Split (3)

train · 18.2k rows

pageid int64 1.39k 74.6M	title stringlengths 2 102	revid int64 962M 1.17B	description stringlengths 4 100 ⌀	categories listlengths 0 61	markdown stringlengths 1.23k 15.9k	sections listlengths 0 33	token int64 258 3k	__index_level_0__ int64 0 44.8k
40,056,864	1857 Atlantic hurricane season	1,152,332,139	Hurricane season in the Atlantic Ocean	[ "1850s Atlantic hurricane seasons", "1857 meteorology", "1857 natural disasters", "Articles which contain graphical timelines", "Atlantic hurricane seasons" ]	The 1857 Atlantic hurricane season was the earliest season documented by HURDAT – the official Atlantic hurricane database – to feature no major hurricanes. A total of four tropical cyclones were observed during the season, three of which strengthened into hurricanes. However, in the absence of modern satellite and other remote-sensing technologies, only storms that affected populated land areas or encountered ships at sea are known, so the actual total could be higher. An undercount bias of zero to six tropical cyclones per year between 1851 and 1885 has been estimated. Additionally, documentation by Jose Fernandez-Partagas and Henry Diaz included a fifth tropical cyclone near Port Isabel, Texas; this storm has since been removed from HURDAT as it was likely the same system as the fourth tropical cyclone. The first storm was tracked beginning on June 30 offshore North Carolina. It moved eastward and was last noted on the following day. However, no tropical cyclones were reported in the remainder of July or August. Activity resumed when another tropical storm was located southeast of the Bahamas on September 6. It intensified into a hurricane before making landfall in North Carolina and was last noted over the north Atlantic Ocean on September 17. The SS Central America sank offshore, drowning 424 passengers and crew members. Another hurricane may have existed east of South Carolina between September 22 and October 26, though little information is available. The final documented tropical cyclone was initially observed east of Lesser Antilles on September 24. It traversed the Caribbean Sea and the Gulf of Mexico, striking the Yucatán Peninsula and later Port Isabel, Texas. The storm dissipated on September 30. In Texas, damage was reported in several towns near the mouth of the Rio Grande River. The season's activity was reflected with a low accumulated cyclone energy (ACE) rating of 43. ACE is, broadly speaking, a measure of the power of the hurricane multiplied by the length of time it existed, so storms that last a long time, as well as particularly strong hurricanes, have high ACEs. It is only calculated at six-hour increments in which tropical and subtropical systems are either at or above sustained wind speeds of 39 mph (63 km/h), which is the threshold for tropical storm intensity. ## Timeline ## Systems ### Tropical Storm One The ship Star of the South experienced heavy gales offshore the East Coast of the United States on June 30. HURDAT lists the first tropical cyclone of the season beginning at 0000 UTC, while located about 100 miles (160 km) southeast of Cape Hatteras, North Carolina. The storm moved slightly north of due east with winds of 60 mph (95 km/h). It was last noted about 265 miles (425 km) north-northwest of Bermuda by the bark Virginia late on July 1. ### Hurricane Two The S.S. Central America Disaster Hurricane of 1857 A tropical storm was first observed east of the Bahamas on September 6. It moved slowly northwestward towards the coast of the United States and attained hurricane strength early on September 9. The cyclone continued travelling northwest along the US coast, becoming a Category 2 hurricane whilst off the coast of Georgia on September 11. On September 13 the cyclone made landfall near Wilmington, North Carolina, but then quickly weakened to a tropical storm and turned eastward into the Atlantic on September 14. Throughout September 15, whilst over water, the storm regained hurricane strength and continued northward before becoming extratropical in the mid-Atlantic on September 17. The hurricane caused much coastal damage particularly in the Cape Hatteras area during September 9 and September 10 and then to other parts of the North Carolina coast. Flooding was reported at New Bern. Considerable wind damage also occurred. An article from the Wilmington Journal reported that, "It looked as though everything that could be blown down, was down. Fences were prostrated in all directions, and the streets filled with the limbs and bodies of trees up-rooted or twisted off.". Several ships were caught in rough seas of the East Coast of the United States. The Norfolk was abandoned in pieces ten miles south of Chincoteague early on the morning of September 14. Further south, on September 11, the hurricane struck the steamer Central America which sprung a leak and eventually sank on the night of September 12 with the loss of 424 passengers and crew. Also on board the ship were 30,000 pounds of gold, the loss of which contributed to the financial Panic of 1857. ### Hurricane Three Based on reports bark Aeronaut and the schooner Alabama indicating a severe gale, Partagas and Diaz identified a Category 1 hurricane about 405 miles (650 km) east of Charleston, South Carolina between September 22 and September 26. Sustained wind speeds of 80 mph (130 km/h) were observed. No evidence was found for a storm track so the hurricane was assigned a stationary position, at latitude 32.5°N, 3.5°W. Among the ships which encountered the hurricane was the brig Jerome Knight, which sprung a leak and sunk on the night of September 22. ### Hurricane Four The final tropical cyclone was first observed at 0000 UTC on September 24, while located about 420 miles (680 km) east of Guadeloupe. Initially a tropical storm, it strengthened slightly before crossing the Leeward Islands on September 25. In Guadeloupe, several ships at the port in Basseterre were swept out to sea. Continuing eastward, the storm soon entered the Caribbean Sea. Early on September 26, the system strengthened into a hurricane. By September 28, it was west of the Cayman Islands and had reached Category 2 strength. The storm weakened to a tropical storm after passing Cancún early on September 29 and impacted the Gulf coastline, near the United States–Mexico border, at that strength the next day before dissipating. At Port Isabel, Texas, several hundred homes were swept away, and several towns near the mouth of the Rio Grande also sustained damage. ## See also - Atlantic hurricane - HURDAT - Tropical cyclone forecasting	[ "## Timeline", "## Systems", "### Tropical Storm One", "### Hurricane Two", "### Hurricane Three", "### Hurricane Four", "## See also" ]	1,282	27,134
21,692,916	Action of 22 January 1809	1,129,860,038	Minor naval engagement during the French Revolutionary Wars	[ "1800s in the Caribbean", "19th century in Guadeloupe", "Conflicts in 1809", "History of Guadeloupe", "January 1809 events", "Naval battles involving France", "Naval battles involving the United Kingdom", "Naval battles of the Napoleonic Wars" ]	The action of 22 January 1809 was a minor naval engagement fought off the Caribbean island of Guadeloupe during the Napoleonic Wars. The action was fought as part of the blockade of Guadeloupe and neighbouring Martinique by a large British Royal Navy squadron, which was seeking to cut the islands off from contact and supplies from France by preventing the passage of shipping from Europe to the islands. The British blockade was part of their preparation for planned invasions during the next year. The French made numerous efforts to supply their colonies during this period, attempting to use fast frigates to bring food and military stores to the Caribbean past the British blockades, themselves a response to Napoleon's Continental System, but often losing the vessels in the process. One such attempt was made by the French frigate Topaze, despatched from Brest to Cayenne with a large cargo of flour. Driven away from Cayenne by Portugal (allies of Britain, and fighting France themselves in be Peninsular War), who had recently captured the colony, Topaze took refuge under the gun batteries of Guadeloupe. Discovered at anchor off Pointe-Noire on 22 January by the British brig HMS Hazard, Topaze was isolated and attacked by two British frigates, led by Captain Samuel Pechell in HMS Cleopatra. In the ensuing engagement, the British ships outnumbered and overwhelmed their opponent, capturing the ship and her cargo, despite heavy fire from a French gun battery that overlooked the anchorage. The British ships were drawn from a force gathered for the impending invasion of Martinique, which was launched six days after Topaze had been captured and successfully completed in a campaign lasting just over three weeks. ## Background By the summer of 1808, the Napoleonic Wars were five years old and the British Royal Navy—whose success during the 1793–1801 French Revolutionary Wars had continued into the new conflict—was dominant at sea. In an effort to restrict French movement and trade, the British fleet actively blockaded French ports, maintaining squadrons of fast frigates and large ships of the line off every important French harbour and smaller warships off less significant anchorages to intercept any vessel that attempted to enter or leave. This strategy was practised across the French Empire, particularly in the West Indies, where lucrative British trade routes were at constant risk from raiding French warships and privateers. As a result, the economies of the French colonies, especially the islands of Martinique and Guadeloupe, collapsed and their food stocks, military supplies and morale all began to run low. Messages requesting assistance from France were despatched but many were intercepted by British ships, convincing the Admiralty to order invasions of the French colonies. During late 1808 and early 1809 therefore, expeditionary forces were sent to occupy the smaller colonies while a major army and naval fleet were assembled on Barbados under Sir Alexander Cochrane in readiness for an attack on Martinique. In France, news of the situation in the West Indies forced the authorities to take action. During the autumn of 1808, a number of ships were despatched carrying much needed food and military supplies, but several were intercepted, including the frigate Thétis, captured during the action of 10 November 1808 in the Bay of Biscay. Despite the losses, some ships did reach their destination intact and further supply ships were prepared, including the frigate Topaze, ordered to transport 1,100 barrels of flour to Cayenne. The cargo was loaded during late November and early December, the frigate also carrying military supplies and 100 soldiers to augment the Cayenne garrison. The ship, under the command of Captain Pierre-Nicolas Lahalle, was only three years old and carried 40 heavy guns. In early December 1808, Topaze departed Brest and travelled across the Atlantic, encountering the British frigate HMS Loire in the Bay of Biscay. Loire fired on Topaze, but was unable to catch her and, despite minor damage, the French ship was able to reach the Caribbean without further incident. Nearing Cayenne on 13 January 1809, Lahalle was surprised to see the small British ship HMS Confiance emerge from the harbour and manoeuvre threateningly towards his ship. Realising that Cayenne was in British hands, he turned and sailed northwards, concerned that stronger British forces might be nearby. In fact Confiance was the only British ship in the vicinity and she was severely underarmed, with a crew of just 47 men, including 20 local inhabitants recruited on the spot. The colony had been captured just three days earlier by a combined British and Portuguese expeditionary force under Captain James Lucas Yeo. ## Battle With Cayenne under British control, Topaze made all speed for Guadeloupe, Lahalle intending to land his food supplies and reinforcements on French held territory before attempting the return journey to Europe. For nine days Topaze crossed the Caribbean without encountering any British warships, but at 07:00 on 22 January she was spotted approaching Guadeloupe from the southwest by the brig HMS Hazard under Captain Hugh Cameron, which was part of a squadron detached from Cochrane's invasion fleet on Barbados to watch the French islands. Although his lookouts had also sighted a French schooner close inshore, Cameron gave orders for his brig to close with the much larger French frigate instead. Within two hours, Hazard was joined by the frigates HMS Cleopatra under Captain Samuel Pechell and HMS Jason under Captain William Maude. Although both ships were smaller than Topaze, together they held a considerable advantage over the overladen French ship. With Hazard approaching from the northeast, Cleopatra from the southeast and Jason from the south, Lahalle had only one clear route available, eastwards directly towards Guadeloupe. By 11:00, Topaze was 200 yards (180 m) offshore, sheltering in the anchorage off Pointe-Noire, which was protected by a small gun battery manned by soldiers from the island's garrison. Over the next three and a half hours, the British ships steadily approached the bay, hampered by light winds. The breeze strengthened at 14:30 and by 16:30 Cleopatra was close enough for Topaze to open fire on her from 25 yards (23 m). Under fire, Pechell manoeuvered into an advantageous position off Topaze's bow and began to fire on his opponent, shooting away one of the French ship's anchors. This caused her to swing with her bow towards the shore and Cleopatra was able to repeatedly rake Lahalle's ship from close range. Severely damaged, Topaze was unable to effectively respond, the only serious danger to the British ships coming from the battery onshore. By 17:10 Jason and Hazard had joined Cleopatra, the brig bombarding the battery while Jason opened fire on the other side of the French ship, causing further damage. Recognising that his situation was hopeless, Lahalle surrendered at 17:20. As the French colours fell, approximately a third of the 430 soldiers and sailors on board Topaze attempted to escape captivity by diving overboard and swimming for the shore. Many drowned, and more were killed when Jason opened fire on the swimmers, although exact losses in the water are unknown. The remainder of the survivors, including Lahalle, totalled almost 300 men and were all made prisoners of war. The badly damaged Topaze was towed out of the bay and taken to a British port for repairs. ## Aftermath With the exception of the aforementioned Topaze, casualties were minimal: none were recorded on Jason and Hazard and none in the French battery on shore. Cleopatra, due to the poor position and accuracy of her opponent, lost only two men killed and one wounded, the most serious damage being to her masts and rigging, which were badly cut up. Losses among the French that didn't attempt to flee crew in the engagement were also relatively light, with 12 dead and 14 wounded, although a number of men were killed in their attempt to swim for shore after Topaze had surrendered. The French frigate was badly damaged, particularly in her hull, and required extensive repairs before she was fit for service in the Royal Navy, commissioned under the new name of HMS Alcmene. On 28 January, Cochrane's fleet at Barbados, including Jason, Cleopatra and Hazard, sailed for Martinique, arriving two days later and conducting successful landings at three points on the island. Within a week, all of the French colony was in British hands except for Fort Desaix, which held out for a further three weeks before surrendering after a heavy bombardment. The following month, a major reinforcement fleet arrived from France but was unable to affect the situation on Martinique and anchored in Îles des Saintes, a small archipelago to the south of Guadeloupe. There they were blockaded and attacked by Cochrane's squadron and in the ensuing Action of 14–17 April 1809 were defeated, with the ship of the line D'Hautpoul captured and the remainder driven back to Europe. Two frigates reached Guadeloupe, but both were later captured. Subsequent attempts to resupply Guadeloupe, the only remaining French position in the West Indies, were made during 1809, and a squadron under Commodore Francois Roquebert managed to capture a British frigate at the action of 13 December 1809. However, this force was intercepted by a British blockade squadron near Guadeloupe at the action of 18 December 1809 and defeated, with two frigates destroyed and two others forced to return to Europe without reaching their destination. Guadeloupe was subsequently invaded in January 1810 and captured, ending direct French interest in the Americas during the Napoleonic Wars.	[ "## Background", "## Battle", "## Aftermath" ]	2,056	26,490
3,663,908	I Can Hear the Heart Beating as One	1,172,112,338	null	[ "1997 albums", "Albums produced by Roger Moutenot", "Matador Records albums", "Yo La Tengo albums" ]	I Can Hear the Heart Beating as One is the eighth studio album by the American indie rock band Yo La Tengo, released on April 22, 1997, by Matador Records. It was produced by Roger Moutenot and recorded at House of David in Nashville, Tennessee. The album expands the guitar-based pop of its predecessor Electr-O-Pura to encompass a variety of other music genres, including bossa nova, krautrock, and electronic music. Most of the songs on the album deal with melancholy emotions and range from short and fragile ballads to long and open-ended dissonance. Upon release, I Can Hear the Heart Beating as One reached number 19 on the Billboard's Heatseekers Albums chart, becoming the first Yo La Tengo album to enter the charts. Three songs from the album, "Autumn Sweater", "Sugarcube", and the cover "Little Honda", were released as singles. The album received widespread acclaim from music critics, who praised the band's ability to successfully expand the boundaries of nearly any pop style. The album is widely regarded as the band's best work and is frequently included on several publications' best album lists. In 2020, Rolling Stone included it on its list of The 500 Greatest Albums of All Time. ## Background and recording I Can Hear the Heart Beating as One is the follow-up to Yo La Tengo's highly acclaimed 1995 album Electr-O-Pura, which was ranked at number 9 in The Village Voice's 1995 Pazz & Jop critics' poll. Electr-O-Pura marked a new creative direction for the band. According to singer and guitarist Ira Kaplan, "I think after Electr-O-Pura we've had a direction of trying not to worry too hard about what the next album is going to sound like [...] we just write a bunch of songs, and then go one baby step at the time and just do what seems right." At the time, Kaplan also explained that the lyrics used to come last: "What will really happen is somebody will start playing and we'll all fall in and play for a long time. We'll finish playing an hour later and kinda say, 'Oh, do you remember what you did?' Then we'll write something down—or maybe we won't." I Can Hear the Heart Beating as One was recorded at House of David in Nashville, Tennessee and produced by Roger Moutenot, who also produced the band's previous two albums. Kaplan described the recording sessions of the album as follows: "We hole up in a room and work for a really long time. Then we come out and blink our eyes because it's sunny out". Initially, the band did not intend to write a long album, but eventually felt that having a long album was the only way to accommodate the instrumental track "Spec Bebop", which the band felt it needed to be included in the album "by hook or by crook". I Can Hear the Heart Beating as One is the only Yo La Tengo album that was recorded on an ADAT magnetic tape format, even though it was mixed to analog later. Moutenot refutes this, however, claiming the album was recorded with a 24-track Studer. Audio mixing took place at Big House and Magic Shop in New York City. ## Music and lyrics I Can Hear the Heart Beating as One expands Electr-O-Pura's guitar-based pop to encompass a variety of other music genres, ranging from the bossa nova soundscapes of "Center of Gravity" to the electronic grooves of "Autumn Sweater", the krautrock jams of "Spec Bebop", the "jazzy goof" of "Moby Octopad", the trip hop sound of "Damage", and the psychedelic folk instrumentation of "We're an American Band", among others. The album also contains two cover songs: "Little Honda", a Beach Boys tune written by Brian Wilson and Mike Love, and "My Little Corner of the World", recorded by Anita Bryant, although the band initially did not know she had ever recorded it. The former, which is a song that Kaplan learned for a solo guitar show, was originally used to make sure the recording equipment was set up right. However, it was ultimately included in the album because, according to bassist James McNew, "it just sort of turned out pretty good." The title to the song "Moby Octopad" is a reference to Yo La Tengo's appearance on the 1995 Lollapalooza tour, where the band performed mid-afternoon sets on the festival's side stage. Often performing earlier in the afternoon was the artist Moby. One of the instruments that Moby used in his performance was the Roland Octapad, an electronic percussion instrument. When taking the stage for their own performance, Yo La Tengo frequently noticed road crew's tape with "MOBY OCTAPAD" written on it, still left on the stage after Moby's set. The band later used this anecdote as the title for an instrumental that they were jamming on. Lyrics unrelated to the Moby story were added later. Most of the lyrics on I Can Hear the Heart Beating as One deal with melancholy emotions. The track "Stockholm Syndrome", which is the first Yo La Tengo song sung by McNew, is about captives eventually expressing empathy toward their captors and vice versa. It was described by prominent music critic Robert Christgau as a "simulated Neil Young ballad". The song "Autumn Sweater", which is layered with complex rhythms and textures, explores themes of love and lack of communication, while "Center of Gravity" has been described as "a simple lo-fi devotional love song". I Can Hear the Heart Beating as One also marks the debut of Kaplan's falsetto singing, which was said to blur the line between his voice and that of drummer Georgia Hubley. The album's title is taken from a line in an unknown film. According to Kaplan, "I think it's a nice, evocative title—it seems to mean a lot but it doesn't really mean anything. It comes from a movie, but I'm not telling what movie. You'll have to see it one day and say, 'Eureka!'" ## Release I Can Hear the Heart Beating as One was released on April 22, 1997, by the independent record label Matador Records. The album reached number 19 on the Billboard's Heatseekers Albums chart, becoming the first Yo La Tengo album to enter the charts. Three songs from the album, "Autumn Sweater", "Sugarcube", and "Little Honda", were released as singles or EPs in 1997. A music video featuring Mr. Show with Bob and David's comedians David Cross and Bob Odenkirk was made for "Sugarcube". The song "Moby Octopad", which was not released as a single, peaked at number 4 on the KEXP Top 90.3 Album Chart in 1997. As of March 2000, I Can Hear the Heart Beating as One has sold 73,000 copies in the U.S. according to Nielsen SoundScan, becoming Yo La Tengo's most commercially successful album at the time. In 2012, The Daily Beast reported that the record had sold 300,000 copies since release. An insert card in the CD release parodied the marketing leaflets that are sometimes inserted into the jewel case for a compact disc, promoting other products from the same label. It "advertised" albums by imaginary artists, like "Condo Fucks", "Unsanitary Napkins", and "Künstler" in a variety of genres. In 2008, Yo La Tengo followed up on the joke by releasing Fuckbook, an album of covers credited to the "Condo Fucks". ## Critical reception Upon release, I Can Hear the Heart Beating as One received widespread acclaim from music critics. Matt Diehl of Rolling Stone felt that the album "proves that Yo La Tengo can master nearly any pop style [...] the music's ominousness is undercut by Yo La Tengo's infectious joy at simply making noise. It's just this joy that makes Yo La Tengo stand out amid their indie-rock peers". Similarly, in his review for Spin, Robert Christgau said that the album gave the band "the grace to professionalize toward the pop melodicism they've always loved." He also felt that the first nine songs were perfect and considered "Autumn Sweater" as the "very peak" of the album. Chicago Tribune reviewer Greg Kot highlighted the album's diverse influences, stating that the band "fashions sprawling albums out of minimal instrumental strokes and soft voices." The album's range of power and soft elements was noted. Writing for Entertainment Weekly, David Browne said that, while the band has always been "adept at striking a balance between hurricane-force dissonance and fragile serenity", Yo La Tengo "crack open their sound even wider here. Their muted, after-hours guitar drone is in full effect [...] As adults who still need to make a racket, they remain addicted to noise, but now the trio integrates the feedback into the arrangements, like squalls rumbling in the distance." Dele Fadele of NME also praised the open-ended nature of the album, but criticized the instrumental "Spec Bebop" for being "constructed around some hurtful feedback, to end up as an endurance test." In a very positive review, Jason Josephes of Pitchfork praised the album for exploring new directions, commenting that the band takes its "sonic inventions to new levels." I Can Hear the Heart Beating as One was ranked number 5 in The Village Voice's 1997 Pazz & Jop critics' poll, the band's highest position to date. In the poll's accompanying essay, Christgau referred to the album as one of his "favorite albums of the year, easy", alongside those by Pavement, Sleater-Kinney, and Arto Lindsay. Similarly, editors of NME magazine placed the album at number 19 in their albums of the year list for 1997, while Spin journalists placed the album at number 8 in their list of Top 20 Albums of the Year. ## Legacy Retrospectively, I Can Hear the Heart Beating as One is widely regarded as the band's best work. AllMusic reviewer Fred Thomas described it as "a definitive master statement. The subtly shifting moods and wide, curious palette of stylistic exploration resulted in a lasting indie rock classic, essential listening and also something of a blueprint for much of what followed from like-minded bands for years to come." The A.V. Club editor John Krewson remarked that the album marked the point when the band started to "[dabble] on electronica" with songs such as "Moby Octopad" and "Autumn Sweater", calling it "an example of a band having great fun exploring the possibilities of pop music." In his review of the band's 2003 album Summer Sun, Christgau praised I Can Hear the Heart Beating as One as Yo La Tengo's "career album", commenting that "It's no challenge or insult to state categorically that they'll never top it." In 2017, Pitchfork writer Marc Hogan described the record as the band's "first true masterpiece." I Can Hear the Heart Beating as One is frequently included on several publications' best album lists. In 1999, the record was ranked number 78 on Spin's list of The 90 Greatest Albums of the '90s. In 2003, Pitchfork ranked it number 25 on its list of the Top 100 albums of the 1990s, later placing it at number 73 in an updated 2022 list. Similarly, Rolling Stone placed the record at number 86 on its 2010 compilation of 100 Best Albums of the Nineties. In 2012, the album appeared at number 22 on Paste's list of The 90 Best Albums of the 1990s. In 2020, Rolling Stone ranked Beating as One number 423 on its list of The 500 Greatest Albums of All Time. ## Track listing ## Personnel Credits are adapted from the album's liner notes. - Yo La Tengo – performers, writers (tracks 1–8; 10–15) - Roger Moutenot – production - Greg Calbi – mastering - Jad Fair – artwork - Steve Thornton – photography - Al Perkins – lap steel guitar (track 2 and 11) - Burt Bacharach – composer (track 2, "Bird Bath") - Jonathan Marx – trumpet (track 6) ## Charts	[ "## Background and recording", "## Music and lyrics", "## Release", "## Critical reception", "## Legacy", "## Track listing", "## Personnel", "## Charts" ]	2,652	35,708
