resureccion \"Doktora Cion\" Acop ran for his place unopposed.\n\nIncumbent First District Board Member Enrico \"Rico\" De Guzman won't ran for re-election, instead he ran as councilor. The one who ran in his place is the son of former Representative Roberto \"Robbie\" Puno, Roberto Andres \"Randy\" Puno. Puno was challenged by Delfin Bacon, who withdrew his candidacy before election.\n\nIncumbent Second District Board Member Atty. Jesus Angelito \"Joel\" Huertas Jr. is on third term. He ran as councilor instead. Former Councilor Alexander \"Bobot\" Marquez ran for his place instead. Marquez was challenged by Edelberto \"Edel\" Coronado.\n\nResults\n\nFor Mayor\nIncumbent Mayor Casimiro Ynares III won't ran for re-election. The one who ran in his place is her wife and brother of actor and Senator Bong Revilla, Andrea Bautista-Ynares. Bautista-Ynares ran unopposed.\n\nFor Vice Mayor\nIncumbent Vice Mayor Josefina \"Pining\" Gatlabayan ran for second term unopposed.\n\nFor Representative\n\nFirst District \nIncumbent First District Representative Chiqui Roa-Puno won't sought re-election. Her husband, former Representative Roberto Puno ran for her instead. Puno was challenged by Macario \"Mack\" Aggarao.\n\nSecond District \nIncumbent Second District Representative Romeo Acop was on his third and final term. His wife, Dr. Resureccion \"Doktora Cion\" Acop ran for his place unopposed.\n\nFor Board Member\n\nFirst District \nIncumbent First District Board Member Enrico \"Rico\" De Guzman won't ran for re-election, instead he ran as councilor. The one who ran in his place is the son of former Representative Roberto \"Robbie\" Puno, Roberto Andres \"Randy\" Puno. Puno was challenged by Delfin Bacon, who withdrew his candidacy before election.\n\nSecond District \nIncumbent Second District Board Member Atty. Jesus Angelito \"Joel\" Huertas Jr. was on third and final term. He ran as councilor instead. Former Councilor Alexander \"Bobot\" Marquez ran for his place instead. Marquez was challenged by Edelberto \"Edel\" Coronado.\n\nFor City Councilors (by ticket) \nWith Ynares & Gatlabayan running unopposed, Team Ynares is the only ticket for this election.\n\nTeam Ynares\n\nFor City Councilors (by District)\n\nFirst District\n\nSecond District\n\nReferences\n\n2019 Philippine local elections\nElections in Rizal\nPolitics of Antipolo" ]

[ "Thomas A. Hendricks", "Governor of Indiana", "When did he become Govenor?", "In 1872 Hendricks was elected as the governor of Indiana in his third bid for the office.", "He ran for govenor before?", "I don't know." ]

[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]

[ "Thomas A. Hendricks", "Governor of Indiana", "When did he become Govenor?", "In 1872 Hendricks was elected as the governor of Indiana in his third bid for the office.", "He ran for govenor before?", "I don't know.", "Are there any other interesting aspects about this article?", "Indiana experienced high unemployment, business failures, labor strikes, and falling farm prices." ]

[ "\"What Are You Going to Do to Help the Boys?\" is a World War I era song released in 1918. Gus Kahn wrote the lyrics. Egbert Van Alstyne composed the music. It was published by Jerome H. Remick & Co. of Detroit, Michigan. Artist E.E. Walton designed the sheet music cover. It features Uncle Sam inside a red, white, and blue question mark. He is holding his beard and looking down at liberty bonds. To the left of this image it reads, \"Buy a Liberty Bond!\" on some editions. The song was written for both piano and voice.\n\nThe song is a call to action. It encourages listeners to buy liberty bonds, especially if they are staying home while soldiers fight overseas. The voice states that it doesn't matter one's age, where he is from, or who he is. Uncle Sam expects everyone to help in the war effort. The chorus is as follows: \nWhat are you going to do for Uncle Sammy?\nWhat are you going to do to help the boys?\nIf you mean to stay at home\nWhile they're fighting o'er the foam\nThe least you can do is buy a Liberty bond or two\nIf you're going to be a sympathetic miser\nThe kind that only lends noise\nYou're no better than the one who loves the Kaiser\nSo what are you going to do to help the boys?\n\nThe sheet music can be found at Pritzker Military Museum & Library.\n\nReferences\n\nExternal links\n Sheet music and song MP3 found at the Illinois Digital Archive\n\nSongs about soldiers\n1918 songs\nSongs of World War I\nSongs with lyrics by Gus Kahn\nSongs with music by Egbert Van Alstyne", "Social Sciences, Humanities and the Arts for People and the Economy (SHAPE,) is a joint initiative, developed in 2020, by LSE, the British Academy, the Academy of Social Sciences and Arts Council England, to provide a new collective name for the academic disciplines of social science, humanities and the Arts. SHAPE describes these academic disciplines, which focus on human behaviour, as those which ‘help us understand ourselves, others and the human world around us’.\n\nSHAPE has 3 main aims: to explain what these academic disciplines are and what they do, to illustrate their value and relevance, and to encourage people to study them and use the knowledge and skills gained throughout their careers.\n\nThis re-brand of what has traditionally been drawn together under the acronym HASS highlights the importance of SHAPE subjects, and the skills they teach in observation, interpretation, reasoning and analysis, in developing transformative solutions to societal challenges in areas such as health, inequality, the environment and the economy. By promoting these subjects under a new acronym the SHAPE initiative seeks to create parity with STEM subjects, ‘not in opposition, but as equals and collaborators’ in building a better future.\n\nReferences\n\nHumanities education\nThe arts\nSocial sciences\nEducation policy\nEducation by subject" ]

[ "Thomas A. Hendricks", "Governor of Indiana", "When did he become Govenor?", "In 1872 Hendricks was elected as the governor of Indiana in his third bid for the office.", "He ran for govenor before?", "I don't know.", "Are there any other interesting aspects about this article?", "Indiana experienced high unemployment, business failures, labor strikes, and falling farm prices.", "What did he do to help the economy?", "I don't know." ]

[ "\"What Would Steve Do?\" is the second single released by Mumm-Ra on Columbia Records, which was released on February 19, 2007. It is a re-recorded version of the self-release they did in April 2006. It reached #40 in the UK Singles Chart, making it their highest charting single.\n\nTrack listings\nAll songs written by Mumm-Ra.\n\nCD\n\"What Would Steve Do?\"\n\"Cute As\"\n\"Without You\"\n\n7\"\n\"What Would Steve Do?\"\n\"What Would Steve Do? (Floorboard Mix)\"\n\nGatefold 7\"\n\"What Would Steve Do?\"\n\"Cute As\"\n\nReferences\n\n2007 singles\nMumm-Ra (band) songs\n2006 songs\nColumbia Records singles", "\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)" ]

[ "Thomas A. Hendricks", "Governor of Indiana", "When did he become Govenor?", "In 1872 Hendricks was elected as the governor of Indiana in his third bid for the office.", "He ran for govenor before?", "I don't know.", "Are there any other interesting aspects about this article?", "Indiana experienced high unemployment, business failures, labor strikes, and falling farm prices.", "What did he do to help the economy?", "I don't know.", "What did he do as Govenor?", "One of Hendricks's lasting legacies during his tenure as governor began with discussion to fund construction of a new Indiana Statehouse." ]

[ "Rebuild may refer to:\n\nBooks\n Rebuild, a 2014 Green Lantern Corps comic book by Robert Venditti, DC Comics\n\nFilm and TV\n \"Rebuild\", a 2014 episode of Mistresses with Alyssa Milano\n\nMusic\n Rebuild (The Letter Black album), a 2013 album by The Letter Black\n Rebuild, a 2005 album by Verse\n\nSongs\n \"Rebuild\" (song) by Matt Thiessen from Relient K, Dustin Ruth and Switchfoot\n \"Rebuild\", song by Son Lux, composed by Ryan Lott from We Are Rising\n \"Rebuild\", song by Now, Now Every Children\n\nSee also \n Rebuild of Evangelion, a 2007 Japanese animated film series\n Build. Destroy. Rebuild., album by Hanni El Khatib", "The Aircraft Restoration Company (formally Historic Flying Limited) is a British company that specialises in the restoration and new-build of Supermarine Spitfires and other historic aircraft. It is based at the former RAF Duxford in Cambridgeshire.\n\nThe company was founded in the late 1980s to restore five Spitfires to flying condition; these had been \"gate guardians\" at Royal Air Force stations. Since then, over 30 Spitfires have been restored or built from scratch - using salvaged parts where available - or restored. This is said to be a third of the Spitfires that are now airworthy. The organisation have also completed major maintenance work on the RAF's Battle of Britain Memorial Flight aircraft, for which the Stephenson Hangar was purpose built. The latest of this work included the minor maintenance of the BBMF's Avro Lancaster which was completed at the end of Summer 2021.\n\nThe company now uses its expertise to offer experience flights in its historic aircraft, through their in-house team Aerial Collective Duxford.\n\nCompleted or 0n-going work \nThe Aircraft Restoration Company / Historic Flying Limited have returned the following aircraft to the air:\n\n Spitfire Mk XVI RW382. Full rebuild completed in 1991.\n Spitfire Mk IX TE566. Full rebuild completed in 1992.\n Spitfire Mk XVIII TP280. Full rebuild completed in 1992.\n Spitfire Mk XVI TD248. Full rebuild completed in 1992.\n P-51 Mustang 'Short Fuse Sallee'. Post fire restoration completed in 1994.\n Spitfire Mk XIV NH799. Full rebuild completed in 1994.\n Spitfire Mk XIV SM832. Full rebuild completed in 1995.\n Spitfire Mk Vb EP120. Full rebuild completed in 1995.\n Spitfire Mk Vc AR614. Full rebuild completed in 1996.\n Spitfire Mk Vb AB910. Major overhaul completed in 1997.\n Spitfire Mk XIX PM631. Major overhaul completed in 1997.\n Spitfire Mk Vb BM597. Full rebuild completed in 1997.\n Hurricane IIc LF363. Full rebuild completed in 1998.\n Spitfire Mk XVIII SM845. Full rebuild completed in 2000.\n Spitfire Mk IX MK912. Full rebuild completed in 2000.\n Spitfire Mk XIV RN201. Full rebuild completed in 2002.\n Spitfire Tr.9 IAC-161 / PV202. Full rebuild completed in 2005.\n Spitfire Mk XVI RW386. Full rebuild completed in 2006.\n Spitfire Mk Vc JG891. Full rebuild completed in 2006.\n Spitfire Mk IX PL344. Major overhaul completed in 2007.\n Spitfire Mk IXe SL633. Full rebuild completed in 2010.\n Spitfire Mk Ia P9374. Full rebuild completed in 2012.\n Spitfire Mk XIX PS853. Major overhaul completed in 2012.\n Spitfire Mk Ia N3200. Full rebuild completed in 2014.\n Spitfire Mk XVIII SM845. Major overhaul completed in 2014.\n Spitfire Mk XIX PS915. Major overhaul completed in 2016.\n Spitfire Tr.9 NH341. Full rebuild and type conversion completed in 2017.\n Spitfire PR Mk XI PL983. Full rebuild completed in 2018.\n Spitfire Mk IX MJ271 'The Silver Spitfire'. Full rebuild completed in 2019.\n Spitfire PR Mk XIX PS890. Full rebuild, completed in 2020.\n Spitfire Mk.IX (unknown identity). Full overhaul expected to be completed in 2022.\n\nNHS Spitfire Project \n\nIn response to the Coronavirus pandemic in 2020, the Aircraft Restoration Company painted the words 'THANK U NHS' on the underside of their Spitfire PR Mk XI PL983. Over the course 4 months the Spitfire completed a number of flight routes, flying over 250 NHS and HSC sites across the United Kingdom in an effort to thank Medical & Health workers for their on-going fight against the virus. Simultaneously, the general public were able to donate money to 'The NHS Spitfire' project, with a nominated name from each donation being hand-written onto the Spitfire. As of January 2021, the project has raised over £130,000.00, with all funds going to NHS Charities Together.\n\nFilm Work \nOver the years, The Aircraft Restoration Company have worked or featured on numerous TV and Film projects, often providing aircraft, pilots, historical advice and expertise on aerial coordinating. \n\nWorks include: \n\n Guy Martin's Spitfire (2014) Channel 4 documentary covering the two-year restoration of a Mark 1 Spitfire, N3200. \n Dunkirk (2017 film) directed by Christopher Nolan, which included use of the organisation's Bristol Blenheim and Hispano Buchon. \n Valkyrie (film)\n Top Gear (2002 TV series)\n Memphis Belle (film)\n Dark Blue World\n\nReferences\n\nExternal links\n Historic Flying Ltd home page\nWings Magazine\n Daily Telegraph report\nTelegraph Silver Spitfire\nSpitfire TD248\n\nAircraft preservation\nSupermarine Spitfire\nReplica aircraft manufacturers\nEngineering companies of England\nAircraft manufacturers of the United Kingdom" ]

[ "Patsy Cline", "Four Star Records" ]

[ "Wild Heart is the first extended play by Urban Rescue. Sparrow Records alongside Rend Family Records released the album on January 29, 2016.\n\nCritical reception\n\nAwarding the EP four and a half stars for CCM Magazine, Kevin Sparkman writes, \"Urban Rescue does a masterful job at meshing pop sensibility with devoted praise—we can't wait to hear more.\" Jeremy Armstrong, giving the EP three and a half stars at Worship Leader, states, \"the entire record is filled with sound that are true to Urban Rescue.\" Rating the EP three and a half stars from Jesus Freak Hideout, Lucas Munachen says, \"Wild Heart is a release any fan of the band, or of Rend Collective, will do well to pick up.\"\n\nJonathan Andre, indicating in a four star review by 365 Days of Inspiring Media, describes, \"This is a group who is passionate about what they believe, fusing together electronics with a heart of bringing people back to what they once were supposed to be doing- giving glory to the King.\" Signaling in a 3.8 star review for Today's Christian Entertainment, Laura Chambers writes, \"It's a bold vision, to be sure: redefining the scope of the mission field; narrowing it, in effect, to our own corner of the world. Urban Rescue brilliantly urges us to give our neighborhoods a second look with God's eyes.\"\n\nChris Major, allocating the EP a 4.8 star review at The Christian Beat, states, \"Wild Heart absolutely stands out as a highlight in Urban Rescue's career, and in praise and worship music.\" Allotting the EP a nine star review from The Front Row Report, Reggie Edwards says, \"There's something to be said about how powerful, encouraging and exalting Wild Heart is.\"\n\nTrack listing\n\nReferences\n\n2016 debut EPs\nUrban Rescue albums\nSparrow Records EPs", "Last Exit to Garageland is the debut album of New Zealand band Garageland, released in June 1996 on Flying Nun Records. The album was reissued in the UK on Discordant Records in September 1997, and in the US on Foodchain Records in September 1997. In 2003, Foodchain issued a newer release which included bonus tracks.\n\nTrack listing\n\n1996 Flying Nun release\n\"Fingerpops\"\n\"Classically Diseased\"\n\"Beelines to Heaven\"\n\"Come Back\"\n\"Nude Star\"\n\"Fire Away\"\n\"Tired and Bored\"\n\"I'm Looking For What I Can't Get\"\n\"Never Gonna Come Around Here Again\"\n\"Return to You\"\n\"Jesus I'm Freezing\"\n\"Underground Nonsense\"\n\n2003 Foodchain release\nIntro\nFingerpops\nClassically Diseased\nNude Star\nPop Cigar\nBeelines To Heaven\nCome Back\nFire Away\nTired And Bored\nI'm Looking For What I Can't Get\nNever Gonna Come Around Here Again\nReturn To You\nJesus I'm Freezing\nFay Ray\nUnderground Nonsense\nSo You Want To Be A Rock N' Roll Star\nBus Stops\nStruck\nGraduation From Frustration\nOne Shot\nShouldn't Matter But It Does\nCherry Cola Vodka (Hold The Ice)\n\nPersonnel\n Jeremy Eade - guitar, vocals, lead guitar, organ\n Andrew Gladstone - drums, vocals, percussion, organ\n Mark Silvey - bass\n Debbie Silvey - guitar\n Murray Smith - keyboard on \"Beelines to Heaven\"\n Margaret Cooke - cello on \"Beelines to Heaven\"\n 'The most Rev. Jimmy Deep plays on \"intro\" and \"outro\"' (liner notes)\n\nReferences\n\nGarageland albums\n1996 debut albums\nFlying Nun Records albums" ]

[ "Patsy Cline", "Four Star Records", "What does Four Star Records refer to?", "In 1955 he gained a contract for her at Four Star Records, the label he was then affiliated with." ]

[ "Valda Emily Unthank (née Garnham, 1909 – 21 June 1987) was an Australian cyclist who held numerous records for long distance cycling, mostly set during 1938-39, most notably the women's seven day record.\n\nValda was born in 1909 as \"Emily Garnham\" at Lilliput, Victoria to William and Edith Garnham (née Blackburne). In 1933 she married John Leslie Roberts \"Jack\" Unthank, a Councillor at the Victorian League of Wheelmen. Little is known of her early years until her first reported cycling record in 1935, covering the from Prahran to Wonthaggi in 5 hours 5 mins. \n\nWhat first established Unthank's reputation though was the ride in October 1938 from Adelaide to Melbourne covering in 33 hours 43 minutes. Unthank was sponsored by Austral bikes, a brand within the Malvern Star group, and the rides were organised by Jack O'Donohue, publicity manager for Bruce Small Ltd.\n\nThis was followed shortly after by riding from Launceston to Burnie & return on 14 November 1938, setting the 12 hour Australian women's record of and rode on to set the Australian women's record in 12h 8 min.\n\nIn March 1939 Unthank set a NSW hour record of . In June Unthank traveled to Queensland where she set a new 12 hour record of before returning to Victoria to set the record in 51 min 40 sec.\n\n1939 culminated in riding over seven days for what was claimed as a women's world record, bettering the set by Joyce Barry in September 1938. Unthank was supported by another Malvern Star rider, Ossie Nicholson, who had set the world endurance record for distance in a calendar year in 1933, and 1937, as well as the Australian men's seven day record of in 1938. The seven day record was also sponsored by the Metropolitan Gas Company who supplied a \"modern gas kitchen\" to cook all Unthank's meals. Unthank also appeared in an advertisement for Peters Icecream (\"The health food of a nation\") along with Hubert Opperman. Unthank's seven day record was eclipsed in March 1940 by the next Malvern Star woman rider, Pat Hawkins who rode .\n\nWorld War II saw Unthank retire, although she returned for events competing on bicycle rollers to raise money for the Red Cross. \n\nUnthank died in June 1987 at the age of 78.\n\nReferences\n\n1909 births\n1987 deaths\nAustralian female cyclists\nCyclists from Melbourne\nUltra-distance cyclists", "Sanjam (I'm Dreaming) is the fifth studio album by Bosnian folk singer Hanka Paldum. It was released 22 April 1982 through the record label Sarajevo Disk.\n\nBackground\nIn 1982, Paldum recorded Sanjam (English: I'm Dreaming) with Milić Vukašinović as the songwriter. With this album, Vukašinović created his life's work, while Paldum went from a popular singer to a big Yugoslavian star. Taking into consideration that record label \"Sarajevo Disk\" did not have its own production, the album, because of overwhelming demand, was distributed and produced in four production companies. Hanka's success was unheard of for Yugoslavian scene, she became the favorite in the eyes of public and respected by the music critics.\n\nPaldum started her tour, and for the first time in folk music, held concerts in big sporting arenas across ex-Yugoslavia. In Belgrade’s Dom Sindikata in seven days she held a record breaking 14 sold-out solo concerts. She created euphoria among the people. Like the first album, almost every song on this album is a hit, especially the title song \"Sanjam\" and the mega hit \"Ja te volim\" (English: \"It's You I Love\"), likewise \"Ljubav je radost i bol\" (English: \"Love is Joy and Pain\"), and \"Voljeni moj\" (English: \"My Love\"). She received a Yugoslavian star award, four Oscars for popularity in a row, a few female artist of the year awards, a gold plaque for humanist award, and won the following festivals: \"Ilidža\", \"Vogosca\", \"MESAM\" and \"Poselu\" from 202 Radio Belgrade program.\n\nTrack listing\nSanjam\nJa te volim\nLjubav je radost i bol\nVoljeni moj\nUzalud mi tražiš oproštaj\nNikad više\nDa l’ ću više ikad ljubit’\nNikoga nemam, pomoć kad ti treba\n\nReferences\n\n1982 albums\nHanka Paldum albums\nSarajevo Disk albums" ]

[ "Patsy Cline", "Four Star Records", "What does Four Star Records refer to?", "In 1955 he gained a contract for her at Four Star Records, the label he was then affiliated with.", "What did she record for Four Star?", "Her first contract allowed her to record compositions only by Four Star writers, which Cline found limiting." ]

[ "In the game of contract bridge, the principle of fast arrival (also known as the principle of slow arrival) is a bidding treatment widely used in game forcing auctions whereby:\n Bidding game directly, usually via a jump bid, shows a minimum hand for one's previous bidding, and is limiting, and\n Conversely, making a forcing bid, such as a change of suit below game level, shows extra strength or potential beyond the minimum.\n\nHistorically, constructive bidding was based on the idea that the stronger a responding hand, the higher a bid, or jump, was made. In modern bidding styles, a slower progression of bids was deemed a more scientific method of investigating for the best contract. The principle of fast arrival was a logical product of this newer style and inverted previous meanings on the premise that since jumps to game leave less room for slam investigation, they imply an absence of slam values and therefore discourage more bidding. In addition, on weaker (or limited) hands fast arrival has a pre-emptive effect on the opposition and minimizes the information they might otherwise exchange.\n\nStated conversely as the principle of slow arrival, the approach leaves more bidding space for stronger hands to explore for slam or choose the optimum game contract.\n\nSee also\n Bridge maxims\n Principle of restricted choice\n Useful space principle\n\nReferences\n\nContract bridge bidding", "The Women's 53 kg weightlifting event was the second-lightest women's event at the 2014 Commonwealth Games, limiting competitors to a maximum of of body mass. The competition took place on 25 July and was the first weightlifting event to conclude. The event took place at the Clyde Auditorium.\n\nThe event was originally won by 16-year-old Chika Amalaha of Nigeria. Following a failed doping test, Amalaha was stripped of her medal and placement, and the medals were redistributed.\n\nResult\n\nReferences\n\nWeightlifting at the 2014 Commonwealth Games\nCommon" ]

[ "Patsy Cline", "Four Star Records", "What does Four Star Records refer to?", "In 1955 he gained a contract for her at Four Star Records, the label he was then affiliated with.", "What did she record for Four Star?", "Her first contract allowed her to record compositions only by Four Star writers, which Cline found limiting.", "Was her second contract less limiting?", "According to Decca Records producer Owen Bradley, the Four Star compositions only hinted at Patsy's potential." ]

[ "Dottie West Sings Sacred Ballads is a studio album by American country music artist Dottie West. It was released in July 1967 on RCA Victor Records and was produced by Chet Atkins. The album was West's sixth studio effort and only gospel music collection to be released during her career. The album did not spawn any singles nor did it reach positions on any national publication charts.\n\nBackground, content and reception\nDottie West Sings Sacred Ballads was produced by Chet Atkins in February 1967 at the RCA Victor Studio in Nashville, Tennessee. It was West's sixth studio album recorded with Atkins and her sixth album overall. It was also her first album of gospel music to be released in her career. The album's liner notes were written by West's mother in law. On the project, her husband is featured playing steel guitar. The album contained a total of 12 tracks. All of the tracks were cover versions of well known gospel and inspirational songs. Included were renditions of \"How Great Thou Art\", \"His Eye Is on the Sparrow\", \"Lord's Prayer\" and \"You'll Never Walk Alone\".\n\nThe album was released in July 1967, becoming her third studio recording issued that year. The album was first offered as a vinyl LP, with six songs on each side of the record. It was later reissued tot digital retailers in the 2010s. The album's release was first announced in a July 1967 issue of Billboard magazine. It did not produce any singles at the time of its release nor did it appear on any Billboard album publications. The album was nominated at the 10th Annual Grammy Awards for Best Sacred Recording, becoming her seventh award nomination from the Grammy's. The album would later receive 4.5 out of 5 stars from Allmusic.\n\nTrack listing\n\nOriginal vinyl version\n\nDigital version\n\nPersonnel\nAll credits are adapted from the liner notes of Dottie West Sings Sacred Ballads.\n\nMusical personnel\n Harold Bradley – guitar\n Jerry Carrigan – drums\n Floyd Cramer – piano\n Ray Edenton – guitar\n Buddy Harman – drums\n Roy Huskey – bass\n The Jordanaires – background vocals\n Grady Martin – guitar\n The Nashville A Strings – strings\n Hargus \"Pig\" Robbins – piano\n Henry Strzelecki – bass\n Bill West – steel guitar\n Dottie West – lead vocals\n\nTechnical personnel\n Chet Atkins – producer\n Jim Malloy – engineering\n\nRelease history\n\nReferences\n\n1967 albums\nAlbums produced by Chet Atkins\nChristian music albums by American artists\nDottie West albums\nRCA Records albums", "The Sound of Country Music is a studio album by American country music artist Dottie West and her band, \"The Heartaches\". It was released in February 1967 on RCA Camden Records. The sessions were co-produced by Chet Atkins and Ethel Gabriel. The project was West's fifth studio effort and first for the RCA Camden label. The album did not produce any singles nor reach peak positions on national charts. It was instead a collection of cover songs previously recorded by others.\n\nBackground, content and release\nThe Sound of Country Music was part of a series of albums released by the RCA Camden label to promote country artists already signed to RCA Victor. West had been signed to the latter label since 1963 and had issued four albums since then. The sessions for the album took place in November 1966 at the RCA Studio in Nashville, Tennessee. The recording sessions were co-produced by Chet Atkins and Ethel Gabriel. It was West's first experience working with Gabriel as she had previously been under the supervision of Atkins.\n\nThe album consisted of ten tracks. RCA Camden was a considered a budget record label, which meant it would include previously-released material. However, The Sound of Country Music consisted of entirely new recordings, all of which were cover versions of songs. Among the tracks West covered was \"You Ain't Woman Enough\" by Loretta Lynn, \"Together Again\" by Buck Owens and \"Crazy Arms\" by Ray Price.\n\nThe Sound of Country Music was released in February 1967 on RCA Camden, becoming her fifth studio recording. On the record's release, her backing band (The Heartaches) received equal billing. It was issued as a vinyl LP, consisting of five songs on each side of the record. The album did not reach any peak positions on national publication charts, notably Billboard. It also did not spawn any singles to radio.\n\nTrack listing\n\nPersonnel\nAll credits are adapted from the liner notes of The Sound of Country Music.\n\nMusical personnel\n Harold Bradley – guitar\n Ray Edenton – guitar\n Buddy Harman – drums\n Roy Huskey – bass\n Tommy Jackson – fiddle\n Grady Martin – guitar\n Hargus \"Pig\" Robbins – piano\n Dottie West – lead vocals\n Bill West – steel guitar\n\nTechnical personnel\n Chet Atkins – producer \n Ethel Gabriel – producer\n Bill Vandevort – engineering\n\nRelease history\n\nReferences\n\n1967 albums\nAlbums produced by Chet Atkins\nDottie West albums\nRCA Camden albums" ]

[ "Patsy Cline", "Four Star Records", "What does Four Star Records refer to?", "In 1955 he gained a contract for her at Four Star Records, the label he was then affiliated with.", "What did she record for Four Star?", "Her first contract allowed her to record compositions only by Four Star writers, which Cline found limiting.", "Was her second contract less limiting?", "According to Decca Records producer Owen Bradley, the Four Star compositions only hinted at Patsy's potential.", "Did they release any of her music?", "\" Cline co-wrote the last two. None of these songs gained notable success. She experimented with rockabilly." ]

[ "Rockabilly Fever is a studio album by American recording artist Wanda Jackson. It was released in 1984 via Tab Records for the Scandinavian market in Europe. It was then re-released to other markets, including Jackson's home country in 1986 and was re-titled Rock and Roll Away Your Blues. \n\nThe album was Jackson's thirtieth in her career and her first to contain Rockabilly recordings in several decades. One single was released from the record in 1985 and the album received positive reviews from critics.\n\nBackground\nEarly in her career, Wanda Jackson became one of the first women to record Rockabilly (later known as rock and roll) and country music. She achieved commercial success in both fields with singles like \"Fujiyama Mama\", \"Let's Have a Party\", \"Right or Wrong\" and \"The Box It Came In\". She left her long-time record label in the 1970s to pursue gospel music and only occasionally performed secular concerts. In the 1980s, Rockabilly revived in Europe and Jackson's music from that era gained renewed interest from fans. In her autobiography, Jackson recalled receiving a phone call from Swedish businessman Harry Holmes in summer 1984. Holmes had started a record label and invited Jackson to record a rock album for him. With careful consideration Jackson and her husband agreed.\n\nRecording and songs\nIn September 1984, Jackson traveled to Kumla, Sweden to record what would become Rockabilly Fever. The project was produced by Swedish record producer Kenth Larsson at the Music Mill Recording Studio in Kumla alongside entirely Swedish session musicians. She described the session musicians in her 2017 book as \"Swedish rockabilly fanatics\". She also recalled a pleasant surprise to record not only Rockabilly music, but also gospel music. \n\nA total of 12 tracks comprised the original album, most of which were Rockabilly numbers. Jackson recorded mostly covers of previously successful Rockabilly songs by other performers. Included was her version of Connie Francis' \"Stupid Cupid\", Brenda Lee's \"Sweet Nothin's\", The Crickets's \"Oh, Boy!\" and \"Rave On\", Jerry Lee Lewis' \"Breathless\" and Conway Twitty's \"It's Only Make Believe\". The latter tracks had actually been first recorded by Jackson for her 1982 album, but were re-recorded for Rockabilly Fever. Also included were several new cuts, including \"Rock and Roll Away Your Blues\", \"Meet Me in Stockholm\", \"Sad Love Songs\" and the gospel track \"Ain't It the Gospel\".\n\nRelease and reception\n\nRockabilly Fever was originally released in 1984 on Tab Records exclusively for the Scandinavian market. It was originally issued as a vinyl LP, containing six songs on either side of the record. The album was Jackson's thirtieth studio record in her career. In 1985, it was released under the same title in the United Kingdom but instead under the label Magnum Force Records. The release was also issued as a vinyl LP with an identical track listing. In 1986, it was re-released for the American market under the Varrick label with 11 tracks instead of 12 (\"Meet Me in Stockholm\" was omitted). It was also issued as a vinyl LP, but had a different album cover than the original. In later decades, Rockabilly Fever was reissued as to digital and streaming markets. The American version received a three-star rating from AllMusic in later years. In addition, it received a positive response from writers Mary Bufwack and Robert K. Oermann who called the album \"Rockabilly fire\" in their 2003 book. The original Scandinavian release spawned one single in 1985, which was \"Meet Me in Stockholm\". The song was backed on the B-side by the track \"If I Could Take Sweden Home\".\n\nTrack listing\n\nRockabilly Fever\n\nRock 'n' Roll Away Your Blues\n\nDigital version\n\nPersonnel\nAll credits are adapted from the liner notes of Rockabilly Fever and Rock 'n' Roll Away Your Blues.\n\nMusical personnel\n Per-Olof Ahslund – Electric guitar\n Bjorn Alriksson – Harmonica\n Stephan Berg – Piano, keyboards\n Östen Eriksson – Double bass\n Sven-Inge Neander – Bass\n Wanda Jackson – Lead vocals\n Per Erik Jonsson – Piano\n Kenth Larsson – Steel guitar\n Benny Lawin – Saxophone\n Gunnar Norsten – Drums\n Christer Olund – Accordion\n Bert Östlund – Piano\n Ann Persson – Acoustic guitar\n\nTechnical personnel\n Joann Bodenweber – Design\n Mary Bufwack – Liner notes (1986 version)\n Kenth Larsson – Producer\n Thomas Ljungqvist – Photography\n\nRelease history\n\nReferences\n\n1984 albums\n1986 albums\nWanda Jackson albums", "Laura Lee Perkins (July 20, 1939 – April 6, 2018) was a rockabilly musician. Though not commercially successful, Perkins gained popularity during the European rockabilly revival of the 1970-1990s. She was a member of the Rockabilly Hall of Fame.\n\nEarly life \nLaura Lee Perkins was born Alice Faye Perkins in Killarney, West Virginia to Chester and Hazel Perkins. Alice Faye learned to play guitar and piano in her youth. She attended Stoco High School where she also learned to play the trumpet.\n\nCareer \nPerkins moved to Ohio in 1957 where she met a local disc jockey who sent her demos to his contacts at Imperial Records. Perkins flew to California in February 1958 and recorded with Ricky Nelson's band during sessions at Imperial. The songs produced during these sessions include Don't Wait Up and Kiss Me Baby. The label changed her stage name to Laura Lee Perkins and referred to her as the “female Jerry Lee Lewis” while promoting her 1958 record.\n\nPerkins returned to Ohio and later moved to Detroit in 1959. She continued to perform and tour will several bands. Her early records were never commercially successful, but became highly collectable during the European rockabilly revival. She released the album I’m Back and Here We Go: Laura Lee Perkins, Rockabilly Legend in 2006.\n\nPerkins was a member of the Rockabilly Hall of Fame.\n\nPersonal life \nPerkins married Neal Kitts in 1963. The couple had three sons.\n\nDiscography\n\nSingles\n\nAlbum \n 2006: I’m Back and Here We Go!\n\nReferences \n\nAmerican rockabilly musicians\n1939 births\n2018 deaths\nWomen rock singers" ]