1,577,091	The Reputation	1,077,534,866	American indie rock band	[ "Indie rock musical groups from Illinois", "Musical groups disestablished in 2006", "Musical groups established in 2001", "Musical groups from Chicago", "Musical quartets" ]	The Reputation was an indie rock band from Chicago, Illinois. The band was fronted by former Sarge singer-songwriter Elizabeth Elmore, with other positions filled by various members. The band, which formed while Elmore was attending law school, released two albums between the years of 2001 and 2006, both of which were met with generally positive reviews. The band toured extensively in the United States and Canada, as well as in the United Kingdom. ## History Following the disbanding of her old band, Sarge, Elmore enrolled in law school at Northwestern University. She embarked on a series of solo tours between classes, but after growing tired of performing solo Elmore recruited ex-Sarge drummer Russ Horvath and ex-Chisel bassist and law school classmate Chris Norborg to tour with. The group toured together and recorded a five song demo, but after a while Horvath and Norborg were no longer able to tour due to schooling. Elmore recruited friend and ex-Moreno guitarist/singer Sean Hulet, ex-Moreno drummer Scott Rosenquist, and ex-Andiamo bassist Joel Root. The new group completed a tour of the East Coast. Elmore requested a leave of absence from Northwestern Law School in 2001 to focus on the band. After ex-Nymb drummer Ben Kane replaced the unavailable Rosenquist, the group signed to Initial Records. Kane left the band, and former Sarge drummer Chad Romanski joined the group after several weeks of Elmore begging. The band completed a fall West Coast tour and began recording their debut album with Romanski. The band took on the name The Reputation at this time. ### Self-titled debut The Reputation, the band's self-titled debut album, was released in 2002 after the band spent much of the fall and winter of 2001 in the recording studio. The majority of the album was recorded in Chicago at Atlas, with the exception of a cover of Elvis Costello's song "Almost Blue," which was recorded with then-Wilco guitarist Jay Bennett on piano and production duties, as well as extra arrangements and recording on other tracks. Elmore, as she did with her work in Sarge, wrote all of the original songs and lyrics, and assisted with the production along with Matt Allison. The album was well received critically. The Los Angeles Times gave the album 3.5 out of 4 stars, with reviewer Kevin Bronson saying that "[Elmore's] streaming anecdotes give the listener the feeling of walking right into the middle of life-altering events." The College Music Journal'''s Amy Wan called the album a "showcase for Elmore's powerfully biting lyrics and her passionate voice, dancing deftly between little-girl sweet and outright roar," and The Village Voice gave the album an A−, with famed music journalist Robert Christgau praising the debut, saying that "Elmore left a great band to go to law school. Now she leaves a great law school to start a better band." Along with the positive feedback for the album, the band was able to secure its first permanent drummer in Matt Espy. The band would tour the United States and parts of Canada a number of times following the release of the album. Along with the performance agenda in 2003, Elmore balanced touring, songwriting for their next album, and a return to law school while the band suffered the loss of yet another drummer, as Espy was forced to leave after a tenure of nearly a year and a half for personal reasons. ### To Force a Fate The band settled on their second permanent drummer, Steve Van Horn, shortly after Espy left following their round of touring. At the same time, the band began negotiations with Lookout! Records to release their follow-up. After a marathon run of shows and songwriting toward the end of 2003, the band recorded their second album. The sessions were difficult, with 14-hour recording days being balanced with Elmore attempting to finish remaining law school papers, combined with weekend tour jaunts to the East Coast. The album was unique compared to other Elmore projects in that other members of the band assisted in the songwriting process. To Force a Fate was ultimately released in April 2004 on Lookout! Records. The album received generally positive press, including favorable reviews in Spin Magazine, calling the album "a bang of power pop epiphany." Blender Magazine gave the album four stars, stating that "Elizabeth Elmore, a law-school graduate with boy trouble to match her student loans, writes songs that are as much legal briefs as diary entries." Entertainment Weekly called the album "muscular yet lush," and gave the album a B+. The album would eventually reach No. 58 on the CMJ charts. ### Post-album touring The band spent 2004 and 2005 touring the United States for over nine months, including opening slots for Ted Leo and the Pharmacists, The Killers, Modest Mouse, Death Cab for Cutie, and the Donnas. The band's performance at South by Southwest in particular was covered positively in Entertainment Weekly. 2005 took the band overseas to tour the United Kingdom for the first time, as well as two separate two-month United States tours. In June 2005, bassist Joel Root left the band for personal reasons. They completed their summer tour with Stereo South bassist Greg Mytych, and planned to record a new album in 2006, but came to a halt due to mitigating factors, including the issues with Lookout! Records. In September 2005, the band performed at North East Sticks Together. Elmore, in November 2006, posted a message to the band's official mailing list noting that the band had dissolved and no further plans had been announced. Drummer Steve Van Horn has joined former Chicagoan and current Austin, TX based singer-songwriter Che Arthur's touring band. ## Musical and lyrical style The Reputation's music is influenced by that of Elmore's previous band, Sarge. The band also drew comparisons to the Fastbacks, Liz Phair, Neil Young, and Elvis Costello, the last of which the band covered with their version of the song "Almost Blue". Elmore drew influence from a wide variety of music, including post-hardcore, alternative country, 1970s singer-songwriters, indie rock, classical music, country music, bluegrass, and 1980s pop music. While the band's first album used conventional punk rock instruments, To Force a Fate included more diverse instruments such as piano, strings, and horns. According to a review in Allmusic, To Force a Fate's contains "thoughtful songwriting and dashes of indie rock anthemics". The subjects of the band's songs are frequently related to Elmore's relationships. She stated "as far as I can tell, I am too brutally honest and opinionated for most people." ## Members The Reputation's lineup changed numerous times during the band's existence. Final members - Elizabeth Elmore – vocals and guitar - Sean Hulet – guitar and vocals - Greg Mytych – bass guitar - Steve Van Horn – drums Former members - Matt Espy – drummer - Ben Kane – touring drummer - Chad Romanski – recording drummer on The Reputation - Joel Root – bass guitar - Scott Rosenquist – touring drummer ## Releases Albums - The Reputation (2002) - To Force a Fate'' (2004) Compilations	[ "## History", "### Self-titled debut", "### To Force a Fate", "### Post-album touring", "## Musical and lyrical style", "## Members", "## Releases" ]	1,537	26,656
1,223,023	Clarence Jeffries	1,113,813,417	Australian recipient of the Victoria Cross	[ "1894 births", "1917 deaths", "Australian Army officers", "Australian World War I recipients of the Victoria Cross", "Australian military personnel killed in World War I", "Australian miners", "Military personnel from New South Wales", "People from Newcastle, New South Wales" ]	Clarence Smith Jeffries, VC (26 October 1894 – 12 October 1917) was an Australian recipient of the Victoria Cross, the highest decoration for gallantry "in the face of the enemy" that can be awarded to members of the British and Commonwealth armed forces. He was posthumously decorated with the Victoria Cross following his actions in the First Battle of Passchendaele during the First World War, in which he led several parties of men in an attack that eventuated in the capture of six machine guns and sixty-five prisoners, before being killed himself by machine gun fire. Born in a suburb of Newcastle, New South Wales, Jeffries was employed as a surveyor at a mining company where his father served as general manager following his completion of school. Joining a militia battalion in 1912, he was commissioned as a second lieutenant upon the outbreak of war and tasked with the instruction of volunteers for the newly raised Australian Imperial Force. Transferring into the Australian Imperial Force himself in 1916, Jeffries embarked with his battalion for service on the Western Front. Wounded at Messines, he was promoted to captain before being killed fourteen days short of his twenty-third birthday. ## Early life Jeffries was born in the Newcastle suburb of Wallsend, New South Wales, on 26 October 1894. He was the only child of Joshua Jeffries, a colliery manager, and his wife Barbara, née Steel. Jeffries attended Dudley Primary School before moving onto Newcastle Collegiate and High schools. Apprenticed as a mining surveyor at the Abermain Collieries on the state's northern coalfields, where his father was general manager, Jeffries was noted as a cricketer and a keen horseman who took a particular interest in breeding thoroughbreds. In July 1912, Jeffries joined the 14th (Hunter River) Infantry Regiment, Citizens Military Force, as a private under the compulsory training scheme. He was promoted to sergeant a year later. ## First World War Following the outbreak of the First World War, Jeffries was commissioned as a second lieutenant in the Citizens Military Force on 22 August 1914. By this time he was in charge of the survey department at the Abermain Collieries, but was mobilised for home defence duties and the instruction of volunteers for the newly raised Australian Imperial Force at Newcastle and Liverpool camps. Promoted lieutenant in the Citizens Military Force in July 1915, he transferred to the Australian Imperial Force on 1 February 1916 with the substantive rank of second lieutenant, and was placed in command of C Company of the 34th Battalion. In May, the battalion embarked from Sydney for the United Kingdom, with Jeffries aboard HMAT Hororata. Arriving in late June, the battalion spent the next five months training in England, during which time Jeffries was promoted to lieutenant. In late November 1916, the 34th Battalion was shipped to France for service on the Western Front. Initially posted to the Armentières sector in Belgium, the battalion did not participate in its first major battle until June 1917, when it took part in the Battle of Messines after the British and Dominion operations switched to the Ypres sector of Belgium. During the engagement, Jeffries received a bullet wound to the thigh while leading a reconnaissance patrol and was evacuated to the 3rd General Hospital in London. While recuperating, he was promoted to captain on 26 June, before rejoining his battalion in September as a company commander. ### Victoria Cross On 12 October 1917, the 34th Battalion—as a member of the 9th Brigade—was to take part in the 3rd Australian Division's attack on Passchendaele, Belgium. Subject to several days of heavy rain, the battlefield had been transformed into a boggy marsh on which the attack was to commence. Jeffries commanded B Company during the attack, which he halted at the entrance to Broodseinde railway cutting, as many of the direction tapes leading to the starting position had been destroyed or swallowed up by the mud. To avoid any mishaps, Jeffries and another of the battalion's company commanders, Captain T.G. Gilder, pushed on alone as far as Keerselaarhoek cemetery to find the tapes marking the battalions starting line for the attack. Thus, by 03:00 the 34th Battalion was formed up on the line of attack. At the designated time of 05:25, the British opened up with an artillery barrage on the German positions just as the Australian forces entered no man's land for the attack. Heavy machine gun fire assaulted the troops from all directions as they bunched together on the firmer ground to avoid sinking in the boggy mud. Serious resistance was encountered at Hilside Farm, a strong point to the east of Augustus Wood in the centre of the highest part of the Passchendaele ridge. The position consisted of two pillboxes, supported by fifty metres of trench that was occupied by approximately thirty men with four machine guns. The fire from these machine guns forced the men of the 34th Battalion to seek cover on the exposed crest and threatened to halt the entire advance. Jeffries, realising his force was suffering heavy casualties, quickly organised a bombing party of fourteen men and set about outflanking the pillboxes. Accompanying Jeffries was Sergeant James Bruce, a 39-year-old Scottish-born miner who had worked for Jeffries' father at the Abermain Collieries. According to popular legend, Bruce had promised to look out for his boss's son, and remained at Jeffries' side throughout the attack. Working around the position, the party attacked the emplacement from the rear, capturing four machine guns and thirty-five prisoners; thus reviving the advance. Jeffries then led his company forward under heavy artillery and machine gun fire to reach their first objective. Despite the heavy losses which left gaping holes in the Allied line, it was decided that the next stage of the advance was to go ahead. At 08:25, parties from the 34th and 35th Battalions headed out along the south-eastern edge of the ridge towards the outskirts of Passchendaele. Almost immediately, they came under heavy fire from a pillbox close by a railway embankment, at which time Major J.B. Buchanan, the senior brigade officer with the advance party, fell dead, leaving Jeffries to assume control. Gathering a party of eleven men, he set about silencing the machine gun position. Edging across the open ground, the party attacked the position from the west just as the machine gun was firing to the north. Realising that an attack was imminent, the machine gunner switched around, mortally wounding Jeffries in the stomach and sending the rest of the party to ground. When its fire eased, the remaining members of the group worked around the position, rushed it and seized two machine guns in conjunction with thirty prisoners. With the second objective only partially captured, the remnants of the 9th Brigade, battered by artillery and machine gun fire, were forced to relinquish their position and retreat back to their own lines. All that remained on the Passchendaele ridge of the 9th Brigade was the dead and wounded, among whom was Clarence Jeffries, who was later counted among those with no known grave. ## Legacy For his actions during the battle at Passchendaele, Jeffries was awarded a posthumous Victoria Cross, the notification of which was published in the London Gazette on 18 December 1917. His citation read: > War Office, 18th December, 1917 > > His Majesty the KING has been graciously pleased to approve of the award of the Victoria Cross to the undermentioned Officers, Noncommissioned Officers and Man:— > > Capt. Clarence Smith Jeffries, late Australian Imperial Force. > > For most conspicuous bravery in attack, when his company was held up by enemy machine-gun fire from concrete emplacements. Organising a party, he rushed one emplacement, capturing four machine guns and thirty-five prisoners. He then led his company forward under extremely heavy enemy artillery barrage and enfilade machine-gun fire to the objective. > > Later, he again organised a successful attack on a machine-gun emplacement, capturing two machine guns and thirty more prisoners. > > This gallant officer was killed during the attack, but it was entirely due to his bravery and initiative that the centre of the attack was not held up for a lengthy period. His example had a most inspiring influence. Severely affected by the unknown fate of his son's body, Joshua Jeffries set out for Belgium in 1920 in an attempt to discover his son's "lost grave". He returned to Australia disappointed, only to learn in January 1921 that Clarence's body had been exhumed from a battlefield grave on 14 September 1920, and re-buried in Tyne Cot Cemetery, Plot XL, Row E, Grave 1. The body had been identified by a set of captain's pips, Australian numerals and the penciled initials "C.S.J." found on the ground sheet in which the body was wrapped. Three years later, Joshua Jeffries returned to Belgium once again; this time to pay his last respects to his son. As a debt of gratitude to the late Lieutenant James Bruce, MC, DCM, who as a sergeant had assisted Clarence at Passchendaele before being killed himself on 17 July 1918, Joshua employed Bruce's two eldest sons as trainee mining surveyors at the Abermain Collieries. Following a campaign by the citizens of Abermain, the Capt. Clarence Smith Jeffries Memorial Park was established in 1947, and upon Barbara Jeffries death in 1964, she bequeathed her son's medals to the Warriors Chapel at Christchurch Cathedral, Newcastle, where they are currently on display. Jeffries is also commemorated by photographic portraits in the Abermain Memorial and Citizens' Club and by a carved chair presented to Abermain Holy Trinity Anglican Church by his uncle and aunt in 1918. In 1976, the Jeffries and Currey Memorial Library was opened by the Governor of New South Wales, Sir Roden Cutler, at Dudley Public School to honour two of the school's pupils who were decorated with the Victoria Cross during the First World War: Clarence Jeffries and William Currey. The pair are also commemorated by the Capt. Clarence Smith Jeffries (V.C.) and Pte. William Matthew Currey (V.C.) Memorial Wall located in the grounds of Sandgate General Cemetery, Newcastle, which was unveiled in an official ceremony on 16 April 2000. The Clarence Jeffries Housing Estate at Bullecourt Army Barracks in Adamstown is also named in his honour.	[ "## Early life", "## First World War", "### Victoria Cross", "## Legacy" ]	2,237	27,184
14,736,845	Seekers (novel series)	1,171,167,809	Book series by Erin Hunter	[ "Children's novels about bears", "Fantasy novel series", "Grizzly bears in popular culture", "HarperCollins books", "Novels by Erin Hunter", "Series of children's books" ]	Seekers is a children's novel series written by a team of authors under the pseudonym Erin Hunter, who also wrote the Warriors series. Seekers follows the adventures of four bear cubs: Kallik (a polar bear), Lusa (a black bear), Ujurak (a small grizzly bear who can shape-shift into any animal), and Toklo (also a grizzly bear). Led by Ujurak, the four bears search for a place where they can live in peace without human interference and harassment. The first book of the first series, The Quest Begins, was released on 27 May 2008 and was followed by five other books, ending with the last book of the first series, Spirits in the Stars, which was released on 8 February 2011. A second series of novels subtitled Return to the Wild, also six books in length, began publication with Island of Shadows, released on 7 February 2012. The series has been well received, with critics praising the realistic behavior of the characters, the world building, and the book's themes surrounding environmentalism. ## Inspiration and origins Seekers began as a request from HarperCollins to editor Victoria Holmes to develop another series about a group of animals similar to their highly successful Warriors series, but not about cats. Dogs were initially suggested, but rejected because they were too similar to cats in terms of their social organization and territoriality. Holmes stated that she "was reluctant to create stories that [she] felt would be quite similar to Warriors. Dogs live in packs, they hunt for their food, they have a strict hierarchy within their communities, they guard their territories". Several other animals, including horses, otters, and dolphins were considered, but were dismissed for various reasons; Holmes felt that horses tended to run away rather than stay and fight, which she believed would not make for very interesting interpersonal drama between characters, that dolphins would be too visually similar to tell apart from each other in a large cast of characters, and that otters did not have a broad enough audience appeal. Holmes ultimately decided that the series would be about bears, her reasoning being that bears are much more solitary, undomesticated animals and do not live in close-knit communities like feral cats. She thought that bears were fierce and large enough to make for compelling battle scenes, while still feeling intelligent enough to be anthropomorphized. Holmes wanted faith to be a central theme in the series, which manifests in the form of the bears having a very close and spiritual connection to the environment. Holmes states that she drew a lot of inspiration for this aspect of the series from the beliefs of various Native American tribes in the area that Seekers takes place and their relationships with the environment and the land they live on. She grew particularly interested in Inuit culture and the societal role of a shaman, someone with the ability to transform into different animals. This inspired the character of Ujurak, a bear with the ability to transform into any animal he wishes, including humans. Holmes said she thought it would be an interesting opportunity to portray the human world as seen through the eyes of an animal. The names of the characters are taken from various Native American languages; Lusa means midnight or black in Choctaw, Kallik means lightning in Inuktitut, Silaluk means storm in Inuktitut, Taqqiq means moon, Toklo means two in Chicksaw, and Ujurak means rock. ## Books ### First series The series takes place over the span of six books: The Quest Begins, Great Bear Lake, Smoke Mountain, The Last Wilderness, Fire in the Sky, and Spirits in the Stars. The story follows four young bears. Lusa, an American black bear, Kallik, a polar bear, Toklo, a grizzly bear, and Ujurak, a grizzly bear who is able to shapeshift into any animal, but remains a grizzly bear most of the time. The story is set in various locations in Canada. The first book, The Quest Begins, shows how each of the four bears are abandoned by or otherwise separated from their families. Kallik is separated from her mother Nisa and brother Taqqiq when a pod of orcas eat her mother, while her brother was still on the other side of an ice canal, thinking they were both dead. After this, Kallik begins travelling to find her brother. Toklo is abandoned by his mother Oka after his brother, Tobi, dies. His mother sees how the salmon is disappearing, and leaves Toklo to travel alone. Lusa was born and raised in the Greater Vancouver Zoo. Her story intertwines with Toklo's after his mother is brought to the zoo and Lusa hears of the wild. Hoping to leave her home, she escapes the zoo and searches for Toklo. Meanwhile, Toklo finds Ujurak injured and helps him; they begin to travel together. They meet up with Lusa at the end of the book. By Great Bear Lake, the four bears have joined together and they attempt to reach the Arctic. Although Kallik finds Taqqiq, he has joined a group of bullying polar bears who kidnap a male black bear cub named Miki. Taqqiq sees that what he did was wrong and joins the questing bears, but he leaves the group in the third book, Smoke Mountain, when he feels he does not belong with them. The remaining four cubs learn of a place called the Last Great Wilderness (the Arctic National Wildlife Refuge) in the third book, The Last Wilderness, where there is food and shelter for them. After defying hardships such as hunger and the threat of humans, they finally make it to the Last Great Wilderness. However, Ujurak, who leads the journey, feels that they need to go further into the Arctic. In Fire in the Sky, the bears leave the Last Great Wilderness and travel towards the Arctic. In the sixth and final book of the first series, Spirits in the Stars, the four bears make it to Star Island (Ellesmere Island), a place where many polar bears live. They find a sick mother polar bear named Sura and her nameless cub. Sura dies from sickness and the traveling four bears look after her cub, which Kallik names Kissimi. Toklo finds that he also struggles with his urge to become a proper brown bear and travel alone. The bears save the polar bears that inhabit Star Island by destroying an oil rig that was poisoning the seals that they eat, but Ujurak dies in an avalanche while saving the others. Yakone, a determined young male polar bear who lived on the strange Star Island with the sick bears, joins the group of bears at the end of the book. ### Return to the Wild The series comprises six books: Island of Shadows, The Melting Sea, River of Lost Bears, Forest of Wolves, The Burning Horizon, and The Longest Day. The story details Toklo, Kallik, Lusa, and Yakone's return home. However, they struggle with leaving the only family they have ever known and returning home to where they have been away from for some time, as well as grappling with the loss of Ujurak. They also meet the strange Nanulak, a young and bitter male grolar bear. While trying to find homes for each of them, their bond is tested when Kallik and Yakone feel the pull of the ice on the Melting Sea, and Toklo of the forest in his birthplace. They also run into Taqqiq, who has rejoined his bullying friends but soon realizes the error of his ways and leaves them for good, and Chogan, Toklo's father, who loses to his son in a territorial dispute but refuses to acknowledge his victory. During the last leg of the journey, Lusa is separated from the others and taken to a wildlife hospital, from which she escapes and reunites with the others with guidance from Ujurak's spirit. In The Longest Day, the four bears arrive at Great Bear Lake and are forced to join their own kind for the Longest Day ceremonies, but the three species are determined to not help or rely on each other until a fire forces them to seek shelter together. At the end of the last book, it is revealed that the Seekers, now three years older, have their own families and cubs. ### Other books The Seekers series also features several stand-alone books published in original English-language manga form. The books were written by Erin Hunter and illustrated by Bettina Kurkoski, who also illustrated The Rise of Scourge, a stand-alone manga from one of Erin Hunter's other series, Warriors. The books were published by the American anime and manga publishing company Tokyopop. Each book is named after one of the main characters and each book's story is from the point of view of its respective titular character, set before the events of The Quest Begins. The first entry, Toklo's Story, was released on 9 February 2010. The second entry, Kallik's Adventure, was released on 8 February 2011. A third manga entry, Lusa's Tale, was announced and was slated to be released in January 2012. However, on 15 April 2011, Tokyopop announced that it would be discontinuing its services in the United States, resulting in the unofficial cancellation of Lusa's Tale and any potential future manga entries for the series. ## Themes The main theme emphasized in the series is the environment and how humans affect it. The authors stated that working on a series centered around an entirely different species and a different setting allowed them to explore themes that would not fit well in the Warriors series, such as environmentalism. Publishers Weekly said that "readers will appreciate the bears' struggle to survive, along with Hunter's environmental theme." Booklist commented on how each story of the three bears touches on environmental issues. School Library Journal noted that "the bears' declining habitat is evident, and often throughout their journey the animals have to dodge cars and humans with guns." The series tackles how industrialization affects wildlife as the main characters go on a physical journey across Canada, but also a spiritual journey about preserving their way of life for future generations and what it really means to be wild. A review from Children's Literature also commented on themes such as "youth versus age, new versus tradition and the discovery that foreign others are often not very different from oneself." Some reviewers have also noted that references to racism and discrimination can be gleaned from the text. A Kidreads reviewer notes that "[Hunter] also cleverly deals with the theme of racism through a unique and honest approach—three bears of different color, different backgrounds and different beliefs turn to each other for survival and friendship." ## Publication history The first series contains a total of six books. Seekers was originally going to be named "The Clawed Path," as the journey the four bears make through the first series is referred to as "the clawed path." At the last minute, the title was changed so that it would seem similar to the Warriors series. Holmes was initially unhappy with the change, but has since said that she has come to like it and the way it looks on the covers of the books. The first novel of the series, The Quest Begins, was first featured on the HarperCollin's FirstLook Program in November 2007. Readers who signed up for the program had a chance to read an early edition of the book, an Advanced Reader's Copy, before it was published and released in stores. The Quest Begins was released in the United States on 27 May 2008. The book was also released as a paperback on 10 February 2009 and late as an e-book on 6 October 2009. The books have also been released in the UK and Canada. Canada received the first book on 25 May 2008. The UK releases have different covers than the Canadian and US covers. In the UK, only the first, second, third and fourth books were released. The first three books have also been translated into Russian. ## Critical reception Seekers has received generally positive reviews. Publishers Weekly praised the suspenseful ending of the first book and thought readers would find great interest in the bears' struggle to survive. Booklist found the plot of the first book to have an "interesting balance of cute anthropomorphic characterization and realistic attention to bear behaviors." School Library Journal wrote "from the first page, this story is exciting and refreshing" and "[t]he plot is fast paced, and the author is apt at creating and sustaining the adrenaline-charged mood of these youngsters on their own." Kirkus Reviews commented that "Hunter creates a richly sensuous world filled with cruelty, beauty, tenderness, savagery and just enough underlying legendary background to add mystery." However, the reviewer also felt that too much detail went into developing the characters and setting, and that little focus was given to the book's plot.	[ "## Inspiration and origins", "## Books", "### First series", "### Return to the Wild", "### Other books", "## Themes", "## Publication history", "## Critical reception" ]	2,674	10,212