[ "Patsy Cline", "Four Star Records", "What does Four Star Records refer to?", "In 1955 he gained a contract for her at Four Star Records, the label he was then affiliated with.", "What did she record for Four Star?", "Her first contract allowed her to record compositions only by Four Star writers, which Cline found limiting.", "Was her second contract less limiting?", "According to Decca Records producer Owen Bradley, the Four Star compositions only hinted at Patsy's potential.", "Did they release any of her music?", "\" Cline co-wrote the last two. None of these songs gained notable success. She experimented with rockabilly.", "What was the result of her rockabilly experimentation?", "I don't know." ]

[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]

[ "Conan O'Brien", "Departure from The Tonight Show" ]

[ "Falling in Reverse is an American rock band based in Las Vegas, Nevada that formed in 2008 by lead vocalist Ronnie Radke while he was incarcerated. The band is currently led by lead vocalist Radke, alongside guitarists Max Georgiev and Christian Thompson, bassist Wes Horton and touring drummer Luke Holland. The band was originally founded by lead vocalist Ronnie Radke and bassist Nason Schoeffler, who helped find guitarist Jacky Vincent and rhythm guitarist Derek Jones. The band has recorded four albums with five different studio lineups.\n\nThe band's first line-up started with British guitarist Jacky Vincent and A Smile From the Trenches guitarist Derek Jones, LoveHateHero drummer Scott Gee. At the beginning of April 2011, drummer Scott Gee left the band after finalizing the recordings of the debut studio album The Drug in Me Is You, he was replaced by former I Am Ghost and The Bigger Lights drummer Ryan Seaman. Days after Gee's departure, bassist Nason Schoeffler announced his departure from the band in order to be the lead singer of the band MeMyselfAlive. He was replaced by former Cellador bassist Mika Horiuchi. Despite not having participation on the album, Seaman and Horiuchi were included in the credits of their debut album The Drug in Me Is You.\n\nIn early 2012 after the release of their debut album The Drug in Me Is You, the band announced the departure of bassist Mika Horiuchi, he was replaced by former I Am Ghost bassist Ron Ficarro. In May 2014, the band announced the departure of bassist Ron Ficarro after his participation in the album Fashionably Late released in 2013, on that same day they announced that he would be replaced by former bassist and co-founder of Escape the Fate, Max Green (who had announced his departure from Escape the Fate days before after his return to the band in late 2013).\n\nIn October 2014 the band had announced the departure of bassist Max Green, the departure was friendly. On February 24, 2015 the band released their third studio album called Just Like You, it was the band's first album to be released without an official bassist. In the days of the album's release, former Black Tide bassist Zakk Sandler began playing with Falling in Reverse, later an official member announced. At the end of October 2015, the band announced the departure of guitarist Jacky Vincent, the departure was the most emotional in the band, Jacky announced his departure in order to continue his solo career. He was replaced by guitarist Christian Thompson.\n\nIn April 2017, days after the fourth studio album Coming Home was released, the departure of drummer Ryan Seaman was rumored, this was confirmed a month later when former There for Tomorrow drummer Chris Kamrada appeared performing with the band. The drummer's departure was not friendly as it was said that he had cut ties with vocalist Ronnie Radke. In March 2018, in the middle of a tour of the United States, lead guitarist Christian Thompson announced that he had suffered a shoulder injury, in April of that same year he announced his departure from the band for personal reasons and he was replaced by Tyler Burgess.\n\nOn June 26, 2018, the band had released the single \"Losing My Life\" and their participation in the latest Vans Warped Tour, the band presented a new lineup consisting of guitarist Max Georgiev, bassist Tyler Burgess and drummer Brandon \"Rage\" Richter, bassist Zakk Sandler was now the keyboardist, percussionist and guitarist. In October 2018 before beginning the acoustic tour \"The Roast of Ronnie Radke Tour\", drummer Brandon Richter left the band without explanation. On April 8, 2019 the band released the single \"Drugs\", keyboardist Zakk Sandler is not shown in the music video, it was rumored that he had also left the band, this was confirmed later by Sandler, but announced that his departure was friendly.\n\nOn October 13, 2019 the band performed at the Aftershock Festival with new drummer Johnny Mele. On April 22, 2020, vocalist Ronnie Radke announced on social media the death of rhythm guitarist Derek Jones, the causes of his death are unknown. Jones was the only member after Radke to be with the band from the beginning, leaving four studio albums recorded (The Drug in Me Is You, Fashionably Late, Just Like You and Coming Home). On October 18, 2020, former guitarist Christian Thompson announced his return to the band replacing Derek Jones. At the beginning of 2021 bassist Tyler Burgess and drummer Johnny Mele left the band, this happened when Wes Horton III as the band's official bassist and Luke Holland as touring drummer in the promotional video of the band's online concert.\n\nOfficial members\n\nCurrent\n\nFormer\n\nFootnotes\n \"†\" indicates a deceased member.\n\nOther contributors\n\nTouring\n\nSession\n\nTimeline\n\nReferences\n\nFalling in Reverse\nMusicians from Las Vegas", "Departure Bay is a bay in central Nanaimo, British Columbia, on the east coast of Vancouver Island. The surrounding neighbourhood is also referred to as \"Departure Bay\" —once a settlement of its own, it was amalgamated into the City of Nanaimo in the 1970s.\n\n\nGeography\n\nThe bay is framed to the west by Vancouver Island and to the south-east by Newcastle Island, a provincial marine park with a long history of mining, quarrying, herring salteries, and tourism. Jesse Island () and the smaller Brandon Islands are located near the northern shore of the bay. Both islands, though quite small, have varied histories; Brandon Island being notable for a history of Japanese fish canneries and salteries. In 1853 both islands were named after sailors on HMS Virago. Snake Island is a located just outside the mouth of the bay.\n\nThe \"Departure Bay\" neighbourhood surrounds most of the bay; though the north-eastern shoreline is referred to as Stephenson Point, named after Chief Constable Donald Stephenson. The BC Ferry terminal (itself referred to simply as \"Departure Bay\") is on the southern shore of the bay.\n\nHistory of the area\n\nThe earliest people in the region were the First Nations group known as the Snuneymuxw. It was reported in 1970 that evidence showed that the area had been inhabited for at least the whole of the last 2000 years relatively consistently.\n\nThe area was first explored by the Spanish between the 1770s and 1790s. The whole area, including Northumberland Channel, Nanaimo Harbour, and Departure Bay were named \"Bocas de Winthuysen\" by a Spanish naval officer, Francisco de Eliza, in 1791. The area was nonetheless referred to by the local native population as \"Stil'ilup\". The bay and surrounding area received an approximation of its present English moniker in approximately 1852: \"Departure Harbour;\" responsible for the naming were representatives of the Hudson's Bay Company. Later, in approximately 1855, maps were published showing the modern \"Departure Bay.\"\n\nIn approximately 1861, the first known settlers of European origin made Departure Bay their home; they were William Joseph Hughes, Samuel Harris, and John and Barbara Christie. To obtain land they used what was known as \"pre-emption,\" a historical method the Crown used to quickly sell previously un-surveyed land. In the late 1860s, coal was discovered in the Wellington area, and Departure Bay became the terminus of the rail system shipping coal from the mines. Soon, supporting offices and wharves appeared in the area. Later, in the 1870s, coal was discovered closer to the bay itself, and the Vancouver Coal Company set up further operations in the area. As an example of the significance of this area and its commercial operations, the first phone in British Columbia was set up connecting a coal wharf in Departure Bay with the mining operations in nearby Wellington. During the development of Departure Bay, many mining companies were active in the area, including the Departure Bay Mining Company, the Harewood Coal Company, and the aforementioned Vancouver Coal Company. The Hudson's Bay Company also operated mines in the area. Early in the modern history of Departure Bay, in the decades after the first settlements in the 1860s, the area was relatively populous, due in-part to the surrounding mining operations. When the mining operations later ceased (moving further away to Extension), what was once a \"booming little port\" became \"virtually uninhabited.\" Until as late as the 1940s, the area remained a relatively insignificant neighbour of Nanaimo.\n\nCilaire and black powder\nCilaire is a neighbourhood along Departure Bay that was built in the 1960s as part of Mayor Frank Ney's Great National Land and Investment Corporation. It included 220 lots and magnificent views of Departure Bay. The subdivision was built at the site of a former dynamite plant.\n\nBy the late 1880s, with coal mining expanding, there was a significant demand for blasting powder. In 1890, the Hamilton Powder Company, which was founded in 1862 in Hamilton, Ontario, bought 156 acres of land in Northfield, four miles out of Nanaimo, to produce powder. The plant was called Northfield Powder Works.\n\nIn 1892, demand was still increasing so the Hamilton Powder Company built a second explosives (mainly nitroglycerine, black powder, dynamite, and stumping powder) manufacturing plant on 100 acres on the shore of Departure Bay. The production of black powder was relatively dangerous, and the death of employees was frequently the result of accidents. The road between the two plants was called Black Powder Road and dangerous goods were regularly transported by wagon along the road. In 1896, a wagon transporting nitroglycerine and other explosives along the blew up, killing the driver and horses. Accidents and loss of life became common place.\n\nIn 1910, the Hamilton Powder Company merged with six other companies to form Canadian Explosives Limited (CXL).\n\nIn the winter of 1913, another massive explosion occurred. On 14 January, the SS Oscar was loaded with dynamite, black powder, and coal bound for Howe Sound. The ship got as far as Entrance Island at the edge of Nanaimo Harbour when Captain Alexander McDonald realised the weather was too bad to proceed and there was a fire near the ship's boilers. The captain turned the ship around and headed for Douglas Island with the idea of beaching the vessel. He ran the ship aground at Execution Point (renamed Gallows Point in 1960) and he and his crew used a ladder to escape the ship and hide down a mineshaft. The resulting explosion destroyed the above ground workings of the mine and fractured the rock down to where the miners were working causing the mine to start flooding with water. The explosion was so great, windows all over Nanaimo were shattered, debris was propelled into town, and the post office clock stopped working at 1:55.\n\nThe citizens of Nanaimo demanded an inquiry on manufacturing, storage, and transportation of powder in Nanaimo. In the spring of 1913, CXL purchased James Island in Haro Strait with plans to move its operations out of Departure Bay. It was expected to take two years, but due to World War I, it took until May 1919 for the operations at Departure Bay to be decommissioned.\n\nIn 1927, Canadian Explosives Limited changed its name to Canadian Industries Limited (CIL). The name-sake for Cilaire comes from this.\n\nAmalgamation\nBetween 1974 and 1975, the community of Departure Bay was amalgamated with the City of Nanaimo, based on a popular vote of only 52 percent in favour. In actuality, 61 percent of Departure Bay residents voted against the change; nonetheless, the greater vote from the populace of Nanaimo (which was to see its personal taxes lowered as a result—while Departure Bay's would be likewise increased) overcame the resistance.\n\nThe Pacific Biological Station\n\nThe Pacific Biological Station, located on Hammond Bay Road on the north shore of Departure Bay, was established in 1908, with the Rev. George William Taylor as its first director and sole employee. It is the oldest fisheries research centre on the Pacific coast. Operated by Fisheries and Oceans Canada, the station forms a network with eight other scientific facilities.\n\nFerry service\nThe earliest ferries to use the port were local ships, travelling short routes between locations in the area, including Nanaimo, Departure Bay, and Newcastle Island. The first major ferry operation in the area was that of the Canadian Pacific Navigation Company, which maintained a route between Vancouver Island and the Lower Mainland between 1893 and 1901. In 1901, the Canadian Pacific Navigation Company was purchased by the Canadian Pacific Railway. The route stayed in operation as the sole service until the 1950s, when the Black Ball Ferries of Captain Alexander M. Peabody's Puget Sound Navigation Company began to service the area between Departure Bay and Horseshoe Bay with the ships Kahloke and Chinook. In the late 1950s, during a time of labour unrest in the industry, Premier Bennett started a governmental ferry service, then known as the British Columbia Toll Authority Ferry System. Departure Bay remained being served by the Black Ball Line until it was bought by the government ferry corporation on November 30 1961.\n\nDeparture Bay ferry terminal\n\nSince the earliest European settlements, the area has been a relatively busy port, for itself and the surrounding communities. The Trans-Canada Highway on Vancouver Island terminates in the north at Departure Bay, where a BC Ferry terminal is located. Ferries out of Departure Bay connect the Trans-Canada Highway to the Lower Mainland at Horseshoe Bay. As a major connector to Vancouver, Departure Bay is the most heavily used Island terminal north of Swartz Bay. Whenever necessary, Departure Bay can act as a backup dock for the ferry to Gabriola Island. Between 1990 and 1997, Departure Bay was also the Island terminus for the \"Mid-Island Express\" route to Tsawwassen, before being replaced by the newer Duke Point terminal.\n\nSee also\nList of coal mines and landmarks in the Nanaimo area\n\nReferences\n\nExternal links\n\nNeighbourhoods in Nanaimo\nBC Ferries" ]

[ "Conan O'Brien", "Departure from The Tonight Show", "When was his departure?", "January 22, 2010," ]

[ "\"Llangollen Market\" is a song from early 19th century Wales. It is known to have been performed at an eisteddfod at Llangollen in 1858.\n\nThe text of the song survives in a manuscript held by the National Museum of Wales, which came into the possession of singer Mary Davies, a co-founder of the Welsh Folk-Song Society.\n\nThe song tells the tale of a young man from the Llangollen area going off to war and leaving behind his broken-hearted girlfriend. Originally written in English, the song has been translated into Welsh and recorded by several artists such as Siân James, Siobhan Owen, Calennig and Siwsann George.\n\nLyrics\nIt’s far beyond the mountains that look so distant here,\nTo fight his country’s battles, last Mayday went my dear;\nAh, well shall I remember with bitter sighs the day,\nWhy, Owen, did you leave me? At home why did I stay?\n\nAh, cruel was my father that did my flight restrain,\nAnd I was cruel-hearted that did at home remain,\nWith you, my love, contented, I’d journey far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nWhile thinking of my Owen, my eyes with tears do fill,\nAnd then my mother chides me because my wheel stands still,\nBut how can I think of spinning when my Owen’s far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nTo market at Llangollen each morning do I go,\nBut how to strike a bargain no longer do I know;\nMy father chides at evening, my mother all the day;\nWhy, Owen, did you leave me, at home why did I stay?\n\nOh, would it please kind heaven to shield my love from harm,\nTo clasp him to my bosom would every care disarm,\nBut alas, I fear, 'tis distant - that happy, happy day;\nWhy, Owen, did you leave me, at home why did stay?\n\nReferences\n\nWelsh folk songs", "\"Ohio\" is a song from the 1953 Broadway musical Wonderful Town, sung by the protagonists Ruth and Eileen, bemoaning the fact that they had left Ohio for New York City. The lyric is centered around the rhyming phrase \"Why, oh, why, oh, why, oh/why did I ever leave Ohio?\"\n\nThe song features a spoken word section in the middle, where the girls recall all the things they hated about Ohio that prompted them to leave in the first place, that ends with the sung line \"Thank heaven we're free!\" before going back to the title lyric.\n\nIt was written by Leonard Bernstein, Betty Comden, and Adolph Green.\n\nIn the original 1953 Broadway production, the song was performed by Rosalind Russell and Edith Adams (as a duet).\n\nBing Crosby recorded the song on February 9, 1953 with John Scott Trotter and His Orchestra. \n\nA noteworthy recording of the song was made by Doris Day as part of her albums, Show Time (1960) and My Heart (2011).\n\nAn additional noteworthy release was in November 2010 when it was sung by Jane Lynch as Sue Sylvester and Carol Burnett as her mother Doris on the U.S. television show Glee, which takes place in Lima, Ohio. The original spoken word section is replaced with a new lyric about Sue's parents abandoning her to hunt Nazis.\n\nSee also\n\nReferences\n\nExternal links\nLyrics at LyricsPlayground\n\n1953 songs\nSongs from musicals\nSongs with music by Leonard Bernstein\nMusic of Ohio\nSongs with lyrics by Betty Comden\nSongs with lyrics by Adolph Green" ]

[ "Conan O'Brien", "Departure from The Tonight Show", "When was his departure?", "January 22, 2010,", "Why did he leave the show?", "O'Brien's ratings had collapsed" ]

[ "Berchar (also Berthar) was the mayor of the palace of Neustria and Burgundy from 686 to 688/689. He was the successor of Waratton, whose daughter Anstrude he had married.\n\nUnlike Waratton, however, Berthar did not keep peace with Pepin of Heristal. In 687, Pepin defeated him and Theuderic III at Tertry in the Vermandois. Many fled to the nearby abbeys of Péronne and Saint-Quentin. Berthar and Theuderic III withdrew themselves to Paris. Pepin followed them and eventually forced a peace treaty with the condition that Berthar leave his office. In the ensuing quarrels, Berthar was killed by his mother-in-law Ansfled. His widow married Pepin's eldest son Drogo, duke of Champagne, and Pepin became the mayor of the palace of Neustria and Burgundy without opposition.\n\nBerthar died in either the Autumn of 688 or early 689.\n\n680s deaths\nMayors of the Palace\nYear of birth unknown", "Hubert Louis Marie van Nispen van Sevenaer (1879–1958) was a Dutch politician and nobleman with the title of Jonkheer. He was born on August 6, 1879 in Zevenaar. He was mayor of Laren from 1909 until 1943 and from 1945 until 1946. He was also mayor of neighboring Blaricum from 1913 to 1922. His term was interrupted during World War II. The Dutch government at the time banned anyone from employment after age 65, even though he wanted to keep working, especially after having lost everything during the war.\n\nCity planning\nThe mayor wanted to preserve the character and uniqueness of the town so much that he did not allow developers to build in the city. In 1912 he installed the \"welstandbepaling,\" and this action was followed by many other cities. For many years he was chairman to the local \"Goois Nature Reserve\".\n\nPatron of the Arts\nLaren and Blaricum are well-known artist towns. Van Nispen frequently purchased art and hosted expositions for local artists. He was involved with the founding of the Singer Museum and was honorary president of the Singer Memorial Foundation. Many artists, magicians and singers dedicated works to him. When he was forced to leave due to his age, a song was written as a goodbye to celebrate his long service.\n\nWorld War II\nRefusing to cooperate with the pro-Nazi NSB government, he was forced to flee with his family. Ordered by the Sicherheidspolizei, the Dutch police in a neighboring town, Hilversum, attempted to arrest him on the night of 8 to 9 February 1943, but he had already found safety. He returned in April and the German authorities put him on forced leave. On May 29 of that same year he was officially fired and banned from the district.\n\nHe moved to Garderen, Gelderland with his wife where he continued to work for the resistance. He and his family harbored pilots referred to as \"jumpers\" (springers) sent to the Netherlands by British special forces. On October 23, 1944, a raid was conducted at their house that found a chamber with ammunition and weapons. The place was burned to the ground. The family again escaped. The family fled to Apeldoorn, where they hid until the end of the war. On May 16, 1945, Van Nispen resumed his mayoral position.\n\nRecognition\nFor his work during the war Nispen received the British \"King's Medal for Courage in the Cause of Freedom\". \nHe received a royal appreciation and recognition from the Dutch Royal Family for the \"welstandsbepaling\" and was given the title of Officer in the Order of Orange-Nassau.\n\nSources \n\n Gooien Vecht Historisch\n Streekarchief Gooi en Vechtstreek, collectie losse aanwinsten, inventarisnummer 524\n Streekarchief Gooi en Vechtstreek, gemeentebestuur Laren 1925-1989, inventarisnummer 427\n Laarder Courant De BEL, 14 maart 1958\n Laarder Courant De BEL, 25 mei 1934\n Laarder Courant De BEL, 1 juni 1934\n Laarder Courant De BEL, 18 maart 1958\n\nMore info \n vannispen.info \n Europeana.eu\n Anp Archive\n War Newspapers \"het nieuws\"\n\n1879 births\n1958 deaths\nJonkheers of the Netherlands\nMayors in North Holland\nRecipients of the King's Medal for Courage in the Cause of Freedom\nPeople from Zevenaar" ]

[ "Conan O'Brien", "Departure from The Tonight Show", "When was his departure?", "January 22, 2010,", "Why did he leave the show?", "O'Brien's ratings had collapsed", "Did they try to keep him or was he forced to leave?", "Conan was allowed to start working for another network as soon as September 2010." ]

[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]

[ "Conan O'Brien", "Departure from The Tonight Show", "When was his departure?", "January 22, 2010,", "Why did he leave the show?", "O'Brien's ratings had collapsed", "Did they try to keep him or was he forced to leave?", "Conan was allowed to start working for another network as soon as September 2010.", "Are there any other interesting aspects about this article?", "The deal also granted him $45 million, of which $12 million was designated for distribution to his staff," ]

[ "The Advance-Decline data also known as AD data are calculated to show the number of advancing and declining stocks and traded volume associated with these stocks within a market index, stock market exchange or any basket of stocks with purpose of analysis of the sentiment within the analysed group of stocks. Advance-Decline data are used to measure overall market breadth as well as to measure sentiment within the stock market sectors.\n\nFirst time Advance-Decline data were calculated and analyzed back in 1926 by Colonel Leonard Ayres, an economist and market analyst at the Cleveland Trust Company. Later James Hughes pioneered the \"Market Breadth Statistics\". In 1931 Barron's started to publish Advance-Decline numbers. Advance-Decline data analysis remained in shadow until the early 1960s when Richard Russell (Dow Theory) started to use them in his \"Dow Theory Letters\" and Joseph Granville used them in his \"Granville Market Letter\".\n\nAdvancing and Declining stocks. \n\nStock considered as advancing stock when it is traded above the previous trading session's close price.\n\nStock is considered as declining stock when it is traded below the previous trading session's close price.\n\nAdvance-Decline Volume \n\nAdvance Volume refers to the cumulative total number of shares traded for all stocks from the group of the Advancing stocks within a given time frame.\n\nDecline Volume refers to the total cumulative number of shares traded for all stocks from the group of the Declining stocks within a given time frame.\n\nL.M. Lowry, founder of Lowry Research Corporation has been credited with creating the concept of Advancing and Declining Volume in 1938.\n\nBreadth Indicators \n\nBreadth indicators represent the group of technical indicators that are based on the Advance-Decline data.\n\nAdvance-decline line \n\nA-D Line = [Advancing Stocks] – [Declining Stocks] + [Previous Period's A-D Line Value]\n\nAdvance-Decline Oscillator \n\nA-D Oscillator = [Advancing Stocks] – [Declining Stocks]\n\nAdvance/Decline Ratio \n\nA/D Ratio = [Advancing Stocks] / [Declining Stocks]\n\nAdvance-Decline Percentage Oscillator \n\nA/D PO = ([Advancing Stocks] - [Declining Stocks]) / ([Advancing Stocks] + [Declining Stocks]) x 100\n\nAbsolute Breadth Index \n\nABI = abs([Advancing Stocks] – [Declining Stocks])\n\nBreadth Thrust \n\nThrust = [x-Day Moving Average of Advancing Stocks] / [x-Day Moving Average of (Advancing Stocks + Declining Stocks)]\n\nTRIN Arms Index (see TRIN (finance)) \n\nTRIN = (([Advancing stocks]/[Declining stocks]) / ([Advancing volume]/[Declining volume]))\n\nMcClellan oscillator \n\nMcClellan Oscillator = (EMA1 of [(Advancing Issues - Declining Issues)/Total Issues] - EMA2 of [(Advancing Issues - Declining Issues)/total issues]) * 1000\n\nMcClellan Summation Index \n\nIndex = Previous Index's Value + Current McClellan Oscillator Value\n\nReferences \n\nTechnical indicators", "\"Why Did You Do That?\" is a song recorded by American singer Lady Gaga for the 2018 film A Star Is Born and released on the soundtrack of the same name. It was written by Gaga with Diane Warren, Mark Nilan Jr., Nick Monson and Paul \"DJWS\" Blair, and produced by all but Warren. The song appears in the film during a sequence when Gaga's character, Ally, performs on Saturday Night Live, watched by her husband Jackson (played by co-star Bradley Cooper). Later Jackson berates Ally for selling out with the song's trite lyrics, but she defends it. \"Why Did You Do That?\" was written to evoke both a retro and a modern feel, and was recorded while Gaga was on her Joanne World Tour.\n\nThe song is interspersed with the sound of a xylophone and a repetitive chorus and post-chorus. After its release, the track received a great deal of attention for its lyrics, which some critics and fans felt were a critique of pop music. The songwriters defended the track, saying it was specifically written to emphasize that Ally's career was on the rise as Jackson's was declining.\n\nRecording and composition\n\n\"Why Did You Do That?\" was written by Gaga with Diane Warren, Mark Nilan Jr., Nick Monson and Paul \"DJWS\" Blair; all but Warren produced it. The singer had first collaborated with Warren on the 2015 sexual assault-themed song, \"Til It Happens to You\". Wanting to create a \"cool and fun Gaga song\", Warren wrote the lyrics of \"Why Did You Do That?\" against a backing track. Gaga wanted a \"retro/modern feel\" to the song and wanted Warren to get out of her comfort zone of writing alone. Monson had worked with Gaga on her third studio album, Artpop (2013), and was called in to write songs for A Star Is Born in early March 2017. Around two and a half years before, Paul \"DJWS\" Blair asked Mark Nilan Jr. to come to The Village West studio in Los Angeles and do a songwriting session with Gaga and Warren, resulting in the initial version of \"Why Did You Do That?\".\n\nCooper and Gaga began working with producers on the songs for A Star Is Born in a recording studio in Los Angeles. Once Gaga embarked on her Joanne World Tour (2017–2018), they created a recording studio on the tour bus. Every night after her show Gaga would return to the studio bus and record the tracks. Further recording was carried out at Woodrow Wilson in Hollywood, California, and Shangri-La Studios in Malibu, California. \"Why Did You Do That?\" was mixed by Tom Elmhirst at Electric Lady Studios in New York and was mastered by Randy Merrill at Sterling Sound Studios. The song opens with Ally singing the lines, \"Why do you look so good in those jeans? / Why'd you come around me with an ass like that?\" Warren had thought about the line and Gaga agreed to include it as the opening lyric. The composition is interspersed with xylophone music and the word \"damn\" in the mix. The chorus is repetitive with Gaga singing the words, \"Why did you do that, do that, do that, do that, do that to me?\" against a house beat.\n\nWarren clarified that the intention was not to write a \"bad\" pop song, but something that was fun and less serious, showing Ally's change into a pop artist. She added: \"I love that [Ally] defended her music. It doesn't have to be what he thinks music should be – music can be everything. It can be a serious song, it can be a pop song, it can be a song about an ass.\" Blair also defended the lyrics in an interview with The Washington Post, saying that it was written to specifically portray Ally's career \"taking off\", and hence it had to be \"more bubbly and mainstream\". He felt whatever the song Jackson would have resented it since he was upset at Ally's success and his failing career. Gaga on the other hand was vague about whether \"Why Did You Do That?\" is a bad song saying: \"When we see her on Saturday Night Live and she’s singing a song about why do you look so good in those jeans, it’s almost the antithesis of where we started,\" Gaga said. \"That is relatively shallow.\"\n\nUse in film\nIn A Star Is Born, \"Why Did You Do That?\" is performed by Lady Gaga's character Ally on an Alec Baldwin-hosted episode of Saturday Night Live. The performance represents Ally's transformation from a simple singer-songwriter into a \"full-fledged radio pop star\". Cooper's character, Ally's husband rock musician Jackson Maine, watches her perform it. This drives him to start drinking again. According to Refinery29, Jackson's disbelief and disappointment stems from his feeling that Ally is \"selling out\". Later, when Ally receives a Grammy Award nomination, a drunken Jackson berates her for \"letting go of the person he thought she was happiest being\". Ally defends the song and they quarrel.\n\nFor the dance sequence during the song, Gaga enlisted her long-time choreographer Richy Jackson, who choreographed all the performances in the film. The singer wanted the choreography to be \"jerky\". Jackson described the choreography he created for the song as having \"pop/R&B style with a 90s feel to it\". Since Ally's style and movements are not supposed to be like Gaga's, Jackson created an individual aesthetic for Ally as she performs \"Why Did You Do That?\" and the other uptempo songs like \"Heal Me\" and \"Hair Body Face\".\n\nCritical response and analysis\nAfter the soundtrack was released, \"Why Did You Do That?\" divided critics. Many reviewers assumed it was purposefully written with trite lyrics, to underscore Jackson's point of view about pop music compared to his country-rock songs. Critics found Jackson's dismissal of \"pop music\" to be caused by the character's short-sightedness and inability to go beyond his own rock music. Others believed that the \"bad\" song led the character reverting to his \"rampant alcoholism\".\n\nBrittany Spanos of Rolling Stone felt that the first time Gaga performs the song in the film it \"is meant to be jarring on many levels\" since it is the first time the audience sees Ally as a pop star. Spanos believes \"Why Did You Do That?\" presents \"an argument against pop, which inherently feels like an argument against Lady Gaga herself, one of the biggest advocates for the delectably catchy dance-pop Ally embodies\". However, she does find the song \"intoxicating\" and \"actually pretty great\", comparing it to Gaga's early work from The Fame (2008) era, \"a vampy flirt with a penchant for a hook you won't forget for years\". Alejandra Salazar of Refinery29 described the track as a \"campy, over-the-top pop track with ridiculous lyrics about texting and praying, and also about butts\". Salazar wondered whether the song was purposely \"engineered to be not-so-good\", to portray rock music as a more authentic genre in the film.\n\nWriting for The Daily Dot, Brenden Gallagher noted that \"Why Did You Do That?\" was not submitted by Warner Bros. for the Academy Award for Best Original Song, although it was popular among fans for its lyrics. Gallagher listed a number of Internet memes based on the song. Hazel Cillis of Jezebel contends that although \"Shallow\" and \"I'll Never Love Again\" \"might be the Oscar bait\" of Cooper's movie, \"Why Did You Do That\" is a \"mindless pop song that embodies all that Ally has become in the movie\".\n\nNate Jones of New York magazine characterized \"Why Did You Do That?\" as \"the song about butts\", noting how the song's opening line had become a central point of discussion of the film's portrayal of pop music against rock. Jones felt the general perception about the track \"often boils down to how you feel about [it] – is it terrible, is it a bop, or is it a terrible song that's also a bop?\" He found a number of \"ear-candy\" elements in the composition which grabbed the audience's attention, especially after the line about buttocks. Writing for The New York Times, Kyle Buchanan confessed to having the lyrics stuck in his head. He added that the track can sound shocking initially since \"it forgoes the timelessness of 'Shallow' and its ilk in favor of what feels like pop disposability\", but noted its rising popularity on social media. Dianne Warren noted the track has its \"revenge, because it sticks in your brain. And then you end up saying, 'Why did you do that, do that, do that'.\"\n\nCredits and personnel\nCredits adapted from the liner notes of A Star Is Born.\n\nManagement\n Recorded at Saturday Night Live set in NBC Studios, Woodrow Wilson Studios (Hollywood, California), The Village West (Los Angeles, California) and Shangri-La Studios (Malibu, California)\n Mixed at Electric Lady Studios (New York City)\n Mastered at Sterling Sound Studios (New York City)\n\nPersonnel\n\n Lady Gaga – primary vocals, songwriter, record producer\n Diane Warren – songwriter\n Mark Nilan Jr. – songwriter, producer, keyboards, programming\n Nick Monson – songwriter, producer, keyboards, programming\n Paul \"DJWS\" Blair – songwriter, producer\n Benjamin Rice – recording\n Alex Williams – recording assistant\n Rob Bisel – recording assistant\n Tom Elmhirst – mixing\n Brandon Bost – mixing engineer\n Randy Merrill – audio mastering\n Tim Stewart – guitar\n\nCharts\n\nReferences\n\n2018 songs\nLady Gaga songs\nSong recordings produced by Lady Gaga\nSongs written by Diane Warren\nSongs written by DJ White Shadow\nSongs written by Lady Gaga\nSongs written by Nick Monson\nSongs written for films" ]