77,002	Gil-galad	1,173,281,008	null	[ "Characters in The Silmarillion", "Fictional characters introduced in 1954", "Fictional kings", "Middle-earth rulers", "Noldor", "Ring-bearers" ]	Gil-galad is a fictional character in J. R. R. Tolkien's Middle-earth legendarium, the last High King of the Noldor, one of the main divisions of Elves. He is mentioned in The Lord of the Rings, where the hobbit Sam Gamgee recites a fragment of a poem about him, and The Silmarillion. In the Last Alliance of Elves and Men, Gil-galad and Elendil laid siege to the Dark Lord Sauron's fortress of Barad-dûr, and fought him hand-to-hand for the One Ring. Both Gil-galad and Elendil were killed, and Elendil's son Isildur took the Ring for himself. Gil-galad briefly appears at the opening of Peter Jackson's The Lord of the Rings film trilogy, and features in several video games based on Tolkien's Middle-earth. ## Appearances ### Prose Gil-galad was an Elf of a royal house of Beleriand; beyond that, accounts of his birth vary. According to The Silmarillion, he was born into the house of Finwë as a son of Fingon sometime in the First Age, and as a child, he was sent away during the Siege of Angband for safekeeping with Cirdan the shipwright in the Falas. Alternatively, he was a son of Orodreth, who became a son of Angrod, son of Finarfin: Tolkien made these changes to allow Turgon, Fingon's brother, to inherit the crown before Gil-galad (leaving Fingon childless). Christopher Tolkien rejected these changes for The Silmarillion, a decision he later regretted. He became the High King of the Noldor-in-Exile in Beleriand after the fall of Gondolin and the death of the previous High King, Turgon. After the War of Wrath and the end of the First Age, Gil-galad founded a realm in the coastal region of Lindon along the shores of Belegaer, the Great Sea. At its height, his realm extended eastward as far as the Misty Mountains. King Tar-Aldarion of Númenor presented Gil-galad with the gift of some seeds of the Mallorn tree; he in turn gave some to Galadriel, who grew them in the guarded land of Lothlórien. Gil-galad did not take a wife and had no children. He was the first of the Eldar to mistrust a stranger who called himself Annatar, and forbade him from entering Lindon. His mistrust was well founded, for Annatar was in fact Sauron. About the year 1600 of the Second Age, Sauron secretly forged the One Ring. Celebrimbor, the creator of the Three Rings, gave two of them, Narya and Vilya, to Gil-galad for safe-keeping once he knew Sauron's intention to take them. Gil-galad passed Narya to Cirdan the shipwright, who stated that this was only to keep it secret; Cirdan never used it. Gil-galad chose to give Vilya, and control of Eriador, to Elrond. War broke out between the Elves and Sauron; Gil-galad asked the Númenóreans for help, and their king Tar-Minastir brought a great force, enabling Gil-galad to defeat Sauron's army. After the Downfall of Númenor there was peace in Middle-earth. At the end of the Second Age, Sauron reappeared with a newly formed army and made war against the kingdom of Gondor, near his old home of Mordor. Gil-galad formed the Last Alliance of Elves and Men with the High King of Men, Elendil. The armies of Elves and Men entered Mordor and laid siege to Sauron's fortress of Barad-dûr. At the end of the siege, Sauron finally came forth and fought hand-to-hand against Gil-galad and Elendil on the slopes of Mount Doom, losing the One Ring but killing them both. A record left by Isildur in Minas Tirith implies that Sauron himself killed Gil-galad with the heat of his bare hands. Recalling the encounter at the Council of Elrond at Rivendell before the Fellowship took the One Ring south, Elrond said that only he and Círdan stood by Gil-galad in that fight. ### Poetry In The Fellowship of the Ring, on the way to Weathertop, Aragorn mentions Gil-galad, prompting the hobbit Sam Gamgee to recite a fragment, three stanzas, of "Gil-galad was an Elven-king": > > Gil-galad was an Elven-king. Of him the harpers sadly sing: The last whose realm was fair and free Between the mountains and the sea. > > > > His sword was long, his lance was keen. His shining helm afar was seen. The countless stars of heaven's field Were mirrored in his silver shield. > > > > But long ago he rode away, And where he dwelleth none can say. For into darkness fell his star; In Mordor, where the shadows are. Sam's companions are impressed, and ask for more; Sam admits that is all that he learnt from Bilbo. Aragorn says the fragment is a translation from "an ancient tongue" and suggests that the hobbits may hear the rest in Rivendell. The Tolkien scholar Tom Shippey comments that the longer poem does not exist, and that Sam's fragment seems to have been composed while Tolkien was writing the chapter. He notes that it has the form of a ballad, each stanza being a quatrain in eulogy mode with end-rhymes in the rhyming pattern AABB/CCDD. ## Artefacts ### Aeglos, the spear Gil-galad's spear was named Aeglos or Aiglos, meaning "snow-point" or "snow-thorn" or more commonly "icicle" (aeg: sharp, pointed; los: snow) because when orcs saw his spear, they would recognize it by its reputation to bring a cold death to them. Elrond said that at the battle of Dagorlad, "we had the mastery: for the Spear of Gil-galad and the Sword of Elendil, Aiglos and Narsil, none could withstand." It has been suggested that Tolkien might have based the spear on the god Odin's irresistible spear Gungnir in Norse mythology. ### Heraldic devices Tolkien created two sketches of heraldic devices for Gil-galad. They were drawn on an envelope posted to him in 1960, along with a device containing a star or Silmaril for Eärendil. The Tolkien scholars Wayne G. Hammond and Christina Scull note that matching the description in the poem, "The countless stars of heaven's field / Were mirrored in his silver shield", the lozenge-shaped devices both contain stars, with an elongated star in each corner. Margaret Purdy, in Mythlore, writes that Gil-galad's shield, like all elvish heraldry personal not inherited, seems to incorporate his stars, though the field is blue not silver. ### Family tree ## Concept and creation Gil-galad means "star of bright light" in Sindarin. His names in Tolkien's invented languages of Quenya and Sindarin were Artanáro and Rodnor, respectively. His Sindarin birth name, Ereinion, means "scion of kings". Tolkien considered several different parentages for Gil-galad in different draft texts, including making him the son of Orodreth. In the second version of The Fall of Númenor, he is called a descendant of Fëanor, who made the Silmarils. Then Tolkien treated him as a son of Finrod Felagund. Christopher Tolkien, editing the published version of The Silmarillion, made Gil-galad the son of Fingon, a decision he later regretted, saying he should have left the parentage obscure. Renee Vink, of the Dutch Tolkien Society, suggests that the only good reason for making him son of Fingon is the correspondence of the colours, blue and silver, of Gil-galad's heraldic device and Fingolfin's banner, noting that the publication of The Silmarillion, based on a limited "grasp of the material", created a "virtually unshakeable" tradition for this parentage. She argues that Orodreth has a better claim to paternity, for several reasons: the crown of the Noldor in exile (in Middle-earth) then comes to a descendant of Finarfin, king of the Noldor in Aman; a descendant of Finarfin would fight Sauron to avenge Finarfin's son Finrod; and as brother to Finduilas, he (alone of the Noldor's Kings) would fight with a spear, the weapon that killed his sister. The scholar of literature Lawrence Krikorian, in Mallorn, writes that Elrond's account of being Gil-galad's herald in the Second Age, thousands of years earlier, as recalled first-person observation helps to make the narrative function as history rather than allegory, lending an impression of depth. ## Adaptations ### Film, TV, and radio In the 1981 BBC Radio 4 dramatisation of The Lord of the Rings, the Lay of Gil-galad was set to music by Stephen Oliver. In the Lord of the Rings film trilogy by Peter Jackson, Gil-galad is portrayed by actor Mark Ferguson, who appears very briefly in The Fellowship of the Ring during the opening prologue sequence. Gil-galad is mentioned in the behind-the-scenes documentaries included with the Special Extended Edition DVD of The Fellowship of the Ring and is listed in the credits. In an interview with Ferguson and Craig Parker (Haldir), Ferguson stated that it had been planned for his death to be depicted onscreen as in the book, but it was considered too violent. In the Amazon Prime Video The Lord of the Rings: The Rings of Power TV series, which focuses on events in the Second Age, Gil-Galad is played by Benjamin Walker. ### Games Gil-galad has been included in multiple video games since Jackson's films were first shown. The 2004 video game The Lord of the Rings: The Third Age featured Mark Ferguson as Gil-galad. Others are the 2007 The Lord of the Rings Online; the 2011 The Lord of the Rings: War in the North; and the 2012 Lego The Lord of the Rings which has Gil-galad near Mount Doom.	[ "## Appearances", "### Prose", "### Poetry", "## Artefacts", "### Aeglos, the spear", "### Heraldic devices", "### Family tree", "## Concept and creation", "## Adaptations", "### Film, TV, and radio", "### Games" ]	2,276	19,137
33,969,018	Bonanza City, New Mexico	1,166,614,328	Ghost town and filming location in New Mexico	[ "Geography of Santa Fe County, New Mexico", "Ghost towns in New Mexico" ]	Bonanza City is a ghost town, located 13 miles (21 km) southwest of Santa Fe in Santa Fe County, New Mexico, United States. The town was founded in 1880 as a mining town, following the discovery of gold and silver in the nearby Cerrillos Hills. It was abandoned sometime in the early 1900s. Later in the 20th century, The Bonanza Creek Movie Ranch, which contains a movie set depicting a late 19th century mining town, was built near the ruins of Bonanza City. ## Background The Cerrillos Hills are a grouping of hills in modern-day New Mexico containing deposits of valuable resources including silver, gold, lead, copper, and turquoise. The Puebloans have mined for turquoise in the hills as early as the 900s CE. During the 16th and 17th centuries, the colonizing Spanish used Pueblo slave labor to mine turquoise, as well as lead and silver. In 1680, the Pueblo revolted against the Spanish and temporarily drove them from Santa Fe de Nuevo México (modern-day New Mexico); with the exception of a few sporadic mining operations, wide-scale mining would not occur again until the late 1800s. Ownership of the Cerrillos Hills region passed to Mexico in 1821 following the Mexican War of Independence and then to the United States in 1848 following the Mexican–American War. In May 1879, the administration of President Ulysses S. Grant began selling land in New Mexico, including the Cerrillos Hills region, to the American public. Later that year, two miners from Colorado discovered gold and silver deposits within the Cerrillos Hills, which lead to a mining boom and the establishment of numerous mining towns around the Cerrillos Hills. In September 1879, the Los Cerrillos Mining District was established to regulate mining claims within the region. By the end of 1880, at least 500 mining shafts had been opened within the district. ## Original town Bonanza City was founded in 1880 by John Mahoney, the former US consul to Algiers. Bonanza is Spanish for "prosperity" or "rich ore pocket"; Bonanza City was one of the many mining towns founded after the discovery of valuable minerals in the Los Cerrillos hills. By July 1881, the town contained a store, post office, hotel, and smelter; Bonanza City also had a church and priest at some point in the early 1880s. The town lacked important amenities such as a barbershop, shoemaker, and a general merchandise store. Bonanza City had a population of up to 2,000 people, presumably at some point from 1880 to 1883. In 1883, the Bonanza City post office closed, while the smelter was transported to Albuquerque after Bonanza failed to provide enough ore. The population of Bonanza City dropped to 200 by 1884, although some demand for miners existed for another year or so. The town went into further decline following 1885 and was largely abandoned by 1890. Bonanza City experienced a temporary revival in the early 1900s after the construction of a small smelter, but was ultimately completely abandoned at some point in the early 20th century. Today, all that remains of the original town are building foundations and the ruins of the smelter. ## Use as a filming location The Bonanza Creek Movie Ranch is located near the ruins of Bonanza City. The Hughes family obtained the ranch during the 1940s. The family has used the ranch as a filming location since the early 1950s, when scenes from The Man from Laramie were filmed there. Dozens of films, including Silverado, The Legend of the Lone Ranger, and A Million Ways to Die in the West, have since been filmed in part or entirely on the ranch. The 2007 television show Kid Nation, which aired for one season on CBS, was also filmed on the ranch. The series tasked 40 children, ranging in age from 8 to 15, with revitalizing a fictionalized version of Bonanza City and correcting the supposed mistakes of the city's original residents. The show proved controversial and faced claims of child exploitation. The earliest films produced on the ranch either took place outdoors or used facades. Starting in the 1980s, a permanent movie set was constructed on the ranch by the Hughes family and various production companies. The set consists of complete, free-standing buildings that are supplied with water and electricity. On October 21, 2021, the film Rust was in production in Bonanza when Alec Baldwin discharged a prop firearm on the set, killing cinematographer Halyna Hutchins and injuring director Joel Souza. The movie is scheduled to restart production in January 2023 but not be filmed in New Mexico.	[ "## Background", "## Original town", "## Use as a filming location" ]	1,007	23,009
30,850,694	Wing Coaster	1,166,427,322	Type of roller coaster	[ "Roller coasters manufactured by Bolliger & Mabillard", "Types of roller coaster", "Wing Coaster roller coasters" ]	Wing Coaster is engineering firm Bolliger & Mabillard’s designation for its winged roller coaster designs. Winged roller coasters are a type of steel roller coaster where pairs of riders sit on either side of a roller coaster track in which nothing is above or below the riders. B&M began development on the first Wing Coaster between 2007 and 2008 leading to the opening of Raptor at Gardaland on 1 April 2011. There were sixteen B&M-designed Wing Coasters either under construction or operating worldwide as of December 2020 (14 operational, 2 under construction). ## History According to Walter Bolliger, development of the Wing Coaster began between 2007 and 2008. In 2010, Bolliger & Mabillard announced a prototype Wing Coaster design that would be built at Merlin Entertainments' Gardaland. It became known as Raptor, which opened on 1 April 2011. A year later, Merlin Entertainments opened a second Wing Coaster on 15 March 2012, called The Swarm at Thorpe Park. In the United States, the first Wing Coaster to be announced was X-Flight, which opened at Six Flags Great America on 16 May 2012. Dollywood's Wild Eagle actually opened earlier on 24 March 2012, making it the first Wing Coaster in North America. On 13 August 2012, Cedar Point announced plans to build a new Wing Coaster called GateKeeper, which set new records for a Wing Coaster including longest track length, fastest speed and drop height. The first Wing Coaster in Asia, Parrot Coaster, opened at Ocean Kingdom on 25 January 2014. Thorpe Park announced that the last two rows of The Swarm would be turned backwards – a first for a Wing Coaster – for the 2013 season. On 24 July 2014, Holiday World & Splashin' Safari announced Thunderbird, the first launched Wing Coaster. ## Design The design of a Wing Coaster differs from many traditional steel roller coasters in that its trains are not located above or below the track but rather on the sides, a configuration that give riders the impression of free flight. Also, because there is nothing on top of the track and only steel beams holding each ends of the train together, all current Wing Coasters have an object (that relates to the theme) that covers the steel beams and adds to the experience. The restraints on the trains are also different. Instead of simply having the traditional over-the-shoulder restraint bar used on many inverted roller coasters, the Wing Coaster restraints similar to Bolliger & Mabillard's Flying Coaster which includes a vest restraint and a waist-level restraint, with bars on the side for the rider to hold on to. The Wing Coaster's differences extended to the station layout of the station, which requires the queue to split in two halves, allowing riders to board the train where the seats sit level with the track. ## Installations Bolliger & Mabillard has built or is in the process of building a total of fifteen Wing Coasters as of January 2018. The roller coasters are listed in order of opening dates. ## Similar rides Prior to the development of the Wing Coaster, in 2007, Intamin debuted a version of an Accelerator Coaster with modified trains similar to those used on 4th Dimension roller coasters and Wing Coasters. Known as a Wing Rider Coaster, Furius Baco at PortAventura Park was the first and currently only ride of its type. It launches riders from 0 to 135 kilometres per hour (84 mph) in 3.5 seconds with trains that seat six rows of four people (two on either side of the track). In addition to the Wing Rider Coaster, Intamin also introduced a model named Wing Coaster. The first installation was Skyrush at Hersheypark in 2012, and the latest Flying Aces at Ferrari World Abu Dhabi. The trains feature four seats per row: two center seats positioned over the track and have a floor, while two hang over the side and are the "wings". The Wing Coaster is also similar to the 4th Dimension roller coaster concept from the 1990s. However, unlike 4th Dimension roller coasters, cars on a Wing Coaster train do not spin — they are locked in place. Examples of 4th Dimension roller coasters include X2 at Six Flags Magic Mountain and Eejanaika at Fuji-Q Highland.	[ "## History", "## Design", "## Installations", "## Similar rides" ]	952	8,446
63,922,186	Minden Blake	1,173,471,892	New Zealand flying ace	[ "1913 births", "1981 deaths", "Companions of the Distinguished Service Order", "New Zealand World War II flying aces", "New Zealand World War II pilots", "New Zealand people of World War II", "People from Eketāhuna", "Recipients of the Distinguished Flying Cross (United Kingdom)", "Royal Air Force wing commanders", "Shot-down aviators", "The Few", "World War II prisoners of war held by Germany" ]	Minden Vaughan Blake (13 February 1913 – 30 November 1981) was a New Zealand flying ace of the Royal Air Force (RAF) during the Second World War. He was officially credited with destroying 10 enemy aircraft. Born in Eketāhuna, New Zealand, Blake earned bachelor's and master's degrees in science from Canterbury University College. In 1936, he joined the RAF after twice missing out on a Rhodes Scholarship and was posted to No. 17 Squadron. He participated in the Battle of Britain in 1940 as acting commander of No. 238 Squadron and then No. 234 Squadron, destroying several German bombers. He was awarded the Distinguished Flying Cross in January 1941. By mid-1942, he was commanding a fighter wing. He was shot down during aerial operations in support of the Dieppe Raid and became a prisoner of war. He had been awarded the Distinguished Service Order just a few days previously. After the war, he continued to serve in the RAF in a series of senior posts until 1958. In civilian life, he was a prolific inventor and developed a golfing aid that was a commercial success. He died in 1981, aged 68. ## Early life Minden Vaughan Blake was born in Eketāhuna, in the Manawatū District of New Zealand on 13 February 1913, the son of a schoolmaster, Charles Minden Blake, and his wife, Emma. He was educated at Southland Boys' High School from 1926 to 1929 and then Christchurch Boys' High School. He was heavily involved in sports, participating in cricket, soccer, and athletics. He would go on to become national champion in the pole vault in 1936. Commencing his tertiary education in early 1932, Blake entered the Canterbury University College and gained a Bachelor of Science degree three years later. His father financially supported his studies by purchasing a chicken farm and Blake developed technology for grading eggs. After graduating in 1934, he progressed to graduate studies, studying mathematics. The following year, he was one of the college's two representatives for a Rhodes Scholarship. He was not selected and a subsequent attempt in 1936 was also unsuccessful. In the meantime, he had graduated with a masters of science with second-class honours. He spent much of 1936 as a lecturer in physics at the university and then applied to join the Royal Air Force (RAF), intending to study engineering in England once he completed flying training. ## Military career The RAF accepted Blake's application and he left for England in November 1936. He began his flying training late the following month at the Elementary and Reserve Flying Training School at Brough Aerodrome, in Yorkshire. He was granted a permanent commission in the RAF as a pilot officer in March 1937, at the conclusion of his course, and was posted to No. 5 Flying Training School at RAF Sealand. He gained his wings in June and was selected for training on fighters, learning on the Hawker Fury biplane. He completed his training a few months later and was posted to No. 17 Squadron, which operated Gloster Gauntlets from Kenley. In September 1937 Blake was promoted to flying officer and became one of No. 17 Squadron's flight commanders. In March 1939, Blake received a further promotion, to flight lieutenant, and a few months later, the squadron moved to North Weald where it began converting to Hawker Hurricanes. He remained active in athletics, particularly in pole vaulting, becoming the RAF champion three years running from 1937 to 1939. ## Second World War On the outbreak of the Second World War, No. 17 Squadron was based at Croydon. A few days afterward, on 8 September, Blake suffered minor injuries in an aircraft accident. His Hurricane had suffered an engine failure during an attempted landing in the early evening and, overshooting the runway, he glided to a crash landing in the grounds of Purley Hospital. On his approach, the wing of his aircraft clipped the chimney of a building that Blake had been unable to see due to the fading light, which caused the Hurricane to flip as it landed. His head was gashed and he was heavily bruised. The engine failure was found to be the result of hay, from the cutting of the grass around the airfield, entering the air intake. For the first several months of the war, the squadron flew defensive patrols, mainly from Debden and Martlesham Heath. In April 1940, Blake was sent to join the staff at No. 10 Flying Training School at RAF Ternhill, Shropshire; he acted as an instructor in the advanced section of the school. After four months, he was posted to No. 238 Squadron, based at RAF St. Eval in Cornwall, to take over as its acting commander. Taking up his new role on 16 August, his new squadron was part of No. 10 Group, which covered the south west of England. ### Battle of Britain Within days of his arrival, Blake destroyed his first enemy aircraft, a Junkers Ju 88 bomber, near Trevose Head on 21 August. A few days later he shared in the destruction of a Dornier Do 17 light bomber. In September, No. 238 Squadron moved to RAF Middle Wallop, in Hampshire. Being much closer to London, it began to be called upon to assist No. 11 Group in defending the southeast of England. On 14 September, he destroyed a Ju 88 over Brooklands in Surrey. The following day, Battle of Britain Day, No. 238 Squadron was scrambled to help protect London from a large bombing raid. Blake led the squadron into an engagement with Heinkel He 111 medium bombers over Kenley. He claimed a destroyed He 111, which crashed on an airfield in Sussex. His own aircraft had been damaged in the attack and he made an emergency landing close by his victim. Later that month, the original commander of No. 238 Squadron returned to duty. Blake, promoted to acting squadron leader, took over as commander of No. 234 Squadron. Part of No. 10 Group and operating from Middle Wallop, it had suffered a number of losses and had moved to Cornwall for a rest period. The operational tempo was much lower and it was not until 24 November that Blake helped shoot down a Dornier Do 215 bomber. At the end of the month, the squadron provided a covering escort for the destroyer HMS Javelin, damaged in an encounter with German destroyers, into Plymouth. German Do 17 bombers mounted an attack on Javelin but Blake shot down one bomber and damaged another. ### Channel Front 1941–42 In January 1941, Blake's award of the Distinguished Flying Cross was announced. The published citation read: > Squadron Leader Blake has displayed fine qualities of leadership and has personally destroyed five enemy aircraft. By his splendid example he has set a high standard to his fellow pilots. Soon afterwards, the squadron moved to Dorset, where it was to operate from Warmwell. It began to re-equip with the Supermarine Spitfire Mk IIa and changed duties; instead of defensive patrols, it began to undertake offensive operations to occupied France and Belgium. On 11 March, he shared in the destruction of a Messerschmitt Bf 109 and the same month was mentioned in despatches for his work as squadron leader. Blake shot down a Ju 88 in May 1941, followed by a Bf 109 just a few days later. On 10 July, while escorting Bristol Blenheims of Bomber Command on an attack on shipping at Cherbourg, the squadron was attacked by a formation of Bf 109s. He managed to destroy two of these but his Spitfire was damaged by enemy fire in the course of the encounter and he was forced to ditch in the English Channel. His aircraft sank before he could extricate himself. He was able to kick free and on reaching the surface inflated his emergency dinghy. He drifted towards the Isle of Man for several hours before being picked by an Air Sea Rescue Services launch. At the start of August, Blake was commander of a fighter wing made up of Polish squadrons, operating from RAF Exeter. His period in command was brief for on 21 September he was appointed wing leader at No. 10 Group's RAF Portreath. One of the last major engagements of the year for Blake was in October. He led a wing of Spitfires that was one of five such formations covering a bombing raid on St. Omer mounted by Blenheims. By this time, German defensive operations was causing high casualties among the RAF, which subsequently saw a reduction in these missions over the winter months. At the end of the year, he was promoted to acting wing commander. Blake continued on operations for the next several months, leading his wing on long-range patrols as far as Brest but during this time was also involved in the development of a gyroscopic gunsight for fighters. This combined a conventional deflector gunsight with aspects of a bombsight. In August 1942, his award of the Distinguished Service Order (DSO) was announced, the published citation reading: > During the past 10 months, this officer has completed numerous sorties, including several attacks on enemy shipping. He has rendered valuable service and his leadership has been of the highest order. He has destroyed at least 9 hostile aircraft. A few days later, on 19 August, Blake led his wing in support of the Dieppe Raid. Taking off from RAF Thorney Island, they encountered a group of Focke Wulf Fw 190s. Blake destroyed one Fw 190 but was damaged himself. His canopy shattered from a cannon shell impact, and shards of perspex entered his eyes. He ditched his Spitfire in the English Channel, not far from the French coast, and took to his emergency dinghy. Despite the injuries to his eyes, he paddled towards England, helped by an outgoing tide. He spent nearly a day in the dinghy until he was retrieved by a German rescue launch and made a prisoner of war (POW). He was the highest-ranking officer of the RAF to be captured as a result of the Dieppe Raid and by this stage of the war, was credited with the destruction of at least ten enemy aircraft. ### Prisoner of war Because of the injuries to his eyes, Blake was hospitalised in France for three weeks before being transported to Germany by train. While in transit, he jumped from a window of the train but in doing so, he received injuries to a hand and lacerations to his head. He made his way to a nearby French farmhouse where he sought treatment. The owner of the farm, concerned for the safety of his family if the Germans were to discover Blake at his property, turned him over to the authorities. Blake spent most of the remainder of the war at Stalag Luft III, a POW camp located near Sagan, in Germany. By 1943 he was the senior RAF officer in charge of the camp's Block 104 and it was in this capacity that he met Leonard Trent, a fellow New Zealander with the RAF who had recently become a POW. During their leisure time, Trent introduced Blake to golf, fashioning a home-made golf ball and scrounging a club for practice. In return, Blake taught Trent basic gymnastic techniques, going as far to construct a set of parallel bars. By January 1945, the Soviet forces were advancing into Germany and the POWs at Stalag Luft III were force marched away to the west to a camp near Bremen. They were moved again in April but were liberated by the British on 2 May. ## Postwar career In the immediate postwar period, Blake spent several months in New Zealand on leave. During this time, he met and married Molly, née Seldon, from Christchurch. He returned with her to England to resume his career with the RAF. In early 1946, he was posted to Fighter Command headquarters as a staff officer. He was presented with his DSO by King George VI in an investiture at Buckingham Palace in February. He was again mentioned in despatches in early 1947 and was shortly sent on a course at the RAF College at Bracknell. His following post was at Transport Command headquarters working on operational matters. He remained keen on golf; when his fellow former POW Leonard Trent, also assigned to Transport Command at the time, visited its headquarters he noted the presence of a practice pad in Blake's office. Blake resumed his pole vaulting career and was again RAF champion, in 1946 and 1948–1949. He was in the running to make the British track and field team for the 1948 Summer Olympics. In 1950, Blake switched to personnel duties, this time for Bomber Command. A role at the North Atlantic Treaty Organization (NATO) followed, when he was posted to Oslo as Inspector-General for Northern Command, NATO. During his time in Oslo, he won Norway's Amateur Golf Championship. His final role in the RAF was at the Air Ministry, in a planning position. He retired from the military in January 1958. ## Later life In his return to civilian life, Blake began working as a manager in a factory that produced car wax. After several months, he moved to Swansea to take up a position in a textile factory. This did not last long and he settled in Surrey, working for a company manufacturing electronics. Blake was an inveterate tinkerer and at his home in Surrey constructed a workshop to indulge his hobby. He soon developed a golfing aid, the 'Swingrite', and this was patented in 1965. The aid was a commercial success and made him financially comfortable. He also published books on golfing technique and advocated a new style of golf swing. A few years later, he was granted a patent for a safety-belt mechanism for vehicles. In 1979, Blake was a co-author, along with H. J. Weaver, of Suicide by Socialism. Blake died on 30 November 1981. There is a memorial to him at a building at Purley Hospital, where he crashed his Hurricane in the early days of the Second World War. The memorial includes a description of the accident.	[ "## Early life", "## Military career", "## Second World War", "### Battle of Britain", "### Channel Front 1941–42", "### Prisoner of war", "## Postwar career", "## Later life" ]	2,978	393