[ "Conan O'Brien", "Departure from The Tonight Show", "When was his departure?", "January 22, 2010,", "Why did he leave the show?", "O'Brien's ratings had collapsed", "Did they try to keep him or was he forced to leave?", "Conan was allowed to start working for another network as soon as September 2010.", "Are there any other interesting aspects about this article?", "The deal also granted him $45 million, of which $12 million was designated for distribution to his staff,", "why did his time with them start declining?", "O'Brien's ratings had collapsed before Leno's prime time series began." ]

[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]

[ "Tippi Hedren", "The Birds (1963)" ]

[ "Hudhud (, , , , ) was, according to the Quran, the messenger and envoy of the prophet Sulayman. It refers to the sagacious birds in Islam, also referred to in The Conference of the Birds, a Persian poem by Attar of Nishapur as the \"king of birds\". The bird appears twice in the 27th chapter of An-Naml. Hudhud, as described by the Quran played an important role between Sulayman and Queen of Sheba while carrying messages between the two.\n\nThe word \"birds\" appears thirteen times in the central religious text of the Muslims, while the word \"bird\" appears five times, including the Hoopoe twice, which in Islamic belief is often recognized as a creature for communication activities.\n\nObservations \n\nA day when Sulayman took attendance of the birds he found hudhud missing.\n\nLater when the bird arrived he described the situation before him for being away in the meeting.\n\nAs a pivotal role, the hoopoe also informed Sulayman that the queen, along with her associates, worshipped the sun. Sulayman subsequently wrote a letter and gave it to the bird for the queen to check the authenticity of what the bird said. The queen in return, sent gifts to him but he declined to accept them all. She later visited him, saw manifestation of Sulayman, and adopted set of beliefs identified with religious conversion of Islam.\n\nMuslim belief and modern reception \nSince the scientific evidence limit behavior and mental processes of the birds compared to human intelligence, Hoopoes have been a subject of discussion. Some people argue \"Hudhud\" was possibly a human employed for communicating messages, as a bird could not be credited with the intellectual capability of humans, concept learning and expression, which is marked by recognize patterns, solve problems, make decisions, retain information, and use language to communicate that could come to know about the queen and her government, and worship mechanism. A human, according to science is not able to understand languages of the birds with absolute certainty, the prophet, as described by the Quran was bestowed with the abilities to know what animals, including hudhud feel, see, hear, understand and think, as the bird was trained by the Prophet to collect information like humans.\n\nA book titled When Elephants Weep by Jeffrey Moussaieff Masson and Susan McCarthy have described the animal cognition, comprising a detailed account of Dogs, Cats and Ants.\n\nMythological characteristics \nHuhhud, according to an uncertain Iranian legend, was originally a married woman. Her father-in-law entered the room and found her in an uncovered state when she was combing her hair. It was embarrassing to her, so she flew with the comb on her head. Thus, the bird became known in Persian language as \"Şâne-ser\" (scallop headed). In Islamic literature, the main features of huhhud were to collect the information and report it to Sulayman. It is also suggested that the bird was primarily involved in dowsing such as locating underground water.\n\nIt has been referred to as in Turkish literature one of the sacred birds known as \"Mürg-i Süleyman\". The bird, according to Turkish philosophy, is given long silk on his head for his loyalty and compassion. Some mystic traditionalists credits the Hoopoe a \"meaningful succession of images\" while seeing in dream.\n\nReferences \n\nLegendary birds\nIslamic legendary creatures\nQuranic figures", "Elizabeth Estensen (born 10 August 1949) is an English actress, known for portraying the role of Diane Sugden on the ITV soap opera Emmerdale from 1999 to 2021. She has also made appearances in various British television series, including The Liver Birds, T-Bag and Coronation Street.\n\nEarly and personal life\nEstensen was born on 10 August 1949 and had a Norwegian grandfather, from whom she inherited her surname. She grew up in Stockton-on-Tees, County Durham. Her mother was a primary school teacher, and her father was a merchant seaman and solicitor's clerk. Estensen considered becoming a speech therapist, but signed up for a Drama and English teaching course at Manchester Polytechnic instead. Estensen has been married to husband Philip Allen since May 1983, and the pair have a son together, James Otto Allen.\n\nCareer\nFollowing graduation from Manchester Polytechnic, she moved to Liverpool and joined the Everyman repertory company. While appearing in a production of John, Paul, George, Ringo ... and Bert, she was noticed by actress Nerys Hughes, who was looking for a replacement for Polly James in her sitcom, The Liver Birds. Estensen was cast as Carol Boswell, her debut television role, in 1975. After The Liver Birds concluded in 1979, Estensen made appearances in films and series including T-Bag and Far from the Madding Crowd. Between 1996 and 1998, she appeared in the ITV soap opera Coronation Street as Pam Middleton. Then in 1999, she was cast in the ITV soap opera Emmerdale as series regular Diane Sugden, a role she has portrayed since. In 2007, she won a shared award at the British Soap Awards for Spectacular Scene of the Year, which saw a house collapse that her character was involved in. In September 2021, Estensen confirmed that she had filmed her final scenes as Diane in Emmerdale. Her final episode was broadcast on 29 October.\n\nFilmography\n\nReferences\n\nExternal links\n \n\n1949 births\nLiving people\nEnglish soap opera actresses\nEnglish television actresses\nEnglish people of Norwegian descent\nActors from County Durham\nPeople from Stockton-on-Tees" ]

[ "Tippi Hedren", "The Birds (1963)", "What was her role in The Birds?", "She virtually has to carry the picture alone for the first forty-five minute stretch," ]

[ "Bruce Campbell (15 June 19129 January 1993) was an English ornithologist, writer and broadcaster, closely associated with the British Trust for Ornithology (BTO).\n\nLife\n\nCampbell was born in Southsea, Hampshire on 15 June 1912. As a young boy, he was influenced by his father, an army officer, birds-nester and egg-collector, who later became the British Army's Inspector of Physical Training. After education at Winchester College, he studied at the University of Edinburgh, obtaining a BSc in forestry. He later gained a doctorate in comparative bird studies, so becoming one of the first field naturalists to also be a trained scientist. In 1938, he married Margaret Gibson-Hill, herself a writer, with whom he had two sons and one daughter. From 1936 to 1948, he was a teacher and university lecturer. After World War II, he brought the work of sound recordist Ludwig Koch to the attention of the BTO. In 1948, Campbell was appointed the first full-time secretary of the BTO, a post he held until 1959. He served on the panel of the Wildlife Collection with Julian Huxley, and was active in the British Ornithologists' Union, the British Ecological Society, and conservation bodies. He conducted a pioneering study of the pied flycatcher at the Nagshead woodland reserve, Gloucestershire. He made radio and television broadcasts relating to natural history for the BBC during the 1950s. In April 1959, despite his having had no previous experience as a producer, he was appointed senior producer at the BBC Natural History Unit in Bristol, a position he held until 1962. He died on 9 January 1993 in Witney, Oxfordshire.\n\nWorks \n 1949: Snowdonia (with F. J. North and R. Scott). New Naturalist #13. Collins, London.\n 1953: Finding Nests. Collins' Clear Type Press, London.\n 1959: Bird Watching for Beginners. Puffin Books, London.\n 1967: The Pictorial Encyclopedia of Birds (editor, with Jan Hanzák (author)). Paul Hamlyn, London. \n 1969: British and European Birds in Colour (editor, with Bertel Bruun (author) and Arthur B. Singer (illustrator)). Paul Hamlyn, London. \n 1970: The Hamlyn Guide to Birds of Britain and Europe (editor, with Bertel Bruun (author) and Arthur B. Singer (illustrator)). Paul Hamlyn, London. \n 1972: A Field Guide to Birds' Nests (with James Ferguson-Lees). Constable, London. \n 1974: The Dictionary of Birds in Colour. Michael Joseph Ltd, London. \n 1979: The Natural History of Britain and Northern Europe (editor). Hodder & Stoughton, London. Multi-volume, , and \n 1979: Birdwatcher at Large. Littlehampton Book Services, UK. \n 1985: A Dictionary of Birds (editor, with Elizabeth Lack). Poyser, Calton, UK. \n 1977: Birds of Coast and Sea. Britain and Northern Europe. Oxford University Press. ISBN 0192176617.\n\nReferences \n\n The Author's & Writer's Who's Who. Burke's Peerage, London, 1971\n\n1912 births\n1993 deaths\nEnglish ornithologists\nPeople educated at Winchester College\nAlumni of the University of Edinburgh\nNew Naturalist writers\n20th-century British zoologists\nPeople from Southsea", "Featuring \"Birds\" is the third studio album by American indie rock band Quasi. It was released in 1998 by record label Up in the US and Domino in the UK.\n\nRecording \n\nFeaturing \"Birds\" was recorded during December 1997 at Jackpot Studio in Portland, Oregon.\n\nRelease \n\nFeaturing \"Birds\" was released on April 21, 1998 by record label Up in the US and Domino in the UK.\n\nReception \n\nFeaturing \"Birds\" has been well received by critics.\n\nSean Kennerly of Rolling Stone wrote: \"[the album] hides gut-wrenching heartache and despair inside sugary vocal harmonies and catchy, succinct songwriting. [...] Bitterness has never sounded so sweet.\" The album placed at number twenty-five on The Village Voice's 1998 end-of-year Pazz & Jop poll.\n\nTrack listing\n\nPersonnel \nSam Coomes – vocals, guitar, Roxichord, keyboards\nJanet Weiss – vocals, drums\nCharlie Campbell – orchestral guitar on \"Tomorrow You'll Hide\", executive producer\nQuasi – production\nJoanna Bolme – executive producer\nLarry Crane – recording engineer, executive producer\nTony Lash – executive producer, mastering\nDave Livingston – executive producer\nKathy Malloy – executive producer\nChris Slusarenko – executive producer\nElliott Smith – executive producer\nChris Takino – executive producer\nJulie Weiss – executive producer\n\nReferences \n\n1998 albums\nQuasi albums\nDomino Recording Company albums\nAlbums produced by Larry Crane (recording engineer)" ]

[ "Tippi Hedren", "The Birds (1963)", "What was her role in The Birds?", "She virtually has to carry the picture alone for the first forty-five minute stretch,", "Who was the producer of The Birds?", "Hitchcock became her drama coach," ]

[ "Sampan, also known as San-Ban, is a 1968 film which was the first feature directed, written and co-produced by Terry Bourke. The film was successful at the box office.\n\nPlot\nIn Hong Kong, the owner of a sampan has two sons, one good and one bad. One son falls in love with his stepmother.\n\nProduction\nThe script was written by Bourke, who was working as a journalist in Hong Kong, He met Gordon Mailloux who agreed to produce.\n\nRelease\nAccording to Mailoux, the film was the most successful movie made in Hong Kong that year. Bourke claimed the movie contained the first naked scene in Chinese cinema. It was banned in Taiwan.\n\nReferences\n\nExternal links\n\n1968 films\nHong Kong films", "K. S. Ashoka known as Ashoka is an Indian movie director, writer.. He became popular in the wake of the success of his debut movie 6-5=2 Kannada. It was the first found footage movie in Kannada. with the grand success of the movie 6-5=2 Kannda version the same movie was Remade in Hindi with same title 6-5=2 Hindi and released in 2014 by different director. In Telugu, it was dubbed and released as Chitram kadu nizam. following the success of the movie 6-5=2. K S Ashoka directed second Movie name Dia which is critically acclaimed and was commercially successful as well.\n\nEarly life\nWith an Engineering degree from Sri Jayachamarajendra College of Engineering (SJCE) Mysuru, Ashoka was working In Citibank India where he found his colleague D Krishna Chaitanya as his first Movie 6-5=2 producer. following the success of the movie 6-5=2 they again collaborated to work together for the next movie Dia.\n\nFilmography\n\nAwards and nominations\n\nReferences\n\nExternal links\n \n\n21st-century Indian film directors\nKannada film directors\nFilm directors from Bangalore\nLiving people\nScreenwriters from Bangalore\n1982 births" ]

[ "Tippi Hedren", "The Birds (1963)", "What was her role in The Birds?", "She virtually has to carry the picture alone for the first forty-five minute stretch,", "Who was the producer of The Birds?", "Hitchcock became her drama coach,", "Was the movie successful?", "Hedren received the Golden Globe Award for New Star of the Year," ]

[ "Black Starlet is a 1974 film.\n\nPlot summary\n\nIntroduction\nA young woman decides she no longer wants to work as a street walker in Chicago, now she wants to follow her dreams as an actress in Hollywood. The main cast members are Clara/Carla Brown – Juanita Brown, Brisco – Eric Mason, Ben – Rockne Tarkington, Skully – Damu King, Joyce – Diane Holden, Phil – Noah Keen, and Sam – Al Lewis. The writers are Daniel Cady and Howard Ostroff. The movie was filmed in Hollywood.\n\nPlot\nThe protagonist, Clara, starts out as a prostitute but is a young aspiring actress at heart. After saving up some money, she leavesher pimp boyfriend behind and moves to Hollywood. After some initial struggles, being robbed and pursued by lustful men, she finally makes it to Hollywood. While looking for work, Clara met a good friend named Joyce. Joyce taught Clara all the ins and outs about Hollywood, even introducing her to her manager. Although during Clara's time as an actress she was raped, Clara did not let that stop her. She soon became a well-known actress/writer.\n\nBackground\nOne of the reasons this movie wasn't your typical 1970s person top pick is that it was a low-budget movie, according to the \"Every 70s Movie\" article. Since the movie was set at a low budget this meant that the actors and actresses wouldn't be too great. As stated in the \"Every 70s Movie\" article, \"Yet Black Starlet meets and nearly exceeds the very low expectations set by its subject matter and title.\" Everyone in that time period just knew it was going to be a terrible movie because no one wanted to give up more funds for it forcing the producers to find casts willing to work for a very low wage. According to \"Every 70s Movie\", \"What makes Black Starlet more or less palatable are the moments wedged between exploitation-flick extremes.\"\n\nSocial norms\nIn the 1970s, it was a time when everyone was fighting for equality, African Americans, women, gays, and lesbians. The book Bucks and a Black Movie Boom stated that during the 1970s \"Very few films attempted to explore a black woman's tensions or aspirations or to examine the dynamics of sexual politics within the black community.\" Women were and still are experiencing sexual abuse. To further the fight for equality even if the industry felt no one would be interested in hearing about a black woman's struggle. Women were constantly put down about their acting talent but that was all put to rest when the movie Sparkle was introduced. It too was a low budget film that everyone thought would not take off anywhere, but soon became an appealing movie.\n\nWomanism\nThe fight for women's rights: the 1970s was a time when women were campaigning women's rights. In 1972, Congress approved the Equal Rights Amendment. This amendment states “Equality of rights under the law shall not be denied or abridged by the United States or by any state on account of sex.” This was a time where women opened abortion clinics and rape centers. According to the book Bucks and a Black Movie Boom, \"It was the 1970s, that slick trendy, and contradictory era that led opened with politics and social issues very much on the minds of most Americans.\" The 1970s was an era for Black women to show that they were more than just a stereotype, they could act as well. In the book it discusses, \"What with the Black Nationalist movement, the youth movement, and the rising tide of feminism, the 1970s looked as if it, like the 1960s, would be propelled along by political activism. The movies gave Blacks a way to express their feelings without backlash. With this being said the 1970s era was different, different how? Bucks and a Black Movie Boom states that \"Then, too, while the 1970s opened with films with some political heat, the age closed with movies that were increasingly more escapist.\" In this era, Blacks were looking for a movie that shed light to America's racial conflicts and issues such as actors who showed power, who showed they weren't afraid of standing up for what was right. The 1970s is explained to be, \"No other period in black movie history, however, has been quite so energetic or important as the frenetic 1970s,\" as described in the book Bucks and a Black Movie Boom. This era, was like no other time era. It was a moment for anyone, blacks included, to rise above the pre-existing weak stereotypes.\n\nDiscussion of context\nThe soundtrack to the movie is soulful music coming from Joe Hinton and Dee Irvin. Songs include “Up is Down”, “Hollywood Faces”, “Fire Sign”, and “Go on and Find Your Star”.\n\nConclusion\nAs far as information about the main characters, there is not much information about Juanita Brown and Rockne Tarkington died in 2015. It is said that Tarkington has appeared in many movies. As for Brown, she has appeared in a few movies as stated in the article \"Every 70s Movie\". Yet nothing else has appeared about the actress. This film is listed as a blaxploitation film on Wikipedia.\n\nReferences\n\nSources\n\nExternal links\n Black Starlet (1974) [FULL MOVIE] | Itinerant Blog\n ‎Black Starlet (1974) directed by Chris Munger • Reviews, film + cast • Letterboxd\n\n1974 films\nBlaxploitation films", "I Told You So is a 1970 Ghanaian movie. The movie portrays Ghanaians and their way of life in a satirical style. It also gives insight into the life of a young lady who did not take the advice of her father when about to marry a man, she did not know anything about the man she was going to marry, but rather took her mother's and uncle's advice because of the wealth and power the man has.\n\nThe young lady later finds out that the man she is supposed to marry was an armed robber. She was unhappy of the whole incident. When her dad ask what had happened, she replied that the man she was supposed to marry is an armed robber; her father ended by saying \"I told you so\".\n\nCast\nBobe Cole\nMargret Quainoo (Araba Stamp)\nKweku Crankson (Osuo Abrobor)\n\nReferences\n\nExternal links\n \n I TOLD YOU SO GHANAIAN MOVIE\n\n1970 films\nGhanaian films" ]

[ "Tippi Hedren", "The Birds (1963)", "What was her role in The Birds?", "She virtually has to carry the picture alone for the first forty-five minute stretch,", "Who was the producer of The Birds?", "Hitchcock became her drama coach,", "Was the movie successful?", "Hedren received the Golden Globe Award for New Star of the Year,", "What was the movie about?", "She's already reaching the lows and highs of terror.\"" ]

[ "Ashot Melikjanyan or Melikdzhanyan (20 April 1952 — 12 November 2001) was a Soviet Armenian actor.\n\nEarly life, family and education\n\nAshot Melikdjanyan was born in the Soviet Union on the 20th of April in 1954.\n\nCareer \nMelikdjanyan began his acting career at the Yerevan Dramatic Theater. His first on-screen performance was playing the role of Meruzhan in the 1972 film Ayrik. He then starred as the protagonist in the 1979 film Air Pedestrians, filmed at the Uzbekfilm film studio. He starred in the 1983 movie Without much risk which was filmed at the Gorky Film Studio. Melikdjanyan's last appearance was in the 1990 movie Yearning, which was filmed at the Armenfilm studio. \n\nAfter the Soviet Union collapsed, Melikdjanyan emigrated with his family to the US, where he worked at a jewelry factory which supervised one of its branches in the Dominican Republic.\n\nPersonal life and demise\nMelikdjanyan was killed in New York City in the crash of American Airlines Flight 587 on 12 November 2001.\n\nFilmography\n\nReferences \n\nSoviet male actors\n2001 deaths\nSoviet Armenians\n1952 births\n20th-century Armenian actors\nAmerican people of Armenian descent\nVictims of aviation accidents or incidents in 2001\nAccidental deaths in New York (state)\nSoviet male film actors", "The Asturian Cinema in Asturias, Spain, began in 1905 with the production of the first Asturian fiction film known as El robo de fruta (The fruit robbery). It was filmed by the Asturian film maker Javier Sánchez Manteola. This movie was filmed in Gijón (Asturias) and premiered in that city in the same year. It was shown in the old movie theater known as Salón Luminoso once located at Begoña Walk. In commemoration of this even the Asturian Film Festival was established in the year 2005.\n\nFirst projections \n\nCinema started in Asturies seven months after its first public presentation in París in 1895. The new invention was taken to Asturias during the summer festival in Gijon. On Saturday 8 August 1896 the first film was projected.\n\nReferences \n\nCinema, Asturian\nCinema of Spain\nHistory of film" ]

[ "Tippi Hedren", "The Birds (1963)", "What was her role in The Birds?", "She virtually has to carry the picture alone for the first forty-five minute stretch,", "Who was the producer of The Birds?", "Hitchcock became her drama coach,", "Was the movie successful?", "Hedren received the Golden Globe Award for New Star of the Year,", "What was the movie about?", "She's already reaching the lows and highs of terror.\"", "Where was the movie filmed?", "I don't know." ]

[ "Alfonso Serrano \"Alfie\" Anido (December 30, 1959 – December 30, 1981) was a popular Filipino matinee idol, best remembered for his mysterious sudden death at the age of 22.\n\nBiography\nAnido was born on December 30, 1959 in Manila. He was the eldest of the four children of Alberto Anido and Sarah Serrano, both Spanish Mestizo. He was also the brother of Albert Anido, another Filipino actor. He was also a fashion and commercial model before he became a contract star for Regal Films, a leading Filipino film production company. He was dubbed as one of the Regal Babies, along with then-young actors such as Gabby Concepcion, William Martinez, Albert Martinez, Maricel Soriano, Snooky Serna, and Dina Bonnevie. He was famously linked with Bonnevie, his co-star in the 1980 camp classic Temptation Island. At the time of his entry into show business, he was in college at the Ateneo de Manila University studying management.\n\nDeath\nAnido died on December 30, 1981, the night of his 22nd birthday at his home in Bel-Air, Makati. The official version, contemporaneously reported in the mainstream Manila media, was that Anido had been shot. This version has not been officially or authoritatively contradicted up to this day. However, immediately after his death, rumors quickly spread that Anido was actually murdered, and that such fact was covered up owing to the prominence of the personalities allegedly involved. Suspicion fell on the family of an ex-girlfriend whose father was a high-ranking government official, Minister of Defense Juan Ponce Enrile. The rumor gained traction in Manila, which was then under the throes of the authoritarian rule of Ferdinand Marcos, whose government controlled the mass media during that period. Jack Enrile, the brother of Anido's then girlfriend Katrina Enrile, was rumored to have shot Anido but has denied any involvement in the actor's death.\n\nOther versions on the death of Anido were printed in the alternative press such as the Philippine Collegian, the official student organ of the University of the Philippines.\n\nFilmography\n\nFilm\n 1980: Nympha – introducing role as Marcial (movie released March 7, 1980)\n 1980: Uhaw sa Kalayaan – Arman (movie released June 6, 1980)\n 1980: Temptation Island – Alfredo (movie released July 4, 1980)\n 1980: Katorse – Albert (movie released July 25, 1980)\n 1980: Waikiki: Sa Lupa ng Ating mga Pangarap – Ronald (movie released November 14, 1980)\n 1981: Bilibid Boys – Steve Guanzon (movie released January 16, 1981)\n 1981: Blue Jeans – Joey Amador (movie released February 20, 1981)\n 1981: Pabling – cameo role as Fredo \"The Bus Conductor\" (movie released July 17, 1981)\n 1981: Bilibid Gays – guest role (movie released July 31, 1981)\n 1981: Kasalanan Ba? – Benjie (movie released October 2, 1981)\n 1982: Throw Away Child – Atty. Delfin Llamzon (movie posthumously released January 8, 1982)\n 1982: Dormitoryo – Philip (the only non-Regal movie that starred Anido; movie posthumously released January 15, 1982)\n 1982: Diosa – Jun Alegre (movie posthumously released August 13, 1982)\n 1982: The Diary of Cristina Gaston – Alfredo (movie posthumously released September 24, 1982)\n\nReferences\n\nExternal links\n \n\n1959 births\n1981 deaths\nFilipino people of Spanish descent\nAteneo de Manila University alumni\n20th-century Filipino male actors\nBurials at the Manila Memorial Park – Sucat\nFilipino male film actors", "Miffy the Movie (originally released under the title Nijntje de film in the Netherlands) is a 2013 Dutch stop motion animated family film, based on the Miffy character created by Dick Bruna. Produced by KRO and A. Film A/S, the movie debuted on 30 January 2013 in the Netherlands.\n\nThe series is animated in the style of Miffy and Friends, the first television adaptation of Miffy.\n\nSynopsis \nThe titular rabbit, Miffy, goes on a treasure hunt at a zoo. Along with her friends Snuffy the dog, Melanie the rabbit and Grunty the pig, she is able to complete the quest through problem-solving.\n\nCast\n\nRelease \nThe film was first announced on 18 May 2010, with an expected release date of November 2011. Production was delayed for unknown reasons, and the first trailer for Miffy the Movie was released in 2012. The film was first screened in the Netherlands, its country of origin, and was distributed by Warner Bros. Pictures. On 22 March 2013, the film was released in Japan. In Canada, Miffy the Movie premiered as part of the 2013 Toronto International Film Festival. The movie saw its Australian release on 11 May 2013; for this country, Miffy the Movie was distributed by Transmission Films. \n\nThe film was released in several additional countries in 2015, to celebrate the sixtieth anniversary of the \"Miffy\" character. The movie was released in Poland on 1 June 2015 and in the United Kingdom on 21 June 2015.\n\nA Dutch-language DVD was released on 26 June 2013 in the Netherlands. A German disc was released on 9 March 2014 and a Region 1 DVD featuring an English audio track was released on 2 December 2014 in North America, despite the film not getting a theatrical release in Germany and the United States.\n\nAccolades\n\nReferences\n\nExternal links \n \n\n2013 films\nAnimated films based on children's books\nAnimated films based on animated series\nAnimated films about Leporidae\nDutch animated films\nDutch children's films\nDutch comedy films\nDutch films\n2010s Dutch-language films\nFilms based on Dutch novels\n2010s stop-motion animated films\n2010s children's animated films" ]

[ "Tippi Hedren", "The Birds (1963)", "What was her role in The Birds?", "She virtually has to carry the picture alone for the first forty-five minute stretch,", "Who was the producer of The Birds?", "Hitchcock became her drama coach,", "Was the movie successful?", "Hedren received the Golden Globe Award for New Star of the Year,", "What was the movie about?", "She's already reaching the lows and highs of terror.\"", "Where was the movie filmed?", "I don't know.", "When was the movie released?", "at a prestigious invitational showing at the 1963 Cannes Film Festival. Hedren's" ]

[ "The Filmfare Award for Best Film is given by the Filmfare magazine as part of its annual Filmfare Awards for Hindi films.\n\nThe award was first given in 1954. Here is a list of the award winners and the nominees of the respective years. Each individual entry shows the title followed by the production company and the producer.\n\nYash Raj Films has produced 18 films that have been nominated, the most for any production house. It also shares the most wins at 4 along with Bimal Roy Productions and UTV Motion Pictures. While Yash Chopra has been the producer of most of the nominated and all the winning films of Yash Raj Films, Bimal Roy has been the producer of all the nominated films of Bimal Roy Productions, thus making them the producer with the most wins. Bimal Roy, Yash Chopra, and Sanjay Leela Bhansali have each directed 4 winning films, the most for any director. Aamir Khan has starred in 9 winning films which is the most for any actor in a leading role.\n\nWinners and nominees\n\n1950s\n\n1960s\n\n1970s\n\n1980s\n\n1990s\n\n2000s\n\n2010s\n\n2020s\n\nSpecial 50 Year Award\n\nIn 2005, Filmfare announced the best movie of the last 50 years as Sholay, although the film did not win the Filmfare Award for Best Film in its year of release.\n\nSee also\n Filmfare Critics Award for Best Movie\n Filmfare Awards\n Bollywood\n Cinema of India\n\nReferences\n\nExternal links\nFilmfare Awards Best Film\n\nF\nAwards for best film", "Torn is a 2013 Nigerian psychological thriller film directed by Moses Inwang and starring Joseph Benjamin, Ireti Doyle and Monalisa Chinda. It received five nominations at the 2013 Best of Nollywood Awards for categories Director of the Year, Movie of the Year, Best Edited Movie, Best Screenplay, and Best Actress in a Leading Role, but did not win any awards.\n\nCast\nIreti Doyle as Ovu\nMonalisa Chinda as Nana\nJoseph Benjamin as Olumide\nBimbo Manuel as the psychotherapist\nFemi Ogedengbe as Inspector\nTope Tedela\nJulius Agwu\n\nReception\nNollywood Reinvented praised the film's storyline, calling it a departure from the usual form of storytelling used in Nollywood. It currently holds a 59% average rating.\n\nSee also\n List of Nigerian films of 2013\n\nReferences\n\n2013 films\nEnglish-language films\n2013 thriller drama films\nNigerian thriller drama films\nNigerian films\n2013 psychological thriller films\n2013 drama films" ]

[ "Tippi Hedren", "The Birds (1963)", "What was her role in The Birds?", "She virtually has to carry the picture alone for the first forty-five minute stretch,", "Who was the producer of The Birds?", "Hitchcock became her drama coach,", "Was the movie successful?", "Hedren received the Golden Globe Award for New Star of the Year,", "What was the movie about?", "She's already reaching the lows and highs of terror.\"", "Where was the movie filmed?", "I don't know.", "When was the movie released?", "at a prestigious invitational showing at the 1963 Cannes Film Festival. Hedren's", "Did the movie win any awards?", "Golden Globe Award for New Star of the Year," ]

[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]

[ "Fred Frith", "Guitars and playing technique" ]

[ "Red Tide was an American thrash metal band, formed in 1992 by guitarist/vocalist Jeff Wu, bassist Jeff Bennett, and drummer Justin Foley. In those early high school days they released three demos of pure hardcore/thrash metal. Red Tide went on to play the Simsbury High School Battle of the Bands in which they won first place. Noted as the first \"real\" metal band to play the event and the first band to play their own material vs covers.\n\nIn 1995, Red Tide took a turn in their musical direction. This was the time they began to experiment with jazz and fusion. This brought the departure of Jeff Bennett and introduction of Andy Dickins on bass. The new line up began to write music with an emphasis of jazz fusion thrown in. They went on to record one demo entitled \"Expressions\" which showcased their new eclectic style.\n\nIn 1996, Red Tide recruited Ian Kauffman on guitars. Now making the line up a 4 piece. They continued to incorporate jazz fusion into their brand of aggressive style of metal and went into the studio to record another demo entitled \"Hybrid\".\n\nIn 1997, Red Tide went into the studio to record their first full-length Themes of the Cosmic Consciousness. This was a self-financed independent CD release. It gained in popularity through the help of the internet. In 1998, Andy Dickins leaves the band to pursue other interests.\n\nFinally in 2001 Red Tide released their last effort Type II. This included Blue on bass. Shortly after this release Red Tide disbanded in 2002.\n\nMembers\n\nLast known lineup\nJeff Wu - Guitars/Vocals (1992–2002)\nJustin Foley - Drums (1992–2002)\nIan Kauffman - Guitars (1996–2002)\nMatt \"Blue\" Ouellette - Bass (1998–2002)\n\nPrevious\nJeff Bennett - Bass (1992–1995)\nAndy Dickins - Bass (1995–1998)\nAndre Otero - Guitar (1995 Studio Session)\nBryan - Guitar (1995 - 1996 Session player)\n\nDiscography\n1993: Peculiar Institution Demo\n1994: The Ideal Creation Demo\n1994: Steps to the End Demo\n1995: Expressions Demo\n1996: Hybrid Demo\n1997: Themes of the Cosmic Consciousness\n2001: Type II\n\nReferences\n\nExternal links\n\nRed Tide - Encyclopaedia Metallum: The Metal Archives\n\nMusical groups established in 1992\nMusical groups disestablished in 2002\nHeavy metal musical groups from Connecticut\nAmerican thrash metal musical groups\nMusical quartets", "Rolling Through This World is a collaborative studio album, credited to American guitarist Bob Brozman and Australian musician Jeff Lang with Angus Diggs. Rolling Through This World was released in Australia in 2002.\n\nAt the ARIA Music Awards of 2002, the album won the ARIA Award for Best Blues and Roots Album.\n\nBackground\nBrozman and Lang met when they both performed at the 2000 Woodford Festival in Australia. The two jammed together during each other's sets and improvised without rehearsal. It was agreed that they would play some shows together and record a project together during Brozman's January 2002 Australian tour. Rolling Through This World is the result of four days recording in Melbourne in January 2002.\n\nReception\nSydney Morning Herald said \"..two hugely talented guitar show-offs demonstrate just exactly what can be done when they decide to stretch their considerable skills. There are moments when you gasp and want to ask, 'How did you do that, you flashy pair of bastards?' as the two duck and dive around each other in amazing displays of cleverness. The interplay of the two guitars is glorious, the way the guitars weave around each other is just simply amazing.\"\n\nTrack listing\n \"61 Highway\" (Fred McDowell) - 4:52\n \"Danville Girl\" (Dock Boggs) - 4:16\n \"Rolling Through This World\" (Bob Brozman) - 6:15\n \"The Changeling\" (Chris Wilson) - 6:06\n \"Cypress Grove\" (Skip James) - 5:30\n \"Black Back Train\" (Traditional) - 5:26\n \"Get Lucky\" (Brozman) - 5:04\n \"Telephone Arguing Blues\" - 5:06\n \"Rooster Tail\" (Lang) - 3:11\n \"Plucked Pigeon Soup-Hop\" (Brozman) - 4:28\n \"Wipe It Off\" (Lonnie Johnson) - 1:47\n\nPersonnel\nBob Brozman – vocal guitars\nJeff Lang – vocals, guitars, chumbush\nAngus Diggs – drums\n\nReferences\n\n2002 albums\nJeff Lang albums\nARIA Award-winning albums\nCollaborative albums" ]

[ "Fred Frith", "Guitars and playing technique", "What type of guitars did they play?", "Fred Frith has used a number of different guitars, including homemade instruments, over the years, depending on the type of music he is playing." ]

[ "Glide guitar is a technique for playing guitar in which the player strums while holding the vibrato bar, resulting in a pitch that wavers. It was developed by Irish musician Kevin Shields of My Bloody Valentine on the band's releases You Made Me Realise (1988) and Isn't Anything (1988). Shields often combined this technique with a reverse reverb effect from a Yamaha SPX90 unit or Alesis Midiverb II, and would also tune two neighboring strings of his guitar to nearly the same pitch.\n\nShields explained that he \"virtually invent[ed] my own way of playing. It didn't come about in any conscious way. ... It felt playful, but on a much stronger level.\" The technique was later referenced in the title of the group's EP Glider (1990).\n\nSee also\n Dream pop\n Shoegazing\n\nReferences\n\nExternal links\n\nGuitar performance techniques\nShoegazing\nMy Bloody Valentine (band)", "\"How Interesting: A Tiny Man\" is a 2010 science fiction/magical realism short story by American writer Harlan Ellison. It was first published in Realms of Fantasy.\n\nPlot summary\nA scientist creates a tiny man. The tiny man is initially very popular, but then draws the hatred of the world, and so the tiny man must flee, together with the scientist (who is now likewise hated, for having created the tiny man).\n\nReception\n\"How Interesting: A Tiny Man\" won the 2010 Nebula Award for Best Short Story, tied with Kij Johnson's \"Ponies\". It was Ellison's final Nebula nomination and win, of his record-setting eight nominations and three wins.\n\nTor.com calls the story \"deceptively simple\", with \"execution (that) is flawless\" and a \"Geppetto-like\" narrator, while Publishers Weekly describes it as \"memorably depict(ing) humanity's smallness of spirit\". The SF Site, however, felt it was \"contrived and less than profound\".\n\nNick Mamatas compared \"How Interesting: A Tiny Man\" negatively to Ellison's other Nebula-winning short stories, and stated that the story's two mutually exclusive endings (in one, the tiny man is killed; in the other, he becomes God) are evocative of the process of writing short stories. Ben Peek considered it to be \"more allegory than (...) anything else\", and interpreted it as being about how the media \"give(s) everyone a voice\", and also about how Ellison was treated by science fiction fandom.\n\nReferences\n\nExternal links\nAudio version of ''How Interesting: A Tiny Man, at StarShipSofa\nHow Interesting: A Tiny Man, at the Internet Speculative Fiction Database\n\nNebula Award for Best Short Story-winning works\nShort stories by Harlan Ellison" ]

[ "Fred Frith", "Guitars and playing technique", "What type of guitars did they play?", "Fred Frith has used a number of different guitars, including homemade instruments, over the years, depending on the type of music he is playing.", "Was there anything interesting about there playing technique?", "Frith uses a variety of implements to play guitar, from traditional guitar picks to violin bows, drum sticks, egg beaters, paint brushes, lengths of metal chain, and other found objects." ]

[ "Wally Wallington is a retired construction worker from Lapeer County, Michigan, who has demonstrated methods for a single person to achieve the construction and manipulation of massive monoliths.\n\nWork\nHe has constructed a concrete Stonehenge-like structure using only materials and techniques that do not rely on any modern machine-powered technology. He has demonstrated this technique on the Canadian science television program Daily Planet and also for the Discovery Channel.\n\nTechnique\nHis technique uses simple machines such as levers aided by counterweights and pivots. He says that he has successfully singlehandedly \"walked\" a twenty-ton barn and multi-thousand-pound concrete blocks using a beam lever and two pivots beneath the object and near the center of mass. These techniques might be comparable to those used by Edward Leedskalnin when he had single-handedly constructed his massive Coral Castle in Florida.\n\nReferences\n\nExternal links\nOfficial website \n\nLiving people\nYear of birth missing (living people)\nPeople from Flint, Michigan\nStonehenge replicas and derivatives\nExperimental archaeology\nPlace of birth missing (living people)\nPeople from Lapeer County, Michigan", "André Blavier (23 October 1922 – 12 June 2001) was a Belgian poet. From 1961 he was a member of the literary group Oulipo and served as their foreign correspondent. \n\nHe was born in Verviers into a working-class family. His wife was the collage artist and translator Odette Blavier. \n\nBlavier was greatly influenced by the work of Raymond Queneau, and became a member of Oulipo (the name is a contraction for Ouvroir de littérature potentielle or \"workshop of potential literature\"), a group consisting of mostly French-speaking writers and mathematicians who create literary works using constrained writing techniques.\n\nReferences\n\nPataphysicians\n1922 births\n2001 deaths\nBelgian male poets\nBelgian poets in French\nPeople from Verviers\nWalloon movement activists\nWalloon people\n20th-century Belgian poets\n20th-century Belgian male writers\nOulipo members" ]

[ "Fred Frith", "Guitars and playing technique", "What type of guitars did they play?", "Fred Frith has used a number of different guitars, including homemade instruments, over the years, depending on the type of music he is playing.", "Was there anything interesting about there playing technique?", "Frith uses a variety of implements to play guitar, from traditional guitar picks to violin bows, drum sticks, egg beaters, paint brushes, lengths of metal chain, and other found objects.", "Has he influenced anyone from using these techniques?", "I don't know." ]

[ "\"How Interesting: A Tiny Man\" is a 2010 science fiction/magical realism short story by American writer Harlan Ellison. It was first published in Realms of Fantasy.\n\nPlot summary\nA scientist creates a tiny man. The tiny man is initially very popular, but then draws the hatred of the world, and so the tiny man must flee, together with the scientist (who is now likewise hated, for having created the tiny man).\n\nReception\n\"How Interesting: A Tiny Man\" won the 2010 Nebula Award for Best Short Story, tied with Kij Johnson's \"Ponies\". It was Ellison's final Nebula nomination and win, of his record-setting eight nominations and three wins.\n\nTor.com calls the story \"deceptively simple\", with \"execution (that) is flawless\" and a \"Geppetto-like\" narrator, while Publishers Weekly describes it as \"memorably depict(ing) humanity's smallness of spirit\". The SF Site, however, felt it was \"contrived and less than profound\".\n\nNick Mamatas compared \"How Interesting: A Tiny Man\" negatively to Ellison's other Nebula-winning short stories, and stated that the story's two mutually exclusive endings (in one, the tiny man is killed; in the other, he becomes God) are evocative of the process of writing short stories. Ben Peek considered it to be \"more allegory than (...) anything else\", and interpreted it as being about how the media \"give(s) everyone a voice\", and also about how Ellison was treated by science fiction fandom.\n\nReferences\n\nExternal links\nAudio version of ''How Interesting: A Tiny Man, at StarShipSofa\nHow Interesting: A Tiny Man, at the Internet Speculative Fiction Database\n\nNebula Award for Best Short Story-winning works\nShort stories by Harlan Ellison", "Wreckless Eric's third album was released as a double LP (SEEZ 21) and as cassette (ZSEES 21) on February 29, 1980. While the first LP comprised new material, the extra LP was the U.S.-only compilation album The Whole Wide World.\nBig Smash! was re-issued as a 2-CD set in 2007 with 3 bonus tracks (CDSEEZ 21).\n\nCritical reception\nBillboard praised \"good energetic and basic rock'n'roll\" of the album and compared it with oeuvre of the Dave Edmunds. Reviewers noticed that \"Eric has his own sound, personality and point of view\".\n\nTrack Listing Double LP - 1980\n\nSide 1\n\"A Popsong\"\n\"Tonight (Is My Night)\"\n\"Too Busy\"\n\"Broken Doll\"\n\"Can I Be Your Hero?\"\n\"Back in My Hometown\"\n\nSide 2\n\"It'll Soon Be the Weekend\"\n\"Strange Towns\"\n\"Excuse Me\"\n\"Break My Mind\"\n\"Good Conversation\"\n\"Out of the Blue\"\n\"A Popsong (reprise)\"\n\nSide 3\n\"(I'd Go the) Whole Wide World\"\n\"Take The Cash (K.A.S.H.)\"\n\"Let's Go to the Pictures\" (Alternate version)\n\"Walking on the Surface of the Moon\" (Alternate version)\n\"Hit & Miss Judy\"\n\"I Wish It Would Rain\"\n\nSide 4\n\"Reconnez Cherie\"\n\"Veronica\"\n\"Brain Thieves\"\n\"Semaphore Signals\"\n\"I Need a Situation\"\n\"The Final Taxi\"\n\"There Isn't Anything Else\"\n\nTrack Listing 2CD Set - 2007\n\nCD 1\n\"A Popsong\"\n\"Tonight (Is My Night)\"\n\"Too Busy\"\n\"Broken Doll\"\n\"Can I Be Your Hero?\"\n\"Back in My Hometown\"\n\"It'll Soon Be the Weekend\"\n\"Strange Towns\"\n\"Excuse Me\"\n\"Break My Mind\"\n\"Good Conversation\"\n\"Out of the Blue\"\n\nCD 2\n\"(I'd Go the) Whole Wide World\"\n\"Take the Cash (K.A.S.H.)\"\n\"Let's Go to the Pictures\"\n\"Walking on the Surface of the Moon\"\n\"Hit & Miss Judy\"\n\"I Wish It Would Rain\"\n\"Reconnez Cherie\"\n\"Veronica\"\n\"Brain Thieves\"\n\"Semaphore Signals\"\n\"I Need a Situation\"\n\"The Final Taxi\"\n\"There Isn't Anything Else\"\n\"A Little Bit More\"\n\"Take the Cash (K.A.S.H.) - Live\"\n\"I Need a Situation - Live\"\n\nPersonnel\n\nFor LP/Disc 1\nWreckless Eric - vocals, rhythm guitar\nPete Gosling - lead guitar, electric and acoustic rhythm guitars\nWalter Hacon - electric and acoustic rhythm guitars\nMalcolm Morley - organ, piano, acoustic guitar\nJohn Brown - electric bass guitar\nDave Otway (Professor Carnage) - drums, percussion.\n\nReferences\n\nExternal links\nOfficial Wreckless Eric website\n\n1980 albums\n2007 albums\nWreckless Eric albums\nStiff Records albums" ]

[ "Fred Frith", "Guitars and playing technique", "What type of guitars did they play?", "Fred Frith has used a number of different guitars, including homemade instruments, over the years, depending on the type of music he is playing.", "Was there anything interesting about there playing technique?", "Frith uses a variety of implements to play guitar, from traditional guitar picks to violin bows, drum sticks, egg beaters, paint brushes, lengths of metal chain, and other found objects.", "Has he influenced anyone from using these techniques?", "I don't know.", "Anything else interesting about there guitars?", "For the more structured and refined music he has often used a Gibson ES-345," ]

[ "The Gibson ES-339 is a semi-hollowbody guitar which is manufactured by Gibson. The guitar is a smaller version of the Gibson ES-335, but has been reduced to the dimensions of the Gibson Les Paul.\n\nOptions\nThe standard 339 is available with what is referred to as the \"30 over 60\" or 30/60 neck and the beefier '59 neck profile. Both necks are made of mahogany. The 30/60 neck is based on the vintage slim neck design seen on most 335 models, with an additional .030 of an inch depth from front to back.\n\nThe ES-339 comes with variations of pickups, pair of Gibson 57' classic humbuckers, a model of a PAF pick up with Alnico II magnets or MHS Memphis Historic Spec or Burstbucker 1 & 2.\n\nThe ES-339 Figured features all the same design specifications with exception to the wood construction, which is curly maple (also known as flamed maple). This model is more expensive than the standard ES-339.\n\nThere is also a ES-339 studio version\n\nEpiphone\nEpiphone also makes 3 versions of the ES-339, called the ES-339 PRO, ES-339 P90 PRO and the Ultra-339. They are considerably less expensive than the Gibson version.\n\nHistory\nThe Gibson ES-339 is the descendant of the ES-335. It is made from a solid maple center block and maple laminate top, back and sides. It is smaller than the ES-335, closer to the size of a Les Paul model.\n\nIn terms of electronics, the ES-339 differs from the ES-335 with the use of what Gibson calls the Memphis Tone Circuit.\n\nReferences\n\nExternal links \n\n \n\nE\nSemi-acoustic guitars", "Earthwood is a brand of Ernie Ball acoustic bass guitars as well as acoustic six string guitars. Ball collaborated with George Fullerton, a former employee at Fender, to develop the Earthwood acoustic bass guitar, which was introduced in 1972. It is notable for being the first modern acoustic bass guitar.\n\nThe guitar model featured a bolt-on hard rock maple neck, similar to that on Fender electric and acoustic guitars of the period. The design proved problematic, with too much stress for top. Warranty repairs became very expensive for the company. Later guitars were reinforced but production ceased after only a couple of years.\n\nSee also\nAcoustic bass guitar\n\nExternal links\n History at www.ernieball.com.\n\nGuitar manufacturing companies of the United States\nBass guitars" ]

[ "Fred Frith", "Guitars and playing technique", "What type of guitars did they play?", "Fred Frith has used a number of different guitars, including homemade instruments, over the years, depending on the type of music he is playing.", "Was there anything interesting about there playing technique?", "Frith uses a variety of implements to play guitar, from traditional guitar picks to violin bows, drum sticks, egg beaters, paint brushes, lengths of metal chain, and other found objects.", "Has he influenced anyone from using these techniques?", "I don't know.", "Anything else interesting about there guitars?", "For the more structured and refined music he has often used a Gibson ES-345,", "Is this guitar expensive?", "I don't know." ]

[ "George Gruhn is a writer, businessman and ophiophilist. He is an expert on vintage American guitars and related instruments. He opened Gruhn Guitars in Nashville, Tennessee, in 1970 and has sold guitars to musicians such as Eric Clapton, Brad Paisley, Lyle Lovett, Emmylou Harris, Billy Gibbons, Rick Nielsen, Vince Gill, John Hiatt, and Hank Williams, Jr. Vintage Guitar magazine described his store as a \"landmark,\" and a mecca \"for fans of collectible electric and acoustic guitars.\" He is also the author of several books on the subject.\n\nSelected publications\nGruhn has written articles for The Music Trades magazine and other periodicals. He has also published instrument guides with Walter Carter.\n\n Gruhn’s guide to vintage guitars: An identification guide for American fretted instruments. New York: Backbeat Books. (with Walter Carter) \n 1st ed. (1991), 2nd ed. (1999), 3rd ed. (2010) \n (1997) Electric guitars and basses: A photographic history. San Francisco: GPI Books. (with Walter Carter) \n (1997) Acoustic guitars and other fretted instruments: A photographic history. San Francisco: GPI Books. (with Walter Carter)\n\nSee also\nVintage Guitar\n\nReferences\n\nExternal links\nGruhn Guitars\nInterview with George Gruhn - NAMM Oral History Library (2000)\n\nAmerican businesspeople\nAmerican male guitarists\nLiving people\nAmerican writers about music\nYear of birth missing (living people)", "Robert Sutherland Chapman (born 14 June 1975) is an English musician, YouTuber, and the founder and co-owner of Chapman Guitars. Chapman is known for his popular instructional YouTube channel and as demonstrator of guitar equipment for Andertons Music Co. He is the lead singer and a guitarist for the band Dorje and blues/Americana band Clockwork Wolf & Co.\n\nEducation and early career\n\nChapman began playing the guitar at age 16, and he graduated from The Institute of Contemporary Music Performance in 1995. His musical influences include Joe Satriani, Devin Townsend, Jimi Hendrix, and Soundgarden.\n\nWhile working day jobs in marketing and accounting, he gigged and worked as a session musician and worked other various music-related jobs, such as transcribing Yngwie Malmsteen's Trial by Fire: Live in Leningrad. In 2006, he posted an instructional video on Myspace that received positive feedback, and he then switched to YouTube to promote his work globally.\n\nYouTube\n\nChapman is best known for his YouTube channel and video demonstrations on behalf of Andertons Music Co. Alongside Anderton's owner, Lee \"The Captain\" Anderton. He has also worked on demonstrations with Thomann, a Germany-based online music retailer.\n\nDorje\n\nChapman is the singer and rhythm guitarist for the UK-based band, Dorje.\n\nClockwork Wolf and Co\n\nChapman is also the frontman and lead guitarist for the UK-based band, Clockwork Wolf & Co.\n\nChapman Guitars\n\nDuring his time spent as a Faith Guitars clinician, Chapman was approached by the director of the parent company Barnes & Mullins, and was offered a signature guitar as part of the Guild brand. Chapman announced this news on YouTube, asking his subscribers what features they would like to see in his signature guitar. The guitar would be named the \"ML1\" and was the first Chapman product created through collaborative design. Barnes & Mullins decided to launch the guitar through a new venture, Chapman Guitars. 500 units of the ML1 were shipped in February 2010 and sold out.\n\nEquipment \n\nChapman primarily uses a number of Chapman Guitars, particularly the ML3 Semi-Hollow Traditional. He is also known to play Gibson Les Pauls and Fender Stratocasters, PRS Guitars, Gibson Flying Vs, and Gibson SGs.\n\nChapman primarily uses Victory Amplification, with whom he has his own signature amp.\nHe is also known to use a plethora of amps from Marshall, Peavey, Orange, and more.\n\nChapman also endorses Ernie Ball, Faith Guitars, Seymour Duncan, Gravity Picks, and Boss.\n\nReferences\n\nExternal links\n \n \n\nEnglish rock musicians\n1975 births\nLiving people\nEnglish YouTubers" ]

[ "Aaron Turner", "Equipment" ]

[ "Celestial is the debut album by American post-metal band Isis, released in 2000 by Escape Artist and Hydra Head Records. It is their third \"official\" solo release and first full length.\n\nA year later, Isis released SGNL>05, an EP designed to act as an extension to Celestial; its tracks were all directly culled from the Celestial recording sessions. Frontman Aaron Turner describes them as being “part of the same whole”, separated from each other because releasing a double album for the group's first full-length may have been overbearing for listeners.\n\nIn addition to the regular CD and vinyl LP editions, Celestial is available in a double release, coupled with its sister EP, SGNL>05. On June 5, 2013, it was announced that Celestial would be re-issued by Ipecac Recordings with new artwork from Turner, as well as the audio having been recently remastered by James Plotkin.\n\nThemes\nTurner has acknowledged that the album deals with the erosion of privacy as technology advances, in a similar vein to 2004's Panopticon; however, he states that the theme is dealt with in a “more primitive way” on Celestial. Towers are described as ‘thematic’ material by Decibel'''s Joe Gross.\n\nReceptionCelestial was named the 53rd-finest metal record of the decade by Decibel, stating that \"it's seen as a transitional record between the band's early work and the post-metal benchmarks such as Oceanic, but Celestial holds up in ways different from their later work [...] the elements of the greatness are present, but rawer, more direct.\" Rock Sound placed it at #3 in their rundown of their top albums of 2001 and Metal Hammer'' named it one of the 20 best metal albums of 2000. In 2011, William York, writing for Allmusic, described the album as Isis' best, and argues that the record needs to be “given time” – that it eventually develops an “almost epic feel”.\n\nTrack listing\n\nPersonnel \n\nBand members\n Jeff Caxide – bass\n Aaron Harris – drums\n Michael Gallagher – guitar\n Bryant Clifford Meyer – electronics, guitar, vocals on \"Gentle Time\"\n Aaron Turner – vocals, guitar, art and graphic construction\n\nOther personnel\n Matt Bayles – producing, audio recording and audio mixing\n Jason Hellmann – video stills\n Dave Merullo – mastering and audio editing\n\nReferences\n\nExternal links \n Celestial at Bandcamp (streamed copy where licensed)\n\n2000 debut albums\nIsis (band) albums\nHydra Head Records albums\nConcept albums\nAlbums produced by Matt Bayles\nAlbums with cover art by Aaron Turner\nIpecac Recordings albums", "The Barghest O' Whitby is an EP by the doom metal band My Dying Bride, released on 7 November 2011. It consists of a single, 27-minute track.\n\nBackground\nSpeaking to Lords of Metal, Aaron Stainthorpe said of the piece: \nAccording to Stainthorpe, the artwork pictures the band's guitarist's Hamish Glencross' dog which he \"embellished... a little bit in Photoshop. It is all my kind of artwork, pushed together to give a visual interpretation of what you might see in the lyrics. It is quite nice, no high art, but it is just an interpretation of what you are going to get inside the music\".\n\nTrack listing\n\nCredits\n Aaron Stainthorpe — vocals\n Andrew Craighan — guitar\n Hamish Glencross — guitar\n Lena Abé — bass\n Shaun \"Winter\" Taylor-Steels — drums\n Shaun Macgowan — violin and keyboards\n\nReferences\n\nMy Dying Bride EPs\n2011 EPs" ]

[ "Aaron Turner", "Equipment", "What is an example of a guitar that Aaron Turner used?", "used two different guitars: a 1976 Fender Telecaster Custom (black), and a 1975 Fender Telecaster Deluxe (brown)," ]