2,333,739	ABA Games	1,161,189,539	Japanese video game developer	[ "Open-source video games", "Software using the BSD license", "Video game companies of Japan", "Video game development companies" ]	ABA Games is a Japanese video game developer, composed solely of game designer Kenta Cho. ABA Games' works, available as open source, are predominantly shoot 'em up games often inspired by classic games in the genre. Its games feature stylised retro graphics, innovative gameplay features and modes and feature random rather than scripted events. These creations have been acclaimed as some of the best independent games available, though some commentators, including Cho himself, feel they are too simple for commercial release. Cho began creating computer games as a hobby during his childhood in the 1980s. After leaving university, he pursued a career with Toshiba in multimedia research and development while continuing to develop games in his spare time. The positive reaction to ABA Games' first shoot 'em up, Noiz2sa (2002), encouraged him to concentrate on that genre. The developer's games have been ported from the original Windows versions to macOS and Linux, and various handheld devices. One of its games, Tumiki Fighters, was remade, built upon and released for the Wii console as Blast Works. According to Cho, he occasionally receives interest in further console ports. In addition to Tumiki Fighters, acclaimed ABA Games titles include Gunroar, rRootage and Torus Trooper. ## Overview ABA Games' sole developer, Kenta Cho, began writing games as a child during the 1980s using the NEC PC-6001 microcomputer, as there were few commercially available games. After leaving university, Cho contemplated professional games development but ultimately instead joined Toshiba to work in multimedia research and development. He continues to work full-time for Toshiba while running ABA Games as a hobby, working mainly on weekends. Cho is the sole contributor to ABA Games. Lacking musical training, he creates the soundtracks to his games using commercially available, pre-made samples. ABA Games releases a game approximately every six months, with the first three months spent creating prototypes and the latter three spent refining a finished version. ABA Games released its first shoot 'em up game for Windows PCs—Noiz2sa—in 2002, and the positive feedback Cho received encouraged him to concentrate on the genre. ABA Games' creations are "avant-garde" re-imaginings of classic arcade shoot 'em ups, using modern 3D graphics techniques to emulate older vector graphics and employing "imaginative, fresh" gameplay ideas. According to Cho, his graphical style was inspired by the game Rez as well as street billboards, and his attempts at innovative gameplay features have been inspired by games such as Radiant Silvergun, Ikaruga and Gradius V. ABA Games' works also tend to be set in random rather than scripted events. Its games are developed for Windows, but some have been ported to other systems including macOS, iPhone, iPod Touch, and PSP, with its game Tumiki Fighters forming the basis of Wii game Blast Works (which included a selection of his games as bonus content). Cho has also created BulletML, an open source program which can replicate bullet patterns from other shoot 'em up games. Cho has stated he occasionally receives interest in ports for game consoles, but although he would otherwise be interested in such ports, he feels his games are too simple for commercial release. He has also stated his use of the D programming language proved problematic when porting Tumiki Fighters to the Wii. ABA Games' works are open source and free to download; Cho has stated he creates games of the kind which he desires to play and distributes them (along with the source code) for the enjoyment of others without the intent of monetary profit. Macworld acclaimed Cho as "spectacularly talented" and "one of today’s best independent game programmers", while GamesRadar noted him for "creating some of the best freeware shoot ‘em ups out there". Ashcraft states that in the West, Cho is "hailed as the most famous 'doujin software' shmup maker", while The Guardian claimed Cho's works are among "the best-known examples" of Japan's independent gaming scene. While out with Japan ABA Games is known as a "doujin" developer, unlike doujin developers Cho does not seek to sell his works, nor are they fan-created games; however, Cho is affable to the term being applied to his work. Jonathan Mak, creator of award-winning game Everyday Shooter (published by Sony on PlayStation Network) has cited ABA Games' Parsec 47 as the inspiration behind his game's aesthetic. ## Games - Gunroar is a naval themed shoot 'em up likened to a vertically scrolling version of Geometry Wars (or a cross between Asteroids and Space Invaders). The player controls a small, abstract gunboat which can be rotated through 360 degrees as in games such as Geometry Wars and Robotron. The game also features vertical scrolling; however, unlike the standard shoot 'em up in which the propulsion of the craft dictates the pace, players can control the speed at which they proceed through the level. The faster players move through a level, the more points they will score. The game features multiple modes dependent on how the game is controlled: the player can choose to control a single boat by means of the keyboard or mouse or a more complicated "dual" mode allowing the use of two boats using both hands on the keyboard. Gunroar was praised for its minimalist design, impressive polygonal graphics, and frenetic action. - Tumiki Fighters is a side-scrolling shooter in which the protagonist is a toy aeroplane flying through a cartoon setting. The game employs a device inspired by Katamari Damacy, allowing the player to attach debris from destroyed enemies to the aircraft, which in turn act as armour and power-ups. Praised for its addictive gameplay, Tumiki Fighters formed the base of Blast Works: Build, Trade, Destroy, a game published by Majesco Entertainment in 2008 for the Wii. Developer Budcat Creations remade ABA Games' creation for the console and further added an editor function allowing extensive user-created content. Critics acclaimed Blast Works for its innovative and entertaining gameplay and has been described by critics variously as an upgraded version or remake— or simply a port or re-release— of Tumiki Fighters. Blast Works featured Tumiki Fighters, as well as three other ABA Games titles, as bonus content. UGO felt that these games' minimalist graphics, while not outstanding, did retain some charm. According to Cho, he did not receive money for the port, allowing his game to be used for free. - rRootage is a shoot 'em up viewed from a top-down perspective, composed solely of boss battles against large abstract spacecraft attacking the player with intricate barrages of projectiles. The game featured multiple modes: "normal", "Psy", "Ika" and "GW"; the latter three inspired by Psyvariar, Ikaruga and Giga Wing, respectively. The game was ported to the iPhone and iPod Touch by developer Lahzrog Games and released as a free download on iTunes. GamesRadar described the game as "great" and "full of win". Macworld acknowledged the game was esoteric but praised its "classic fast paced action", awarding it a maximum five stars. However, the reviewer noted the iPhone version sometimes ran more slowly than intended. - Torus Trooper, a reimagining of the game Tempest, features a spacecraft flying through an abstract tunnel, the walls of which twist and change shape. The player competes against the clock, gaining more time by destroying enemies. The game was acclaimed for its stark yet highly attractive graphics, and was featured in the 2010 book 1001 Video Games You Must Play Before You Die. - Titanion is a vertical shooter acclaimed for its attractive graphics. - Mu-cade is heavily based on Namco's Motos - Noiz2sa is an abstract "bullet hell" shooter, a sequel to the earlier Java games Noiz and Noiz2 and a predecessor to Parsec47. ## Reception and impact As Kenta Cho usually releases the source code of his games under a BSD-like permissive license, his games are often ported by volunteers to other systems. For example, Tumiki Fighters written in D and released in 2004, was included in the Linux distribution Debian and also ported to Pandora handheld.	[ "## Overview", "## Games", "## Reception and impact" ]	1,716	25,203
33,482,156	Antes de las Seis	1,162,971,893	null	[ "2010 songs", "2010s ballads", "2011 singles", "Epic Records singles", "Pop ballads", "Shakira songs", "Songs written by Lester Mendez", "Songs written by Shakira", "Spanish-language songs" ]	"Antes de las Seis" (English: "Before Six O'Clock") is a song recorded by Colombian singer-songwriter Shakira for her ninth studio album Sale el Sol (2010). Written and produced by the singer and her frequent collaborator Lester Mendez, "Antes de las Seis" is one of the "romantic" songs from the album and is musically a Latin pop ballad. It features a simple piano and acoustic guitar-supplemented beat over which Shakira delivers sad and emotional vocals. Epic Records released the song as the fourth single from Sale el Sol on 21 October 2011. Critics gave positive reviews to "Antes de las Seis", complimenting its lyrical content. The song performed poorly on singles charts, but was moderately successful on airplay charts. It reached number 1 on the Spanish Airplay Chart and peaked at number 14 on the Monitor Latino chart in Mexico. In the United States, it peaked at numbers 21 and 4 on the Billboard Hot Latin Songs and Latin Pop Airplay charts, respectively. In 2013, "Antes de las Seis" was certified gold in Mexico. The song was performed during the encore segment of the concert shows of Shakira's The Sun Comes Out World Tour in 2010 and 2011. A recording of its performance at the show in Paris, France, served as the promotional music video of the song. It was also used to promote Shakira's fourth live album Live from Paris. ## Background and composition In October 2009, Shakira released her eighth studio album, She Wolf. The composition of the record shifted from her more traditional Latin pop and pop rock styles, and was primarily an electropop album with combined elements of world and folk music. The album was positively received by most music critics and was praised for its distinguished nature and Shakira's experimentation with electropop. Commercially, She Wolf was a success, topping charts and attaining gold and platinum certifications in several South American and European territories. However, it performed poorly in the United States and became Shakira's first studio album since Dónde Están los Ladrones? (1998) to miss charting inside the top 10 when it peaked at number 15 on the US Billboard Hot 200 chart. In May 2010, she wrote and recorded "Waka Waka (This Time for Africa)", the official song of the 2010 FIFA World Cup, which became a worldwide hit. Following the global success of the song, Shakira began work on her ninth studio album Sale el Sol. She split the album into three "directions," one of which she described as "romantic" in nature. Shakira felt it was something she had not "tapped into for the past three years," and its inclusion in the album resulted in "very intense, very romantic" songs. "Antes de las Seis" is one such song from the album. The Latin pop ballad was written and produced by Shakira and her frequent collaborator Lester Mendez, who had previously worked with her on songs including "Underneath Your Clothes" (2002) and "La Tortura" (2005). The musical instrumentation of the song is simple and consists of a piano and acoustic guitar. According to Jennifer Schaffer from The Stanford Daily, its "softer" production helps in putting the focus on Shakira's voice, which she opined had been "stripped to its sensitive core." The singer delivers sad and emotional vocals that address issues of "longing, regrets and loneliness." Shakira talked about the deep meaning behind the balladry of the album and expressed difficulty in explaining it, saying: "We all go through hard moments. Whatever happened, it's right there in the songs. I've decided that I'm not going to explain every song this time. It's hard to explain a song. These songs explain me better than I can explain them." ## Release and reception "Antes de las Seis" was chosen as the fourth single from Sale el Sol and was made available to digitally download from the iTunes Store on 21 October 2011. An announcement confirming its release as a single appeared on Shakira's official website on 24 October. Although the announcement mentioned that the single would be released to the iTunes Store on 31 October, it had already appeared on there ten days before. ### Critical reception "Antes de las Seis" received generally positive reviews from music critics. Stephen Thomas Erlewine from AllMusic highlighted it as an example of Shakira's versatility and commented that the album "catches its breath on the ballad." Mikael Wood from Entertainment Weekly termed the song a "gorgeous ballad" and encouraged readers to download it. Jesus Yanez-Reyes from Northern Arizona News gave "Antes de las Seis" a very positive review and praised its lyrics and Shakira's "heartfelt" vocal delivery as having the ability "to overcome whatever language barriers may exist between the artist and the listener, truly making it a song of note within the release." Jennifer Schaffer from the Stanford Daily complimented the sensitivity of the song and commented that "Shakira offers her listeners a far more vulnerable persona" through it. Carlos Macias from Terra Music picked "Antes de las Seis" as his favourite track from the album and commended its lyrics, calling them "classic Shakira" and concluding that "It'd been a while since the Colombian superstar offered us an insight into her heart." At the Premios Nuestra Tierra awards ceremony in 2012, "Antes de las Seis" was nominated for "Mejor Interpretación Pop Del Año" ("Best Pop Performance of the Year"). ### Chart performance Commercially, the song was moderately successful in Hispanic regions. In Mexico, "Antes de las Seis" peaked at number 14 on the Monitor Latino airplay chart. In Spain, it topped the PROMUSICAE airplay chart, although it failed to chart on the main singles chart. Similarly, the song was successful on the Billboard Latin Pop Airplay chart in the United States, on which it peaked at number 4, but performed poorly on the main Hot Latin Songs chart, reaching only number 21. "Antes de las Seis" is the only single from Sale el Sol to not chart inside the top ten of the Billboard Hot Latin Songs chart. In 2013, the Mexican Association of Phonograph Producers (AMPROFON) certified "Antes de las Seis" gold for selling 30,000 units in Mexico. ## Promotion The song was included on the set list of Shakira's The Sun Comes Out World Tour in 2010 and 2011, and was performed as the opening song of the encore segment of the concert shows. She sang it dressed in a large "feathery" royal blue dress, and towards the end of the performance artificial snow flakes started falling from the sky. A recording of the performance during the concert held at the Palais Omnisports de Paris-Bercy arena in Paris, France, served as the music video of "Antes de las Seis". The video was also used to promote Shakira's fourth live album Live from Paris. ## Charts and certifications ### Weekly charts ### Certification	[ "## Background and composition", "## Release and reception", "### Critical reception", "### Chart performance", "## Promotion", "## Charts and certifications", "### Weekly charts", "### Certification" ]	1,507	24,903
9,605,313	Washington State Route 161	1,168,282,623	Washington state highway in Pierce and King counties	[ "State highways in Washington (state)", "Transportation in King County, Washington", "Transportation in Pierce County, Washington" ]	State Route 161 (SR 161) is a 36.25-mile-long (58.34 km) state highway serving Pierce and King counties in the U.S. state of Washington. The highway begins at SR 7 southwest of Eatonville and travels north as Meridian Avenue to Puyallup, becoming concurrent with SR 512 and SR 167. SR 161 continues northwest as the Enchanted Parkway to end at an intersection with SR 18 in Federal Way, west of Interstate 5 (I-5). The highway serves the communities of Graham and South Hill before reaching Puyallup and the communities of Edgewood, Milton, and Lakeland South before reaching Federal Way. SR 161 was established during the 1964 highway renumbering, replacing three Secondary State Highways (SSHs): Secondary State Highway 5D (SSH 5D) and SSH 5G, both established in 1937, and SSH 5N, established in 1955. SSH 5D served as a connector between Federal Way and Puyallup and SSH 5G served as a connector between Puyallup and South Hill. SSH 5N connected Eatonville to South Hill and was extended south towards La Grande in 1967. SR 161 was moved onto a bypass of Puyallup in the 1980s and formed concurrencies with SR 167 and SR 512 as a result. As of 2013, projects to expand the highway in Edgewood and Milton and adding new offramps at the I-5 and SR 18 interchange are in progress. ## Route description SR 161 begins southwest of Eatonville and north of La Grande in rural Pierce County at an intersection with SR 7. The highway travels northeast to pass the Charles Lathrop Pack Experimental and Demonstration Forest and cross the Little Mashel River into Eatonville. The roadway crosses the Mashel River into Downtown Eatonville, turning north onto Mashell Avenue and later Washington Avenue. SR 161 turns west onto Meridian Avenue north of Eatonville High School and leaves the city on a two-lane highway. Meridian Avenue, named for a meridian parallel to the Willamette Meridian, continues north through rural Pierce County, passing Clear Lake and Tanwax Lake, before entering the community of Graham and crossing a Tacoma Rail line near Graham-Kapowsin High School. SR 161 travels north and passes South Hill and Pierce County Airport (Thun Field) before entering Puyallup. The highway turns northwest at the South Hill Mall onto 31st Avenue and intersects the SR 512 freeway in a partial cloverleaf interchange, beginning a 3.41-mile-long (5.49 km) concurrency. SR 161 and SR 512 travel north on a freeway in Puyallup, intersecting Meridian Street at the Puyallup Fairgrounds and Pioneer Avenue at a partial cloverleaf interchange. After the intersection with Pioneer Avenue, the freeway travels over a BNSF rail line that serves Puyallup station and crosses the Puyallup River before a trumpet interchange with SR 167. At the interchange, SR 512 ends and SR 161 northbound turns west on a 1.83-mile-long (2.95 km) wrong-way concurrency with SR 167, designated as traveling southbound. SR 161 turns north onto Meridian Avenue at Fort Malone as SR 167 travels south into Downtown Puyallup, and the highway continues north and crosses a Union Pacific rail line. Meridian Avenue continues north to form the boundary between Edgewood and Milton, where the highway intersects Milton Way, the former route of SR 514. SR 161 turns northwest into King County as the Enchanted Parkway, passing through Lakeland South and Wild Waves Theme Park before crossing over I-5. The Enchanted Parkway turns north into Federal Way and ends at an intersection with SR 18, located between SR 99 and I-5. Every year, the Washington State Department of Transportation (WSDOT) conducts a series of surveys on its highways in the state to measure traffic volume. This is expressed in terms of average annual daily traffic (AADT), which is a measure of traffic volume for any average day of the year. In 2011, WSDOT calculated that between 340 and 99,000 vehicles per day used the highway, mostly in the Puyallup area. ## History SR 161 was formed during the 1964 highway renumbering as the successor to SSH 5N from Primary State Highway 5 (PSH 5) north of La Grande to South Hill, SSH 5G from South Hill to U.S. Route 410 (US 410) in Puyallup, and SSH 5D from US 410 north of Puyallup to US 99 Federal Way. The highway was also concurrent with US 410, signed in 1926, between the eastern end of SSH 5G in Downtown Puyallup and the southern end of SSH 5D. SSH 5D and SSH 5G were established during the creation of the Primary and secondary state highways in 1937, and SSH 5N was established in 1955 to Eatonville and extended south to PSH 5 near La Grande in 1967 after SR 161 was created. The state government completed paving of the Graham–Puyallup section of Meridian in 1960. SR 161, including the concurrency with US 410, was signed into law in 1970 as a highway extending from SR 7 near Eatonville to US 99. US 410 was replaced with an extension of SR 167 in the Tacoma area and US 12 east of the Cascade Mountains in 1967 and the highway was shortened from US 99 to SR 18 in 1971. SR 161 was moved east onto a bypass of Puyallup, creating concurrences with SR 512 and SR 167, in the late 1980s, and designated, within King County, as the Enchanted Parkway in 1987 as the last major revision to the highway. The Pierce County government and City of Eatonville proposed moving SR 161 to the Alder Cutoff Road south of the city, but it was not forwarded to the state legislature by the Washington State Transportation Improvement Board. An extension of the Valley Freeway between Tacoma and Puyallup has been proposed since the 1990s and would create a new interchange with SR 161 north of the Puyallup River, but as of 2013 the freeway has not been built. The eastbound ramps at end of the concurrency between SR 161 and SR 167 was realigned in late 2008 to reduce congestion and started recent improvements to the highway. WSDOT is widening the Enchanted Parkway through the Edgewood and Milton area from 2 lanes to 4 lanes with wider shoulders and sidewalks to be completed by 2027. The interchange between I-5 and SR 18 was reconstructed with a new flyover ramp from westbound SR 18 to SR 161 that was completed in July 2012. Another ramp, from southbound I-5 to SR 161, was opened months later and is planned to be replaced with a ramp to South 356th Street that feeds into a roundabout with SR 161. The ramp had been proposed since the 1990s. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	1,545	4,262
12,857,968	Fort Bayard (Washington, D.C.)	1,029,710,876	Historic fort in Washington, D.C.	[ "1861 establishments in Washington, D.C.", "American Civil War on the National Register of Historic Places", "Civil War defenses of Washington, D.C.", "Forts in the District of Columbia", "Forts on the National Register of Historic Places in Washington, D.C.", "Government buildings completed in 1861", "Infrastructure completed in 1861", "Washington, D.C., in the American Civil War" ]	Fort Bayard was an earthwork fort constructed in 1861 northwest of Tenleytown in the District of Columbia as part of the defenses of Washington, D.C., during the American Civil War. It never faced major opposition during the conflict and was decommissioned following the surrender of Robert E. Lee's Army of Northern Virginia. Named after Brigadier General George Dashiell Bayard, who was killed at the Battle of Fredericksburg, the site of the fort is in Boundary Park, located at the intersection of River Road and Western Avenue NW in Washington, D.C., and is maintained by the U.S. National Park Service. No trace of the fort remains, though a marker commemorating its existence has been erected by the Park Service. ## Pre-war use Prior to the outbreak of the Civil War, the District of Columbia was a predominantly rural area. Though the city of Washington is today synonymous with the District of Columbia, in 1861, Washington occupied only a portion of the District. The remaining portions of the District were considered part of Washington County, and it was in this region that most of the forts defending Washington, including Fort Bayard, were constructed. Washington County was characterized as "the rural part of the district ... occupied by farms of various sizes and the grand estates of the well-to-do." The site of Fort Bayard itself was owned by Philip J. Buckey, a farmer who made his home in the Fourth Ward of Washington County. During the construction process, he valued the land at approximately \$5,000, and continued to live in a farmhouse near the fort with his wife, four children, and two servants throughout the course of the war. In exchange for the use of his land for the site of Fort Bayard, Buckey received \$50.00 per year in rent from the War Department. Also nearby was the Shoemaker family, which owned substantial tracts of land in both the District and in Maryland. Three forts or portions of forts were built on their property: Fort Simmons, Fort Mansfield, and Battery Bailey. Despite the loss of much of their land, the Shoemaker family continued to operate a local general store and sold various sundry items to the garrison at Fort Bayard. ## Planning and construction Following the secession of Virginia and that state joining the Confederacy, Federal troops marched from Washington into the Arlington region of northern Virginia. The move was intended to forestall any attempt by Virginia militia or Confederate States Army to seize the capital city of the United States. Over the next seven weeks, forts were constructed along the banks of the Potomac River and at the approaches to each of the three major bridges (Chain Bridge, Long Bridge, and Aqueduct Bridge) connecting Virginia to Washington and Georgetown. While the Potomac River forts were being built, planning and surveying was ordered for an enormous new ring of forts to protect the city. Unlike the fortifications under construction, the new forts would defend the city in all directions, not just the most direct route through Arlington. In mid-July, this work was interrupted by the First Battle of Bull Run. As the Army of Northeastern Virginia marched south to Manassas, the soldiers previously assigned to construction duties marched instead to battle. In the days that followed the Union defeat at Bull Run, panicked efforts were made to defend Washington from what was perceived as an imminent Confederate attack. The makeshift trenches and earthworks that resulted were largely confined to Arlington and the direct approaches to Washington. On July 26, 1861, five days after the battle, Maj. Gen. George B. McClellan was named commander of the military district of Washington and the subsequently renamed Army of the Potomac. Upon arriving in Washington, McClellan was appalled by the condition of the city's defenses. "In no quarter were the dispositions for defense such as to offer a vigorous resistance to a respectable body of the enemy, either in the position and numbers of the troops or the number and character of the defensive works... not a single defensive work had been commenced on the Maryland side. There was nothing to prevent the enemy shelling the city from heights within easy range, which could be occupied by a hostile column almost without resistance." To remedy the situation, one of McClellan's first orders upon taking command was to greatly expand the defenses of Washington. At all points of the compass, forts and entrenchments would be constructed in sufficient strength to slow an attack and buy time for reinforcements to arrive and bolster the city's defenses. Brigadier General John G. Barnard, was named chief engineer of the Department of Washington, and would supervise the construction and maintenance of the forts before being named chief engineer of the armies in the field by Ulysses S. Grant in 1864. Prior to the outbreak of war, the Great Falls Turnpike, also known as River Road, was an important traffic artery for trade entering the District of Columbia from western Maryland and beyond. It connected the village of Tenleytown with the city of Washington, and roughly paralleled the Potomac River before turning northward. Due to its strategic position along the river, which formed the border between the Confederate state of Virginia and the Union state of Maryland, it had great military value and was a likely route for an attacking army, as would be proved three years after the outbreak of war during the Battle of Fort Stevens. To prevent a Confederate force from advancing on Washington along the Potomac, several forts were constructed on hills near the river. To guard River Road, which was the most direct route into the city, U.S. Army engineers built a small, round fort at the point where River Road crossed into the district of Columbia. With a perimeter of only 123 yards and mounting only six guns, it was located forward of Fort Reno, the largest fort protecting the Tenleytown area. Details of the actual construction process are scarce, though a letter from a member of the Ninth New York Heavy Artillery regiment to the Democratic Press newspaper indicates that the fort was at least partially built with labor from that regiment. In April 1863, the fort was named in honor of the recently deceased Brigadier General George Dashiell Bayard, who had been killed on December 13, 1862, at the Battle of Fredericksburg. At the time of its dedication, the fort was roughly complete. Round in shape and surrounded by trenches and abati, the fort's guns faced north, overlooking River Road. A service road crossed the trenches in the southern half of the fort, connecting with River Road behind the fort. Rifle pits extended northeast to Fort Reno and southwest to Fort Simmons. A small battery of guns, named Battery Bayard, was an outwork of the fort and covered a blind spot in the ravine to the northwest of the fort. ## Wartime use In accordance to a plan laid out in an October 1861 report by General John G. Barnard, "rear line" forts were to receive one man per yard of fort perimeter when fully garrisoned. Front-line forts were to receive two men per yard, when needed. However, most forts were not kept fully garrisoned at all times. Due to its location north of the Potomac River, Fort Bayard was considered a rear-line fort. If the fort needed to be fully garrisoned due to an impending attack, the difference in the actual garrison and the plan would be made good from Washington's 25,000-man reserve force. As General Barnard would say in a December 24, 1862, report, "It is seldom necessary to keep these infantry supports attached to the works." However, this plan only applied to men manning the walls of the fort, not the artillerymen who would be serving the fort's guns. To man the guns of Fort Greble and those of Washington's other forts, Barnard designated three crews for each gun. These crews would be permanently located at the fort, unlike the men assigned to the walls of the fort. This plan was affected by the needs of the war. As the fighting dragged on and casualties mounted, the various commanders of the Army of the Potomac repeatedly raided the Washington garrison for trained artillerymen and infantry replacements. By 1864, Washington had been stripped to a total less than half that of Barnard's 1861 recommendation. A May 1864 report by General Albion P. Howe, inspector of artillery for the Union Army, found Fort Bayard's garrison to consist of only a single company from the Seventh New York Heavy Artillery regiment. One hundred and thirty-seven men of various ranks manned two 12-pound field howitzers and four 20-pound Parrott rifles. In addition, Howe found the fort's single magazine to be "dry and in good order," and the ammunition supply as "full and servicible." As to the garrison of the fort, Howe was less complimentary. After examining the garrison company's drill in artillery and infantry tactics, he reported the artillery drill as "ordinary; needs improving," the infantry drill as "very indifferent; needs much improving," and discipline at the fort overall was "indifferent." Artillerymen and infantry from New Hampshire, Pennsylvania, Ohio, and New York were stationed at the fort at various times during the war. Following General Howe's unfavorable review of the Seventh New York, the garrison was replaced by a company of men from the 163rd Ohio Infantry. ### Battle of Fort Stevens During the course of the war, Fort Bayard came under attack only once. During the Battle of Fort Stevens in July 1864, Confederate general Jubal Early launched a 25,000-man raid into Maryland with the hope of drawing off some of General Ulysses S. Grant's troops, who were pressing hard against the Army of Northern Virginia in the siege of Petersburg. The raid hoped to attack Washington, thereby distracting Grant and potentially allowing the Confederate forces time to rest and regroup. On the morning of July 11, Confederate cavalry and infantry under the command of Brigadier General John McCausland advanced towards Washington with the goal of capturing Fort Reno, which defended the village of Tenleytown. Though they drove back the skirmish line in front of Fort Bayard, the Confederate cavalry were met with a heavy barrage of cannon fire from Bayard and its supporting forts. Discouraged by the resistance, McCausland's brigade moved to join up with the rest of Early's force, which was grouping for an assault on Fort Stevens. Throughout the day, additional reinforcements arrived at the fort, but no further Confederate attack took place. During the remainder of the war, Fort Bayard did not fire a shot in anger. ## Postwar use After the surrender of Robert E. Lee's Army of Northern Virginia on April 9, 1865, the primary reason for manned defenses protecting Washington ceased to exist. Initial recommendations by Col. Barton S. Alexander, chief engineer of the Washington defenses, were to divide the defenses into three classes: those that should be kept active (first-class), those that should be mothballed and kept in a reserve state (second-class), and those that should be abandoned entirely (third-class). Owing to its position north of the Potomac River and to the small size of the fort, Fort Bayard fell into the third-class category, and was abandoned a few months after the end of the war. ### Fort Bayard Park The abandoned fort remained in a constantly deteriorating condition until 1919, when the Commissioners of the District of Columbia pushed Congress to pass a bill that would consolidate the sites of the aging forts into a "Fort Circle" system of parks that would ring the growing city of Washington. As envisioned by the Commissioners, the Fort Circle would be a green ring of parks outside the city, owned by the government, and connected by a "Fort Drive" road in order to allow Washington's citizens to easily escape the confines of the capital. However, the bill allowing for the purchase of the former forts, which had been turned back over to private ownership after the war, failed to pass both the House of Representatives and Senate. Despite that failure, in 1925 a similar bill passed both the House and Senate, which allowed for the creation of the National Capital Parks Commission (NCPC) to oversee the construction of a Fort Circle of parks similar to that proposed in 1919. The duty of purchasing land and constructing the fort parks changed hands several times throughout the 1920s and 1930s, eventually culminating with the Department of the Interior and the National Park Service taking control of the project in the 1940s. By the time the site of Fort Bayard was purchased in 1926, the remains of the fort had been demolished and homes were being built on the site. Budget cuts and the interruption of World War II repeatedly postponed the Fort Circle Park plan, but it was the growth of the city of Washington itself that eventually killed the plan. By 1963, when President John F. Kennedy began pushing Congress to finally build the Fort Circle Drive, many in Washington and the National Park Service were openly questioning whether the plan had outgrown its usefulness. After all, by this time, Washington had grown past the ring of forts that had protected it a century earlier, and city surface roads already connected the parks, albeit not in as linear a route as envisioned. The plan to link Fort Bayard Park with other fort parks via a grand drive was quietly dropped in the years that followed. Today, the park is bordered by Western Avenue, River Road, and Fessenden, 46th and 47th Streets, NW in Washington, D.C. It contains one softball field and one soccer field, and is maintained year-round by the U.S. National Park Service. In 1999, neighborhood residents established Friends of Fort Bayard Park, Inc., a non-profit 501(c)(3) corporation with the goal of assisting the National Park Service in maintaining Fort Bayard Park. To this end, the organization hosts an annual cleanup of the park, and holds fundraisers in order to build improvements at the park. ## See also - Civil War Defenses of Washington - Washington, D.C., in the American Civil War - Bibliography of the American Civil War - Bibliography of Abraham Lincoln - Bibliography of Ulysses S. Grant	[ "## Pre-war use", "## Planning and construction", "## Wartime use", "### Battle of Fort Stevens", "## Postwar use", "### Fort Bayard Park", "## See also" ]	2,944	20,753
18,726,486	Get Back (Demi Lovato song)	1,171,258,380	2008 single by Demi Lovato	[ "2008 debut singles", "2008 songs", "American power pop songs", "Demi Lovato songs", "Hollywood Records singles", "Music videos directed by Philip Andelman", "Song recordings produced by John Fields (record producer)", "Songs written by Demi Lovato", "Songs written by Joe Jonas", "Songs written by Kevin Jonas", "Songs written by Nick Jonas" ]	"Get Back" is the debut non-soundtrack single by American singer Demi Lovato. It was written by Lovato, Joe Jonas, Nick Jonas and Kevin Jonas and produced by the Jonas Brothers alongside John Fields, for Lovato's debut studio album, Don't Forget. The song features Jack Lawless on drums and John Taylor and the Jonas Brothers on guitars. The initial writing of the song took place when Lovato wanted to write a song about getting back together with an old boyfriend, as opposed to writing mean or heartbroken songs. "Get Back" was released by Hollywood Records as the lead single for Don't Forget on August 12, 2008. Musically, the song is an upbeat punk rock song with a guitar-driven sound. The song was met with positive reviews from critics and performed average commercially, peaking at number forty-three on the Billboard Hot 100 and ninety-three on the Canadian Hot 100. In Australia, the song peaked at number ten on the ARIA Hitseekers chart. Lovato has performed the song on several occasions, including the 2008 Disney Channel Games, Good Morning America and The Ellen DeGeneres Show. ## Background "Get Back" was written by Lovato, Joe Jonas, Nick Jonas and Kevin Jonas, and produced by the Jonas Brothers alongside John Fields. Lovato wanted to write a song about getting back together with someone, as she believed enough mean and heartbroken songs had already been made. She said, "It's kind of a fun, upbeat song and it's kind of just fun to sing to the person that I wrote it about." The Jonas Brothers provided backing vocals and guitars on the track. In addition to co-producing the song, Fields also provided bass, guitars and keyboards. Jack Lawless played the drums, and John Taylor contributed backing vocals and played the guitar. The song was released as the lead single for Don't Forget on August 12, 2008, in the United States and Canada via digital download. ## Composition "Get Back" is an upbeat guitar-driven punk rock song. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in common time with a tempo of 150 beats per minute. It is performed in the key of G mixolydian, and Lovato's vocal range spans from the low note of B<sub>3</sub> to the high note of G<sub>5</sub>. Ed Masley of The Arizona Republic compared the song's sound to works by Tommy Tutone. Lyrically, the song is about a desire to get back together with an old boyfriend, demonstrated in the lines "I want to get back to the old days", and "Kiss me like you mean it". ## Music video and live performances "Get Back" was directed by Philip Andelman and shot in one day. The video premiered on Disney Channel on August 22, 2008, following the premiere of The Cheetah Girls: One World. It was later made available for digital download on iTunes Store on September 16, 2008. The video begins with a shot of the Manhattan Bridge, Lovato and her band are then seen on a small stage on top of a building. Lovato sports black clothing, a beaded scarf and red gloves. Throughout the first verse and chorus, Lovato dances around on stage with Manhattan Bridge visible in the background. Following the first chorus, the sun goes down and an aerial shot of the city's nightlife is shown. The second verse and chorus are performed during night. During the song's bridge, a daytime shot is shown of Lovato while sitting alone on the rooftop and looking away from the camera. After this, she is back on stage and performing the last chorus during nighttime with bright lights in the background. The video ends with the performance being finished, with Lovato turning around and walking towards her band. Lovato performed the song for the first time at the 2008 Disney Channel Games on May 3, 2008. Later, Lovato performed the song during her appearances in Good Morning America and The Ellen DeGeneres Show. On January 19, 2009, Lovato performed the song alongside "La La Land" at the Kids' Inaugural: "We Are the Future" event in Washington, D.C., at the Verizon Center. The event was held to celebrate the inauguration of Barack Obama as President of the United States. On April 24, 2009, Lovato performed an acoustic version of "Get Back" in Radio Disney's network studio. Also in April 2009, the song was performed as part of the iTunes Live from London series. The full performances were released as an iTunes Store-exclusive extended play featuring recorded live versions on May 17, 2009. In May 2009, Lovato performed the song at a Walmart concert, which was released as Demi Lovato: Live: Walmart Soundcheck, featuring recorded live versions on a CD, and the full performances on a DVD. Lovato performed "Get Back" on her Warm Up Tour and the Jonas Brothers' Burnin' Up Tour, for the latter she served as the opening act during the summer of 2008. Later in 2009, the song was performed during her Summer Tour 2009. The song was performed last, and Ed Masley of The Arizona Republic called it "super-charged". In 2010, she performed the song during her South American tour as the show's finale. Lovato also performed the song as the opening number for her set during the Jonas Brothers Live in Concert World Tour 2010. In September 2011, Lovato performed the song during the revue concert An Evening with Demi Lovato. ## Critical reception The song received positive reviews from critics. Judy Coleman of The Boston Globe called "Get Back" a "welcome girl-rock hit". Ed Masley of The Arizona Republic included the song at number eight on his "Top 10 from the Disney girls" list, and said, "She wrote this with the Jonas Brothers, but it sounds more like a Tommy Tutone B-side from the early '80s or the sort of thing Greg Kihn was pining for when he sang, 'They don't write 'em like that anymore'". Masley noted that the song sounds better live, as does "nearly everything Lovato touches". Masley concluded, writing, "When she sings 'I want to get back to the old days,' what she means is when her and her boyfriend were happy, but power-pop fans will hear it as a call to get back to much older days than that." Stephen Thomas Erlewine of AllMusic noted it as one of the best tracks on Don't Forget. Joey Guerra of The Houston Chronicle called it "undeniably kicky, and Lovato manages some surprisingly credible rock wails." Ken Barnes of USA Today called it an "insidious, Go-Go's-like single". ## Chart performance On August 30, 2008, "Get Back" debuted at its peak position of number at number forty-three on the Billboard Hot 100. The following week, it fell fifty places to number ninety-three. The song spent a total of six weeks on the chart. As of October 2017, it has sold over 586,000 digital copies, according to Nielsen SoundScan. In Canada, it charted at number ninety-three on the Canadian Hot 100, which was its only appearance on that chart. In Australia, the song peaked at number ten on the ARIA Hitseekers chart on May 11, 2009. ## Track listing - Digital download 1. "Get Back" – 3:19 - Digital download (Radio Disney version) 1. "Get Back" (Radio Disney version) – 3:19 ## Credits and personnel Recording and management - Recorded at Wishbone Studio (North Hollywood, California) - Mixed at Mix LA - Mastered at Sterling Sound (New York City) - Seven Peaks Music obo Itself and Demi Lovato Publishing (ASCAP); Jonas Brothers Publishing LLC (BMI)/Sony/ATV Songs LLC administered by Sony/ATV Music Publishing. All Rights Reserved. Used By Permission. Personnel - Demi Lovato – vocals, songwriting - Nick Jonas – songwriting, guitars, background vocals - Joe Jonas – songwriting, background vocals - Kevin Jonas II – songwriting, guitars, background vocals - Jack Lawless – drums - John Fields – bass, guitars, keyboards, programming, production, recording - John Taylor – guitars, background vocals - Jonas Brothers – production - Chris Lord-Alge – mixing - Nik Karpin – assistant - Ted Jensen – mastering Credits adapted from Don't Forget liner notes. ## Charts ## Certifications	[ "## Background", "## Composition", "## Music video and live performances", "## Critical reception", "## Chart performance", "## Track listing", "## Credits and personnel", "## Charts", "## Certifications" ]	1,826	6,701
21,743,849	1999 National League Wild Card tie-breaker game	1,153,716,303	1999 Major League Baseball tie-breaker game	[ "1999 Major League Baseball season", "1999 in sports in Ohio", "20th century in Cincinnati", "Baseball competitions in Cincinnati", "Cincinnati Reds postseason", "Major League Baseball tie-breaker games", "New York Mets postseason", "October 1999 sports events in the United States" ]	The 1999 National League Wild Card tie-breaker game was a one-game extension to Major League Baseball's (MLB) 1999 regular season, played between the New York Mets and Cincinnati Reds to determine the winner of the National League (NL) wild card. It was played at Cinergy Field in Cincinnati, on October 4, 1999. The Mets won the game, 5–0, with starting pitcher Al Leiter pitching a two-hit shutout. As a result, the Mets qualified for the postseason and the Reds did not. The game was necessary after both teams finished the season with identical win–loss records of 96–66. Some described the Mets as collapsing late in the season while the race between the Reds and their division rival Houston Astros was close enough to create the possibility of a three-way tie. The Reds won a coin flip late in the season which, by rule at the time, awarded them home field for the game. Upon winning, the Mets advanced to NL Division Series (NLDS) where they defeated the Arizona Diamondbacks, 3 games to 1. They then advanced to the NL Championship Series (NLCS) but were defeated by the Atlanta Braves, 4 games to 2. This game counted as the 163rd regular-season game by both teams, with all events in the game added to regular-season statistics. ## Background The Mets spent 34 days of the 1999 season leading the NL East Division, but—following a seven-game losing streak from September 21–28 along with an eight-game winning streak by their division rival Atlanta Braves from September 19–28 — the Braves took a commanding 8-game lead in the division that they did not relinquish. Meanwhile, the Reds and Houston Astros were in a close race for the NL Central division. The Astros led the division for much of the season, but did not lead by more than three games after August 1 except for one day. Ultimately, the Astros won the division with a 97–65 record, one game ahead of the 96–66 Reds. The Astros won their 97th game on the final day of the season. If Houston had not won that game, the Astros, Reds, and Mets would have instead been in a three-way tie for both the NL Central and the wild card spot. Bob Costas suggested that MLB was lucky to avoid this situation as he believed they had "no reasonable tiebreaker" to deal with it. Had this three-way tie arisen, the Mets would have won the wild card while the Astros and Reds would have played a tie-breaker for the Central division title (as the tiebreaker counts as a regular season game, the Reds/Astros loser would have moved to 96–67, 1⁄2 game worse than the Mets). The Mets' losing streak late in the season led Jayson Stark to label them a "sinking ship" in a column on September 30. However, the Mets broke this streak with a win over the Braves and dominant pitcher Greg Maddux and then, following a loss, swept three games from the Pittsburgh Pirates to end the season, tying the Reds' 96–66 record. The New York Daily News described this late-season performance as an "agonizing roller coaster ride" for Mets fans. With the Mets and Reds holding the best non-division winning records in the league a tie-breaker was necessary to determine the wild-card winner. Bob Costas said at the time he did not like the wild-card system as he believed it "diminishes the drama and authenticity of a pennant race", although he approved of the playoff teams in 1999. Tim McCarver disagreed, arguing that the late-season race between the Mets, Astros, and Reds showed the excitement a wild card can add to the season. A coin flip conducted earlier that September set Cincinnati's Cinergy Field as the location for the tie-breaker game. ## Game summary The Mets took a quick 2–0 lead with a single by Rickey Henderson to open the game followed immediately by a home run by Edgardo Alfonzo. They added to this lead in the third as Alfonzo drew a walk and then John Olerud hit a double which advanced Alfonzo to third base. Reds starter Steve Parris intentionally walked Mike Piazza to load the bases and was relieved by Denny Neagle. However, Neagle then walked Robin Ventura to score Alfonzo and extend the lead to 3–0. Neagle remained in the game and yielded a home run to Henderson to lead off the fifth inning for the fourth run. Neagle then loaded the bases with two outs with walks to Piazza and Ventura followed by a Darryl Hamilton single, but escaped the inning without further scoring. The Reds pinch hit for Neagle in the bottom of the fifth, and Danny Graves entered for them to pitch the sixth inning. Graves walked Rey Ordóñez to leadoff the inning, Mets starter Al Leiter sacrifice bunted Ordóñez to second, and following an out he scored on a double by Alfonzo. Graves remained in the game until Mark Lewis pinch hit for him in the eighth and Dennys Reyes relieved him in the ninth. Graves and Reyes held the score steady after the sixth but the Reds' offense did not score against Al Leiter and the Mets won the game, and with it the Wild Card, 5–0. Al Leiter pitched a complete game shutout, scattering two hits and four walks across the nine inning start. This was Leiter's first complete game of the season. Pokey Reese was the only Reds player to reach scoring position for the entire game, doubling to lead off the bottom of the ninth inning and then advancing to third on a ground out. The Bergen Record labeled Leiter the Mets' "flag bearer", coming through in games such as this when the team needed him most. For example, Leiter had also defeated Greg Maddux in his previous start on September 29 to snap the Mets' seven-game losing streak. Leiter's earned run average in the second half of the 1999 season was 1.22 runs lower than in the first. Leiter's start earned an 86 game score, which tied for the 14th best total in the National League that season. ## Aftermath New York's win clinched the team's fifth postseason berth in franchise history, their first since losing in the 1988 National League Championship Series. The playoff berth made the Mets the second team in MLB history to make the playoffs after being two games back of the leader with three games left to play in the season. The Mets defeated the Arizona Diamondbacks in the NLDS, 3 games to 1. This win advanced the Mets to the NLCS where they lost to the Atlanta Braves, 4 games to 2. The Mets performance in the playoffs drew heavy television viewership, with the decisive game of the NLCS scoring the highest ratings for any League Championship Series broadcast since 1993. Overall the NLCS averaged 10.9 million viewers, 18% higher than the NLCS had drawn the year before. Variety writer Tom Bierbaum argued this was a good sign for the future of baseball because the Mets and Boston Red Sox had drawn younger viewers during their time in the postseason. Bierbaum believed that baseball needed fresh teams, not just the often-successful Yankees and Braves, to draw new audiences and grow viewership. At 96–67, the Reds had the best record of any team that failed to make the postseason in the Wild Card Era that began in 1995. In baseball statistics tie-breakers counted as regular season games, with all events in them added to regular season statistics. For example, Mike Piazza grounded into his 27th double play of the season in the ninth inning, adding to his league-leading total. Similarly, Leiter's performance advanced his position on several 1999 statistical leaderboards including shutouts and walks issued. Reese, Ventura, and Ordóñez won Rawlings Gold Glove Awards for the season while Piazza and Alfonzo won Silver Sluggers. Robin Ventura also finished sixth in the National League's Most Valuable Player voting, with Chipper Jones taking the award. This game marked the only time the Reds were shut out between April 1999 and May 2001, a span of 349 games. After this game, the Reds would go the entire 2000 season without getting shut out, becoming only the second team in MLB history to do so (joining the 1932 New York Yankees). They would extend their streak of scoring a run in every game into the 2001 season for a total of 208 games, the third longest such streak in MLB history at the time (now the fourth-longest). Had this game not counted as a regular season game, the Reds would have scored a run in 348 straight games, which would have been the longest streak in MLB history. The New York Yankees also made the playoffs in 1999, eventually advancing to the 1999 World Series where they swept the Braves. The 1999 season marked the first time both of the current New York City-based MLB teams, the Mets and Yankees qualified for the playoffs together in the same season. Prior to the Mets' elimination, Mike Lupica noted the possibility of a "Subway Series", a term for a World Series played between two New York-based teams. The 1956 World Series between the Yankees and then-Brooklyn Dodgers was the last such Series. Yankees pitcher David Cone told Lupica "I want a Subway Series, for selfish reasons. I want to play in one." Although the Mets failed to make the Series in 1999 the two met the following year in the 2000 World Series where the Yankees won, 4 games to 1. After their 2000 World Series appearance, the Mets did not make the playoffs again until 2006. Meanwhile, the Reds did not place in the top two of their division until 2010. Jack McKeon managed the Reds from 1998 to 2000 and was fired after the 2000 season when the team finished 10 games back of the division leading Cardinals.	[ "## Background", "## Game summary", "## Aftermath" ]	2,104	33,083