[ "Multi-amp guitar rigs use two or more amplifiers to create a unique tone that could not be achieved with the use of only one amplifier. Guitar players such as James Valentine (Maroon 5) and Joh la’Mayær use multiple amplifiers simultaneously to achieve their tones. Session guitar players such as Brent Mason often bring four or more amplifiers to recording sessions. There are many different types of guitar amplifiers that have drastically different sounds. There are three classic guitar amplifier circuits that most amplifiers are based on that all use different power amplifier tubes: The EL84 powered class A circuits which comes from the Vox AC30 and AC15 amplifiers, The 6L6 and 6V6 powered class AB circuits which come from Fender amplifiers, and the EL34 powered class AB circuits which come from Marshall amplifiers. The sonic characteristics of these different amplifier configurations are extremely different and for a lot of guitar players it is important to have the tonal palette of all three. This is especially true for studio guitarists and is why a lot of high-end recording studios have multiple different types of guitar amplifiers in house. It is a common practice to use a 6L6 or 6V6 powered amplifier for a clear, clean tone in conjunction with an EL34 or EL84 powered amplifier for a more distorted tone. It is then a matter of blending the two amps' signals in order to achieve the desired amount of distortion.\n\nUse of Effects with Multiple Amplifiers \n\nThe use of effects with multiple guitar amps is a common way to achieve a \"bigger-sounding\" tone. One of the most common and easiest ways to achieve this is through the use of a stereo delay unit. The guitar's signal enters the delay unit and gets split into two signals. One signal will usually be kept dry and go to one amplifier while the other signal will be delayed be a specific amount of time depending on the tempo of the song and go to the other amplifier. This creates a much bigger sounding guitar tone than just one mono delay feeding one amplifier. Oftentimes in the studio, dry and wet signals will be panned left and right in the mix to create a better stereo image. This can be heard on a lot of Coldplay recordings. Other common effects that are used with multi-amp rigs are stereo reverbs. Stereo reverbs are often used with two of the same amp. The advantage of using effects with multiple guitar amplifiers is that one can amplify a dry signal while another amplifies a wet signal with effects and the two signals can be blended in parallel. A lot of guitar effects don't feature any kind of mix function so using two amplifiers allows the user to dial in the amount of effects being heard.\n\nCommon Problems using Multiple Guitar Amplifiers \n\nThe most common problem with using multiple guitar amplifiers is that the phase of the amplifiers does not always line up. If the two amplifiers are 180° out of phase, then the sound will be very thin sounding. Most of the time, this can be fixed by reversing the polarity on the connection between one of the amplifiers and that amplifiers speaker. However, there are units such as the radial phazer that can provide a more exact alignment of phase. Another common problem with using multiple guitar amplifiers is that it can cause ground loops. Ground loops happen when multiple amplifiers are running off of the same AC power source. Signal gets from one amplifier to the other through the ground connection and causes a loud hum. The most simple way around this is to simply use a three-prong to two-prong adapter on one of the amplifiers. This lifts the ground connection and breaks the loop. To avoid the safety hazard of lifting the ground on a high-powered amplifier, a lot of people use transformers to isolate the signals going to the amplifiers to solve the ground loop problem. This is much more expensive but safer.\n\nInstrument amplifiers", "An instrument amplifier is an electronic device that converts the often barely audible or purely electronic signal of a musical instrument into a larger electronic signal to feed to a loudspeaker. An instrument amplifier is used with musical instruments such as an electric guitar, an electric bass, electric organ, synthesizers and drum machine to convert the signal from the pickup (with guitars and other string instruments and some keyboards) or other sound source (e.g, a synthesizer's signal) into an electronic signal that has enough power, due to being routed through a power amplifier, capable of driving one or more loudspeaker that can be heard by the performers and audience. \n\nCombination (\"combo\") amplifiers include a preamplifier, a power amplifier, tone controls, and one or more speakers in a cabinet, a housing or box usually made of hardwood, plywood or particleboard (or, less commonly, moulded plastic). Instrument amplifiers for some instruments are also available without an internal speaker; these amplifiers, called heads, must plug into one or more external speaker cabinets. Instrument amplifiers also have features that let the performer modify the signal's tone, such as changing the equalization (adjusting bass and treble tone) or adding electronic effects such as intentional distortion/overdrive, reverb or chorus effect.\n\nInstrument amplifiers are available for specific instruments, including the electric guitar, electric bass, electric/electronic keyboards, and acoustic instruments such as the mandolin and banjo. Some amplifiers are designed for specific styles of music, such as the \"traditional\"-style \"tweed\" guitar amplifiers, such as the Fender Bassman used by blues and country music musicians, and the Marshall amplifiers used by hard rock and heavy metal bands.\n\nUnlike home \"hi-fi\" amplifiers or public address systems, which are designed to accurately reproduce the source sound signals with as little harmonic distortion as possible and without changing the tone or equalization (at least not unless the hi-fi owner adjusts it themselves with a graphic equalizer), instrument amplifiers are often designed to add additional tonal coloration to the original signal, emphasize (or de-emphasize) certain frequencies (most electric guitar amps roll off the very high frequencies), and, in the case of guitar amplifiers designed for electric guitar or Hammond organ, offer the capability to intentionally add some degree of \"overdrive\" or distortion to the tone. The two exceptions are keyboard amplifiers designed for use with digital pianos and synthesizers and \"acoustic\" instrument amplifiers for use with acoustic guitar or fiddle in a folk music setting, which typically aim for a relatively flat frequency response (i.e., no added colouration of the sound) and little or no distortion of the signal.\n\nTypes\n\nGuitar amplifiers\n\nA guitar amplifier amplifies the electrical signal of an electric guitar (or, less commonly, with acoustic amplifiers, an acoustic guitar) so that it can drive a loudspeaker at sufficient volume for the performer and audience to hear. Most guitar amplifiers can also modify the instrument's with controls that emphasize or de-emphasize certain frequencies and add electronic effects. String vibrations are sensed by a suitable microphone or pickup, depending on the type of guitar. For electric guitars, strings are almost always made of metal, and the pickup works by electro-magnetic induction (these are called magnetic pickups; they are the most widely used type of pickup on electric guitars). Acoustic guitars do not usually have a built-in pickup or microphone, at least with entry-level and beginner instruments. Some acoustic guitars have a small condenser microphone mounted inside the body, which designed to convert acoustic vibrations into an electrical signal, but usually they do so from direct contact with the strings (replacing the guitar's bridge) or with the guitar's body, rather than having a membrane like general-purpose microphones. Acoustic guitars may also use a piezoelectric pickup, which converts the vibrations of the instrument into an electronic signal. More rarely, a magnetic pickup may be mounted in the sound hole of an acoustic guitar; while magnetic pickups do not have the same acoustic tone that microphones and piezo pickups can produce, magnetic pickups are more resistant to acoustic feedback.\n\nStandard amps\nStandard amplifiers, such as the Fender \"tweed\"-style amps (e.g., the Fender Bassman) and Gibson amps, are often used by traditional rock, blues, and country musicians who wish to create a \"vintage\" 1950s-style sound. They are used by electric guitarists, pedal steel guitar players, and blues harmonica (\"harp\") players. Combo amplifiers such as the Fender Super Reverb have powerful, loud tube amplifiers, four 10\" speakers, and they often have built-in reverb and \"vibrato\" effects units. Smaller guitar amps are also available, which have fewer speakers (some have only one speaker) and lighter, less powerful amplifier units. Smaller guitar amps are easier to transport to gigs and sound recording sessions. Smaller amps are widely used in small venue shows (nightclubs) and in recordings, because players can obtain the tone they want without having to have an excessively loud volume. One of the challenge with the large, powerful 4x10 Fender Bassman-type amps is that to get the tone a player wants, they have to turn up the amp to a loud volume.\n\nThese amps are designed to produce a variety of sounds ranging from a clean, warm sound (when used in country and soft rock) to a growling, natural overdrive, when the volume is set near its maximum, (when used for blues, rockabilly, psychobilly, and roots rock). These amplifiers usually have a sharp treble roll-off at 5 kHz to reduce the extreme high frequencies, and a bass roll-off at 60–100 Hz to reduce unwanted boominess. The nickname \"tweed\" refers to the lacquered beige-light brown fabric covering used on these amplifiers. \n\nThe smallest \"combo\" amplifiers, which are mainly used for individual practice and warm-up purposes, may have only a single 8\" or 10\" speaker. Some harmonica players use these small combo amplifiers for concert performances, though, because it is easier to create natural overdrive with these lower-powered amplifiers. Larger combo amplifiers, with one 12 inch speaker or two or four 10 or 12 inch speakers are used for club performances and larger venues. For large concert venues such as stadiums, performers may also use an amplifier \"head\" with several separate speaker cabinets (which usually contain two or four 12\" speakers).\n\nHard rock and heavy metal\n\nElectric guitar amplifiers designed for heavy metal are used to add an aggressive \"drive\", intensity, and \"edge\" to the guitar sound with distortion effects, preamplification boost controls (sometimes with multiple stages of preamps), and tone filters. While many of the most expensive, high-end models use 1950s-style tube amplifiers (even in the 2000s), there are also many models that use transistor amplifiers, or a mixture of the two technologies (i.e., a tube preamplifier with a transistor power amplifier). Amplifiers of this type, such as Marshall amplifiers, are used in a range of the louder, heavier genres of rock, including hard rock, heavy metal, and hardcore punk. This type of amplifier is available in a range of formats, ranging from small, self contained combo amplifiers for rehearsal and warm-ups to heavy \"heads\" that are used with separate speaker cabinets—colloquially referred to as a \"stack.\"\n\nIn the late 1960s and early 1970s, public address systems at rock concerts were used mainly for the vocals. As a result, to get a loud electric guitar sound, early heavy metal and rock-blues bands often used \"stacks\" of 4x12\" Marshall speaker cabinets on the stage. In 1969, Jimi Hendrix used four stacks to create a powerful lead sound, and in the early 1970s by the band Blue Öyster Cult used an entire wall of Marshall Amplifiers to create a roaring wall of sound that projected massive volume and sonic power. In the 1980s, metal bands such as Slayer and Yngwie Malmsteen also used \"walls\" of over 20 Marshall cabinets. However, by the 1980s and 1990s, most of the sound at live concerts was produced by the sound reinforcement system rather than the onstage guitar amplifiers, so most of these cabinets were not connected to an amplifier. Instead, walls of speaker cabinets were used for aesthetic reasons. \n\nAmplifiers for harder, heavier genres often use valve amplifiers (known as \"tube amplifiers\" in North America) also. Valve amplifiers are perceived by musicians and fans to have a \"warmer\" tone than those of transistor amps, particularly when overdriven (turned up to the level that the amplifier starts to clip or shear off the wave forms). Instead of abruptly clipping off the signal at cut-off and saturation levels, the signal is rounded off more smoothly. Vacuum tubes also exhibit different harmonic effects than transistors. In contrast to the \"tweed\"-style amplifiers, which use speakers in an open-backed cabinet, companies such as Marshall tend to use 12\" speakers in a closed-back cabinet. These amplifiers usually allow users to switch between \"clean\" and distorted tones (or a rhythm guitar-style \"crunch\" tone and a sustained \"lead\" tone) with a foot-operated switch.\n\nBass\n\nBass amplifiers are designed for bass guitars or more rarely, for upright bass. They differ from amplifiers for the electric guitar in several respects, with extended low-frequency response, and tone controls optimised for the needs of bass players.\n\nHigher-cost bass amplifiers may include built-in bass effects units, such as audio compressor or limiter features, to avoid unwanted distorting at high volume levels and potential damage to speakers; equalizers; and bass overdrive. \n\nBass amps may provide an XLR DI output for plugging the bass amp signal directly into a mixing board or PA system. Larger, more powerful bass amplifiers (300 or more watts) are often provided with internal or external metal heat sinks and/or fans to help keep the components cool. \n\nSpeaker cabinets designed for bass usually use larger loudspeakers (or more loudspeakers, such as four ten-inch speakers) than the cabinets used for other instruments, so that they can move the larger amounts of air needed to reproduce low frequencies. Bass players have to use more powerful amplifiers than the electric guitarists, because deep bass frequencies take more power to amplify. While the largest speakers commonly used for regular electric guitar have twelve-inch cones, electric bass speaker cabinets often use 15\" speakers. Bass players who play styles of music that require an extended low-range response, such as death metal, sometimes use speaker cabinets with 18\" speakers or add a large subwoofer cabinet to their rig.\n\nSpeakers for bass instrument amplification tend to be heavier-duty than those for regular electric guitar, and the speaker cabinets are typically more rigidly constructed and heavily braced, to prevent unwanted buzzes and rattles. Bass cabinets often include bass reflex ports, vents or openings in the cabinet, which improve the bass response and low-end, especially at high volumes.\n\nKeyboard\nA keyboard amplifier, used for the stage piano, synthesizer, clonewheel organs and similar instruments, is distinct from other types of amplification systems due to the particular challenges associated with keyboards; namely, to provide solid low-frequency sound reproduction and crisp high-frequency sound reproduction. It is typically a combination amplifier that contains a two, three, or four-channel mixer, a pre-amplifier for each channel, equalization controls, a power amplifier, a speaker, and a horn, all in a single cabinet.\n\nNotable exceptions include keyboard amplifiers for specific keyboard types. The vintage Leslie speaker cabinet and modern recreations, which are generally used for Hammond organs, use a tube amplifier that is often turned up to add a warm, \"growling\" overdrive. Some electric pianos have built-in amplifiers and speakers, in addition to outputs for external amplification.\n\nAcoustic amplifiers \nThese amplifiers are intended for acoustic instruments such as violin (\"fiddle\"), mandolin, and acoustic guitar—especially for the way musicians play these instruments in quieter genres such as folk and bluegrass. They are similar to keyboard amplifiers, in that they have a relatively flat frequency response and avoid tonal coloration. \n\nTo produce this relatively \"clean\" sound, these amplifiers often have very powerful amplifiers (up to 800 watts RMS), to provide additional \"headroom\" and prevent unwanted distortion. Since an 800 watt amplifier built with standard Class AB technology would be heavy, some acoustic amplifier manufacturers use lightweight Class D, \"switching amplifiers.\"\n\nAcoustic amplifier designs strive to produce a clean, transparent, \"acoustic\" sound that does not—except for reverb and other effects—alter the natural instrument sound, other than to make it louder. Amplifiers often come with a simple mixer to blend signals from a pickup and microphone. Since the early 2000s, it is increasingly common for acoustic amplifiers to provided digital effects, such as reverb and compression. Some also contain feedback-suppressing devices, such as notch filters or parametric equalizers.\n\nRoles\nInstrument amplifiers have a different purpose than 'Hi-Fi' (high fidelity) stereo amplifiers in radios and home stereo systems. Hi-fi home stereo amplifiers strive to accurately reproduce signals from pre-recorded music, with as little harmonic distortion as possible. In contrast, instrument amplifiers are add additional tonal coloration to the original signal or emphasize certain frequencies. For electric instruments such as electric guitar, the amplifier helps to create the instrument's tone by boosting the input signal gain and distorting the signal, and by emphasizing frequencies deemed desirable (e.g., low frequencies) and de-emphasizing frequencies deemed undesirable (e.g., very high frequencies).\n\nSize and power rating\nIn the 1960s and 1970s, large, heavy, high output power amplifiers were preferred for instrument amplifiers, especially for large concerts, because public address systems were generally only used to amplify the vocals. Moreover, in the 1960s, PA systems typically did not use monitor speaker systems to amplify the music for the onstage musicians. Instead, the musicians were expected to have instrument amplifiers that were powerful enough to provide amplification for the stage and audience. In late 1960s and early 1970s rock concerts, bands often used large stacks of speaker cabinets powered by heavy tube amplifiers such as the Super Valve Technology (SVT) amplifier, which was often used with eight 10\" speakers.\n\nHowever, over subsequent decades, PA systems substantially improved, and used different approaches, such as horn-loaded \"bass bins\" (in the 1980s) and subwoofers (1990s and 2000s) to amplify bass frequencies. As well, in the 1980s and 1990s, monitor systems substantially improved, which helped sound engineers provide onstage musicians with a better reproduction of their instruments' sound. \n\nAs a result of improvements to PA and monitor systems, musicians in the 2000s no longer need huge, powerful amplifier systems. A small combo amplifier patched into the PA suffices. In the 2000s, virtually all sound reaching the audience in large venues comes from the PA system. Onstage instrument amplifiers are more likely to be at a low volume, because high volume levels onstage make it harder for the sound engineer to control the sound mix. \n\nAs a result, in many large venues much of the onstage sound reaching the musicians now comes from in-ear monitors, not from the instrument amplifiers. While stacks of huge speaker cabinets and amplifiers are still used in concerts (especially in heavy metal), this is often mainly for aesthetics or to create a more authentic tone. The switch to smaller instrument amplifiers makes it easier for musicians to transport their equipment to performances. As well, it makes concert stage management easier at large clubs and festivals where several bands are performing in sequence, because the bands can be moved on and off the stage more quickly.\n\nAmplifier technology \nInstrument amplifiers may be based on thermionic (\"tube\" or \"valve\") or solid state (transistor) technology.\n\nTube amplifiers\n\nVacuum tubes were the dominant active electronic components in amplifiers from the 1930s through the early 1970s, and tube amplifiers remain preferred by many musicians and producers. Some musicians feel that tube amplifiers produce a \"warmer\" or more \"natural\" sound than solid state units, and a more pleasing overdrive sound when overdriven. However, these subjective assessments of the attributes of tube amplifiers' sound qualities are the subject of ongoing debate. Tube amps are more fragile, require more maintenance, and are usually more expensive than solid state amps.\n\nTube amplifiers produce more heat than solid state amplifiers, but few manufacturers of these units include cooling fans in the chassis. While tube amplifiers do need to attain a proper operating temperature, if the temperature goes above this operating temperature, it may shorten the tubes' lifespan and lead to tonal inconsistencies.\n\nSolid-state amplifiers\n\nBy the 1960s and 1970s, semiconductor transistor-based amplifiers began to become more popular because they are less expensive, more resistant to bumps during transportation, lighter-weight, and require less maintenance. In some cases, tube and solid-state technologies are used together in amplifiers. A common setup is the use of a tube preamplifier with a solid-state power amplifier. There are also an increasing range of products that use digital signal processing and digital modeling technology to simulate many different combinations of amp and cabinets. \n\nThe output transistors of solid-state amplifiers can be passively cooled by using metal fins called heatsinks to radiate away the heat. For high-wattage amplifiers (over 800 watts), a fan is often used to move air across internal heatsinks.\n\nHybrid\nThe most common hybrid amp design is to use a tube preamp with a solid state power amplifier. This gives users the pleasing preamp and overdrive tone of a tube amp with the lowered cost, maintenance and weight of a solid state power amp.\n\nSee also\nAmplifier\nElectronic amplifier\nGuitar amplifier\nGuitar speaker\nGuitar speaker cabinet\nIsolation cabinet (guitar)\nValve sound\nBass instrument amplification\nEffects unit\nDistortion (guitar)\nPower attenuator (guitar)\nSound reinforcement system\n\nReferences\n\nExternal links \n Duncan's amp pages: information about valve (tube) guitar amplifiers\n List of books about guitar amplifiers and guitar amplifier tone\nTons of Tones, a website for guitar amplifier modelling on digital multi-effect units\n\nRock music instruments\nBlues instruments\nSound reinforcement system\nConsumer electronics\nLoudspeakers" ]

[ "Aaron Turner", "Equipment", "What is an example of a guitar that Aaron Turner used?", "used two different guitars: a 1976 Fender Telecaster Custom (black), and a 1975 Fender Telecaster Deluxe (brown),", "What type of amplifiers did he use?", "In the past, Turner has also used a Gibson Les Paul Standard, PRS CE24, and has played through Sunn, Mesa Boogie, and Mackie amplifiers." ]

[ "A bass chorus is an electronic effect used with the electric bass. It creates the same \"shimmering\" sound as a chorus effect for electric guitar chorus pedals, which recreates the sound of having multiple instruments doubling the same musical line (as with a string orchestra). The difference is that bass chorus pedals are modified in various ways to suit the low pitch register of the electric bass. While several bass chorus pedal manufacturers have modified the chorus circuit so that it does not affect the lower register, others have designed the effect so that it can have an effect on even very low pitches.\n\nThe requirements for a chorus effect using a pedal or effect unit can vary depending on the type of instrument being used. Bass is a good example because it operates at a lower frequency range than a guitar. As such, a standard multi-level chorus can make the sound of the bass notes much thinner. This problem can be corrected by either mixing more of the un-affected (\"dry\") signal into the mix or by increasing the amount of bass frequency chorused in the sound. Pedals such as the \"I90\" chorus from bass amplifier manufacturer Eden Electronics allow the musician to control both of these elements. As some guitar chorus pedals pass the whole, unmodified signal and only apply chorus to higher frequencies, some bass players prefer the sound of some guitar-oriented pedals.\n\nExamples\n\nThe Boss CEB-3: Bass Chorus, for example, \"offers a split-frequency chorus effect capable of applying warm, rich chorusing to the higher frequencies without muddying up the lows.\"\n\nDigitech's Bass Multi Chorus™ is \"designed specifically for bass\". The manufacturer claims that \"it keeps your low notes clean while giving you up to 16 bass chorus voices at the same time.\"\n\nThe MXR Bass Chorus Deluxe has a crossover which lessens \"modulation in low frequencies is...at 100Hz\", thus \"keeping the low end in tune.\" The MXR outputs in stereo, creating a stereo chorus effect if used with two amplifiers. It won an Editor's award from Bass Player magazine. The review stated that the pedal uses \"analog bucket-brigade technology—in which the signal runs through a series of capacitors to create an organic, warm-sounding effect.\"\n\nThe Carl Martin Bass Chorus is designed to avoid the \"mid-range heavy\" sound that the manufacturer claims is produced by some bass chorus pedals. The Carl Martin Bass Chorus can apply the effect even \"down as [deep as a] low B.\"\n\nReferences\n\nBass (sound)\nElectric bass guitars", "Boss is a manufacturer of effects pedals for electric guitar and bass guitar. It is a division of the Roland Corporation, a Japanese manufacturer that specializes in musical equipment and accessories. For many years Boss has manufactured a wide range of products related to effects processing for guitars, including \"compact\" and \"twin\" effects pedals, multi-effect pedals, electronic tuners and pedal boards. In more recent times, Boss expanded their product range by including digital studios, rhythm machines, samplers and other electronic music equipment. They also are now manufacturing solid-state amplifiers and speaker heads such as the Waza and the Katana. Both feature multi-effects units meant to emulate Boss' classic effects pedals.\n\nHistory\n\nThe earliest Boss product was called B-100 The Boss, released in 1974. This came with a clip-on pre-amp and a pickup to amplify acoustic guitars. At this point the Boss company had not been formed and it was still a Beckmen Musical Instruments product (as seen on the B-100 box). The first proper Boss foot pedal effect, the CE-1 Chorus Ensemble, was released June 1976, which was a stand-alone unit of the chorus/vibrato circuit found in the Roland JC-120 amplifier. It was a fairly large, AC-powered unit. Other foot pedals of that year are the GE-10 (a graphic equalizer), the BF-1 (a flanger unit) and the DB-5 (a distortion unit).\n\nBoss's line of compact pedals began in 1977 with the release of six pedals, all of them discontinued: an overdrive pedal (OD-1), a phaser pedal (PH-1), a parametric equalizer called the Spectrum (SP-1), a 6-band graphic equalizer (GE-6), a compressor pedal (CS-1) and an automatic wah pedal (TW-1). The Boss DS-1 was released the next year, in 1978. Their first compact chorus pedal (CE-2) came in 1979, and their first flanger pedal (BF-2) in 1980. In 1983 Boss released the DD-2 Digital Delay, the first mass-produced digital delay in a compact pedal format. The Metal Zone (MT-2) was released in 1991. In 1992 Boss released nine new pedals, including the Turbo Distortion (DS-2). The Heavy Metal (HM-2) distortion pedal was an integral part of the guitar sound of many styles of heavy metal music ever since. The pedals all share the same 'footprint', for compatibility with pedal boards.\n\nBoss introduced COSM (Composite Object Sound Modeling), Roland's proprietary version of digital modeling technology, into their AC-3 Acoustic Simulator pedal in 2006. Boss has since released several pedals using COSM, including the FBM-1 '59 Fender Bassman pedal and FDR-1 '65 Fender Deluxe Reverb pedal, introduced at the Winter NAMM show in January 2007.\n\nAll Boss compact pedals use a \"buffered bypass\" type of silent foot switching utilizing Field Effect Transistors (FETs) to avoid clicks and pops. While not \"true\" bypass, the buffered bypass has the advantage of preventing signal loss due to long runs of cable, while keeping original guitar tone intact.\n\nJapan, Taiwan and Malaysia\n\nBoss compact pedals were originally produced in Japan, until circa 1990 when production moved to Taiwan. Earlier units came with a metal screw securing the battery compartment; later models retained the metal screw, adding a plastic knob for tool-less battery removal. The labels on the bottom of the pedals come in several different colours including black, silver, green, pink and blue. Apart from this the basic design has remained unchanged for over 25 years.\n\nThe DS-1 Distortion, however, is an exception; the design has changed significantly twice throughout its lifetime. The first time was around 1994 when the Toshiba TA7136AP op-amp was replaced with the Rohm BA728N. In 2000 the op-amp was again changed. This time it was replaced with the Mitsubishi M5223AL. The latest op-amp change occurred in 2007, when new DS-1 pedals began shipping with the NJM3404AL op-amp.\n\nIn recent years older Boss compact pedals have begun to command a high premium on the used market. Some pedals, such as the relatively rare VB-2 Vibrato, SG-1 Slow Gear, SP-1 Spectrum, DC-2 Dimension C, PS-3 Digital Pitch Shifter/Delay, and either of the two analog delay pedals, the DM-2 and DM-3, are highly sought after by collectors.\n\nThe Boss Doctor Rhythm DR-110 drum machine was the last drum machine out of Roland to use analog sound synthesis to generate the drum sounds. After the DR-110, all Roland drum machines used samples of drums to produce sounds. The DR-110 is not easily incorporated into a modernized studio setup running MIDI but there are modifications available to sync the DR-110 to other gear. There are also modifications available in DIY formats to add tonal controls to the analog drum sounds on board the DR-110 that will give the user a wider range of sonic ability.\n\nIn 2014 Boss released the Japanese made Waza Craft line of premium pedals built with high end components featuring reissues of highly sought after vintage Boss effects such as the DM-2W Analog Delay, CE-2W Analog Chorus and DC-2W Dimension C among others. \"Waza\" means \"art\" and \"technique\" in Japanese, and fittingly, these pedals have been created by the master engineers at BOSS in Japan to deliver premium tone and response using highly refined analog circuitry.\n\nIn 2017 Boss released the 500 series pedals as their flagship design, complete with digital display and preset banks, similar to the design of Strymon pedals featuring presets, programmable algorithms and customizable midi options. \n\nIn 2019, Boss discontinued the twin format 20 series pedals and replaced the line with the 200 series.\n\nAs of 2019 around the launch of the DD3T and DD8 Digital Delays, Boss moved production from Taiwan to Malaysia. The Malaysian black label on the bottom looks similar to the modern era Taiwan label, verifying the new location of manufacturing.\n\nList of Boss compact pedals\n\nReferences\n\nFurther reading\n\nExternal links\n\n BOSS homepage \n Boss brand homepage archive\n Boss Corporation on Instagram\n Boss Europe on Instagram\n Bosspedals Sweden on Instagram (fan account)\n\n \nMusic equipment manufacturers\nGuitar effects manufacturing companies\nElectronics companies established in 1973\n1973 establishments in Japan\nHamamatsu" ]

[ "Aaron Turner", "Equipment", "What is an example of a guitar that Aaron Turner used?", "used two different guitars: a 1976 Fender Telecaster Custom (black), and a 1975 Fender Telecaster Deluxe (brown),", "What type of amplifiers did he use?", "In the past, Turner has also used a Gibson Les Paul Standard, PRS CE24, and has played through Sunn, Mesa Boogie, and Mackie amplifiers.", "Did he use any type of guitar effect pedals?", "Turner described using a variety of effects pedals in his live rig." ]

[ "Blumlein pair is the name for a stereo recording technique invented by Alan Blumlein for the creation of recordings that, upon replaying through headphones or loudspeakers, recreate the spatial characteristics of the recorded signal.\n\nThe pair consists of an array of two matched microphones that have a bi-directional (figure-8) pickup pattern. They are positioned 90° from each other. Ideally, the transducers should occupy the same physical space; since this cannot be achieved, the microphone capsules are placed as close to each other as physically possible, generally with one centered directly above the other. The array is oriented so that the line bisecting the angle between the two microphones points towards the sound source to be recorded (see diagram). The pickup patterns of the pair, combined with their positioning, delivers a high degree of stereo separation in the source signal, as well as the room ambiance.\n\nThe Blumlein pair produces an exceptionally realistic stereo image, but the quality of recordings is highly dependent on the acoustics of the room and the size of the sound source.\n\nBoth ribbon and condenser microphones can be used for Blumlein-pair recording. A few types of stereo ribbon microphones (B & O, Royer , AEA) have even been purpose-built for just this type of recording. Several types of stereo condenser microphone (Neumann, AKG, Schoeps, Nevaton BPT) have also offered a Blumlein arrangement as one of their possible configurations. Individual microphones with variable patterns (such as those from Pearl/Milab) can be used. The Soundfield microphone used to make Ambisonic recordings can be adjusted to mimic two microphones of any pattern at any angle to each other, including a Blumlein pair.\n\nIn his early experiments at EMI with what he called \"binaural\" sound, Blumlein did not use this actual technique because he did not have access to figure-8 microphones. This meant that he had to develop ways of using omnidirectional microphones to record what we now know as stereo sound. In the claims he made in his U.K. patent application in 1931, as well as details of these techniques, he included the theoretical possibility of using directional microphones in what later became known as a Blumlein pair. During the period when Blumlein's patent (British Patent 394325) was being written, Harry F. Olson published a patent for the first practical ribbon microphone, and much of the later experimental work was carried out with this type of microphone\n\nIt is unclear when this approach became known as the Blumlein pair, although it does not appear to have been known by that name during his lifetime.\n\nReferences\n\nExternal links\n\n Visualization XY Stereo System – Blumlein Pair Eight/Eight 90° – Intensity Stereo\n\nMicrophones\nStereophonic sound\nSound recording technology", "The Coles 4038 is a ribbon microphone produced by Coles Electroacoustics. The microphone was designed and patented by the BBC in the 1950s and was originally known as the STC 4038. The sound of the microphone has been described as \"British\" with a \"BBC politeness\", and its appearance has been likened to that of a waffle iron. It is used in both sound recording and radio broadcasting.\n\nHistory \nThe microphone was designed by the BBC in 1953 and the prototype was assigned the model number BBC PGS/1. It was designed as a result of the BBC's request for a strong and affordable microphone that was smaller than previous models (such as the Type A). The 4038 was an improvement on the Type A's frequency response, and was described as \"less obtrusive\".\n\nThe microphone was produced by Standard Telephones and Cables before their manufacturing was transferred to Coles in the mid-1970s. Since its design in the 1950s, the technical specifications of the 4038 have remained unchanged.\n\nUse\n\nRecording \nIn recording environments, the 4038 is often used as drum overheads and on brass instruments. The microphone became a favourite of British recording engineers in the 1950s and 60s, but did not receive widespread use in the United States. The microphone was described as recording sounds \"bigger than\nlife\" – such as drums or amplified guitars – some Beatles and Led Zeppelin recordings featured 4038s as overhead microphones on the drum kit.\n\nIn a 1994 interview, Steve Albini said that \"if [he] owned one mic, this would be it\". Albini has also commented that \"really nothing beats them as an overhead on a drum kit\".\n\nBroadcast \nAt one point, Bush House (home of the BBC World Service) used the 4038 almost exclusively.\n\nTechnical \nThe 4038's frequency response is flat, with a range of approximately 30–15,000 Hz. The attenuation of high frequencies reduces sibilance on vocals, but also reduces detail.\n\nThe microphone uses a bi-directional polar pattern.\n\nThe microphone is connected using a Western Electric jack connector designated 4069, which adapts the microphone's 3-pin output to a standard XLR connector.\n\nSensitivity (at 1,000 Hz Open Circuit Voltage) -65dB re: 1 Volt/Pa\nImpedance 300 ohms\nProduced 1950s–present\n\nFootnotes\n\nSources\n\nFurther reading \n \n\nMicrophones" ]

[ "Aaron Turner", "Equipment", "What is an example of a guitar that Aaron Turner used?", "used two different guitars: a 1976 Fender Telecaster Custom (black), and a 1975 Fender Telecaster Deluxe (brown),", "What type of amplifiers did he use?", "In the past, Turner has also used a Gibson Les Paul Standard, PRS CE24, and has played through Sunn, Mesa Boogie, and Mackie amplifiers.", "Did he use any type of guitar effect pedals?", "Turner described using a variety of effects pedals in his live rig.", "What type of microphone did he use?", "Turner prefers a Heil PR20 vocal microphone." ]

[ "Albert Augustine Ltd. is the originator of and currently a manufacturer of nylon classical guitar strings. In addition, the company supports the classical guitar and guitarists by presenting several annual New York guitar series at the Manhattan School of Music, the Queen Sofia Spanish Institute and other important venues, by commissioning hundreds of original solo and chamber music works and concertos from some of the foremost contemporary composers, by donating thousands of dollars for scholarships, special artist's projects and guitar festivals, and by publishing Guitar Review magazine.\n\nAlbert Augustine\nIn 1926-7, Albert Augustine (born Denmark 1900, died New York City, April 1967) moved to the United States to pursue his career as a luthier. In 1928, he married his wife, Rose.\n\nDuring this period, he experimented with different types of strings without significant result. It was to be almost 20 years before his collaboration with famed guitarist Andrés Segovia would result in the development of the nylon guitar string.\n\nDevelopment of the nylon guitar string\nIn the mid-1940s, Andrés Segovia mentioned the shortage of good guitar strings in the United States, particularly his favorite Pirastro catgut strings, to a number of foreign diplomats at a party, including General Lindeman of the British Embassy. A month later, the General presented Segovia with some nylon strings which he had obtained via some members of the DuPont family. Segovia found that although the strings produced a clear sound, they had a faint metallic timbre which he hoped could be eliminated.\n\nNylon strings were first tried on stage by Olga Coelho in New York in January 1944.\n\nIn 1946, Segovia and Augustine were introduced by their mutual friend Vladimir Bobri, editor of Guitar Review. On the basis of Segovia's interest and Augustine's past experiments, they decided to pursue the development of nylon strings. DuPont, skeptical of the idea, agreed to supply the nylon if Augustine would endeavor to develop and produce the actual strings. After three years of development, Augustine demonstrated a nylon first string whose quality impressed guitarists, including Segovia, in addition to DuPont.\n\nWound strings, however, were more problematic. Eventually, however, after experimenting with various types of metal and smoothing and polishing techniques, Augustine was also able to produce high quality nylon wound strings.\n\nSubsequent history\nAugustine suffered a heart attack in 1948, but survived. Segovia became a great supporter of Augustine's work. He commissioned a guitar from Augustine in 1956 which was never finished. Augustine died of his second heart attack in 1967. Under Rose Augustine and following her death in 2003, the company continues to produce nylon strings and support the field of classical guitar.\n\nReferences\n\nManufacturing companies based in New York (state)\nClassical guitar\nGuitar parts and accessories", "A course, on a stringed musical instrument, is either one string or two or more adjacent strings that are closely spaced relative to the other strings, and typically played as a single string. The strings in each multiple-string course are typically tuned in unison or an octave.\n\nNormally, the term course is used to refer to a single string only on an instrument that has also multi-string courses. For example, a nine-string baroque guitar has five courses: most are two-string courses but sometimes the lowest or the highest consists of a single string.\n\nAn instrument with at least one multiple-string course is referred to as coursed, while one whose strings are all played individually is uncoursed.\n\nRationale and types \nMultiple string courses were probably originally employed to increase the volume of instruments, in eras in which electrical amplification did not exist, and stringed instruments might be expected to accompany louder instruments (such as woodwinds or brass). Eventually, however, they came to be employed to alter the timbral characteristics (the \"tone\") of instruments as well.\n\nStrings within a multistring course may have all the strings tuned to the same pitch (e.g. mandolins); they may be tuned to the same pitch class but in different octaves (e.g. Tiple); or the strings may be tuned to different pitches, usually for special effect.\n\nExamples of instruments that use two-string courses include:\n\nExamples of instruments that use three-string courses include:\n\n Saz\n Cimbalom\n Guitarrón chileno\n Mandriola\n Piano\n Tiple colombiano\n Twelve-string bass\n\nExamples of instruments that use four- (or more) string courses include:\n\n Cimbalom\n Guitarrón chileno\n\nAs may be seen, some instruments contain courses with differing numbers of strings. A typical piano, for example, contains courses with one, two, and three strings, in different parts of its range.\n\nMandolins\n\nAll 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.\n\nThe exception is some varieties of mando-bass, which have four individual strings.\n\nLutes\n\nGuitars\n\nBaroque guitar\n\nThe baroque guitar has five courses, with the bottom four always double strung, and the top string (the \"chanterelle\") either double or single.\n\nThere are also several patterns of modern ten-string guitar but all have ten single strings, played individually.\n\nTwelve-string guitar\n\nThe twelve-string guitar has twelve strings, in six courses. The courses are most often tuned E-A-D-G-B-E, similarly to a six-string guitar; however, older instruments were often tuned one tone lower D-G-C-F-A-D to reduce the tension on the neck, and commonly played with a capo on fret 2.\n\nThe lowest three courses (E-A-D) are normally tuned at octaves, with the primary string uppermost and the octave below it, while the upper two courses (B-E) are tuned to unison. The G course is either unison or at octaves.\n\nOn some electric twelve-string guitars, and most notably the Rickenbacker 360/12, the octave strings are below the primary strings.\n\nTiple\n\nThe 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.\n\nThe American tiple, a smaller instrument loosely derived from the Colombian tiple, uses two double-strung courses and two triple-strung courses.\n\nTwelve-string bass\n\nThe electric twelve-string bass has twelve strings in four triple courses. Basses have also been built with six double courses and other configs but these are very rare.\n\nSee also\nDrone (music)\n\nReferences\n\nString instruments" ]