33,150,271	Weesperplein metro station	1,170,867,376	Metro station in Amsterdam	[ "Amsterdam Metro stations", "Railway stations in the Netherlands opened in the 1970s", "Railway stations opened in 1977" ]	Weesperplein is an underground metro station in the city centre of Amsterdam, Netherlands. Served by lines 51, 53 and 54 of the Amsterdam Metro, the station was constructed using caissons with a length and width of 40 metres (130 ft). The station has two floors, the upper floor featuring a station hall with stores and the lower floor containing the tracks. Construction at Weesperplein started in August 1970. The first test rides passed through the station in January 1977. Extensive tests were carried out in September that year before the station opened on 16 October. Another platform below the existing one was built as the station was originally planned to be the intersection point of two lines. This platform was instead used as a fallout shelter with a capacity of 5,000 people when the majority of the network was cancelled in 1975 following protests against the destruction of houses. The shelter was not maintained from 1999 onwards and equipment was removed in 2004 to make way for smoke extraction machinery. Repairs conducted at the station during a renovation in 2011 were of poor quality and had to be redone. Weesperplein was renovated again during 2017 and 2018, when a new elevator and two more staircases between the hall and tracks were constructed. It was the fifth most used station of the Amsterdam Metro in 2018. ## Layout Weesperplein and other metro stations on the East Line were designed by two architects from the Government of Amsterdam: Ben Spängberg and Sier van Rhijn [nl]. The station is located under Weesperstraat and consists of two underground levels. The top level has eight entrances from the streets and includes the paygates of the metro system and some stores such as an Albert Heijn To Go convenience store and a sandwich shop. The level below is where the metro tracks are located and has two side platforms. All other metro stations on the East Line have an island platform, but an exception was made for Weesperplein as it was supposed to be a station where two lines would intersect, which also resulted in a larger station hall. The rest of the metro system runs on double-track; Weesperplein is the only station to have a third reserve track in between those two. This track can be used in case of an emergency. In 2018, bicycle parking racks outside one of the entrances were replaced by flowers. ### Ghost station and shelter In Weesperplein, planners had to consider the possibility of an additional East–West Line. Since the second line was almost guaranteed to be built at the time, the decision was made to start work on the bottom platform in advance as building it afterwards would have been too complicated. An extra area below the platform used by the East Line was created, which consisted of large open areas made out of concrete. This area only had the space to fit in an island platform, as columns supporting the entire station structure above limited the size of the tunnel. In the original plan, the line would have run under houses and caused their demolition. After the East–West Line was cancelled by the municipality on 19 March 1975, the area was converted to be used as a fallout shelter. The whole station has a capacity to house up to 12,000 people, 5,000 of them inside the shelter. The shelter included beds, water tanks, and garbage chutes for disposing of radioactive clothing. There are showering areas at the very bottom with bulkheads, but the shower heads and disposal systems were removed later. The doors are watertight and undergo annual testing to ensure functionality. Public shelters in Amsterdam, including the shelter at Weesperplein, were not maintained from 1999 onwards. In 2004, the equipment was removed to make way for smoke extraction machinery in case of a fire. The former shelter can be accessed via sliding doors at the top level of the station. ## History ### Background The Bureau Stadsspoor (City Track Bureau) was formed in 1963 following a 1960 report and concluded that Amsterdam needed a new rail system to move large numbers of people. The bureau released five reports by 1966 and laid out a final plan for a total of four metro lines in the city, which was presented to the public in the same year during a press conference by alderman Roel de Wit. The plan included two East–West lines, which would intersect each other twice: at Looiersgracht and at Weesperplein. The municipal council and the mayor of Amsterdam came together in April 1968 to debate on the metro. A month later, the council approved the plans based on the advice of the bureau and reserved 5 million Dutch guilder for the design of the eastern branches of the two East–West lines, which was the first phase of the project. Expectations were that the lines would be running within five years and that the total cost would be around 250 million guilder. ### Construction Weesperplein was the first Amsterdam Metro station to begin construction, work commencing in August 1970. It was expected to take 4 to 5 years to finish the station. Most underground areas of the East Line were constructed by using caissons, which made pumping out groundwater unnecessary. The caissons were built above ground on-site, and generally had a length of 40 metres (130 ft) and a width of 10–18 metres (33–59 ft). At Weesperplein these were 40 metres wide, even wider than those at Amsterdam Centraal, which were 30 metres (98 ft). The earth below the caissons was rinsed with water and pumped out, allowing the caissons to be lowered into place. There were protests against the construction of the metro, as this method required the demolition of the houses above the line. A tram stop with multiple amenities dating back to 1923 had to be destroyed for the metro. The station was reported to be almost complete by June 1974; operations were expected to start years later. During the process of digging the station, two former freshwater storage basements were found. In the city centre of Amsterdam within the Singelgracht are 33 of these basements, but not much is known of them as they have not been in use since the mid-19th century. ### Opening and early years A train was first rolled into the underground tunnels by the Gemeente Vervoerbedrijf (GVB) on 25 January 1977, and mayor Ivo Samkalden drove the metro under supervision. The section from Weesperplein to Amsterdam Centraal was not completed yet at the time. Before the public opening, journalists and members of the municipality council were given a ride from Amsterdam Amstel to Weesperplein. Testing of regular metro operations started in late August 1977, after training of staff was completed. The metro line, including Weesperplein station, opened to the public on 16 October. For the first few years, Weesperplein was the terminus of the system: trains that came into the station were turned around with a switch that was located just after the station and ran the other direction towards Bijlmermeer. At Bijlmermeer the line split into two, one line ending at Gaasperplas and the other at Holendrecht. The section towards Centraal station was opened later on 11 October 1980 and Weesperplein was no longer a terminus for the two lines. Braille patterns were installed on the handrails at the station in 1984 to assist blind and visually impaired people. In 1990, a tram-metro hybrid named sneltram (high-speed tram) started operations as line 51. Using special trains, the metro line would convert into a high-speed tram line at Amstelveen and run alongside regular trams. A high-speed tram caught fire at the Weesperplein station on 12 July 1999 due to a blocked disc brake. Although the tram was carrying no passengers at the time, the smoke coming from the fire caused all levels of the station to be evacuated. Two people were taken to hospital for smoke inhalation, but were discharged quickly after their injuries were determined to be minor. ### 2010s During a 2011 renovation, asbestos was found in one of the emergency stairs of the station, which prevented metro operations for another two months. An internal review of the renovation found that the quality of repairs fell short of standards and that these had to be redone regularly. In 2014, an exact replica of the station was built in Vught, North Brabant, to enable police, first aid, firefighting, and military personnel to train for emergency situations. The GVB started to play music through the speakers of underground metro stations in April 2017 as a test. The type of music would depend on the time of day: slow and calming music during rush hours, and energetic music during the afternoon. A renovation of the station started in May 2017 with one of the entrances. The renovation was split into five phases to allow the station to be kept open, each phase taking three to four months. Concrete was replaced with glass to make it seem lighter and more spacious. As the payment gates located before the stairs from the hall to the platform frequently caused congestion on the platform due to passengers not being able to leave quickly, they were moved to the actual station entrances, creating one large central hall. A new elevator from the hall to the platforms was constructed, and the three existing ones were renovated. Two new staircases to the tracks were also built. Supply of new and disposal of old material was done by using the rails at night, when the Amsterdam Metro does not run. This was done to avoid creating traffic jams above ground. Walls were given smooth curves to direct passengers. Writing for Het Parool, Marc Kruyswijk commented that before the renovations, the station was a place "where you would prefer to spend as little time as possible," but after the renovation, it "suddenly looked as if it was not only a part of the past but also a part of the present". The same newspaper had previously called it an "underground labyrinth" where travellers had difficulties in finding the exits. In 2018, Het Parool reported that the station was already somewhat done in case a new East–West Line was planned. This would make Weesperplein a station where travellers could connect from one line to the other, as originally intended in the 1970s. Weesperplein was the fifth most used station of the Amsterdam Metro in 2018 with 36,373 passengers per day, behind Amsterdam Centraal, Amsterdam Zuid, Amsterdam Amstel and Amsterdam Bijlmer. ## Artwork Artists were invited by officials to create artwork for most stations, but Weesperplein and Bijlmer station had a public competition, where all Dutch artists were allowed to send their ideas. Of the 198 submissions, three were selected to be placed in Weesperplein. Luchtspiegelingen by Matthijs van Dam is composed of 12 panels showing Weesperstraat and Sarphatistraat seen from below. The view of roads, cars and clouds gives the illusion of looking up through the station to the outside. The panels were placed on the ceiling at platform level in 1977 and were removed in 2010 due to fire safety concerns. They were reinstalled eight years later, this time on the ceiling of the station hall. Verplaatsing by Charles Bergmans is ten square pieces of hard rocks. Located in the station hall, travelers could sit on them, which made their surfaces smooth and shiny over the years. Signatuur van de anonieme arbeider by Pieter Engels is three bronze beams forming the letter A. The beams symbolize the three groups that made the metro possible: Amsterdam, contractors and workers (Dutch: Amsterdam, aannemer en arbeider). ## Services The station is served by metro lines 51, 53 and 54. North-bound, all three lines use the same track and end at Amsterdam Centraal. South-bound, M53 ends at Gaasperplas, and M54 ends at Gein. The tram-metro hybrid line M51 used to serve the Amstelveen suburb by heading south after Amsterdam Zuid and end at Westwijk, but the section after Zuid was closed in 2019 and replaced by an actual tramline. M51 now continues west-bound after Zuid and ends at Isolatorweg as a full metro line. A tram stop near the entrance of the metro station with the same name is served by tram lines 1, 7 and 19. In the early rush hour, bus 246 runs twice in one direction towards Schiphol–Zuid. At night, night buses N85 and N86 stop near the station.	[ "## Layout", "### Ghost station and shelter", "## History", "### Background", "### Construction", "### Opening and early years", "### 2010s", "## Artwork", "## Services" ]	2,677	41,119
2,292,793	Stadium MRT station	1,172,344,730	Mass Rapid Transit station in Singapore	[ "Kallang", "Mass Rapid Transit (Singapore) stations", "Railway stations in Singapore opened in 2010", "WOHA" ]	Stadium MRT station is an underground Mass Rapid Transit (MRT) station on the Circle Line (CCL). Located in the area of Kallang, Central Region, Singapore, the station serves the Singapore Sports Hub and its facilities including the National Stadium, Indoor Stadium, Kallang Theatre and Leisure Park Kallang. It is operated by SMRT Trains. Announced to be part of the Marina MRT line branch to either Kallang or Paya Lebar, construction of the station started in 2001. The line was later incorporated in the CCL as Stage 1 and the station opened on 17 April 2010 when Stages 1 and 2 of the CCL commenced operations. The design of the station by WOHA was commissioned through the Marina line Architectural Design Competition and was awarded the "Design Of The Year" of the President's Design Award in 2010. ## History Before the station was constructed, the closest MRT stations to the National Stadium were Kallang and Lavender stations, which were a considerable distance away from the stadium. Additionally, road access to the National Stadium was hampered by traffic jams during major events at the venue. When the stations for the Marina Line (MRL) were revealed, the line was announced to serve the National Stadium as the line goes along Stadium Boulevard. The station then became part of Circle line (CCL) Stage 1 when the MRL was incorporated into the CCL in 2001. Contract 824 for the construction of Boulevard station and associated tunnels was awarded to a joint venture between Nishimatsu Construction Co Ltd and Lum Chang Building Contractors Pte Ltd at . On 6 February 2002, traffic around the former National Stadium had to be realigned for the construction of the station. To facilitate the construction of the station, Stadium Boulevard was closed from Stadium Drive to Stadium Walk. Along with the other stations on Stages 1 and 2, the station started operations on 17 April 2010. ## Station details ### Services and location The station is served by the Circle line (CCL) between the Nicoll Highway and Mountbatten stations. The station code is CC6 as reflected on official maps. The station is the terminus for CCL train services from Marina Bay station. The station operates from about 5:45 am to 12:15 am depending on the first and last train timings at this station. Train frequencies on the line generally range from 5 to 7 minutes. As the name suggests, the station serves the Singapore Sports Hub and surrounding facilities, such as the Water Sports Centre, Singapore Indoor Stadium, Kallang Theatre, OCBC Aquatic Centre, OCBC Arena, Kallang Wave Mall and Leisure Park Kallang. The station is located south of the Sports Hub and at the western end of the Stadium Boulevard. ### Architecture Stadium station was designed by an architectural team from WOHA, led by Wong Mun Summ and Richard Hassell. The station was one of two stations to be commissioned through the Marina Line Architectural Design Competition jointly organized by the Land Transport Authority (LTA) and the Singapore Institute of Architects (SIA) in 2000. The station was designed to handle large passenger numbers during major events, featuring an open-air concourse and plaza space to accommodate the crowds and prevent overcrowding within the station. The open-ended station allows it to be linked to future developments around the station at ground level. Initially, it was proposed by the design team to elevate the then-existing Stadium Boulevard and build a public space underneath which would link to the surrounding buildings. However, after analysing possible traffic patterns for the road bridge, the LTA recommended scrapping the bridge. As the bridge was a key feature of the design, the team had to redesign the station, but they kept the characteristics of a public plaza, a transparent diagram and basic yet massive elements for the new design. The new design contrasts a straight side against a curved opposite side. According to WOHA, the change is just rotating the old design on its side, with the bridge changed to the curved side and the ground being the straight vertical side. The curve side and the grey colour scheme draws reference to the old National Stadium, which has been demolished to make way for the current Singapore Sports Hub. The station has a grand spacious interior inspired by European train stations built in the 19th century, with the skylight naturally illuminating the platforms to make them visually appealing and eliminating the need to have excessive signage to navigate around. The station exterior was cladded with ribbed aluminium to make the material ambiguous; making them look soft or hard depending on light conditions and time of the day. This station was awarded "Design Of The Year" of the President's Design Award in 2010, nominated by Patrick Bingham-Hall, an architectural photographer. Bingham-Hall had praised the station as a 'brilliantly intuitive piece of architecture (which) defies imitation', while the jurors of the award commented that the station design was 'appropriate' to reflect the importance of the new Sports Hub the station serves. The station also received the 9th SIA Architectural Design Awards for the Industrial, Transport & Infrastructure, the Award for International Architecture by the Australian Institute of Architects and the 2010 International Architecture Award by the Chicago Athenaeum and the European Centre for Architecture Art Design and Urban Studies. It was also one of the finalists for the 2008 World Architecture Festival. ### Artwork As part of the MRT network Art-in-Transit programme, The Perfect Moment by Roy Zhang is displayed above the two entrances of the station. The artwork depicts a series of silhouettes of a sportsman 'gracefully dancing in the air' in a surreal dreamscape, presenting the beauty, energy and simplicity of the human body during sport activities. The artwork is in two sets, each set featuring eight images of the sportsperson each. At the entrance to the Indoor Stadium, the set of silhouettes seem to show the sportsman making a 'dramatic dive' like a goalkeeper, while at the other entrance to the Kallang Leisure Park, another set depicts him 'frozen in the middle of an elegant kick'. The sporting movements, when viewed as a whole, made the whole set appear to be a 'choreographed dance recital'. The artwork's monochrome images of the athlete in action integrate well with the predominately black scheme and the dramatic design of the station. The integration was a conscious decision by the photographer, who does not wish for his work to be 'jarring or irrelevant' to the context. Taking inspiration from the old stadium, the new Sports Hub and the performances of the Indoor Stadium, Zhang decided to use images of sports and choreograph it as an art performance. The Perfect Moment makes reference to a painting Dance by Henri Matisse which similarly depicts a group of human figures in abstract form. The artwork was planned to be rather colourful like the painting but toned down the colour of his images upon learning WOHA's design intentions. Zhang decided on shooting only a single sportsperson instead of multiple sportspeople. It was suggested by the Art-in-Transit Review Panel to use a famous sportsperson and add sporting objects to better convey the sports theme of the artwork. However, Zhang felt that doing such will make the work 'more like a billboard advertisement', and has no wish to use a famous local athlete for he wanted commuters 'to aspire what they want to achieve' rather than 'follow the footsteps of someone', preferring to use a figure 'who can represent anybody'. Zhang managed to find a Brazilian model, whom he regarded as 'a perfect combination of sports and art', due to his passion of football and training in capoeira. During the one-day shoot, both collaborated and tried on various poses, with the model performing his moves over a trampoline. After the shoot, Zhang then carefully picked out the 108 photographs he would use for the artwork. The artwork was originally set to be placed along the glass wall at the concourse level. However, the curator Karen Lim was concerned about the visibility of the artwork at the assigned location, stating that it will fade due to prolonged exposure to the afternoon sunlight. Managing to convince LTA to move the artwork to the 5.2 metres (17 ft) by 10.8 metres (35 ft) glass panels above the two entrances, Zhang had to cut down his photo selection to just 16, but it allowed the artwork to be more visible with the enlarged figures.	[ "## History", "## Station details", "### Services and location", "### Architecture", "### Artwork" ]	1,759	25,137
54,492,302	GhanaSat-1	1,166,293,928	First ghanaian spacecraft	[ "2017 in Ghana", "CubeSats", "First artificial satellites of a country", "Satellites deployed from the International Space Station", "Satellites orbiting Earth", "Science and technology in Ghana", "Spacecraft launched in 2017", "Spacecraft which reentered in 2019", "Student satellites" ]	GhanaSat-1 was the first Ghanaian nanosatellite to be launched into space. It was designed and built in two years in conjunction with the Kyushu Institute of Technology Birds-1 program, which has the goal of helping countries build their first satellite. The satellite took images, collected atmospheric data, measured space radiation, and transmitted uploaded audio. GhanaSat-1 was launched to the International Space Station (ISS) on a Falcon 9 rocket. It was released into space from the Nanoracks CubeSat Deployer on the ISS on 7 July 2017 and was used to monitor environmental activities along Ghana's coastline. The satellite deorbited on 22 May 2019. ## Background Ghana through All Nations University is a private university in Ghana to build the first Ghana satellite named Ghanasat-1. The Ghanasat-1 was developed by three engineers namely Benjamin Bonsu, Ernest Matey, Joseph Quansah. The Ghana Team led by Benjamin Bonsu joined the Joint Global Multi-Nation Birds satellite program, supported by Kyushu Institute of Technology (KIT) of Japan, which is a cross-border interdisciplinary satellite project for non-spacefaring countries. The Birds-1 Project included four guest countries: Ghana, Mongolia, Nigeria, and Bangladesh. GhanaSat-1 is the first Ghanaian's first satellite launched into orbit, entirely funded by the All Nations University. This big achievement makes All Nations University, Africa's first private university to launch a satellite into orbit. ## Design and development GhanaSat-1 was assembled and tested by three students namely Benjamin Bonsu, Ernest Matey and Joseph Quansah at All Nations University. The five 1U CubeSats, four built by the guest countries and one by Kyushu Institute of Technology (Japan), were all identical in their design. The two-year period spanning the development, construction, launch and operation of the satellites engaged three university students from each of the five participating countries. The satellite cost about US\$500,000 to manufacture and launch. GhanaSat-1 was a nanosatellite, weighing around 1 kilogram (2.2 lb). Power was generated from solar cells and stored in batteries. The satellite was cube-shaped and measured 10 centimetres (3.9 in) on each side. The satellite carried low- and high-resolution cameras that took pictures of Ghana and monitored the country's coastline. The satellite had the ability to receive requested songs from the ground and transmit them from space; the national anthem of Ghana was one of the songs broadcast in orbit. Finally, the satellite measured the effects of radiation in space on commercial microprocessors. GhanaSat-1 was given to the Japan Aerospace Exploration Agency (JAXA) on 9 February 2017, and was then transferred to the National Aeronautics and Space Administration (NASA) on 12 February 2017. The GhanaSat-1 Birds designation is Bird GG. ## Mission ### Launch SpaceX launched the satellite on its CRS-11 mission to the International Space Station on 3 June 2017. The satellite was carried in a Dragon spacecraft on a Falcon 9 rocket, launched from NASA's Kennedy Space Center, LC-39A. This was the 100th launch from LC-39A and the first time SpaceX reused one of its Dragon capsules. This mission also carried CubeSats from Japan, Bangladesh, Nigeria, and Mongolia. The satellites from Bangladesh (BRAC Onnesha) and Mongolia (Mazaalai) are those countries' first satellites. GhanaSat-1 was released by a Japanese astronaut from the Nanoracks CubeSat Deployer, located in the Japanese Kibō module of the International Space Station, on 7 July 2017. The satellite launch was broadcast live and watched by over 400 people at All Nations University. The satellite orbited the Earth at an altitude of 400 kilometres (250 mi) and at an inclination of 51.64°, completing an orbit around the planet every 92.57 minutes at a velocity of 7.67 kilometres per second (4.77 mi/s). ### Operations The satellite was primarily a technology demonstrator and Earth observation satellite. The Ghana scientists took images of the Ghanaian coastline for cartography. The acting director of Space Systems Technology Laboratory at All Nations University, Richard Damoah, said the satellite would "...also help us train the upcoming generation on how to apply satellites in different activities around our region. For instance, monitoring illegal mining is one of the things we are looking to accomplish". The satellite communicated with seven ground stations: one in each of the countries participating in the Birds-1 program, and one each in Thailand and Taiwan. The satellite was the last of the Birds-1 group to deorbit, ending its mission 22 May 2019. ## Future work The university plans to coordinate with the government to build GhanaSat-2 and GhanaSat-3. The primary objective of GhanaSat-2 is to monitor water pollution, illegal mining, and deforestation. Japan's work with non-spacefaring countries continues with the Philippines, Bhutan, and Malaysia through Birds-2, launched in 2018 along with SpaceX CRS-15.	[ "## Background", "## Design and development", "## Mission", "### Launch", "### Operations", "## Future work" ]	1,080	14,326
50,953,902	Call the Police (G Girls song)	1,081,314,410	null	[ "2016 debut singles", "2016 singles", "2016 songs", "English-language Romanian songs", "Eurodance songs", "Song recordings produced by Play & Win", "Songs written by Eric Turner (singer)" ]	"Call the Police" is a song recorded by Romanian girl band G Girls. It was made available for digital consumption on 14 June 2016 through Global Records and Roton worldwide, while being distributed in Italy on 15 July 2016 by Ego. Serving as the group's debut recording, the track was written by Eric Turner and J-Son, while production was handled by Marcel Botezan and Sebastian Barac. Musically, "Call the Police" is a "typical" Eurodance song which musically incorporates "Romanian music dance vibe". Music critics were positive towards "Call the Police", noting the track as being catchy and comparing it to band member Inna's works. For promotion, an accompanying music video for the single was shot by Roman Burlaca at Palatul Noblesse. Commercially, "Call the Police" experienced moderate success on music charts; while it peaked at number six on Poland's Airplay Top 100, the track reached position 64 in Romania. ## Background and release G Girls is a four-part girl band started by label Global Records, consisting of Romanian singers Alexandra Stan, Antonia, Inna and Lori; the latter previously participated at Romanian reality singing competition Vocea României. "Call the Police" was written by Eric Turner and Julimar Santos Oliveira Neponunceno, while the production process was handled by Marcel Botezan and Sebastian Barac. On 14 June 2016, the recording was distributed in multiple regions through Global and Roton, while being made available for purchase in Italy on 15 July 2016 by Ego. At the time of the track's premiere, Stan and Antonia were promoting "Écoute" and "Sună-mă", respectively, and Inna would release "Heaven". ## Composition and reception According to magazine Beebee, the recording is a "typical" Eurodance track which musically incorporates "Romanian music dance vibe" in its composition. Jonali particularly called the single a "club-ready summer jam" and an "infectiously island-infused groove". Iko, writing for magazine Beebee, described the release of the single and the forming of the "hottest girl group out there" a surprise, while comparing the track to Inna's works. He further noted the band's commercial appeal, with him praising the accompanying music video for "Call the Police". Jonali from his own music website named the song's hooks as being catchy, pointing out its refrain, "Somebody better call the police on me, somebody better call the police"; he also drew comparisons to Inna. Japanese portal TV Groove saw the single as an "exquisite catchy club tune that is perfect for summer, packed with an addictive island groove". MuuMuse's Bradley Stern included "Call the Police" in his list of July 2016's best releases. Upon its release, "Call the Police" experienced moderate success on record charts. It reached a peak position at number six and five on Poland's Airplay Chart and Dance Top 50, respectively. In native Romania, the single debuted at number 64 on the Airplay 100 on the week ending 24 July 2016; the single also claimed the same position in its second and last week on the chart. ## Music video An accompanying video for the song was shot by Roman Burlaca at Palatul Noblesse in Bucharest, and was uploaded onto the YouTube channel of label Global Records on 1 June 2016. Marius Panduru served as the director of photography, while make-up was managed by Tania Cozma, Andra Manea and Dana Pertina, and hair styling by Alex Ifimov and Sorin Stratulat. The video commences with Inna and Antonia entering the building after nodding to each other. Afterwards, the latter walks to a hall full of partying people while taking and developing photographs. Meanwhile, Inna is shown sitting on a mask-designed chair surrounded by males in tie in a white room. Stan, dressed in red lingerie, is displayed with a man which she later ties up to a chair in the video and steals his money. Fellow band member Lori then walks in a neon-green room where both lesbian and gay couples are shown kissing, with the latter being portrayed in a bathtub letting a glass of water falling on one's body. She subsequently writes "911" on a mirror, and all the band members are shown dressing neon and sparkling outfits in order to be visible in the dark. After Lori mixes up some pink drinks, the visual ends with them walking out of the building while throwing all the frames that were taken by Antonia in the beginning on the floor. Scenes interspersed through the main video show the band performing to the track close to each other in light or dark places. ## Track listing ## Charts ## Credits and personnel Credits adapted from Top Românesc. Vocal and technical credits - G Girls – vocals - Alexandra Stan – main vocals - Antonia – main vocals - Inna – main vocals - Lori – main vocals - Sebastian Barac – producer - Marcel Botezan – producer - Julimar Santos Oliveira Neponunceno – songwriter - Eric Turner – songwriter Visual credits - Roman Burlaca – director - Tania Cozma – make-up - Alex Ifimov – hair styling - Andra Manea – make-up - Sorin Stratulat – hair styling - Marius Panduru – director of photography - Dana Pertina – make-up ## Release history	[ "## Background and release", "## Composition and reception", "## Music video", "## Track listing", "## Charts", "## Credits and personnel", "## Release history" ]	1,158	2,720
21,618,765	SM UB-2	1,172,011,355	German Type UB I-class submarine	[ "1915 ships", "German Type UB I submarines", "Ships built in Belgium", "Ships built in Kiel", "U-boats commissioned in 1915", "World War I submarines of Germany" ]	SM UB-2 was a German Type UB I submarine or U-boat in the German Imperial Navy (German: Kaiserliche Marine) during World War I. She sank eleven ships during her career and was broken up in Germany in 1920. UB-2 was ordered in October 1914 and was laid down at the Germaniawerft shipyard in Kiel in November. UB-2 was a little more than 28 metres (92 ft) in length and displaced between 127 and 142 tonnes (125 and 140 long tons), depending on whether surfaced or submerged. She carried two torpedoes for her two bow torpedo tubes and was also armed with a deck-mounted machine gun. She was launched and commissioned as SM UB-2 in February 1915. When UB-2 sailed to join the Flanders Flotilla in May 1915, she became the only member of her class to not be shipped by rail to Antwerp to join the unit. While in the flotilla, UB-2 sank eleven British ships of 1,374 gross register tons (GRT) under the command of Kptlt. Werner Fürbringer. The U-boat was assigned to the Baltic Flotilla in March 1916 relegated to a training role from December that same year. At the end of the war, UB-2 was deemed unseaworthy and unable to surrender at Harwich with the rest of Germany's U-boat fleet. She remained in Germany where she was broken up by Stinnes in February 1920. ## Design and construction After the German Army's rapid advance along the North Sea coast in the earliest stages of World War I, the German Imperial Navy found itself without suitable submarines that could be operated in the narrow and shallow environment off Flanders. Project 34, a design effort begun in mid-August 1914, produced the Type UB I design: a small submarine that could be shipped by rail to a port of operations and quickly assembled. Constrained by railroad size limitations, the UB I design called for a boat about 28 metres (92 ft) long and displacing about 125 tonnes (123 long tons) with two torpedo tubes. UB-2 was part of the initial allotment of eight submarines—numbered UB-1 to UB-8—ordered on 15 October from Germaniawerft of Kiel, just shy of two months after planning for the class began. UB-2 was laid down by Germaniawerft on 1 November, one of the first two boats of the class started. She was launched at Kiel on 13 February 1915. As built, UB-2 was 28.10 metres (92 ft 2 in) long, 3.15 metres (10 ft 4 in) abeam, and had a draft of 3.03 metres (9 ft 11 in). She had a single 59-brake-horsepower (44 kW) Daimler 4-cylinder diesel engine for surface travel, and a single 119-shaft-horsepower (89 kW) Siemens-Schuckert electric motor for underwater travel, both attached to a single propeller shaft. Her top speeds were 6.47 knots (11.98 km/h; 7.45 mph), surfaced, and 5.51 knots (10.20 km/h; 6.34 mph), submerged. At more moderate speeds, she could sail up to 1,650 nautical miles (3,060 km; 1,900 mi) on the surface before refueling, and up to 45 nautical miles (83 km; 52 mi) submerged before recharging her batteries. Like all boats of the class, UB-2 was rated to a diving depth of 50 metres (160 ft), and could completely submerge in 33 seconds. UB-2 was armed with two 45-centimeter (17.7 in) torpedoes in two bow torpedo tubes. She was also outfitted for a single 8-millimeter (0.31 in) machine gun on deck. UB-2's standard complement consisted of one officer and thirteen enlisted men. ## Service career The submarine was commissioned into the German Imperial Navy as SM UB-2 on 20 February under the command of Kapitänleutnant Werner Fürbringer, a 26-year-old native of Braunschweig, and underwent trials in German home waters. UB-2 sailed from Germany to Flanders to join the Flanders Flotilla (German: U-boote des Marinekorps U-Flotille Flandern) on 10 May 1915, and was the only UB I or UC I boat in the flotilla to not be shipped to Antwerp by rail. When UB-2 joined the flotilla, Germany was in the midst of its first submarine offensive, begun in February. During this campaign, enemy vessels in the German-defined war zone (German: Kriegsgebiet), which encompassed all waters around the United Kingdom (including the English Channel), were to be sunk. Vessels of neutral countries were not to be attacked unless they definitively could be identified as enemy vessels operating under a false flag. The UB I boats of the Flanders Flotilla were initially limited to patrols in the Hoofden, the southern portion of the North Sea between the United Kingdom and the Netherlands. On 9 and 10 June, while patrolling in this area 50 to 60 nautical miles (93 to 111 km; 58 to 69 mi) southeast of Lowestoft, UB-2 sank six British fishing smacks with a combined tonnage of just under 300 GRT, the largest being Intrepid of 59 GRT. All six of the smacks—sailing vessels traditionally rigged with red ochre sails—were stopped, boarded by crewmen from UB-2, and sunk with explosives. After UB-2's sister boat UB-6 pioneered a route around past British anti-submarine nets and mines in the Straits of Dover in late June, boats of the flotilla began to patrol the western English Channel. UB-2, UB-5, and UB-10 soon followed with patrols in the Channel. Even though none of the boats sank any ships, by successfully completing their voyages they helped further prove the feasibility of defeating the British countermeasures in the Straits of Dover. On 28 August, UB-2 was patrolling in the Corton–Yarmouth area when she sank the British trawler Miura. At 257 GRT, Miura bested Intrepid as the largest vessel sunk by UB-2 to-date. Early the following month, UB-2 sank another two fishing smacks 44 nautical miles (81 km; 51 mi) east-southeast of Lowestoft: the 57 GRT Constance, and the 44 GRT Emanuel. Three days later, UB-2 sank 47 GRT smack Boy Ernie about 58 nautical miles (107 km; 67 mi) east of Cromer. As with the six vessels sunk in June, all three were stopped by UB-2 and sunk with explosives. Germany's submarine offensive was suspended on 18 September by the chief of the Admiralstab, Admiral Henning von Holtzendorff, In response to American demands after German submarines had sunk the Cunard Line steamer in May 1915 and other high-profile sinkings in August and September. Holtzendorff's directive from ordered all U-boats out of the English Channel and the South-Western Approaches and required that all submarine activity in the North Sea be conducted strictly along prize regulations. UB-2 did not sink any vessels over the next four months. The German Imperial Navy began its second submarine offensive in February 1916, declaring, among other provisions, that all enemy vessels in the war zone were to be destroyed without warning. On 26 February 1916, UB-2 torpedoed and sank the cargo ship Arbonne, in what was ultimately her last wartime success. The British steamer—at 672 GRT, the largest ship sunk by UB-2—went down with a loss of all fourteen of her crew. In early March, Kapitänleutnant Fürbringer was succeeded by the former commander of UB-13, Kptlt. Karl Neumann, who had been in the same cadet class as Fürbringer. Fürbringer went on to command six other U-boats, and was responsible for sinking nearly 100,000 tons of shipping. In 1933 he published a memoir of his World War I U-boat service, Alarm! Tauchen!!: U-boot in Kampf und Sturm, which included an overview of his career, including his time on UB-2. By early February, the Flanders Flotilla was beginning to receive the newer, larger Type UB II boats. UB-2 was transferred into the Baltic Flotilla (German: U-boote der Ostseetreitträfte V. U-Halbflotille) about a week after Neumann took command. Boats of the Baltic flotilla were based at either Kiel, Danzig, or Libau, but where UB-2 was stationed during this time is not reported in sources. While UB-2 was in the Baltic Flotilla, Neumann was succeeded by Oberleutnant zur See (Oblt.z.S.) Thomas Bieber in April, who was in turn succeeded by Oblt.z.S. Harald von Keyserlingk in July. In early December, Keyserlingk was reassigned from UB-2 to UB-36, and UB-2 was transferred to training duties. According to authors R.H. Gibson and Maurice Prendergast, submarines assigned to training duties were "war-worn craft" unfit for service. At the end of the war, the Allies required all German U-boats to be sailed to Harwich for surrender. UB-2 was one of eight U-boats deemed unseaworthy and allowed to remain in Germany. UB-2 was broken up by Stinnes on 3 February 1920. ## Summary of raiding history	[ "## Design and construction", "## Service career", "## Summary of raiding history" ]	2,119	14,755
30,777,507	Move Like This	1,170,880,213	null	[ "2011 albums", "Albums produced by Jacknife Lee", "Albums produced by Ric Ocasek", "Garage rock albums by American artists", "Hear Music albums", "The Cars albums" ]	Move Like This is the seventh and final studio album by American rock band the Cars, released on May 10, 2011. It was their first since 1987's Door to Door, and the only one without bassist and vocalist Benjamin Orr, who had died of pancreatic cancer in 2000. The album reached the top ten of the Billboard 200 and peaked at number 2 on the Billboard Top Rock Albums chart; a single from the album, "Sad Song", reached number 33 on the Billboard Rock Songs chart. Following the release of the album, the band launched an 11-city tour of North America. Move Like This was Ric Ocasek's last studio appearance before his death in September 2019. ## Background In 1997, Ocasek had told a journalist that the band would never reunite: "I'm saying never and you can count on that." A partial reunion of the band occurred in 2005 when keyboardist Greg Hawkes and lead guitarist Elliot Easton toured with singer Todd Rundgren, drummer Prairie Prince and bassist Kasim Sulton as "the New Cars"; neither Ocasek nor Cars drummer David Robinson participated, and the Rundgren lineup split following two years of touring. According to Paste magazine, Ocasek said that he was "amazed at how we clicked when we got back together." Exclaim! has noted that the Cars' Facebook page featured a picture of producer Jacknife Lee, "which suggests that he will be producing the new album." According to Rolling Stone, Lee produced five of the songs from the album; the Cars themselves produced the others. The Cars did not add a new bassist to the lineup to replace Orr; instead, the album's bass parts were programmed or performed by Hawkes and Lee, with Hawkes playing a bass once owned by Orr. While Ocasek and Orr split vocal duties on past albums, Move Like This is the only album to feature Ocasek as the sole lead vocalist. In a Rolling Stone interview, Ocasek said, "I was aware that on half of the new songs, Ben would have done better than I did. But we never wanted anybody from the outside." Orr was given special thanks in the liner notes: "Ben, your spirit was with us on this one." According to Billboard, the album was recorded in engineer Paul Orofino's studio in Millbrook, New York. Additional recording sessions were held in Los Angeles. The title of the album comes from a line in the song "Too Late"; one of the working titles for the album was Sharp Subtle Flavor. Ocasek decided to title the album Move Like This as a reference to the band's reputation for not moving around very much onstage. ## Release and reception In October 2010, the band released a one-minute clip of "Sad Song" and a 73-second sample of another track from the album, "Blue Tip", on their Facebook page; a snippet from a third track, "Free", was later posted on the band's page. FMQB described "Free" as a "return to the classic Cars sound that fans know and love." On February 17, 2011, the band posted the full video for "Blue Tip" on their Facebook page. The first single, released in March, was the track "Sad Song". Exclaim! magazine comments that "[d]espite the title and lyrics, it doesn't sound particularly sad, as it contains a cheery beat and a catchy mix of synths and guitars." Move Like This was released on May 10, 2011, and debuted at \#7 on the Billboard 200 albums chart. The album received generally positive reviews from critics: in a three-and-a-half star review, Rolling Stone praised the "skillful restraint" of the band and Lee's production work, describing the album as "taut, sleek, seamless, [and] efficient". The A.V. Club awarded the album a "B" rating, praising the "catchy" "Blue Tip" and "Sad Song", and noting the latter song's similarity to "My Best Friend's Girl" from the band's 1978 debut. Allmusic reviewer Stephen Thomas Erlewine rated the album four out of five stars, describing the album as "as bright, infectious, and tuneful as the Cars at their prime." Spin, however, granted the album a 5 out of 10 rating, criticizing the "clunkiness" of Ocasek's lyrics. NPR's Elizabeth Nelson called Move Like This a "fine new album" and singled out "Blue Tip" as "an incandescent pop gem" with a "brilliant" musical structure and "an absolutely relentless sing-along chorus". ## North American tour In April 2011, the band announced a North American tour to support the album. The 11-city tour began May 10 in Seattle and concluded May 26 at the House of Blues in Boston. The performances and set lists were met with mixed reviews: The Hollywood Reporter reviewer Erik Pedersen found Move Like This to be a "surprisingly good" album but described the May 12 Hollywood Palladium show as "icy" and unenthusiastic. San Jose Mercury News reviewer Jim Harrington described the band's performance at Oakland's Fox Theater as "incredibly flat and dispassionate", but praised the band's "solid" musicianship. The Cars appeared on Late Night with Jimmy Fallon in both May and September with performances filmed in May in support of the album. In August, the band participated in Lallapalooza in Chicago then two nights later appeared on The Colbert Report, performing Keep on Knockin from Move Like This and My Best Friends Girl from their debut album. Songs performed on the tour include Move Like This tracks "Blue Tip", "Keep on Knocking", "Sad Song", "Free", "Drag on Forever" and "Hits Me", as well as material from the band's 1970s and 1980s albums. On the tour, Orr's bass parts were performed by Hawkes on keyboard and bass, while the vocals on songs originally sung by Orr ("Just What I Needed", "Let's Go" and "Moving in Stereo") were performed by Ocasek. ## Track listing ### Best Buy edition This enhanced CD also has videos for "Sad Song" and "Blue Tip". "Rocket USA" is a cover of a 1977 song by the American band Suicide, from their self-titled debut. ### iTunes and Japan editions ## Personnel The Cars - Ric Ocasek – lead and backing vocals, guitars, keyboards - Elliot Easton – guitars, backing vocals - Greg Hawkes – keyboards, guitars, bass, backing vocals - David Robinson – drums, percussion, backing vocals Additional personnel - Jacknife Lee – bass - Mixed by Rich Costey - Digital Engineer – Charlie Stavish - Mastered by Vlado Meller Tracks 1, 4, 5, 6 and 10 - Produced by Jacknife Lee - Engineered by Sam Bell - Assisted by Chris Owens and Vanessa Parr - Editing by Jared Scott Tracks 2, 3, 7, 8 and 9 - Produced by the Cars - Engineered by Stephen George - Assisted by Paul Orofino ## Chart performance ### Weekly charts ### Year-end charts	[ "## Background", "## Release and reception", "## North American tour", "## Track listing", "### Best Buy edition", "### iTunes and Japan editions", "## Personnel", "## Chart performance", "### Weekly charts", "### Year-end charts" ]	1,539	35,223
1,223,396	Mi Reflejo	1,171,428,416	null	[ "2000 albums", "Albums produced by Guy Roche", "Albums produced by Matthew Wilder", "Albums produced by Rudy Pérez", "Albums produced by Sergio George", "Christina Aguilera albums", "Latin Grammy Award for Best Female Pop Vocal Album", "Latin pop albums by American artists", "RCA Records albums", "Spanish-language albums", "World music albums by American artists" ]	Mi Reflejo (English: My Reflection) is the second studio album and first Spanish-language album by American singer Christina Aguilera. It was released on September 12, 2000, as a joint effort between RCA Records and BMG U.S. Latin. After the commercial success of her debut studio album effort, Christina Aguilera (1999), Aguilera recorded her follow-up project during 2000. It includes five Spanish-language versions of tracks from her previous album, in addition to four original compositions and two cover songs. The tracks were adapted and composed by Rudy Pérez who also produced the album. In the United States, Mi Reflejo peaked at number-one on the Billboard Top Latin Albums and Latin Pop Albums charts where it spent 19 weeks at the top of both charts, becoming one of the longest albums to chart at number one. The album was the best-selling Latin pop album of 2000 and was certified 6× Platinum (Latin field) by the Recording Industry Association of America (RIAA). It reached number two in Argentina and Uruguay, as well as number five in Mexico, and has sold 2.2 million copies worldwide. Upon its release, Mi Reflejo received generally mixed reviews from music critics, who noted musical similarities to Christina Aguilera. Despite this, the album achieved success, with Aguilera receiving the Latin Grammy Award for Best Female Pop Vocal Album and two Billboard Latin Music Awards. Three singles were released from the album: "Ven Conmigo (Solamente Tú)", "Pero Me Acuerdo de Ti" and "Falsas Esperanzas". To promote the album, Aguilera extended her tour, Christina Aguilera in Concert, into 2001 for eight more dates and performed at the 43rd Annual Grammy Awards. ## Background and composition According to her manager Steve Kurtz, Aguilera expressed interest in recording a Spanish-language album before she recorded her debut studio album Christina Aguilera. At the time, Aguilera was simultaneously touring to promote her debut album and recording a Christmas album My Kind of Christmas, released later in 2000. Mi Reflejo was intended to be titled Latin Lover Girl; the title's origin came from the Spanish version of the song "Reflection", which Aguilera recorded for the soundtrack to Mulan. In 1999, she began recording in Miami with Cuban-American producer Rudy Pérez. He co-wrote the songs "Si No Te Hubiera Conocido", "Cuando No es Contigo", and "El Beso Del Final". He also composed the Spanish versions of "Come On Over Baby (All I Want Is You)" ("Ven Conmigo (Solamente Tú)"), "Genie in a Bottle" ("Genio Atrapado"), "I Turn to You" ("Por Siempre Tú"), "What a Girl Wants" ("Una Mujer"), and "Reflection" ("Mi Reflejo"). Aguilera covers Perez's song "Pero Me Acuerdo de Ti", which was originally performed by Puerto Rican singer Lourdes Robles on her album Definitivamente (1991). Pérez stated that Aguilera did not know any Spanish while recording; he remedied the problem by phonetically writing out lyrics and included a system that allowed Aguilera to pronounce the "r's" in the songs. Mi Reflejo features a cover of César Portillo de la Luz's bolero "Contigo En La Distancia". Additionally, Aguilera made a duet with Puerto Rican singer Luis Fonsi on the ballad "Si No Te Hubiera Conocido". Aguilera wanted Fonsi to perform a duet with her because she felt that she could relate to him as they "grew up listening to the same things". "Cuando No es Contigo" is an uptempo salsa song which was arranged by Sergio George. "Falsas Esperanzas" is another uptempo song in the album which features Cuban musician Paquito Hechevarria performing the piano. ## Reception ### Critical reception At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, Mi Reflejo received an average score of 56, based on seven reviews, indicating "mixed or average reviews". Stephen Erlewine of AllMusic described the album as a mirror image of her debut album Christina Aguilera. He felt that it was a "little too familiar" although he praised recordings as "well-produced"; however, he concluded that the album "doesn't add anything new to her music, since it's just the old music in new clothing." An editor for Billboard wrote that Aguilera has yielded a mostly mainstream pop album with Latin inflections. Eliseo Cardona of CDNow gave the album a mixed review. While he enjoyed Aguilera's vocal performance, which he described as " precisely, gracefully, forcefully ", he criticized the literal Spanish translation of the lyrics from English, which he said made a "good laugh and a better yawn". He commended "Cuando No es Contigo" as making Aguilera a "credible, expressive salsera" and her cover of "Contigo en la Distancia" as the album's finest moment. David Browne of Entertainment Weekly, who gave the album a C rating, wrote the review in a parody memo from Aguilera's point of view. He mocked at Aguilera's attempt at making a Spanish-language album simply because of her Ecuadorian heritage, criticized her "unnecessary" high note", ballads that "old Latin ladies'll like", and the photos used in the album's booklet. Mike Magnuson of HOB.com wrote a critical review of the album admonishing the photos in the record for attempting to make Aguilera look Latino which he insisted was a bad influence for the younger audience. Though he mentions that "you can count on her agreeable voice" and lauded the use of Latin percussion and horns, he asserted that the record was "purely a marketing scam gone too far." Parry Gettelman from Orlando Sentinel stated that "Mi Reflejo lacks emotional depth, and her decision to record in Spanish seems more a bid to conquer new chart territory than anything else". Sonicnet called its production "superslick" and compared Aguilera's vocals to that of Mariah Carey, completing that the album "almost guarantees that the diminutive diva will expand her colonial powers south of the border. In other words, she's planning to do a reverse Ricky Martin on us". Ernesto Lechner of the Los Angeles Times rated the album two out of four stars comparing her vocals in her debut album and in Mi Reflejo, describing her performance in the latter as "ridiculous". He complained about Aguilera's cover of "Contigo en la Distancia" which he described as a "bloated confection". Kurt B. Reighley from Wall of Sound wrote that the album is "an impressive addition to young Christina's limited canon". ### Accolades ## Promotion To promote Mi Reflejo, Aguilera extended her tour, Christina Aguilera in Concert, into 2001 for eight more dates, visiting Mexico, Puerto Rico, Venezuela, Panama and Japan. Aguilera also gave a performance at the 2001 Grammy Awards, performing "Pero Me Acuerdo de Ti" and "Falsas Esperanzas". ### Singles The lead single of album was "Ven Conmigo (Solamente Tú)", the Spanish version of "Come On Over Baby (All I Want Is You)", which was released on August 8, 2000, to Latin radio stations. The song reached number-one on the Billboard Hot Latin Songs and number two on the Billboard Latin Pop Songs charts. It also peaked at number eight in Spain. The second single, "Pero Me Acuerdo de Ti" was released in December 2000. The song reached number eight on the Hot Latin Songs and number five on Latin Pop Songs charts. In Spain, it reached number three on the chart. Its music video was directed by Kevin G. Bray. The third single "Falsas Esperanzas" was released on July 3, 2001. The song reached number fifteen in Spain. Its music video, taken from her DVD My Reflection, was directed by Lawrence Jordan. "Genio Atrapado" and "Por Siempre Tú" were previously released as singles along with their original versions. The former single peaked at number thirteen on the Billboard Hot Latin Songs chart while the latter single peaked at number six on the Hot Latin Songs and number two on the Billboard Latin Pop Songs chart. ## Legacy and achievements In September 2018, Mi Reflejo was ranked number ten on the Billboard'''s Top 20 Latin Albums of All Time, and in 2020 the same media brand included it on its list of the longest-leading albums of all time on the Top Latin Albums chart (at number twelve). The album spent 19 weeks at number one on Billboard's Top Latin Albums ranking at number 13 with the most weeks at number one. Mi Reflejo was best fifth best-selling Latin album of 2000 and became the second best-selling Latin album of the year later after Paulina by Paulina Rubio. The album was also the best-selling Latin pop album of 2000. In a 2020 statement for Billboard, Aguilera noted that she "was excited to bring a new life to [the] songs and reinvent [them]". She added that she "was allowed to create and express new ad libs and vocal runs that [she] wasn't given the freedom to do on her original record". New York Daily News writer Muri Assuncão noted that after the release of the album, Aguilera went on to use "her Latin charm and sultry persona — not to mention her jaw-dropping four-octave vocal range — to become one of pop music's most beloved icons". In the 2021 article for POPline, it was noted that Mi Reflejo introduced Aguilera to the general public as a "fearless" and "versatile" artist, and also "played a pivotal role in the expansion of Spanish-language music within today's American pop scene." ## Commercial performance Mi Reflejo debuted at number 27 on the US Billboard 200 selling nearly 43,000 copies in its first week. On the same week, the album debuted at number-one on the Billboard Top Latin Albums chart and replaced Son by Four's eponymous album. It spent nineteen weeks on top of the chart until was it replaced by Vicente Fernández for his greatest hits album Historia de un Idolo, Vol. 1. The album debuted at number one on the Billboard Latin Pop Albums chart where it succeeded Galería Caribe by Ricardo Arjona. It also spent nineteen weeks on top of this chart until it was replaced by Abrázame Muy Fuerte by Juan Gabriel. According to Nielsen SoundScan, it has sold 487,000 copies in the United States as of 2014. On September 10, 2001, the album was certified 6× Platinum in the Latin field for shipping 600,000 copies by the Recording Industry Association of America (RIAA). Internationally, the album peaked at number two on the Argentine albums chart and was certified platinum by the Cámara Argentina de Productores de Fonogramas y Videogramas (CAPIF). It also peaked at fifty-four in Switzerland and certified platinum in Mexico by the Asociación Mexicana de Productores de Fonogramas y Videogramas (AMPROFON). It reached number five on the official Mexican Albums Chart. In Spain, the album peaked at number twelve on the Spanish Albums Chart and was certified Platinum in the country for shipping 100,000 copies. The album has sold 2.2 million copies worldwide as of 2006. ## Track listing ## Personnel Adapted from the liner notes of Mi Reflejo''. Musicians - Christina Aguilera – vocals - Richard Bravo – percussion - Ed Calle – saxophone - Tony Concepcion – trumpet - Geannie Cruz – background vocals - Luis Fonsi – performer - David Frank – drums, keyboard - Jerry Goldsmith – conductor - John Goux – guitar - Paquito Hechavarría – piano - Julio Hernandez – bass - Steve Kipner – drums, keyboard - Matt Laug – tambourine - Lee Levin – drums - Manny Lopez – acoustic guitar - Raúl Midón – background vocals - Rafael Padilla – percussion - Agustin Pantoja – palmadas - Wendy Pederson – vocals - Rudy Pérez – producer, arranger, songwriter, keyboards, Spanish guitar - Clay Perry – keyboard, programming - Tim Pierce – guitar - Rubén Rodríguez – electric bass - Michael C. Ross – keyboard - Dana Teboe – trombone - Michael Thompson – guitar - Dan Warner – guitar - Matthew Wilder – orchestration - Aaron Zigman – orchestration Production - Producer: Rudy Pérez - Executive producers: Ron Fair, Diane Warren - Engineers: Paul Arnold, Bob Brockman, Mario DeJesús, Mike Greene, Mario Lucy, Joel Numa, Paul Rein, Michael C. Ross, Bruce Weeden - Assistant engineers: Tom Bender, Michael Huff - Mixing: Mike Couzzi, Mick Guzauski, Peter Mokran, Dave Way, Bruce Weeden - Programming: Rudy Perez, Guy Roche, Michael C. Ross - Drum programming: Rudy Perez - Percussion programming: Rudy Pérez - Arrangers: Rudy Perez, Ed Calle, David Frank, Sergio George, Ron Harris - vocal arrangement: Ron Fair - String arrangements: Gary Lindsay, Rudy Pérez - Vocal arrangement: Rudy Pérez - Orchestration: Matthew Wilder, Aaron Zigman ## Charts ### Weekly charts ### Year-end charts ### Decade-end charts ## Certifications and sales ## See also - 2000 in Latin music - List of number-one Billboard Top Latin Albums of 2000 - List of number-one Billboard Top Latin Albums of 2001 - List of number-one Billboard Latin Pop Albums from the 2000s - List of best-selling Latin albums	[ "## Background and composition", "## Reception", "### Critical reception", "### Accolades", "## Promotion", "### Singles", "## Legacy and achievements", "## Commercial performance", "## Track listing", "## Personnel", "## Charts", "### Weekly charts", "### Year-end charts", "### Decade-end charts", "## Certifications and sales", "## See also" ]	2,998	31,803