[ "Aaron Turner", "Equipment", "What is an example of a guitar that Aaron Turner used?", "used two different guitars: a 1976 Fender Telecaster Custom (black), and a 1975 Fender Telecaster Deluxe (brown),", "What type of amplifiers did he use?", "In the past, Turner has also used a Gibson Les Paul Standard, PRS CE24, and has played through Sunn, Mesa Boogie, and Mackie amplifiers.", "Did he use any type of guitar effect pedals?", "Turner described using a variety of effects pedals in his live rig.", "What type of microphone did he use?", "Turner prefers a Heil PR20 vocal microphone.", "What types of guitar strings did he use?", "I don't know." ]

[ "Auto-wah (also known as a \"Q-wah\", \"T-wah\", \"envelope following filter\", \"envelope follower\" or \"envelope filter\") is a type of wah-wah effects pedal typically used with electric guitar, bass guitar, clavinet, and electric piano etc. The distinctive choppy rhythm guitar sound on many funk and disco recordings from the 1970s popularized the effect.\n\nOperation \nInstead of the effect being controlled by a pedal, as on a standard wah-wah, the effect alters in response to the volume of the input signal. Like a wah, it works by adjusting the central frequency of a peaking filter, which amplifies a specific frequency and cuts off other selected frequencies. Since the electronic circuits in the effect can respond much faster than a human musician can physically move a pedal, certain effects that a standard wah cannot achieve are only possible with auto-wah. The response of the effect is highly interactive with the dynamics of the input signal - this makes it possible to vary the response at will via slight adjustments to playing technique. Therefore, it may take some practice before the response of the auto-wah can be wilfully controlled in order to achieve a consistent sound.\n\nA typical auto-wah circuit uses an envelope detector to produce a voltage representing the overall volume of the input. This signal is then used to sweep the cutoff frequency of a filter. The filter usually has a low-pass or bandpass response. The Boss AW-3 is an example of such a device.\n\nThere is a variant of auto-wah that utilizes a low-frequency oscillator (LFO) instead of an envelope detector to alter the effect. The filter response varies constantly with time and is not linked to playing dynamics. The Boss AW-2 is an example of such a device. The difference in sound is subtle, but careful listeners will notice the constant period of the filter sweep. The song \"Falling Into Grace\" by the Red Hot Chili Peppers is an example of an LFO controlled auto-wah applied to the bass guitar.\n\nTypical controls on an auto-wah include a sensitivity control to adjust the input level to match the level expected by the envelope follower and other circuitry, a control for the initial cutoff point of the filter, and a control for the depth of the filter sweep. Some more sophisticated units offer controls for the resonance of the filter, multiple filter types, and options for sweeping the filter up or down.\n\nNotable examples \nThe first envelope-controlled filter built for musical instruments was the Mu-Tron III, invented by Mike Beigel. Other examples include the MXR Envelope Filter and the Boss AW-2 Auto Wah (LFO controlled).\n\nReferences \n\nEffects units", "An effects loop is a series of audio effects units, connected between two points of a signal path (the route that a signal would travel from the input to the output); usually between the pre-amp and power amp stages of an amplifier circuit, although occasionally between two pre-amp stages. The two principal uses of effects loops are in recordings and in instrument amplifiers. \n\nThere are two main advantages of an effects loop. The first is that generally effects sound clearer and are more pronounced when the input signal is sent through a preamplifier prior to being affected. In addition to this, the tone of a guitar amplifier is generally more defined if the guitar is going direct into the input of the preamplifier. The second advantage is to match impedances of equipment. For example, most guitar rack equipment works better at line-level, and not instrument level. By placing the effects after the preamp, signal loss due to impedance mismatch is avoided.\n\nMost guitarists use floor pedal effects between the guitar and the amplifier, or they use rack effects through the amplifier effects loop. Some amplifier manufacturers have been including a level/gain control with the effects loops to allow for the use of floor pedals through the effects loop, rather than in-line between the guitar and amplifier. This allows for more tonal control of the amplifier.\n\nSee also\n Effects unit\n Audio amplifier\n Guitar\n\nAudio effects\nElectrical signal connectors" ]

[ "Aaron Turner", "Equipment", "What is an example of a guitar that Aaron Turner used?", "used two different guitars: a 1976 Fender Telecaster Custom (black), and a 1975 Fender Telecaster Deluxe (brown),", "What type of amplifiers did he use?", "In the past, Turner has also used a Gibson Les Paul Standard, PRS CE24, and has played through Sunn, Mesa Boogie, and Mackie amplifiers.", "Did he use any type of guitar effect pedals?", "Turner described using a variety of effects pedals in his live rig.", "What type of microphone did he use?", "Turner prefers a Heil PR20 vocal microphone.", "What types of guitar strings did he use?", "I don't know.", "What is an example of a guitar effects pedal that he used?", "), played through various effects (his pedalboard layout changed every gig depending on what songs the band decided to play that night)," ]

[ "Pignose-Gorilla, commonly known as Pignose, is a manufacturer of portable, battery-powered guitar amplifiers, as well as AC-powered practice amps and guitars. The company was founded in 1969 by Richard Edlund and Wayne Kimbell. In 1985, Pignose Industries was acquired by Howard Chatt and is now called Pignose-Gorilla.\n\nLegendary 7-100\n\nThe first Pignose amplifier was a battery-powered, five-watt portable guitar amplifier with one five-inch speaker. It is considered the first portable electric guitar amplifier. The inventors gave 65 prototypes (with rubber volume knobs shaped like the end of a pig's nose) to some of the most famous musicians of the era, including Led Zeppelin, The Rolling Stones, The Beatles, The Eagles, and The Who. Terry Kath (of Chicago) was given one which led to a partnership with the group and its management team in 1972. \n\nPignose Industries was started by Terry Kath and other members/associates of the band, Chicago, in 1972. They introduced their product (designed and patented by Wayne Kimbell and Richard Edlund) to the music industry at the 1973 Summer NAMM show, with tongue-in-cheek hyperbole, as the \"Legendary\" Pignose Amplifier. Now known officially as the \"Legendary 7-100,\" the amplifier is still in production and used primarily as a portable practice amp. It has also found a role in recording studios, having been used on records by Joe Walsh, Eric Clapton and Frank Zappa. \n\nThe 7-100 includes hanger buttons for a guitar strap, allowing a musician to carry the amplifier while standing or walking. The 7-100 is powered by six AA batteries or an optional AC adapter and weighs between five and six pounds (2.27-2.72 kg). Another feature is the hinged case design, allowing the user not only to store objects like the cable and strap inside the amp, but also to open the case slightly to alter the tone to the player's preference. A feature for the more serious musician is the preamplifier output jack on the rear, allowing it to be connected to a larger amplifier for use as a guitar distortion effect.\n\nOther products \n\nIn addition to the 7-100, the company offers two battery-powered portable models called \"Hog\" that use integral rechargeable batteries, as well as small solid-state amplifiers.\n\nAround 2010 Pignose began manufacturing travel guitars with built in amplifiers.\n\nReferences\n\nExternal links\n Pignose Amps\n\nAudio equipment manufacturers of the United States\nGuitar amplifier manufacturers", "Acoustic Control Corporation was a manufacturer of instrument amplifiers, founded by Steve Marks (with the help of his father) and based in Van Nuys, California. Its original location was a shack on Sunset Boulevard in Los Angeles, California.\n\nHistory\nMost of the amplifiers produced by ACC were solid-state, but a few models later in production were valve amps. The company is remembered in particular for its Acoustic 361 bass stack, consisting of an Acoustic 360 bass pre-amplifier and one or two Acoustic 361 W-bins, each featuring a built-in 200-watt RMS power amplifier and a rear-facing 18\" Cerwin-Vega loudspeaker. \n\nAcoustic also produced the \"Black Widow\" electric guitar and electric bass 1972 - 1975. The guitars and basses were based on designs used by Paul Barth for his Bartell guitars and basses. The majority of the guitars were built in Japan although Semi Moseley (of Mosrite fame) claimed to have built the last 200 guitars. One user associated with this guitar was jazz guitarist Larry Coryell who had an endorsement deal. Jimmy Nolen of James Brown's band was also a \"Black Widow\" user.\n\nRobby Krieger of The Doors was the most high-profile early user of the Acoustic 260 head and 261 cabinet—the first models ever produced by ACC. Krieger's Acoustic amps were a major public-relations boost for the fledgling company. Albert King and Chuck Berry also used the 260 and 261. Canadian guitar virtuoso Frank Marino used the 270 model amplifier as did Frank Zappa, Pete Townshend and Ernie Isley. Pat Metheny used the Acoustic 134 model combo guitar amplifier. Bassist Jaco Pastorius was a famous user of Acoustic bass amplifiers, using two 360/361 units onstage. Other bass amp users included Gary Thain from Uriah Heep, Larry Graham, Jimmie Randall, John Paul Jones, Carl Radle, Ric Grech, John McVie, Tony Stevens, Peter \"Overend\" Watts, Danny Sheridan, Rod Ellicott (Cold Blood), Flea, John Deacon, and Kirk Powers, the last two using an Acoustic 371 (combination of the 370 amp & 301 bass cabinet). The Mahavishnu Orchestra members (bass, keyboards, violin excluding John McLaughlin) used Acoustic amplifiers. Verden Allen, organist with Mott the Hoople used a 260 head amp. In the early '70s the Dutch band Focus used the 271 and 371 models while on the tour following the release of their Focus II LP.\n\nAcoustic Control Corporation went out of business in the 1980s, then returned under the name True Tone Audio as a manufacturer of P.A. amplifiers.\n\nLatter-day employee and designer Steve Rabe went on to establish specialist bass amplifier manufacturer SWR (now owned by Fender Musical Instruments Corporation) in 1984, then Raven Labs in 1998.\n\nAcoustic returned in 2007 under the name Acoustic Amplification, starting with the models B20 and AB50.\n\nIn 2011 another branch of Acoustic, Acoustic USA founded by George Grexa and manufactured by The G.P.G. Co, launched a new version of the 360/361 bass amplifier as well as various speaker cabinets and a power amplifier. The new re-designed version of the historic Acoustic 360/361 has immediately featured bassists like Flea, Antonio Iorio and many others.\n\nExternal links\nAcoustic Amplification Official Home Page\nUnofficial International Home Page\nUnofficial European Home Page (French)\nBlack Widow fansite\n\nGuitar amplifier manufacturers\nAudio equipment manufacturers of the United States" ]

[ "Aaron Turner", "Equipment", "What is an example of a guitar that Aaron Turner used?", "used two different guitars: a 1976 Fender Telecaster Custom (black), and a 1975 Fender Telecaster Deluxe (brown),", "What type of amplifiers did he use?", "In the past, Turner has also used a Gibson Les Paul Standard, PRS CE24, and has played through Sunn, Mesa Boogie, and Mackie amplifiers.", "Did he use any type of guitar effect pedals?", "Turner described using a variety of effects pedals in his live rig.", "What type of microphone did he use?", "Turner prefers a Heil PR20 vocal microphone.", "What types of guitar strings did he use?", "I don't know.", "What is an example of a guitar effects pedal that he used?", "), played through various effects (his pedalboard layout changed every gig depending on what songs the band decided to play that night),", "Was he ever sponsored by a guitar or amplifier company?", "I don't know." ]

[ "The Ibanez RG 321 is a guitar built and sold by the Ibanez guitar company. Created in the mid nineties, its body is based on the JEM series guitar, commonly used by Steve Vai.\n\nGuitar Details\nThe guitar is built with a mahogany body and a bolt-on rosewood neck. It has 24 jumbo frets, 2 more frets than on a standard guitar, and features pearl inlays. The bridge is fixed, meaning it can't possess a whammy bar without special customization by store or yourself. It possesses two humbucker pickups in the body, one in the neck position, one in the bridge position. Its neck is in the style of what's called a Wizard II neck.\n\nReferences\n\nExternal links\n Ibanez-RG321\n\nRG 321", "Myopia is Tom Fogerty's fourth solo album. It was released by Fantasy Records in 1974. The cover painting is called \"One Beat of Dove's Wing\" by Paul Whitehead.\n\nTrack listing\nAll songs written by Tom Fogerty.\n \"Give Me Another Trojan Song\" – 2:59\n \"What Did I Know\" – 2:35\n \"Theme from Four-D\" – 3:11\n \"Sweet Things to Come\" – 2:11\n \"What About Tomorrow\" – 4:23\n \"She La La La\" – 3:01\n \"And I Love You\" – 2:23\n \"Get Up\" – 2:07\n \"There Was a Time\" – 3:09\n \"Show Down\" – 2:35\n\nPersonnel\n Doug Clifford – percussion, drums\n Stu Cook – bass\n Russell DaShiell – guitar\n Tom Fogerty – guitar, vocals\n Russ Gary – guitar, vocals\n Stephen Miller – keyboards\n Tom Phillips – guitar\n Stovall Sisters – vocals\n\nReferences\n\n1974 albums\nTom Fogerty albums\nFantasy Records albums" ]

[ "Richard III of England", "Legacy" ]

[ "The popularity of the Diablo video game series led to several novels published that are set in Diablos shared universe.\n\nNovels\n\nDemonsbane \n\nDemonsbane (2000, ) is an e-novella written by Robert B. Marks. It appears in print in the Diablo Archive (2008, ).\n\nIn the book, Siggard, the only survivor of the battle of Blackmarch, unable to remember the battle's final hours—is driven to avenge those slain by the army of darkness. As he hunts the demonic army, Siggard pieces together the truth of that terrible battle...and finds his nightmare is just beginning.\n\nDemonsbane was a book published in the spirit of the \"e-book revolution.\" However, the market for e-books was quite small at the time and despite months of advertising on battle.net, sales were in the hundreds rather than the projected thousands.\n\nBefore being written, it was decided that Demonsbane should set the tone for the series, and help establish Sanctuary not only as a living and breathing game world, but also as a living and breathing world in literature. As such, Marks did a lot of world building using flavour quotes at the beginning of each chapter.\n\nLegacy of Blood \n\nLegacy of Blood (2001, , reissue 2017, ), the first novel based on Diablo by Blizzard Entertainment. The book was written by Richard A. Knaak. Legacy of Blood is intended for mature readers. It uses the same image as the cover of the Diablo II game box. It was collected in the Diablo Archive in 2008.\n\nThe book is written about a group of three men who stumble upon enchanted armor of unfathomable, immense powers that they have no clue about. The armor ends up belonging to a past warlord named Bartuc, who was the most brutal of all men to walk the earth, painting his armor each morning with the blood from the battle from his deceased foes. He was a Sorcerer who could control demons and used them to his own power to take over cities and countries in order to fiercely reign over the entire earth. He was eventually killed during an enormous battle by multiple people including his own brother Horazon. The armor was hidden away in a dark dungeon protected with dark magical powers where it sat dormant secretly calling to the main character, Norrec. Norrec was among the three tomb raiders when the armor was discovered. The three men were caught in a dire situation causing Norrec to put on the armor and reawaken the power of legions of demons and hell itself. His life would be forever changed...and one would question whether for the better or not.\n\nThe Black Road \nThe Black Road (2002, , reissue 2018, ) is a novel by Mel Odom. It was collected in the Diablo Archive in 2008.\n\nThe Kingdom of Shadow \nThe Kingdom of Shadow (2002, , reissue 2018, ) is a novel by Richard A. Knaak. It was collected in the Diablo Archive in 2008.\n\nMoon of the Spider \n\nMoon of the Spider (2006, ) is the third novel set in the Diablo universe written by Richard A. Knaak.\n\nDriven by nightmares to the ruins of a mysterious tomb, Lord Aldric Jitan hopes to awaken a terrible evil that has slept since the fall of Tristram. Drawn by the growing darkness in the land, the enigmatic Necromancer Zayl, stumbles upon Jitan's plot—unaware that one of his own brethren has set these dire events in motion. Now, as the celestial Moon of the Spider rises, the nefarious demon, Astrogha, prepares to unleash his minions upon the world of Sanctuary.\n\nDiablo: The Sin War \n\nThe Sin War is a trilogy of novel series set in Blizzard Entertainment's Diablo universe, written by Richard A. Knaak. It tells the story of Uldyssian as he is drawn into the battle between the Temple of the Triune, run by the Primus under Lucion; the Son of Mephisto and the Cathedral of Light run by the rebel angel Inarius. Uldyssian feels that both sides are corrupt and wants nothing to do with either of them. When he is accused of murdering one of their missionaries, he flees his home town of Seram as he begins to discover his own strange powers. He decides to teach others how to use it, and gathers many followers to him, but the Temple and the Cathedral want his powers for their own and will stop at nothing to get them.\n\nBirthright (2006, , reissue 2019, )\nScales of the Serpent (2007, , reissue 2019, )\nThe Veiled Prophet (2007, , reissue 2020, )\n\nThis trilogy was done as a collaboration between Richard and Chris Metzen (Blizzard), so it is considered canon material in the Diablo universe.\n\nDiablo III: The Order \nDiablo III: The Order (2012, , paperback 2013, , reissue 2021, ) is a novel by Nate Kenyon.\n\nDiablo III: Heroes Rise, Darkness Falls \nDiablo III: Heroes Rise, Darkness Falls (2012, ) is an anthology by Micky Neilson, James Waugh, Cameron Dayton, Matt Burns, Michael Chu, and Erik Sabol.\n\nDiablo III: Storm of Light \nDiablo III: Storm of Light (2014, ) is a novel by Nate Kenyon.\n\nDiablo III: Morbed \nDiablo III: Morbed (2014, ) is an e-novella by Micky Neilson.\n\nBooks and comic books\n\nDiablo: Tales of Sanctuary \nDiablo: Tales of Sanctuary (2001, ) is a comic book by Francisco Ruiz Velasco, Dave Land, and Phil Amara, published by Dark Horse Comics.\n\nDiablo III: Book of Cain \n\nDiablo III: Book of Cain (2011, , paperback 2016, ) is a book with text by Flint Dille and art direction by Glenn Rane, Doug Gregory, and Jeremy Cranford. It was the first product based on Diablo III by Blizzard Entertainment. \n\nDuring the San Diego Comic-Con 2011, Blizzard Entertainment Senior Vice-president of Creative Design Chris Metzen revealed further details about Diablo III: Book of Cain.\n\nDiablo: Sword of Justice \nDiablo: Sword of Justice (2012, reissue 2021, ) is a comic book series by Aaron Williams and Joseph Lacroix, originally published by DC Comics.\n\nDiablo III: Book of Tyrael \nDiablo III: Book of Tyrael (2013, , paperback 2016, ) is a book by Matt Burns and Doug Alexander.\n\nBook of Adria: A Diablo Bestiary \nBook of Adria: A Diablo Bestiary (2018, ) is a book by Robert Brooks and Matt Burns.\n\nReferences \n\nDiablo (series)\nFantasy novel series\nLists of novels based on works\nNovels based on video games\nWorks based on Blizzard video games", "Esther Frances How (January 29, 1848 – September 22, 1915), better known as Hester How, was a teacher who helped turn around delinquent boys in 19th-century Toronto.\n\nHow was born in Ireland in 1848 to Thomas Ferguson How and Catherine J. How and immigrated to Canada West in 1849. How graduated from Toronto Normal School and began her teaching career in 1871.\n\nIt was in 1879 when How was hired under the direction of Toronto Mayor William Holmes Howland and public school inspector James L. Hughes to help establish a school for troubled youth. This helped establish her as an advocate for troubled youth. It also helped steer youth away from trouble, away from being handled in the adult court system, and toward a juvenile justice system.\n\nThe school she taught at was renamed after her in 1912, and she retired from teaching a year later.\n\nHow died in Toronto in 1915, and was buried in St. James Cemetery.\n\nLegacy\nBeside Hester How Public School (former Elizabeth Street Public School now demolished and located in what is the east entrance of Hospital for Sick Children), a day care centre at Toronto City Hall (opened 1990) is named after her.\n\nReferences\n\n1848 births\n1915 deaths\nCanadian educators\nPre-Confederation Ontario people\nEducation in Ontario\nCanadian people of Irish descent\nBurials at St. James Cemetery, Toronto" ]

[ "Richard III of England", "Legacy", "What is something that helped to establish Richard III's legacy?", "Richard's Council of the North, described as his \"one major institutional innovation\"," ]

[ "Donald McIntyre ( - January 1866) was an Australian politician, who was a member of the New South Wales Legislative Council from 1848 to 1851.\n\nEarly life\nMcIntyre was born in to Donald (Daniel) and Mary McIntyre from Perthshire, Scotland. McIntrye's brother Peter established a property Blairmore, on the land of the Wanaruah people, near what is now Aberdeen. Donald emigrated to New South Wales and in 1827 established a property nearby, Kayuga. In 1834 he established another station Dalkeith at what is now Cassilis, on the land of the Wiradjuri people.\n\nIn November 1833 a shepherd that McIntyre employed, variously referred to as Edward Hills, Edward Giles or William Gills, hit him in the back of the head with a piece of iron. The shepherd was convicted of attempted murder, sentenced to death, and was hanged in March 1834.\n\nLegislative Council\nIn 1843 McIntyre stood as a candidate for the Counties of Hunter, Brisbane and Bligh, but was unsuccessful. He stood again in 1848, winning the election. He did not nominate for election in 1851.\n\nLater life\n\nOn 19 December 1854 McIntyre married Margaret McGreggor.\nHe died on 2 January 1866 at Glebe, aged 76.\n\nSee also\nMembers of the New South Wales Legislative Council, 1843–1851\nResults of the 1843 and 1848 elections\n\nReferences\n\n \n\nYear of birth missing\nYear of death missing\nMembers of the New South Wales Legislative Council\n\nSettlers of New South Wales", "The City of Woodville was a local government area in South Australia from 1875 to 1993, seated at the inner north west Adelaide suburb of Woodville.\n\nHistory\n\nThe District Council of Hindmarsh, covering the north west suburbs of Adelaide, had been established since 1853, providing local government to land that was to be Woodville council. In 1874 the most populous parts of the district council successfully lobbied to secede and formed the Town of Hindmarsh adjacent to the Adelaide parklands. The remainder, still called District Council of Hindmarsh, formed the boundaries of what would one day be the City of Woodville.\n\nLate in the following year on 30 December 1875, at the request of ratepayers in order to distinguish itself from the newer corporate town, the name was changed to District Council of Woodville by state government proclamation.\n\nThe council offices relocated from Port Road to the present-day City of Charles Sturt civic centre on Woodville Road at Woodville in 1903.\n\nAs part of the District Councils Act 1887 consolidation of local government in the state, the rump of the District Council of Glanville was amalgamated into Woodville council as the Davenport ward in 1888. This closely following the creation of the Town of Semaphore which removed a significantly-populated portion of Glanville. This now meant that the Woodville council's western boundary was the coastline from the Torrens to Fort Glanville.\n\nIn December 1915, the seaside communities of Henley Beach and Grange seceded from Woodville council to form the Municipality of Henley and Grange.\n\nThe Woodville and Hindmarsh councils were reunited in 1993 as the City of Hindmarsh Woodville. Four years later, Henley and Grange council was also reunited to form the present-day City of Charles Sturt, in 1997.\n\nNeighbouring local government\nThe following adjacent local government bodies co-existed with the Hindmarsh council:\n District Council of Glanville (established 1860) lay west and north west until 1888 when it was merged into Woodville council as its Davenport ward. From this time the Town of Semaphore became Woodville council's north western neighbour until it was merged into the Town of Port Adelaide in 1900. In 1901, Port Adelaide attained municipality status and was known instead as the City of Port Adelaide.\n District Council of Queenstown and Alberton (established 1864) lay immediately north until it also was merged into the Town of Port Adelaide in 1898.\n District Council of Yatala South (established 1868) lay north east and east. From 1933, Yatala South was instead known as the District Council of Enfield, and, not much later, the City of Enfield.\n Town of Hindmarsh lay immediately east and south east.\n District Council of West Torrens (established 1853) lay immediately south, across the River Torrens. In 1950, West Torrens attained municipality status and was known instead as the City of West Torrens.\n City of Henley and Grange lay south west from its establishment in 1915 out of Woodville and West Torrens councils.\n\nReferences\n\nWoodville, City of\nWoodville, City of\nWoodville, City of" ]

[ "Richard III of England", "Legacy", "What is something that helped to establish Richard III's legacy?", "Richard's Council of the North, described as his \"one major institutional innovation\",", "What year was this Council established?", "part of the royal council machinery under the presidency of John de la Pole, Earl of Lincoln in April 1484," ]

[ "The dump tackle, also known as dumping, tipping, or a tip tackle is a popular tackling technique used in rugby football. The tackler wraps their arms around the ball carrier's thighs and lifts them a short distance in the air before forcibly driving them to the ground. The move is frowned upon in many rugby communities as a dangerous tackling technique, as it puts the player being tackled at risk of a spine, neck, or head injury. However, the move is still popular in some places, and is often considered a crowd-pleaser.\n\nA similar tackle to the dump tackle is the spear tackle, a more dangerous (and illegal) move. This can be done by adding additional rotation to the player being tackled, causing the player to hit the ground head or neck first.\n\nRugby Union \nAccording to World Rugby rules, \"a player must not lift an opponent off the ground and drop or drive that player so that their head and/or upper body make contact with the ground.\" This applies to both dump tackles and spear tackles, although the calling of a penalty for these tackles is up to the discretion of the referee. Illegal dump tackles can be penalized with a yellow card, red card, or penalty only depending on the severity of the tackle and the danger to the player being tackled. \n\nIn an effort to reduce tackle-related injuries, World Rugby has emphasized to referees the importance of penalizing players who use this tackle technique dangerously.\n\nRugby League \nThe dump tackle is a tackling technique favored mainly by rugby league players. A player is guilty of misconduct if they \"uses any dangerous throw when affecting a tackle,\" which includes any lifting of the player being tackled beyond the horizontal (i.e., a spear tackle). As per Rugby League International Federation (IRLF) laws, \"Dangerous throw (d) If, in any tackle of, or contact with, an opponent that player is so lifted that he is placed in a position where it is likely that the first part of his body to make contact with the ground will be his head or neck (“the dangerous position”), then that tackle or contact will be deemed to be a dangerous throw unless, with the exercise of reasonable care, the dangerous position could not have been avoided.\"\n\nSee also \n\nTackle (football move)\nSpear tackle - similar to a dump tackle\nGrapple tackle - another controversial tackling technique\nHigh tackle\n Glossary of rugby league terms\nGlossary of rugby union terms\n One on one tackle\n\nReferences\n\nRugby league terminology\nRugby union terminology", "Our Own Voice is an online literary journal established in 2001 providing a home space for the creative expressions of Filipinos in the diaspora. It is founded by award-winning playwright and community activist, Remé-Antonia Grefalda. The Boatman trademark logo is designed by theater artist and web designer, Geejay Arriola. Our Own Voice, or OOV, publishes original poetry, short stories, and essays. Past issues tackled themes such as \"Heirloom Recipes\" (December 2011) and \"Dislocation\" (September 2016).\n\nIn 2003, OOV established the Global Filipino Literary Awards to recognize publishers and authors for advancing Filipino literature. Winning works are catalogued as a special collection at the Library of Congress, Asian Division.\n\nIn the September 2016 issue, the editors announced that, \"The Boatman is moving 'Beyond Homeland.' After 16 years and 44 issues [featuring] works relating to Filipino heritage, OOV is “navigating” out of archipelagic waters to venture into the 'open sea.'\"\n\nReferences\n\nExternal links\nOfficial website\n\nMagazines established in 2001\nOnline literary magazines\nLiterary magazines published in the Philippines" ]

[ "Richard III of England", "Legacy", "What is something that helped to establish Richard III's legacy?", "Richard's Council of the North, described as his \"one major institutional innovation\",", "What year was this Council established?", "part of the royal council machinery under the presidency of John de la Pole, Earl of Lincoln in April 1484,", "What is one of the issues that the Council tackled?", "considered to have greatly improved conditions for northern England," ]

[ "There were elections for the Scottish district councils on Tuesday 7 May 1974, for both the new regional and district councils, between the two United Kingdom general elections of February and October in that same year.\n\nThese were the first elections held to the 53 district councils established by the Local Government (Scotland) Act 1973. The Labour Party did reasonably well and the Scottish National Party (SNP) did not. The councillors acted as \"shadow\" councils until May 1975, when the provisions of the Local Government (Scotland) Act 1973 came into effect.\n\nResults\n\nNational results\n\n|-\n!colspan=2|Parties\n!Votes\n!Votes %\n!Wards\n|-\n| \n|658,089\n|38.5\n|172\n|-\n| \n|488,905\n|28.6\n|112\n|-\n| \n|215,502\n|12.6\n|18\n|-\n| \n|87,333\n|5.1\n|11\n|-\n| style=\"width: 10px\" bgcolor=|\n| style=\"text-align: left;\" scope=\"row\" | Independent/Other\n|261,372\n|15.3\n|114/5\n|-\n!colspan=2|Total!! !! !!\n|}\n\n|-\n!colspan=2|Parties\n!Votes\n!Votes %\n!Wards\n|-\n| \n|619,531\n|38.4\n|428\n|-\n| \n|433,287\n|26.8\n|241\n|-\n| \n|200,307\n|12.4\n|62\n|-\n| \n|80,232\n|5.0\n|17\n|-\n| style=\"width: 10px\" bgcolor=|\n| style=\"text-align: left;\" scope=\"row\" | Independent/Other\n|280,946\n|17.5\n|345/17\n|-\n!colspan=2|Total!! !! !!\n|}\n\nNote: Orkney, Shetland, and the Western Isles were governed at the district level as unitary authorities, meaning they were not included in any larger region.\n\nCouncil Results\n\nRegional Councils\n\nDistrict Councils\n\nThe seats on each council after the election were as follows:\n\nBorders\n\nCentral\n\nDumfries and Galloway\n\nFife\n\nGrampian\n\nHighland\n\nLothian\n\nStrathclyde\n\nTayside\n\nSee also\n Local government areas of Scotland 1973 to 1996\n Local Government Boundary Commission for Scotland\n\nReferences\n\n \n1974\nMay 1974 events in the United Kingdom", "Social Balance is a political party in Denmark.\n\nHistory\nSocial Balance was founded June 6, 2012 by former SF members Mette Valentin and John Hyrup Jensen. They were unhappy with SF's politics, and founded Social Balance.\n\nIn 2013, the party ran in Nyborg Municipality (38 votes), Sønderborg Municipality (30 votes), Næstved Municipality (147 votes), Faaborg-Midtfyn Municipality (83 votes), Odense Municipality (80 votes) and Assens Municipality (63 votes). They did not get any seats in any of those municipal councils.\nThe party also ran in the regional election in 2013, receiving 1043 votes in Region of Southern Denmark and 446 in Region Zealand. This did not give any seats in the regional councils.\n\nElection results\n\nMunicipal elections\n\nRegional elections\n\nReferences\n\nPolitical parties in Denmark\nPolitical parties established in 2012\n2012 establishments in Denmark" ]

[ "Richard III of England", "Legacy", "What is something that helped to establish Richard III's legacy?", "Richard's Council of the North, described as his \"one major institutional innovation\",", "What year was this Council established?", "part of the royal council machinery under the presidency of John de la Pole, Earl of Lincoln in April 1484,", "What is one of the issues that the Council tackled?", "considered to have greatly improved conditions for northern England,", "Did Richard establish any other councils?", "Richard instituted what later became known as the Court of Requests," ]

[ "The Court of Requests was a minor equity court in England and Wales. The court was instituted by King Richard III in his 1484 parliament. It first became a formal tribunal with some Privy Council elements under Henry VII, hearing cases from the poor and from the servants of the King. It quickly became popular on account of the low cost of bringing a case and the rapid processing time, earning the disapproval of the common law judges. Two formal judges, the \"Masters of Requests Ordinary\", were appointed towards the end of Henry VIII's reign, with an additional two \"Masters of Requests Extraordinary\" appointed under Elizabeth I to allow two judges to accompany her on her travels around England (Latin: Regiae Majestati a Supplicum Libellis Magister). Two more ordinary masters were appointed under James I of England, with the increasing volume of cases bringing a wave of complaints as the court's business and backlog grew.\n\nThe court became embroiled in a dispute with the common law courts during the late 16th century, who were angry at the amount of business deserting them for the Court of Requests. During the 1590s they went on the offensive, overwriting many decisions made by the Requests and preventing them from imprisoning anyone. It is commonly accepted that this was a death-blow for the court, which, dependent on the Privy Seal for authority, died when the English Civil War made the seal invalid.\n\nHistory \nThe precise origins of the Court of Requests are unknown. Spence traces it back to the reign of Richard II, Leadam, rejecting Spence's case, claims there is no official record of the court's existence before 1493, Pollard writes (based on documents discovered after Leadam's work) that it was in existence from at least 1465, while Alexander writes that it first appeared during the reign of the House of York, and Kleineke states that it was created in 1485 by Richard III. Whatever its origin, the court was created as part of the Privy Council, following an order by the Lord Privy Seal that complaints and cases brought to the council by the poor should be expedited. This was as part of the Privy Council; it first became an independent tribunal with some Privy Council elements under Henry VII, with jurisdiction mainly over matters of equity. The court became increasingly popular due to the lack of cost in bringing a case to it and the speed at which it processed them, in contrast with the slow and expensive common law courts, arousing the ire of common law lawyers and judges.\n\nThe court originally followed the monarch on his travels around England, visiting Sheen, Langley and Woodstock in 1494. Under Thomas Wolsey the court became fixed in Westminster, hearing cases from poor people and from the servants of the king. It met at the White Hall of the Palace of Westminster and was often referred to as the Court of White Hall. Towards the end of Henry VIII's reign, the court assumed a more professional status with the appointment of two \"Masters of Requests Ordinary\" to serve as its judges, where the Lord Privy Seal alone had previously heard and delivered judgements. Two additional \"Masters of Requests Extraordinary\" were appointed under Elizabeth I to accompany her on her progresses around England. Under James I two further Ordinary Masters were appointed, but despite this the court was criticised for the backlog arising from its increasing business.\n\nWhen the court formally became an independent body in the 16th century, free of Privy Council control, it immediately became vulnerable to attack by the common-law courts, which asserted that it had no formal jurisdiction and that the Court of Chancery was an appropriate equitable body for cases. It was technically true that the court, as it was no longer part of the Privy Council, could not claim jurisdiction based on tradition, but in 1597 Sir Julius Caesar (then a Master of Requests Ordinary) gave examples of times when the common law courts had recognised the Court of Requests' jurisdiction as recently as 1585. The common law courts change of heart was undoubtedly due to the large amount of business deserting them for the Court of Requests, and in 1590 they went on the offensive; writs of habeas corpus were issued for people imprisoned for contempt of court in the Requests, judgments were issued in cases the Court of Requests were dealing with and it was decided that jailing an individual based on a writ from the Court of Requests constituted false imprisonment. Most academics accept that the court never recovered from these blows, and when the English Civil War made the privy seal inoperative, the court \"died a natural death\". The post of Master of Requests was abolished in 1685.\n\nOther courts of requests \nAnother court of requests was by act of the Common Council of the City of London on 1 February 1518. It had jurisdiction over small debts under 40 shillings between citizens and tradesmen of the City of London. The judges of the court were two aldermen and four ancient discreet commoners. It was also called the Court of Conscience in the Guild Hall, where it met. Under James I Acts of Parliament were passed regulating its procedure 1 James I ch.14 and 3 James I ch. 15. These were the first Acts of Parliament that gave validity to a court of requests.\n\nIn the eighteenth and early nineteenth century small claims courts were established in various parts of England called \"court of requests\". The first of these was found in Southwark by 22 George II ch.47. They were abolished by the County Courts Act 1846.\n\nSee also\n List of Masters of Requests – Chronological list of Masters of Requests\nCourt of equity\n\nReferences\n\nBibliography\n\n \n\nFormer courts and tribunals in England and Wales\nCourts of equity\n1480s establishments in England\n1640s disestablishments in England\nCourts and tribunals established in the 1480s\nCourts and tribunals disestablished in the 1640s\nPalace of Westminster", "The District Court of New South Wales is the intermediate court in the judicial hierarchy of the Australian state of New South Wales. It is a trial court and has an appellate jurisdiction. In addition, the Judges of the Court preside over a range of tribunals. In its criminal jurisdiction, the Court may deal with all serious criminal offences except murder, treason and piracy. The Court's civil jurisdiction is generally limited to claims less than A$750,000.\n\nThe District Court has had its current structure since reforms during 1973 which created a single court with a statewide criminal and civil jurisdiction. The Chief Judge of the District Court, since 2014, is the Honourable Justice Derek Price .\n\nHistory\nBy 1850, the court system in the Colony of New South Wales consisted of:\n The Supreme Court of New South Wales which, under the Third Charter of Justice sealed in 1823, had a criminal and civil jurisdiction similar to that of the superior Courts of England;\n Courts of General and Quarter Sessions which could deal with \"crimes and misdemeanours not punishable by death\";\n Court of Requests in Sydney and the County of Cumberland, with a civil jurisdiction not exceeding 30; and\n Courts of Petty Sessions, which dealt with criminal misdemeanours in a summary way and had a civil jurisdiction up to 10 (or 30 if the defendant consented).\n\nThe population of NSW increased as a result of the gold rush of 1851 and became more dispersed. Litigation grew as the Colony prospered, and crime was not declining. The Supreme Court began to fall seriously into arrears, and this was not helped by the fact that it did not visit a lot of towns. Courts of Quarter Sessions were also few in number and had no civil jurisdiction. By the mid-1850s there were calls for a revision of the court system, to meet the growing needs of the Colony. As a result, the parliament passed the District Courts Act 1858 (NSW). This Act established District Courts, which divided the Colony into Districts and created a court of record for each district with a civil jurisdiction up to 200, to replace the Courts of Requests. Judges of the District Courts were also appointed as Chairman of any Court of Quarter Sessions or General Sessions, to be held within the limits of that District.\n\nThe purpose of the Act was briefly described as:\nDistrict Courts were established by the Legislature for the purpose of simplifying legal proceedings in the recovery of amounts under £200, and lessening the expenses of attending such proceedings, as well as to relieving the Supreme Court of some portion of the overwhelming civil business which the rapid progress of the colony had lately engendered. The Act providing for the institution of these Courts also extended the jurisdiction of Courts of General and Quarter Sessions of the Peace, and prepared the way for a great increase in their numbers, under the presidency of District Court Judges as Chairmen, whereby criminal proceedings have been much facilitated, especially in the more distant and outlying portions of the country.\n\nThe jurisdiction of the District Courts was increased from time to time. Incremental changes were introduced after World War II. The position of Chairman of the District Court Judges was introduced in 1950 to exercise administrative functions in relation to the courts similar to role of the Chief Justice in the Supreme Court. From 1955 instead of being appointed to a specific district, judges began to be appointed to \"all district courts\".\n\nThe intermediate courts were reformed in 1973 by the District Court Act 1973, which abolished the Courts of Quarter Sessions and each of the District Courts and amalgamated their jurisdictions into a single District Court of New South Wales, with a statewide criminal and civil jurisdiction.\n\nStructure and jurisdiction\n\nCriminal jurisdiction\n\nThe District Court deals with a wide range of criminal matters. The only charges that the District Court cannot deal with are murder or treason, which must be dealt with by the Supreme Court. The types of criminal matters dealt with by the District Court include:\noffences against the person: including offences like manslaughter, malicious wounding to inflict grievous bodily harm and dangerous driving;\nassaults: including offences like common assault, assault occasioning actual bodily harm and assault of police officers;\nsexual assaults: including offences like sexual assault, indecent assault and carnal knowledge;\noffences relating to property: including offences like robbery from the person, break, enter and steal, larceny (stealing) and embezzlement;\noffences involving illicit drug use: including offences like the importation of heroin and other drugs into Australia, prohibited supply of drugs and possess prohibited drug; and\noffences involving fraud: including offences like passing valueless cheques, obtaining money by deception and forgery.\n\nCivil jurisdiction\n\nIn its civil jurisdiction the Court may deal with all motor accident cases, irrespective of the amount claimed and other claims to a maximum amount of A$750,000, although it may deal with matters exceeding this amount if the parties consent. In addition, the Court may deal with equitable claims or demands for recovery of money or damages for amounts not exceeding A$750,000. The Court is also empowered to deal with applications under the Property (Relationships) Act 1984, the Succession Act 2006, that involve amounts, or property to the value of, not more than A$250,000.\n\nResidual jurisdiction\n\nMost of the work in residual jurisdiction is handled by the Workers Compensation Commission. However, some matters that are handled by the District Court include:\nthe concerning police officers \"hurt on duty\" and the concerning the payment of superannuation benefits to police officers\npayment under the Police Regulations (Superannuation) Act 1906 (NSW), paid to STC (the SAS Trustee Corporation continued under the ) and special risk benefits payable by the Commissioner of Police\nthe concerning workers in or about a coal mine\nthe \nthe Sporting Injuries Insurance Scheme\nthe\n\nAppellate jurisdiction\nThe District Court has appellate jurisdiction for decisions made by the Local Court of New South Wales and the Children's Court of New South Wales, where a review of both sentencing and convictions may be heard before the Court. Appeals against District Court decisions are made to the Supreme Court, the Court of Appeal or the Court of Criminal Appeal.\n\nSee also\n\nList of Judges of the District Court of NSW\nList of New South Wales courts and tribunals\n\nReferences\n\nNew South Wales courts and tribunals\n \n1858 establishments in Australia\nCourts and tribunals established in 1858" ]

[ "Richard III of England", "Legacy", "What is something that helped to establish Richard III's legacy?", "Richard's Council of the North, described as his \"one major institutional innovation\",", "What year was this Council established?", "part of the royal council machinery under the presidency of John de la Pole, Earl of Lincoln in April 1484,", "What is one of the issues that the Council tackled?", "considered to have greatly improved conditions for northern England,", "Did Richard establish any other councils?", "Richard instituted what later became known as the Court of Requests,", "What did the Court of Requests deal with?", "a court to which poor people who could not afford legal representation could apply for their grievances to be heard." ]

[ "The Court of Requests was a minor equity court in England and Wales. The court was instituted by King Richard III in his 1484 parliament. It first became a formal tribunal with some Privy Council elements under Henry VII, hearing cases from the poor and from the servants of the King. It quickly became popular on account of the low cost of bringing a case and the rapid processing time, earning the disapproval of the common law judges. Two formal judges, the \"Masters of Requests Ordinary\", were appointed towards the end of Henry VIII's reign, with an additional two \"Masters of Requests Extraordinary\" appointed under Elizabeth I to allow two judges to accompany her on her travels around England (Latin: Regiae Majestati a Supplicum Libellis Magister). Two more ordinary masters were appointed under James I of England, with the increasing volume of cases bringing a wave of complaints as the court's business and backlog grew.\n\nThe court became embroiled in a dispute with the common law courts during the late 16th century, who were angry at the amount of business deserting them for the Court of Requests. During the 1590s they went on the offensive, overwriting many decisions made by the Requests and preventing them from imprisoning anyone. It is commonly accepted that this was a death-blow for the court, which, dependent on the Privy Seal for authority, died when the English Civil War made the seal invalid.\n\nHistory \nThe precise origins of the Court of Requests are unknown. Spence traces it back to the reign of Richard II, Leadam, rejecting Spence's case, claims there is no official record of the court's existence before 1493, Pollard writes (based on documents discovered after Leadam's work) that it was in existence from at least 1465, while Alexander writes that it first appeared during the reign of the House of York, and Kleineke states that it was created in 1485 by Richard III. Whatever its origin, the court was created as part of the Privy Council, following an order by the Lord Privy Seal that complaints and cases brought to the council by the poor should be expedited. This was as part of the Privy Council; it first became an independent tribunal with some Privy Council elements under Henry VII, with jurisdiction mainly over matters of equity. The court became increasingly popular due to the lack of cost in bringing a case to it and the speed at which it processed them, in contrast with the slow and expensive common law courts, arousing the ire of common law lawyers and judges.\n\nThe court originally followed the monarch on his travels around England, visiting Sheen, Langley and Woodstock in 1494. Under Thomas Wolsey the court became fixed in Westminster, hearing cases from poor people and from the servants of the king. It met at the White Hall of the Palace of Westminster and was often referred to as the Court of White Hall. Towards the end of Henry VIII's reign, the court assumed a more professional status with the appointment of two \"Masters of Requests Ordinary\" to serve as its judges, where the Lord Privy Seal alone had previously heard and delivered judgements. Two additional \"Masters of Requests Extraordinary\" were appointed under Elizabeth I to accompany her on her progresses around England. Under James I two further Ordinary Masters were appointed, but despite this the court was criticised for the backlog arising from its increasing business.\n\nWhen the court formally became an independent body in the 16th century, free of Privy Council control, it immediately became vulnerable to attack by the common-law courts, which asserted that it had no formal jurisdiction and that the Court of Chancery was an appropriate equitable body for cases. It was technically true that the court, as it was no longer part of the Privy Council, could not claim jurisdiction based on tradition, but in 1597 Sir Julius Caesar (then a Master of Requests Ordinary) gave examples of times when the common law courts had recognised the Court of Requests' jurisdiction as recently as 1585. The common law courts change of heart was undoubtedly due to the large amount of business deserting them for the Court of Requests, and in 1590 they went on the offensive; writs of habeas corpus were issued for people imprisoned for contempt of court in the Requests, judgments were issued in cases the Court of Requests were dealing with and it was decided that jailing an individual based on a writ from the Court of Requests constituted false imprisonment. Most academics accept that the court never recovered from these blows, and when the English Civil War made the privy seal inoperative, the court \"died a natural death\". The post of Master of Requests was abolished in 1685.\n\nOther courts of requests \nAnother court of requests was by act of the Common Council of the City of London on 1 February 1518. It had jurisdiction over small debts under 40 shillings between citizens and tradesmen of the City of London. The judges of the court were two aldermen and four ancient discreet commoners. It was also called the Court of Conscience in the Guild Hall, where it met. Under James I Acts of Parliament were passed regulating its procedure 1 James I ch.14 and 3 James I ch. 15. These were the first Acts of Parliament that gave validity to a court of requests.\n\nIn the eighteenth and early nineteenth century small claims courts were established in various parts of England called \"court of requests\". The first of these was found in Southwark by 22 George II ch.47. They were abolished by the County Courts Act 1846.\n\nSee also\n List of Masters of Requests – Chronological list of Masters of Requests\nCourt of equity\n\nReferences\n\nBibliography\n\n \n\nFormer courts and tribunals in England and Wales\nCourts of equity\n1480s establishments in England\n1640s disestablishments in England\nCourts and tribunals established in the 1480s\nCourts and tribunals disestablished in the 1640s\nPalace of Westminster", "Frederick George Penney or Frederick Gordon Penney (c.1856 – 5 August 1928) was a colonial administrator. He was a cadet of Straits Settlement in 1876 and retired as the Colonial Secretary of Straits Settlements in 1906.\n\nEducation\nPenney graduated from University of Edinburgh with a M.A.\n\nPersonal life\nHe is the son of William Penney and Louisa Jane Campbell.\n\nCareer\nIn 1876, Penney appointed Cadet of Straits Settlement, and in 1879 as Acting Coroner, Singapore.\n\nIn 1880, he was the Acting Collector of Land Revenue, Penang. and in 1883 was appointed Second Magistrate and Commissioner of the Court of Requests, Penang and, in the same year, transferred to Singapore as Second Magistrate and Commissioner of the Court of Requests.\n\nIn 1884, he was the Acting First Magistrate and Commissioner of the Court of Requests, Singapore and in July 1886 to June 1887, he was Acting Second Assistant Colonial Secretary when Mr E W Birch was on leave of absence.\n\nOn 23 June 1887, he was appointed as Inspector of Schools for Straits Settlements when Mr E C Hill went for a long leave of absence and in 1889, he was the Acting Assistant Colonial Secretary.\n\nOn 4 July 1890, he was promoted to Senior District Officer (Province Wellesley) and continue as Acting Assistant Colonial Secretary.\n\nOn 12 April 1897, he was appointed Acting Colonial Treasurer and Collector of Stamp Duties and member of the Legislative Council in the consequence of the death of Mr H A O'Brien (Acting Colonial Treasurer) and continue as Senior District Officer (Province Wellesley).\n\nOn 24 August 1898, he was appointed as Colonial Treasurer and continue as Collector of Stamp Duties.\n\nOn 5 July 1904, he was appointed as Resident Councillor of Malacca and continue as Colonial Treasurer and on 1 January 1905, he was appointed as Colonial Secretary to succeed Sir William Thomas Taylor, who was appointed as the Resident General of the Federated Malaya States (F.M.S.).\n\nRetirement and death\nOn 13 April 1905, Penney took an eight and a half months leave of absence and later retired in 1906 due to poor health.\nHe died on 5 August 1928 at the age of 72.\n\nReferences\n\n1856 births\n1928 deaths\nAdministrators in British Singapore\nChief Secretaries of Singapore" ]

[ "Richard III of England", "Legacy", "What is something that helped to establish Richard III's legacy?", "Richard's Council of the North, described as his \"one major institutional innovation\",", "What year was this Council established?", "part of the royal council machinery under the presidency of John de la Pole, Earl of Lincoln in April 1484,", "What is one of the issues that the Council tackled?", "considered to have greatly improved conditions for northern England,", "Did Richard establish any other councils?", "Richard instituted what later became known as the Court of Requests,", "What did the Court of Requests deal with?", "a court to which poor people who could not afford legal representation could apply for their grievances to be heard.", "Was the Court of Requests a success?", "intended to keep the peace and punish law breakers, as well as resolving land disputes." ]

[ "The Court of Requests was a minor equity court in England and Wales. The court was instituted by King Richard III in his 1484 parliament. It first became a formal tribunal with some Privy Council elements under Henry VII, hearing cases from the poor and from the servants of the King. It quickly became popular on account of the low cost of bringing a case and the rapid processing time, earning the disapproval of the common law judges. Two formal judges, the \"Masters of Requests Ordinary\", were appointed towards the end of Henry VIII's reign, with an additional two \"Masters of Requests Extraordinary\" appointed under Elizabeth I to allow two judges to accompany her on her travels around England (Latin: Regiae Majestati a Supplicum Libellis Magister). Two more ordinary masters were appointed under James I of England, with the increasing volume of cases bringing a wave of complaints as the court's business and backlog grew.\n\nThe court became embroiled in a dispute with the common law courts during the late 16th century, who were angry at the amount of business deserting them for the Court of Requests. During the 1590s they went on the offensive, overwriting many decisions made by the Requests and preventing them from imprisoning anyone. It is commonly accepted that this was a death-blow for the court, which, dependent on the Privy Seal for authority, died when the English Civil War made the seal invalid.\n\nHistory \nThe precise origins of the Court of Requests are unknown. Spence traces it back to the reign of Richard II, Leadam, rejecting Spence's case, claims there is no official record of the court's existence before 1493, Pollard writes (based on documents discovered after Leadam's work) that it was in existence from at least 1465, while Alexander writes that it first appeared during the reign of the House of York, and Kleineke states that it was created in 1485 by Richard III. Whatever its origin, the court was created as part of the Privy Council, following an order by the Lord Privy Seal that complaints and cases brought to the council by the poor should be expedited. This was as part of the Privy Council; it first became an independent tribunal with some Privy Council elements under Henry VII, with jurisdiction mainly over matters of equity. The court became increasingly popular due to the lack of cost in bringing a case to it and the speed at which it processed them, in contrast with the slow and expensive common law courts, arousing the ire of common law lawyers and judges.\n\nThe court originally followed the monarch on his travels around England, visiting Sheen, Langley and Woodstock in 1494. Under Thomas Wolsey the court became fixed in Westminster, hearing cases from poor people and from the servants of the king. It met at the White Hall of the Palace of Westminster and was often referred to as the Court of White Hall. Towards the end of Henry VIII's reign, the court assumed a more professional status with the appointment of two \"Masters of Requests Ordinary\" to serve as its judges, where the Lord Privy Seal alone had previously heard and delivered judgements. Two additional \"Masters of Requests Extraordinary\" were appointed under Elizabeth I to accompany her on her progresses around England. Under James I two further Ordinary Masters were appointed, but despite this the court was criticised for the backlog arising from its increasing business.\n\nWhen the court formally became an independent body in the 16th century, free of Privy Council control, it immediately became vulnerable to attack by the common-law courts, which asserted that it had no formal jurisdiction and that the Court of Chancery was an appropriate equitable body for cases. It was technically true that the court, as it was no longer part of the Privy Council, could not claim jurisdiction based on tradition, but in 1597 Sir Julius Caesar (then a Master of Requests Ordinary) gave examples of times when the common law courts had recognised the Court of Requests' jurisdiction as recently as 1585. The common law courts change of heart was undoubtedly due to the large amount of business deserting them for the Court of Requests, and in 1590 they went on the offensive; writs of habeas corpus were issued for people imprisoned for contempt of court in the Requests, judgments were issued in cases the Court of Requests were dealing with and it was decided that jailing an individual based on a writ from the Court of Requests constituted false imprisonment. Most academics accept that the court never recovered from these blows, and when the English Civil War made the privy seal inoperative, the court \"died a natural death\". The post of Master of Requests was abolished in 1685.\n\nOther courts of requests \nAnother court of requests was by act of the Common Council of the City of London on 1 February 1518. It had jurisdiction over small debts under 40 shillings between citizens and tradesmen of the City of London. The judges of the court were two aldermen and four ancient discreet commoners. It was also called the Court of Conscience in the Guild Hall, where it met. Under James I Acts of Parliament were passed regulating its procedure 1 James I ch.14 and 3 James I ch. 15. These were the first Acts of Parliament that gave validity to a court of requests.\n\nIn the eighteenth and early nineteenth century small claims courts were established in various parts of England called \"court of requests\". The first of these was found in Southwark by 22 George II ch.47. They were abolished by the County Courts Act 1846.\n\nSee also\n List of Masters of Requests – Chronological list of Masters of Requests\nCourt of equity\n\nReferences\n\nBibliography\n\n \n\nFormer courts and tribunals in England and Wales\nCourts of equity\n1480s establishments in England\n1640s disestablishments in England\nCourts and tribunals established in the 1480s\nCourts and tribunals disestablished in the 1640s\nPalace of Westminster", "R (on the Application of Safe Passage International) v. Secretary of State for the Home Department [2021] EWHC 1821 (Admin), is a judgment of the High Court of Justice of England and Wales. \n\nSafe Passage, challenged the lawfulness of a Home Office policy on Dublin III transfers by way of judicial review. The court found that there were two parts of the policy that were unlawful.\n\nBackground \nThe Dublin III Regulation is a European Union (EU) agreement that \"provides a system for allocating responsibility for determining applications for international protection from asylum seekers to member states of the EU\". Dublin III provides that unaccompanied minors seeking asylum should be reunited with any family members legally present in another EU member state, and the application for transfer to that member state for reunification should be made in the member state where the family members reside. Dublin III applied to the United Kingdom (UK) as an EU member state until January 1, 2021.\n\nIn April 2020, the Home Office changed its policy on Dublin III transfers. One of the changes in policy was that Home Office caseworkers were instructed to refuse a transfer request if their investigation would not meet the two-month deadline to accept or refuse a transfer request, because if they failed to meet the deadline, they would be required to accept the request under Dublin III. \n\nThe plaintiff, Safe Passage, challenged the lawfulness of the policy by way of judicial review.\n\nFacts \nThe plaintiff argued that the guidance in the policy document was unlawful on three main grounds:\n\n The guidance \"provide[d] only for information [regarding the child's family members] to be obtained from the local authority once the family link had been established, which came too late in the process for relevant information to be obtained to inform the [transfer request]\".\n The guidance wrongly permitted caseworkers to refuse requests if they would not meet the two-month deadline.\n The practice set out in the guidance regarding \"reexamination [review] requests \" was unlawful because it misapplied EU case-law.\n\nThe Home Office argued that the first ground was not wrong in law because when the guidance was \"read as a whole, it is apparent that appropriate inquiries are required to be made by the caseworkers with all relevant bodies, including local authorities\" in assessing the transfer requests. In relation to the second ground, the Home Office argued that the guidance was correct and had been \"mischaracterised by [the plaintiff]\". With regard to the third ground, the Home Office maintained that the guidance concerning reexamination requests was correct and consistent with EU law.\n\nThe case was heard by Justice Dingemans and Justice Dove.\n\nJudgment \nThe court found that there were two parts of the policy that were unlawful. The ruling did not overturn the policy guidance as a whole on the grounds that \"there are substantial parts of the policy guidance which are not erroneous in law\". \n\nFirst, the court determined that the policy directing that information should be obtained from the local authority after the family link had been established (ground one) was unlawful because it created \"a bright line that the local authority should not undertake an assessment with the family … until the family link had been established\", even though the local authority's assessment would assist the Home Office in making an informed decision about whether there was a family link.\n\nThe court also found the policy relating to the two-month deadline to be unlawful. The court held it was unlawful because it provided for transfer requests to be refused when inquiries had not yet established whether the family link existed or whether it was in the best interests of the child to have the asylum claim considered in the UK. The court held that \"it was not appropriate to reject [transfer requests] because the family link had not been established with sufficient confidence\" or when inquiries about whether it was in the child's best interests to determine the claim in the UK were ongoing. The court held that the Home Office \"should have carried out sufficient investigations\" to be able to answer each of those questions.\n\nRegarding the plaintiff's third ground of challenge, the court found that the Home Office’s policy did not conflict with the EU case law.\n\nReferences \n\n2021 in case law\n2021 in British law" ]

[ "Richard III of England", "Legacy", "What is something that helped to establish Richard III's legacy?", "Richard's Council of the North, described as his \"one major institutional innovation\",", "What year was this Council established?", "part of the royal council machinery under the presidency of John de la Pole, Earl of Lincoln in April 1484,", "What is one of the issues that the Council tackled?", "considered to have greatly improved conditions for northern England,", "Did Richard establish any other councils?", "Richard instituted what later became known as the Court of Requests,", "What did the Court of Requests deal with?", "a court to which poor people who could not afford legal representation could apply for their grievances to be heard.", "Was the Court of Requests a success?", "intended to keep the peace and punish law breakers, as well as resolving land disputes.", "What year was the Court of Requests established?", "December 1483," ]

[ "The Court of Requests was a minor equity court in England and Wales. The court was instituted by King Richard III in his 1484 parliament. It first became a formal tribunal with some Privy Council elements under Henry VII, hearing cases from the poor and from the servants of the King. It quickly became popular on account of the low cost of bringing a case and the rapid processing time, earning the disapproval of the common law judges. Two formal judges, the \"Masters of Requests Ordinary\", were appointed towards the end of Henry VIII's reign, with an additional two \"Masters of Requests Extraordinary\" appointed under Elizabeth I to allow two judges to accompany her on her travels around England (Latin: Regiae Majestati a Supplicum Libellis Magister). Two more ordinary masters were appointed under James I of England, with the increasing volume of cases bringing a wave of complaints as the court's business and backlog grew.\n\nThe court became embroiled in a dispute with the common law courts during the late 16th century, who were angry at the amount of business deserting them for the Court of Requests. During the 1590s they went on the offensive, overwriting many decisions made by the Requests and preventing them from imprisoning anyone. It is commonly accepted that this was a death-blow for the court, which, dependent on the Privy Seal for authority, died when the English Civil War made the seal invalid.\n\nHistory \nThe precise origins of the Court of Requests are unknown. Spence traces it back to the reign of Richard II, Leadam, rejecting Spence's case, claims there is no official record of the court's existence before 1493, Pollard writes (based on documents discovered after Leadam's work) that it was in existence from at least 1465, while Alexander writes that it first appeared during the reign of the House of York, and Kleineke states that it was created in 1485 by Richard III. Whatever its origin, the court was created as part of the Privy Council, following an order by the Lord Privy Seal that complaints and cases brought to the council by the poor should be expedited. This was as part of the Privy Council; it first became an independent tribunal with some Privy Council elements under Henry VII, with jurisdiction mainly over matters of equity. The court became increasingly popular due to the lack of cost in bringing a case to it and the speed at which it processed them, in contrast with the slow and expensive common law courts, arousing the ire of common law lawyers and judges.\n\nThe court originally followed the monarch on his travels around England, visiting Sheen, Langley and Woodstock in 1494. Under Thomas Wolsey the court became fixed in Westminster, hearing cases from poor people and from the servants of the king. It met at the White Hall of the Palace of Westminster and was often referred to as the Court of White Hall. Towards the end of Henry VIII's reign, the court assumed a more professional status with the appointment of two \"Masters of Requests Ordinary\" to serve as its judges, where the Lord Privy Seal alone had previously heard and delivered judgements. Two additional \"Masters of Requests Extraordinary\" were appointed under Elizabeth I to accompany her on her progresses around England. Under James I two further Ordinary Masters were appointed, but despite this the court was criticised for the backlog arising from its increasing business.\n\nWhen the court formally became an independent body in the 16th century, free of Privy Council control, it immediately became vulnerable to attack by the common-law courts, which asserted that it had no formal jurisdiction and that the Court of Chancery was an appropriate equitable body for cases. It was technically true that the court, as it was no longer part of the Privy Council, could not claim jurisdiction based on tradition, but in 1597 Sir Julius Caesar (then a Master of Requests Ordinary) gave examples of times when the common law courts had recognised the Court of Requests' jurisdiction as recently as 1585. The common law courts change of heart was undoubtedly due to the large amount of business deserting them for the Court of Requests, and in 1590 they went on the offensive; writs of habeas corpus were issued for people imprisoned for contempt of court in the Requests, judgments were issued in cases the Court of Requests were dealing with and it was decided that jailing an individual based on a writ from the Court of Requests constituted false imprisonment. Most academics accept that the court never recovered from these blows, and when the English Civil War made the privy seal inoperative, the court \"died a natural death\". The post of Master of Requests was abolished in 1685.\n\nOther courts of requests \nAnother court of requests was by act of the Common Council of the City of London on 1 February 1518. It had jurisdiction over small debts under 40 shillings between citizens and tradesmen of the City of London. The judges of the court were two aldermen and four ancient discreet commoners. It was also called the Court of Conscience in the Guild Hall, where it met. Under James I Acts of Parliament were passed regulating its procedure 1 James I ch.14 and 3 James I ch. 15. These were the first Acts of Parliament that gave validity to a court of requests.\n\nIn the eighteenth and early nineteenth century small claims courts were established in various parts of England called \"court of requests\". The first of these was found in Southwark by 22 George II ch.47. They were abolished by the County Courts Act 1846.\n\nSee also\n List of Masters of Requests – Chronological list of Masters of Requests\nCourt of equity\n\nReferences\n\nBibliography\n\n \n\nFormer courts and tribunals in England and Wales\nCourts of equity\n1480s establishments in England\n1640s disestablishments in England\nCourts and tribunals established in the 1480s\nCourts and tribunals disestablished in the 1640s\nPalace of Westminster", "John Nost (Dutch: Jan van Nost) (died 1729) was a Flemish sculptor who worked in England in the late 17th and early 18th centuries.\n\nLife\n\nOriginally from Mechelen in what is now Belgium, he moved to England in the second half of the 17th century, gaining employment with the sculptor Arnold Quellin as a foreman. After Quellin's death in 1686, Nost married his widow, and established his own sculptural works business in the Haymarket district of London.\n\nHe was prolific and received many commissions, including at Hampton Court Palace, Melbourne Hall, Castle Howard, Buckingham Palace, and Chatsworth. Many of his statues were cast in lead.\n\nVan Nost died at his home at Hyde Park in London on 26 April 1729.\n\nApprentices and Collaborators\n\nVan Nost was heavily involved with other well known sculptors of the day. He trained Andrew Carpenter, and his own nephew John van Nost the younger, his nephew moved to Ireland following his uncle's death and became a leading sculptor there.\n\nSeveral well known sculptors had their premises near Nost at the Haymarket and it is known that he collaborated with many of them. For example he worked on a commission with Richard Osgood for Hampton Court in 1701.\n\nNotable works\n\nSource\n\nStatue of Sir Hugh Wyndham (judge) at Silton, Dorset (1692)\nFigures of a Boy and Girl, Chatsworth House (1698)\nMonument to John Digby, 3rd Earl of Bristol, Sherborne, Dorset (1698)\nPair of amorini, Melbourne Hall (1699) for his patron, Thomas Coke\nFireplace for Thomas Coke's London house on St James Place (1699)\nVarious mythological figures for the gardens of Melbourne Hall (1700)\nCoat of Arms on entrance piers, fireplaces and marble tables, Hampton Court (1700)\nFlower Pot Gates, Hampton Court (1700)\nStatues of King William III and Queen Mary, Royal Exchange, London, (c.1700)\nFountains at Hampton Court (1701–2)\nMultiple fireplaces for Melbourne Hall (1701–7)\nThe Crouching Venus, Umberslade Hall (1702)\nMultiple garden figures for Castle Howard (1703–10)\nStatues within the pediment of Buckingham Palace (1705)\nVase of the Seasons, Melbourne Hall (1705)\nFountains and figures for Stonyhurst House (1705–1716)\nMonument to James Douglas, 2nd Duke of Queensberry, Durisdeer Church, Dumfriesshire (1711)\nGarden figures, Stourhead House (c.1714)\nGarden figures for Moulsham Hall (1717) (for Humphrey Mildmay)\nEquestrian Statue Of George I for Essex Bridge, Dublin (1717) (moved to Barber Institute of Fine Arts, Birmingham 1937)\nGarden figures for Rousham House (c.1719)\nStatue of Queen Mary for University College, Oxford (1720)\nGarden figures for Seaton Delaval Hall (c.1720)\nGarden figures for Chirk Castle (c.1720)\nStatue of Sir Robert Geffrye for the almshouses at Shoreditch (1723) (original now at Mottingham with a replica at the almshouses)\nStatue of George II for Cannons House (c.1724) (moved in 1753 to create a centre-piece for Golden Square in London)\nTwo large vases for Wrest Park (1725) for the Duke of Kent\nStatue of George I for Grosvenor Square, London (1726) (stolen 1838)\nGarden figures for Boreham House (c.1728)\n\nNotes\n\nReferences\nRupert Gunnis, Dictionary of British Sculptors 1660–1851 (1968 revised edition), pp. 279–282\n\n1729 deaths\nFlemish Baroque sculptors\nArtists from Mechelen\nEnglish people of Flemish descent\nEnglish male sculptors\nYear of birth unknown" ]

[ "Richard III of England", "Legacy", "What is something that helped to establish Richard III's legacy?", "Richard's Council of the North, described as his \"one major institutional innovation\",", "What year was this Council established?", "part of the royal council machinery under the presidency of John de la Pole, Earl of Lincoln in April 1484,", "What is one of the issues that the Council tackled?", "considered to have greatly improved conditions for northern England,", "Did Richard establish any other councils?", "Richard instituted what later became known as the Court of Requests,", "What did the Court of Requests deal with?", "a court to which poor people who could not afford legal representation could apply for their grievances to be heard.", "Was the Court of Requests a success?", "intended to keep the peace and punish law breakers, as well as resolving land disputes.", "What year was the Court of Requests established?", "December 1483,", "Were there any other notable figures that worked with Richard III on the Court of Requests?", "He ended the arbitrary benevolences (a device by which Edward IV raised funds)," ]

[ "The Mortality Medical Data System (MMDS) is used to automate the entry, classification, and retrieval of cause-of-death information reported on death certificates throughout the United States and in many other countries. The National Center for Health Statistics (NCHS) began the system's development in 1967.\n\nThe system has facilitated the standardization of mortality information within the United States, and ACME has become the de facto international standard for the automated selection of the underlying cause of death from multiple conditions listed on a death certificate. (Johansson & Westerling 2002:302)\n\nSystem components\n\nThe MMDS system consists of the following components, and is itself part of the National Vital Statistics System.\n\nMICAR\n\nThere are two Mortality Medical Indexing, Classification, and Retrieval components.\n SuperMICAR automates the MICAR data entry process. This program is designed as an enhancement of the earlier PC-MICAR Data Entry program. Super-MICAR is designed to automatically encode cause-of-death data into numeric entity reference numbers.\n MICAR200 automates the multiple cause coding rules and assigns International Statistical Classification of Diseases and Related Health Problems (ICD) codes to each numeric entity reference number.\n\nACME\n \nThe Automated Classification of Medical Entities program automates the underlying cause-of-death coding rules. The input to ACME is the multiple cause-of-death codes (ICD) assigned to each entity (e.g., disease condition, accident, or injury) listed on cause-of-death certifications, preserving the location and order as reported by the certifier. ACME then applies the World Health Organization (WHO) rules to the ICD codes and selects an underlying cause of death. ACME has become the de facto international standard for the automated selection of the underlying cause of death. (Johansson & Westerling 2002:302)\n\nTRANSAX\n\nThe TRANSlation of Axis program converts the ACME output data into fixed format and translates the data into a more desirable statistical form using the linkage provisions of the ICD. TRANSAX creates the data necessary for person-based tabulations by translating the axis of classification from an entity basis to a record basis.\n\nSee also\n Vital statistics\n Nosology\n International Statistical Classification of Diseases and Related Health Problems\n\nReferences\n About the Mortality Medical Data System\n \n U.S. National Vital Statistics System\n\nHealth software\nNosology\nPopulation\nCenters for Disease Control and Prevention", "A death certificate is either a legal document issued by a medical practitioner which states when a person died, or a document issued by a government civil registration office, that declares the date, location and cause of a person's death, as entered in an official register of deaths.\n\nAn official death certificate is usually required to be provided when applying for probate or administration of a deceased estate. They are also sought for genealogical research. The government registration office would usually be required to provide details of deaths, without production of a death certificate, to enable government agencies to update their records, such as electoral registers, government benefits paid, passport records, transfer the inheritance, etc. Smart contracts allow for automatic execution of the wishes of the deceased upon registration of the death certificate.\n\nNature of a certificate\n\nBefore issuing a death certificate, the authorities usually require a certificate from a physician or coroner to validate the cause of death and the identity of the deceased. In cases where it is not completely clear that a person is dead (usually because their body is being sustained by life support), a neurologist is often called in to verify brain death and to fill out the appropriate documentation. The failure of a physician to immediately submit the required form to the government (to trigger issuance of the death certificate) is often both a crime and cause for loss of one's license to practice. This is because of past cases in which dead people continued to receive public benefits or voted in elections.\n\nA full explanation of the cause of death includes any other diseases and disorders the person had at the time of death, even though they did not directly cause the death.\n\nUnited States \nIn most of the United States, death certificates are considered public domain documents and can therefore be obtained for any individual regardless of the requester's relationship to the deceased. Other jurisdictions restrict to whom death certificates are issued. For example, in the State of New York, only close relatives can obtain a death certificate, including the spouse, parent, child or sibling of the deceased, and other persons who have a documented lawful right or claim, a documented medical need, or have a New York State court order.\n\nHistory\nHistorically, in Europe and North America, death records were kept by the local churches, along with baptism and marriage records. In 1639, in what would become the United States, the Massachusetts Bay Colony was the first to have the secular courts keep these records. By the end of the 19th century, European countries were adopting centralized systems for recording deaths.\n\nIn the United States, a standard model death certificate was developed around 1910.\n\nSpecific jurisdictions\n\nScotland \nNational registration began in 1855; registrations are rather more detailed.\n\nStillbirths\n\nUnited States\nA 2007 article in People magazine revealed that in the case of a stillbirth it is not standard practice to issue both a birth certificate and a death certificate. Most states instead issue a \"certificate of birth resulting in stillbirth\".\n\nSee also\n Birth certificate\n Ghosting (identity theft)\n Marriage certificate\n Marriage licence\n Mortality Medical Data System (MMDS)\n\nReferences\n\nExternal links\n\nMortality Data from the U.S. National Vital Statistics System - See Methods - Data collection - for copies of death certificates and how to fill them.\nMagrane BP, Gilliland MGF, and King DE. Certification of Death by Family Physicians. American Family Physician 1997 Oct 1;56(5):1433-8. \nSwain GR, Ward GK, Hartlaub PP. Death certificates: Let's get it right. American Family Physician February 15, 2005 \nFind Free Death Records gives details on how to apply for death records in each state.\nOnline Death Indexes and Records lists some online death certificate indexes\nWhere to Write for Vital Records (including Death Certificates) from the National Center for Health Statistics\n\nIdentity documents\nUndertaking\nVital statistics (government records)\nLegal aspects of death" ]

[ "Abby Newman", "Characterization" ]

[ "Soap Opera Magazine was a weekly periodical devoted to interviews and recaps of American soap opera and was run for many years by American Media until the company, which had lost money for years, decided to cease publication of the magazine, focusing instead on their tabloid endeavors.\n\nThe final issue was published on February 16, 1999. At that time, all customers who had existing Soap Opera Magazine subscriptions began receiving Soap Opera Digest instead.\n\nSee also\n Soap Opera Digest\n Soap Opera Update\n Soap Opera Weekly\n Soaps In Depth\n\nReferences\n\n1991 establishments in the United States\n1999 disestablishments in the United States\nDefunct magazines published in the United States\nMagazines about soap operas\nMagazines established in 1991\nMagazines disestablished in 1999\nTelevision magazines published in the United States\nWeekly magazines published in the United States", "Soap Opera Update was a magazine dedicated to the coverage of soap operas, co-founded by Angela Shapiro in 1988. The magazine was published every three weeks. It was purchased by Bauer Media Group in 1992. The magazine became popular on newsstands in the mid-1990s. However, due to a lack of subscriptions and promotion, and criticisms for mediocre content and \"lazy\" press coverage, the magazine was discontinued in late 2002. In 2006, the Update began issuing Soaps In Depth and releasing an annual issue to review the soaps of the past year and preview soaps for the new year.\n\nThis magazine also produced the Soap Opera Update Awards, similar to the Soap Opera Digest Awards.\n\nSee also\n Soap Opera Digest\n Soap Opera Magazine\n Soap Opera Weekly\n Soaps In Depth\n\nReferences\n\nBauer Media Group\nDefunct magazines published in the United States\nMagazines about soap operas\nMagazines established in 1988\nMagazines disestablished in 2002\nVisual arts magazines published in the United States" ]

[ "Abby Newman", "Characterization", "Was the article about a soap opera?", "Abby was conceived when Ashley Abbott, desperate to have Victor Newman's child to replace the one whom she aborted years prior," ]

[ "The Seventh Sign is a 1988 American apocalyptic drama horror film written by Clifford and Ellen Green and directed by Carl Schultz. The title and plot reference the seven seals described in the Book of Revelation, the final book of the New Testament of the Bible. The film was released on April 1, 1988 by Columbia Pictures Entertainment under the TriStar Pictures label, received negative reviews and grossed $18.8 million at the box office.\n\nPlot\nAround the world, unusual phenomena are occurring that bear resemblance to signs of the Biblical apocalypse; these include a mass death of sea life in Haiti and a devastating freeze in the Middle East, and at each of these locations, a mysterious traveler opens a sealed envelope just prior to the event taking place. The Vatican tasks Father Lucci with investigating these events, though Lucci advises that they are all either hoaxes or have scientific explanations.\n\nConcurrently to this, Abby Quinn, a pregnant woman living in California, prepares for the birth of her child. Her husband, Russell, is a defense lawyer representing Jimmy Szaragosa, a man with Down syndrome, who is on trial for murdering his incestuous parents and claiming that he did so after having been ordered to by God. Jimmy is convicted of the crime.\n\nFor additional income, Abby and Russell rent a room to the mysterious traveler, who identifies himself as David Bannon. Soon after, Abby begins to have terrible nightmares of a man resembling David being struck down by a Roman soldier, who then asks \"will you die for him?\" of her. In addition Abby physically reacts inexplicably. Abby also learns of the apocalyptic signs that have occurred, and combined with her nightmares and David's suspicious behavior, she begins to worry that something terrible is taking place. She snoops through David's papers and discovers an ancient note that leads her to believe that he intends to harm her child. When Abby confronts David about this, he tells her that God's grace is empty and soon, no souls will remain to be given to newborn people. Abby panics and stabs David, only for him to shrug off the injury and claim that he \"cannot die again.\" To add to Abby's shock and horror the stab wound David sustains bursts with light rather than blood.\n\nIt becomes apparent that he is actually the Second Coming of Jesus Christ. Abby's nightmares are visions of his original crucifixion, and she is the reincarnation of Seraphia, the woman who offered Jesus water only to be turned away by Cartaphilus, who was Pilate's porter who struck Jesus.\n\nThe signs of the apocalypse continue to unfold and eventually cause a giant storm. Abby connects with Avi, a rabbinical student who helps her understand the events. Father Lucci, who has come to California as part of his investigation, finds her and hears her concerns. However, while meeting with Lucci, Abby spots a ring on his finger identical to the one that Cartaphilus wore and learns that Lucci is Cartaphilus himself who was cursed to wander the Earth until Christ's return to judge humanity. He intends to allow the apocalypse to take place so that his curse will finally be broken.\n\nAbby flees from Lucci with Avi's aid, and together the two of them find a Bible to learn what will happen next. They discover that the sixth sign will be a solar eclipse that will take place the next day, meaning that the fifth sign — the tortured death of a martyr for God's cause — must take place very soon. Abby realizes that clemency has been denied to Jimmy and his execution will be the fifth sign. In a panic, she drives to the prison to stop the execution; however, Lucci has already infiltrated the prison. As Abby approaches, Lucci kills Jimmy and wounds Abby and is taken away by the guards.\n\nThe eclipse begins along with a catastrophic earthquake. Despondent over her failure to save Jimmy and the rest of humanity, Abby goes into labor and is rushed through the disaster to a nearby hospital. Despite the best efforts of Russell and the doctors to help her, the child's heart stops beating as Abby gives birth, thus fulfilling the seventh and final sign, the birth of the soulless child. However, Abby has another vision of her past as Seraphia and remembers Cartaphilus' question. Finally finding true hope, Abby answers the question in the affirmative—\"I will die for him\"—and reaches out to her child, who revives and holds her finger. Her soul is thus transferred to the child, saving him at the cost of her own life. This act of faith ends the apocalypse. Jesus appears in the hospital and tells Russell that Abby's sacrifice has refilled the Hall of Souls, ensuring that humanity will continue to survive. He tells Avi to record this for future humanity.\n\nCast\nDemi Moore as Abby Quinn\nMichael Biehn as Russell Quinn\nJürgen Prochnow as The Boarder\nPeter Friedman as Father Lucci/Cartaphilus\nManny Jacobs as Avi\nJohn Taylor as Jimmy Szaragosa\n\nRelease and reception\nThe film was released theatrically in the United States by TriStar Pictures in April 1988. It grossed $18,875,011 at the box office. It received negative reviews from critics, and holds a 15% rating on Rotten Tomatoes based on 20 reviews. Roger Ebert stated, \"After the sheer anarchy unleashed upon Hollywood by the slice-and-dice movies, it’s actually comforting to know that these characters play by the rules. They believe in good and evil, and they act as if individual human beings can have an influence on the outcome of events.\"\n\nHome media\nThe film was released on DVD in the United States by Sony Pictures Home Entertainment in 1998. Scream Factory released the film on Blu-ray on September 11, 2018, featuring new interviews with actors Michael Biehn, Peter Friedman and John Taylor, screenwriters Clifford and Ellen Green, and director Carl Schultz, as well as two television spots.\n\nSee also\nPlagues of Egypt\nThe Abominable Dr. Phibes\nThe Reaping\nList of films featuring eclipses\n\nReferences\n\nExternal links\n \n \n \n \n The Seventh Sign Review by Roger Ebert\n\n1988 films\n1988 horror films\nAmerican supernatural horror films\nAmerican films\nApocalyptic films\nFilms about Evangelicalism\nPortrayals of Jesus in film\nAmerican pregnancy films\nReligious horror films\nDown syndrome in film\nFilms about the seven seals\nFilms directed by Carl Schultz\nTriStar Pictures films\nInterscope Communications films\nFilms scored by Jack Nitzsche", "The name Abby has been used as a name for six tropical cyclones worldwide, three in the Atlantic Ocean and three in the Western Pacific Ocean.\n\nIn the Atlantic:\n Hurricane Abby (1960) – a Category 2 hurricane that made landfall in British Honduras (now Belize)\n Tropical Storm Abby (1964) – made landfall in Texas\n Hurricane Abby (1968) – a Category 1 hurricane that made landfall in Cuba and then in Florida\n\nIn the Western Pacific:\n Typhoon Abby (1979) (Barang) – a Category 3 typhoon that did not approach land\n Typhoon Abby (1983) (Diding) – a Category 5 super typhoon that impacted Japan as a weakening system\n Typhoon Abby (1986) (Norming) – a Category 2 typhoon that hit Taiwan\n\nAtlantic hurricane disambiguation pages\nPacific typhoon disambiguation pages" ]

[ "Abby Newman", "Characterization", "Was the article about a soap opera?", "Abby was conceived when Ashley Abbott, desperate to have Victor Newman's child to replace the one whom she aborted years prior,", "Did Abby have a child?", "Abby\" for short, was born on November 13, 2000." ]

[ "Constance Christina Aimee Heaven (née Fecher; 6 August 1911 – 12 April 1995) was a British writer of romance novels, under her maiden name, her married name and under the pseudonym Christina Merlin. In 1973, her novel The House Of Kuragin was the Winner of the Romantic Novel of the Year.\n\nShe was the eleventh elected Chairman (1981–1983) of the Romantic Novelists' Association.\n\nBiography\nBorn Constance Fecher on 6 August 1911 in Enfield, Middlesex, London, England, UK. She was educated at the Convent of Woodford Green, Essex since 1921 to 1928, when she joined to study at King's College London, where she obtained a Honours degree in English in 1931. In 1931, she also graduated at London College of Music.\n\nOn 5 November 1939, she married William Heaven, who died in 1958. She was an actress from 1939 to 1966.\n\nPublished since 1963, she started writing historical novels with young protagonists under her maiden name Constance Fecher. Since 1972, she signed her novels more romantic, under her married name, Constance Heaven. She also used the pseudonym of Christina Merlin. In 1973, her novel The House Of Kuragin was the Winner of Romantic Novel of the Year.\n\nShe was the eleventh elected Chairman (1981–1983) of the Romantic Novelists' Association. She died in 1995, and continued writing until her death.\n\nBibliography\nSome of her novels were reedited under different pen names of titles.\n\nAs Constance Fecher\n\nSingle novels\nThe Leopard Dagger (1963)\nThe Link Boys (1967) aka Tom Hawke\nPlayer Queen (1968) aka The Lovely Wanton\nVenture for a Crown (1968)\nLion of Trevarrock (1969)\nHeir to Pendarrow (1969)\nThe Night of the Wolf (1972)\nBy the Light of the Moon (1985)\n\nTudor Trilogy\nQueen's Delight (1966) aka The Queen's favorite\nTraitor's Son (1967)\nKing's legacy (1967)\n\nNon fiction\nBright Star: A Portrait of Ellen Terry (1970)\nThe Last Elizabethan: A Portrait of Sir Walter Raleigh (1972)\n\nAs Constance Heaven\n\nKuragin Saga\nThe House of Kuragin (1972)\nThe Astrov Inheritance (1973) aka The Astrov Legacy\nHeir to Kuragin (1978)\n\nRavensley Saga\nLord of Ravensley (1978)\nThe Ravensley Touch (1982)\n\nHunter's Love Series\nLove's Shadow (1994)\nThe Love Child (1997)\n\nSingle novels\nCastle of Eagles (1974)\nThe Place of Stones (1975)\nThe Fires of Glenlochy (1976)\nThe Queen and the Gypsy (1977)\nThe Wildcliffe Bird (1981)\nDaughter of Marignac (1983)\nCastle of Doves (1984)\nLarksghyll (1986) aka The Craven Legacy\nThe Raging Fire (1987)\nThe Fire Still Burns (1989)\nThe Wind from the Sea (1991)\n\nAs Christina Merlin\n\nNovels\nSpy Concerts (1980)\nSword of Mithras (1982)\n\nReferences and sources\n\nExternal links\n \n\n \n\n1911 births\n1995 deaths\nAlumni of King's College London\nBritish romantic fiction writers\nRoNA Award winners\n20th-century British novelists\n20th-century British women writers\nWomen romantic fiction writers\nBritish women novelists\nPseudonymous women writers\n20th-century pseudonymous writers", "Anne Mallory is an American author of historical romance novels. Her books blend romance and mystery. Her name is a pseudonym.\n\nBiography\nMallory submitted her first manuscript, Masquerading the Marquess, for consideration for the 2003 Romance Writers of America Golden Heart Award, given to a previously unpublished author. The book was a finalist in the competition and caught the attention of one of the judges, an editor from Avon. The editor purchased the book, which was released in October 2004. This debut novel was later nominated for a Romantic Times Reviewers' Choice Award for Best First Historical Romance.\n\nHer style of writing has been likened to that of Amanda Quick, blending mystery and romances in a Regency setting. Romantic Times described her first novel as \"lively, exciting, cleverly plotted\" with an \"independent, intelligent heroine and equally smart hero.\"\n\nBorn in Michigan, Mallory now lives in California.\n\nAs of January 2013, the author went on hiatus from historical romance in order to write in a different genre under a different name.\n\nBooks\n In Total Surrender (October 2011)\n One Night Is Never Enough (March 2011)\n Seven Secrets of Seduction (June 2010)\n For The Earl's Pleasure (July 2009)\n The Bride Price (November 2008)\n Three Nights of Sin (April 2008)\n What Isabella Desires (August 2007)\n The Earl of Her Dreams (November 2006)\n The Viscount's Wicked Ways (April 2006)\n Daring the Duke (August 2005)\n Masquerading the Marquess (Oct 2004)\n\nAwards\n Finalist for RWA Golden Heart Award for Masquerading the Marquess\n USA Today best selling books top 150, through Sunday May 4, 2008\n Finalist for RWA RITA award for Regency Historical Romances for Three Nights of Sin\n Finalist for RWA RITA award for Paranormal Romances for For the Earl's Pleasure\n\nSee also\n\n List of romantic novelists\n\nReferences\n\nExternal links\n Official website\n Anne Mallory Website Official Biography\n Harper Collins Information Page\n USA Today Top 150 Selling Books, based on sales through Sunday, 5/4/2008. PDF for current week: after 5/11 will be searchable at http://booklist.usatoday.com\n\n1975 births\n21st-century American novelists\nAmerican women novelists\nAmerican romantic fiction writers\nLiving people\nWomen romantic fiction writers\n21st-century American women writers" ]

[ "Abby Newman", "Characterization", "Was the article about a soap opera?", "Abby was conceived when Ashley Abbott, desperate to have Victor Newman's child to replace the one whom she aborted years prior,", "Did Abby have a child?", "Abby\" for short, was born on November 13, 2000.", "What was the name of her romantic partner?", "Victor Newman's" ]

[ "Breakup Notifier was a web application written by product developer and programmer Dan Loewenherz that enabled its registered users to track the relationship status of their Facebook friends. An email notification was sent to the user when one of their Facebook friends changed their relationship status. \nThe app was one of the most viral Facebook app's at the time of its release. It was mentioned in a skit on The Jay Leno Show and news of its popularity was published in Time magazine, The New York Post, CNET, and The Globe and Mail.\n\nPopularity and Facebook controversy \n\nBreakup Notifier gathered 100,000 users in less than 24 hours of its launch and reached a user base of more than 3,000,000 in February 2011. Facebook then blocked the app.\n\nLoewenherz later created an app named Crush Notifier, which differs from the original app in that users can check if they have a mutual crush. Breakup Notifier was later unblocked by Facebook and monetized.\n\nExternal links \n\nDan Loewenherz\nCrush Notifier\n\nReferences \n\nMobile applications\nRelationship breakup", "The Principle of Least Interest is the idea in sociology that the person or group that has the least amount of interest in continuing a relationship has the most power over it. In the context of relationship dynamics, it suggests towards which party the balance of power tilts. The principle applies to personal, business, and other types of relationships where more than one party is involved.\n\nHistory \nThe term originated in 1938 by the sociologist Willard Waller in his book The Family: A Dynamic Interpretation. Throughout his research Waller found that power in a dating couple is almost never equally distributed between the two participants. One person for any variety of possible reasons will have more power in the relationship. One of the ways Waller proposed for this uneven balance was the Principle of Least Interest. In a relationship with uneven power distribution, one of the partners gets more out of a relationship, be it emotionally, physically, or monetarily than the other. The partner who receives less has less incentive to continue the relationship and therefore at the most extreme can threaten to end the relationship so that the other person bends to their demands. For the person making the demands this is of little consequence to them. For the other party however, it might be a much larger issue. This is the basis for the ideas behind principle of least interest.\n\nThe first major study to test the principle came in 1972 in a paper by Kenneth Eslinger, Alfred D Clarke and Russell R Dynes. In the paper the researchers interviewed 113 randomly selected college students that were enrolled in sociology courses to find out if a difference in emotional involvement existed in relationships and whether or not the level of involvement was affected by how the person was raised. The methods of raising children that were considered by the study were: bureaucratically or entrepreneurially. The study confirmed that there was a difference in involvement between how you were raised and how involved in a relationship you were. Furthermore, the study showed a large gap in involvement between males and females, with the lowest female mean score four points higher than the highest male mean score. This showed that males as a group were significantly less interested in maintaining their relationship and could use the principle of least interest for their own benefit.\n\nThese studies were further reinforced in 1984 by a study that focused on the balance of power in lesbian relationships. Nearly 40% of those taking part reported an unequal balance of power. Furthermore, those who reported an unequal balance of power reported that they felt the person who was less dependent on the relationship had more power.\n\nIn 1994 a study of 413 heterosexual American adults found correlations between the power balance between the partners and the emotional involvement of them to be both negative and significant. The researchers also noted that the perception of being powerless in a relationship grew as the emotional involvements in the relationship grew. 39% of the respondents reported that the woman was more emotionally involved compared to only 21% reporting the man to be more emotionally involved. Building on this study in 2006 a study by Susan Sprecher and Diane Felmlee of 101 heterosexual American dating couples found that the partners who perceived themselves as more emotionally involved also perceived themselves as having less power.\n\nThe most recent study on the principle of least interest took place in 2012. In it 30 in-depth interviews with 15 unmarried African-American couples were performed. The study found that the partner less emotionally involved typically made the decisions about how to handle the couple’s birth control.\n\nSociological perspective \nThe principle of least interest falls primarily in the Conflict viewpoint of sociology. The principle of least interest dictates how power is distributed in a relationship and how it is almost always unequally balanced. This unequal balance of power can lead the weaker person to struggle to get a grasp on some of the power. This struggle leads to a conflict between the one with the power and the one without.\n\nOutside of relationships \nWhile typically the principle of least interest is used in sociology to describe relationships, it has also been used to explain business deals. It can explain why in marketing an excessively aggressive pitch can be less likely to be accepted. Another example is in negotiations, when one party leaves the negotiation in order to make the other party improve their offer.\n\nReferences \n\nDating\nInterpersonal relationships\nSociological terminology\nScarcity\nSocial psychology" ]