38,792,036	Water polo at the 2000 Summer Olympics – Women's tournament	1,152,147,639	Olympic water polo event	[ "2000 in women's water polo", "Water polo at the 2000 Summer Olympics", "Women's events at the 2000 Summer Olympics" ]	The women's water polo tournament at the 2000 Summer Olympics in Sydney, Australia, was held from 16 to 23 September 2000, with six teams competing in the debut tournament. The games were held at the Ryde Aquatic Centre and the Sydney Olympic Aquatic Centre. It was the first time in history that women's water polo officially competed at the Summer Olympics. The tournament's format saw the six teams compete in a round-robin with the top four teams qualifying through to the semi-finals while the fifth and sixth teams competed in the fifth place playoff. From there, the winners of the semis met in the gold medal match while the losers met in the bronze medal match. At the end of the round-robin, Australia, the Netherlands, Russia and the United States finished in the top four. After the Australians and the Americans each won their semi-final, they met in the final which was played on 23 September 2000. With the match tied at 3–3, Yvette Higgins scored the winning goal with only 1.3 seconds left on the clock to give Australia the gold medal. Russia captured bronze, beating the Netherlands 4–3. ## Background and qualification The women's water polo tournament at the 2000 Summer Olympics was the first time the tournament was held at the Olympic Games. Previous tournaments included the World Aquatics Championships (since 1986) and the World Cup (since 1979). Despite it being held as a demonstration sport at the 1984 Summer Olympics in Los Angeles, women's water polo was not accepted as part of the 2000 Olympics until October 1997. 15 teams attempted to qualify through to the tournament with two qualification paths to the Olympics. The World Cup, which was held in Winnipeg, Canada, where the Netherlands and Canada qualified through as the leading European and American team for the tournament. The final qualifier was held in Palermo, Italy, in April 2000. The top two teams (Russia and the United States) qualified. Kazakhstan, who finished in sixth place, qualified through the spot reserved for Asian teams. ## Preliminary round ### Summary The tournament began on 16 September 2000, with all six teams competing on the first day. In the first match, Olga Leshchuk scored the opening goal of the tournament for Kazakhstan, but Australia dominated with Bridgette Gusterson scoring three goals and Yvette Higgins two goals as Australia defeated Kazakhstan 9–2. The following match saw Russia and Canada finish with a seven all draw which the Edmonton Journal described as a match like "old style Russia-Canada hockey". The final match of the opening day saw the United States defeat the Netherlands 6–4, despite the Dutch coming back early in the third quarter. The following day, Australia became the only team to be two for two in the tournament after breaking the three all deadlock with goals from Gusterson and Melissa Mills as they went on to defeat Russia 6–3. The Americans came back from a three goal deficit at the start of the final quarter to secure a goal in the last seconds of the game to finish with a draw with Canada. For the Canadians, the plan to control the shot-clock failed because of errors leading to their second draw of the tournament. The final match of the second day saw the Netherlands defeat Kazakhstan 8–6 with Daniëlle de Bruijn and Marjan op den Velde both scoring three goals in the victory. Day three of the preliminary round saw the first loss for the Australians, 5–4 to the Dutch. This was despite three goals from Yvette Higgins as the Dutch took the victory at the start of the final quarter. The Americans took top spot in the group after Coralie Simmons scored three goals as they worked their way to a 7–5 win over Russia. Four Canadians scored two goals each in the final match of the day as they romped over Kazakhstan 10–3 to record their first win of the campaign. In the process, they kept Leschuk goalless in the match. The fourth day of the preliminary round saw the first teams to qualify through to the semi-finals. In the opening match of the day, the Australians defeated the undefeated Americans 7–6 to book a spot in the semis with the United States. In a tense match, the Australians got the victory from a turnover when Bridgette Gusterson scored the winning goal with a long shot in the last thirty seconds of the match. The first half dominance by Russia strengthened their chance of a semi-final as they scored ten goals, five of those being from player advantage situations. This performance led to the biggest victory of the tournament, as Russia won 15–6, knocking Kazakhstan out of the tournament in the process. The Netherlands became the third team to qualify through to the semis after two goals from Danielle de Bruijn and Karin Kuipers secured a 7–4 win over Canada. The final day of the preliminary round began on 20 September. In the opening match, Australia finished top of the group after defeating the Canadians 9–4 with goalkeeper, Danielle Woodhouse saving nine of the 13 shots for Australia and Simone Hankin scoring three goals in the victory. The following match, Russia book the final spot in the semis with a 6–3 win over the Netherlands, knocking Canada out of the competition in the process. Sofia Konoukh was the top scorer in the match with three goals, as the Russians played with greater tenacity and purpose. In the final match of the preliminary round, the United States took their advantage of power plays, scoring five out of seven attempts as they went to win 9–6 over Kazakhstan. ### Standings ### Matches ## Final round ### Bracket ### Semifinals The women's tournament semifinals took place on 22 September. The opening semi saw the Australians take on Russia. During the opening half, the Australians struggled across both ends of the pool as the Russians opened up a 4–3 lead at half-time. The Russians seeming to be in control and with five minutes left, held firm with a 6–4 lead. But three late goals, including two in the last ninety seconds, booked the Australians a spot in the final with a 7–6 victory. At the end of the match, coach Istvan Gorgenyi responded saying, "the girls made a miracle happen with their hearts". In the other semi-final, the Americans fought hard as they knocked out the then-World Cup champions, the Netherlands 6–5. This was due partly to two goals from Maureen O'Toole and Coralie Simmons. At the end of the match, United States coach Guy Baker said, "we know we're going to get a medal, a lot of this is indescribable". ### 5th place match The battle for fifth place took place on the same day as the semi-finals, with the Canadians coming out on top in the match with a goal by Jana Salat in the second period of overtime, giving Canada the fifth spot. ### Bronze medal match The second-to-last match of the tournament saw the Russians take home the bronze medal as they defeated the Netherlands 4–3. Two goals in the last two minutes of the match from Sofia Konoukh and Ioulia Petrova brought Russia back from a 3–2 deficit to the bronze medal. For the Netherlands, this meant they had failed to win a medal in a major water polo competition across 17 tournaments in the World Cup and the World Championships. ### Gold medal match With a crowd of 17,000 watching the gold medal match, including Australian prime minister John Howard, the Australians and the Americans battled in a final which went undecided until the last few seconds. The Americans had opened up a one-goal lead in the first and second quarter before the Australians leveled the match at two all after three quarters. Goalkeeping from both Bernice Orwig and Liz Weekes kept the match level until the final two minutes when Naomi Castle gave the Australians the lead with a goal at a player advantage. Brenda Villa tied the match at three all with only 13 seconds left in the match as the Americans took the advantage of a foul by the Australians. In the final seconds, a foul was called on Julie Swail of the U.S., and with 1.3 seconds left on the clock, the Australians scored the match winning goal from Yvette Higgins to give Australia not only the win but their first gold medal in women's water polo. ## Final ranking At the end of the tournament, Australia recorded their fourth gold medal in a major water polo competition. Their three previous gold medals were won in 1984, 1995 (both FINA World Cups) and the 1986 World Aquatic Championships. ## Medalists	[ "## Background and qualification", "## Preliminary round", "### Summary", "### Standings", "### Matches", "## Final round", "### Bracket", "### Semifinals", "### 5th place match", "### Bronze medal match", "### Gold medal match", "## Final ranking", "## Medalists" ]	1,808	33,759
31,460,808	Big Fat Bass	1,171,620,526	2011 song by Britney Spears	[ "2011 songs", "Britney Spears songs", "House music songs", "Song recordings produced by will.i.am", "Songs written by will.i.am", "Will.i.am songs" ]	"Big Fat Bass" is a song recorded by American singer Britney Spears for her seventh studio album, Femme Fatale (2011). It features the vocal collaboration of American rapper will.i.am. The house song was written and produced by will.i.am as a celebration to the bass and its influence on club music. The song contains a double entendre gender metaphor sung by Spears. "Big Fat Bass" received mixed reviews from contemporary music critics, who deemed it an instant radio and club hit, and also considered it the most old-school work on the album. However, a few reviews considered it as an unfortunate collaboration with will.i.am, and dismissed Spears' heavily processed vocals. Following the release of Femme Fatale, "Big Fat Bass" charted at number 31 on the South Korean International Singles chart, and at number 18 on Billboard's Hot Dance/Electronic Digital Songs for a week. Spears performed the song at Rain Nightclub, Good Morning America and Jimmy Kimmel Live!. The performance on the latter aired after three months due to technical problems. She has also performed it during the Femme Fatale Tour (2011). ## Background and composition Spears spoke to V about the sessions for Femme Fatale, commenting that she had been recording the album for two years. On February 8, 2011, Spears tweeted she was in the studio with will.i.am, recording a song for the album. Later, the producer described the collaboration as "a monster. It's mean, pretty, edgy, next level. [...] She's singing fresh over it. It's something that today needs," and unveiled a teaser of the song through a blog message on February 28, 2011. In an interview with Rolling Stone, Spears commented that she is a fan of the Black Eyed Peas, due the fact that the band "make[s] incredibly catchy, fun pop/dance records and I LOVE will.i.am's style. I have always wanted to do a song with him and would love to work with him more in the future. He is so interesting." will.i.am also praised Spears for the song, saying, "Thank you Britney for collaborating it was a pleasure working with you. Thank you for trusting my instincts. You're a doll." "Big Fat Bass" was written and produced by will.i.am, and Spears recorded her vocals for the song at Ethernet Studios in Los Angeles, California and at The Record Plant in Hollywood, California. "Big Fat Bass" is a house song with a length of four minutes and forty-five seconds. will.i.am revealed that the song celebrates bass — which he considers the most important element in club music. "Big Fat Bass" opens with piano-infused background and an electronically altered voice of will.i.am singing, "Big fat bass/the big fat bass." As the beat begins, Spears start to rap "I can be the treble, baby/You can be the bass/You can be the bass." Nicole James of MTV News considered the "dramatic piano/house music intro" of the song reminiscent to "Another Night" (1993) by Real McCoy, while Sal Cinquemani of Slant Magazine wrote that it recalls "When I Hear Music" by Debbie Deb. The song's lyrics also intercalates with a double entendre gender metaphor, where Spears sings "It's gettin bigger/The bass is getting bigger". Spears' vocals were also deemed as heavily processed, yet similar to the ones of Fergie and Rihanna. ## Critical reception Alexis Petridis of The Guardian wrote that "Big Fat Bass" is "the most old-school work" on Femme Fatale, with Robert Copsey of Digital Spy considering the album's production "polished, intriguing and – best of all – fun", exemplifying the piano breakdown in the song. Keith Caulfield of Billboard said he could "completely hear this track blasting in a club, with Spears cooing 'I can be your treble' while the crowd screams back 'you can be my bass!'." The Daily Collegian's stated that the song is "catchy", yet different from "Till the World Ends" and "Hold It Against Me", and added that "the combined star power of Spears and Will.i.am would have surely made it a radio hit." The Independent journalist Andy Gill noted that the album sounds more programmed than natural, but said that the song "sticks to dancefloor essentials". David Buchanan of Consequence of Sound thought that the song "might as well be a B-side to 'The Time (Dirty Bit)' (otherwise known as the most annoying Black Eyed Peas song ever created)." Both Stephen Thomas Erlewine of Allmusic and About.com reviewer Bill Lamb selected it as a top song on Femme Fatale. Lamb further added that the song "will leave you laughing as you sing along on the dance floor." Rudy Klapper of Sputnikmusic wondered how "Big Fat Bass" is not a Black Eyed Peas song, and further commented that "for every ill-advised will.i.am guest spot... there's an out-of-left field flute... solo that actually works." Thomas Conner of the Chicago Sun-Times considered the song "one unfortunate collaboration," while saying Spears "herself could beat [will.i.am] in a rap battle." Similarly, Eric R. Danton of the Hartford Courant deemed the "banal" song as "characteristically vapid, with a refrain that quickly progresses from inane to annoying." Robert Everett-Green of The Globe and Mail wrote that "Big Fat Bass" is a "verseless tune", and commented that "[will.i.am] thought it would be fun to make [Spears] sound like Rihanna" on the song. Braulio Lorentz of Billboard Brasil said that "even will.i.am can't save [the album]" with "Big Fat Bass". The Idolator staff noted that the song has "all the strengths and weaknesses of your average Black Eyed Peas tune – it's catchy but repetitive, danceable with pretty inconsequential lyrics, and has the potential to become annoying if played too frequently." Writing for Glamour, Christopher Rosa thought it "strips Spears of all personality and leaves her stranded in a sea of headache-inducing beats", and he named it Spears's sixth-worst song of all-time. Rob Sheffield of Rolling Stone was critical: "Imagine how bad a Will.I.Am production for Britney called 'Big Fat Bass' might be. Now multiply that by 10. You have just imagined 'Big Fat Bass.'" ## Live performances Spears first performed "Big Fat Bass" at Rain Nightclub in the Palms Casino Resort on March 25, 2011. Following the performance of "Hold It Against Me", she emerged from a speaker box and danced around the stage, sporting a body-hugging latex bodysuit. The song was remixed for the performance with elements of "Womanizer", "3", "Gimme More" and "I'm a Slave 4 U". Jocelyn Vena of MTV News stated that the performance had Spears' fans amazed. The singer also taped performances of "Hold It Against Me", "Big Fat Bass" and "Till the World Ends" at the Bill Graham Civic Auditorium on March 27, 2011, that aired on Good Morning America on March 29, 2011. Pop Crush's Cristin Maher noted that the singer "definitely let loose more as she popped and locked alongside her dancers, but still failed to wow us with her dancing." The same day, Spears performed the set on Jimmy Kimmel Live!. However, the performance of "Big Fat Bass" aired on May 24, 2011 due to technical problems. The song was added to the setlist of 2011's Femme Fatale Tour. Spears sported a pink latex and lace jacket during the performance, which had a similar setting to early performances of the song. Additionally, will.i.am appeared in the backdrops. ## Credits and personnel Technical - Recorded and Engineered at Ethernet Studios in Los Angeles, California and The Record Plant in Hollywood, California - Mixed at The Record Plant in Hollywood, California Personnel - Britney Spears – lead vocals - will.i.am – guest vocals, songwriting, producer, piano, synths, programming, vocal recording - DJ Ammo – additional programming, synths, piano - Dylan "3D" Dresdow – mixing - Padraic "padlock" Kerin – vocal recording Source: ## Charts For the week ending April 7, 2011, "Big Fat Bass" debuted at number 31 on the South Korean International Singles Chart, selling 8,874 digital downloads. It also charted on Billboard's Dance/Electronic Digital Songs on April 16, 2011 at number 18.	[ "## Background and composition", "## Critical reception", "## Live performances", "## Credits and personnel", "## Charts" ]	1,834	7,948
2,279,471	Amanda Award	1,117,841,170	Annual Norwegian film award	[ "1985 establishments in Norway", "Awards established in 1985", "Haugesund", "Norwegian International Film Festival", "Norwegian film awards" ]	The Amanda Award (Norwegian: Amandaprisen) is an award given annually at the Norwegian International Film Festival in Haugesund, Norway, to promote and improve Norwegian film. The award originated in 1985, and has since 2005 been exclusively a film award (not television). Winners are awarded a trophy by the Norwegian sculptor Kristian Kvakland, and the name—and theme—of the sculpture comes from a legendary local woman from the 1920s. The award ceremony is marked every year by a major, nationally televised event. ## History The Amanda Award was instituted in 1985 as part of the Norwegian International Film Festival "to increase the quality of and further the interest for Norwegian films". The year 1993 marked an exception to the norm, when the so-called "Nordic Amanda" included contribution from all the Nordic countries. From 2005 onwards, TV-drama was no longer included among the categories honoured, as the TV-specific award "Gullruten" had taken over this function. Instead the award became exclusively for films. Around the same time another change occurred also. Since the beginning, the award ceremony had been produced in cooperation with the Norwegian state broadcasting corporation Norsk rikskringkasting (NRK). In 2006, however, NRK ended the partnership, and the show has since that time been the responsibility of the private broadcasting company TV 2. In the year 2007, a "People's Amanda" ("Folkets Amanda") was awarded for the first time, where the winner was arrived at by popular vote. The first winner of the award was the horror movie Fritt Vilt, directed by Roar Uthaug. ## Sculpture The name "Amanda" is derived from a song, or sea shanty, titled "Amanda fra [from] Haugesund". Supposedly the song in turn refers to a real woman from the 1920s – a single mother who made a living from selling liquor to sailors during the prohibition period. The figurine that is awarded to prize winners originated from a competition held by the local newspaper Haugesunds Avis in 1985, to create a sculpture of the legendary Amanda. The competition was won by Kristian Kvakland from Nesodden in Akershus. The full-size sculpture now stands outside the newspaper's office, but a miniature version was adopted as a trophy for the Amanda Award. The figurine is 30 cm (11.81 in) tall, with a skirt measuring 14 cm (5.51 in) in diameter. While the current sculpture is hollow and weighs 2.5 kg (5.51 lbs), for the first few years it was made of solid metal. Weighing in at 4.5 kg (9.92 lbs) it was difficult to hoist for many winners. It was one of these prizes that, in the year 1986, was won by director Anja Breien, who decided to sell it through a newspaper advert, as a protest against that year's budget cuts for Norwegian film. The Swedish Film Institute, which had experienced similar cuts and sympathized, bought the sculpture. In 2005, as Breien was presented with an honorary award, she was also given back the original sculpture by former Minister of Culture and director of the Swedish Film Institute, Åse Kleveland. ## Show The award show has long been a central point of the film festival, as well as a major television event for the whole of Norway. Particularly in earlier years, international stars were sometimes brought in to enhance the prestige of the event. Examples of this are Roger Moore, who was a special guest at the very first ceremony in 1985, and Diana Ross in 1987, then married to Norwegian entrepreneur Arne Næss, Jr. Other international names appearing in the show as presenters have included Ned Beatty, Lauren Bacall, Jon Voight, Brian Cox, Jeremy Irons, Ben Kingsley and Pierce Brosnan. The show has in recent years been hosted by prominent Norwegian comedians. Jon Almaas, known from the TV-show "Nytt på nytt", played host for several years in the early 2000s. Thomas Giertsen, known as a stand-up comedian and from several TV-shows, has hosted the show in recent years. An episode that received some media attention in 2005 was when host Marit Åslein and Minister of Culture and Church Affairs from the Christian conservative party KrF, Valgerd Svarstad Haugland, kissed on stage as part of a humorous routine. ## Awards and winners The only actor ever to have won four Amanda Awards is Bjørn Sundquist. These were awarded for the movies Over grensen (1987), Søndagsengler (1996) and Sejer - se deg ikke tilbake (2000), as well as an Honorary Award in 2000. Ane Dahl Torp has won three awards for specific acting roles: she won Best Actress for her roles in Svarte penger - hvite løgner (2004) and Gymnaslærer Pedersen (2006), and was the first ever to receive the newly created award for Best Actress in a Supporting Role for her effort in Lønsj in 2008. Sverre Anker Ousdal has also been named Best Actor twice, for Kreditorene in 1990 and Blodsbånd in 1998, and won the Honorary Award in 2009. Nils Ole Oftebro, Espen Skjønberg and Anneke von der Lippe have all been honoured twice each – Oftebro and Skjønberg once as lead actors and once as supporting actors. Among the directors, Ola Solum, Nils Gaup, Berit Nesheim and Bent Hamer have each received two awards. Erik Gustavson has the rare distinction of having won in three different categories: for best film and best documentary, in addition to winning the special "Nordic Amanda" in 1993. This is an accomplishment Kjersti Holmen can also claim, for winning the Best Actress award in 2000, Best Supporting Role in 1993, and the Honorary Award in 2009. The only film to have won the three main awards – best film, best actor and best actress – is Budbringeren in 1997. As of 2010, the categories awarded are: - Best Norwegian Film in Theatrical Release - Best Director (for films in theatrical release) - The People’s Amanda (audience vote) - Best Actor - Best Actress - Best Actor in a Supporting Role - Best Actress in a Supporting Role - Best Children’s and Youth Film - Best Original Screenplay - Best Cinematography - Best Sound Design - Best Music - Best Editing - Best Production Design / Scenography - Best Visual Effects - Best Short Film - Best Documentary - The foreign film of the year in Theatrical Release - The Amanda Committee's Golden Clapper (technical award) - The Amanda Committee's Honorary Award	[ "## History", "## Sculpture", "## Show", "## Awards and winners" ]	1,489	1,968
2,104,807	The Robbery	1,151,621,155	null	[ "1990 American television episodes", "Seinfeld (season 1) episodes" ]	"The Robbery" is the third episode of the first season of the NBC sitcom Seinfeld. It aired as the third episode of the season on June 7, 1990. It was written by Matt Goldman, making this the first Seinfeld episode not written by the show's creators, Jerry Seinfeld and Larry David. In the episode, Jerry leaves Elaine in charge of his apartment while he goes on tour. When he returns, he finds the apartment has been robbed after Kramer left the front door open. While Kramer promises to find the robbers, George offers him the chance to move into a much better apartment—a move he accepts, allowing Elaine to move into Jerry's apartment and away from her annoying roommate Tina. ## Plot Jerry goes away to perform some stand-up in Minneapolis, leaving Elaine to look after his apartment. Elaine is having trouble with an annoying roommate, Tina, who is a "Waitress/Actress" hoping to get a part, and asks George if he can find her some new accommodation. She then tries to persuade Jerry to give her his current apartment, with George offering Jerry a new apartment on West 83rd Street by Central Park which he claims is great. Jerry turns the offer down. When Jerry returns he finds the apartment has been burglarized because Kramer left the front door open by mistake. As a way of making up, Kramer promises to find the items that were stolen from Jerry. After the robbery, Jerry agrees to have a look at the new apartment. The apartment is great and Jerry takes it, allowing Elaine to move into the old apartment. Jerry is about to sign the lease to the apartment, but George tells him that if he was having second thoughts, he should not take it. Realizing that George wants the new apartment for himself, Jerry gambles with him for the apartment and wins. Meanwhile, Kramer thinks he knows where Jerry's stolen objects are, and suspects an Englishman along the hallway who denies having any "stuff" on him. Later in Monk's Café, Jerry goes back on the deal and decides not to take the place because George wants it. The two continue to argue about who should own it, and decide that neither of them should take it. A waitress, Carolyn, played by Anita Wise, overhears them and George offers the place to her. The waitress invites them and Elaine to her housewarming, but Jerry, George, and Elaine regret that Jerry didn't take the new apartment. They overhear two people having a conversation about someone else moving out of their apartment, to which all three ask what the apartment's rent is. ## Production "The Robbery" was written by Matt Goldman, making this episode the first not to be written by Jerry Seinfeld or Larry David and the only one not written by Seinfeld and David for the first production season. The idea for the episode was inspired by Seinfeld's own experiences of his apartment being robbed when he was a student, although rather than the door being unlocked as it was in the episode, the burglars broke through the walls. David was given a \$20,000 bonus by Castle Rock and was promoted to executive producer for his work on the episode. During the shooting of the episode, an earthquake struck the set, but no one was hurt. The episode is the first to mention the character of Tina, Elaine's actress roommate, although she does not appear in this episode. It is also the first episode to feature Kramer making a sliding entrance into Jerry's apartment, which became a trademark in all the later episodes. Carolyn the waitress, played by Anita Wise, and her husband Larry, are named after Seinfeld's own sister and brother-in-law. In the original draft of the script, the Englishman is called "Berbick." In the same script, Elaine asks Jerry what happened between Kramer and the Englishman. Jerry replies, "Kramer stayed there three hours. They're like best friends now." ## Reception When "The Robbery" first aired on June 7, 1990, it received a Nielsen rating of 13.6/24. This means that the episode was watched by 13.6% of American households, and that 24% of all televisions in use at the time were tuned into it. Reviews of the episode were mixed. Andy Patrizio from IGN.com wrote that "The Robbery" was the best episode of the first season of Seinfeld, saying that it showed "the dynamics that would come to define the show." However, Colin Jacobson for DVD Movie Guide said, "It lacks the great banter and play that marks the best episodes, but it doesn't come across as a total dud. It just seems a bit uninspired in the greater scheme of things."	[ "## Plot", "## Production", "## Reception" ]	966	22,005
58,228,999	Juventus Next Gen	1,173,794,852	Reserve team of Juventus FC	[ "2018 establishments in Italy", "Association football clubs established in 2018", "Coppa Italia Serie C winning clubs", "Football clubs in Turin", "Italian reserve football teams", "Juventus Next Gen", "Serie C clubs" ]	Juventus Next Gen (), also known as Juve Next Gen or Juve NG (), is a professional football club based in Turin, Piedmont, Italy, which acts as the reserve team of club Juventus. They compete in , and play their home games at the Stadio Giuseppe Moccagatta in Alessandria, a comune about 100 km away from Turin. Following the reintroduction of reserve teams in Italy, Juventus U23 was formed in 2018 and was registered to Serie C, the third level of the Italian league system. In the first years, the team reached the promotion play-off stages of Serie C, without gaining promotion. In the 2019–20 season, under coach Fabio Pecchia, Juventus U23 won the Coppa Italia Serie C after defeating Ternana in the final. The club changed its name to Juventus Next Gen in 2022. Juventus Next Gen remained the sole Italian reserve team until August 2023 when Atalanta founded its own. Due to the nature of the club as a reserve team, Juventus Next Gen needs to comply to certain regulations, such as not being eligible for promotion to Serie A and not competing in the Coppa Italia, the major national cup. The club, and in general FIGC's reserve-team project, has faced a lot of criticism, especially from fans of other Serie C teams due to their perceived lack of history. ## History ### Predecessors (1904–1976) Reserve teams were introduced in Italy in early 20th century, and played in the Seconda Categoria [it]. On 17 April 1904, the second team of Juventus lost the final 4–0 to Genoa II at the Ponte Carrega field. On 2 April 1905, after a 3–0 away win to AC Milan II, Juventus II obtained the mathematical certainy of first place at the final three-team group stage to win their only Seconda Categoria trophy. Juventus II also took part in the Campionato De Martino [it], another league dedicated to reserve teams, until the competition ceased in 1976; they won the 1959–60 edition. Juventus even had a third team who played friendly matches against local teams, and competed in the Terza Categoria [it] in the early 20th century. ### Juventus U23 (2018–2022) Juventus U23 were founded on 3 August 2018, following the reintroduction of professional reserve teams in Italian football after over 40 years, and was officially admitted to the Serie C championship. On 21 August, Luca Zanimacchia became the first scorer of the team's history after scoring the only goal in a 1–0 win over Cuneo in the group stage of the Coppa Italia Serie C. Juventus U23's first game in Serie C was a 2–1 away defeat to Alessandria, with Claudio Zappa scoring the team's first league goal. Juventus U23 ended their first season in 12th place with 42 points in 37 games, and were eliminated in the group stage of the Coppa Italia Serie C. In the 2019–20 season, coached by Fabio Pecchia, Juventus U23 won the Coppa Italia Serie C after beating Ternana 2–1 in the final on 27 June 2020. The club won its first trophy in their second year as a professional club. In August, U19 coach Lamberto Zauli was promoted to U23 level, replacing Andrea Pirlo (who became first-team coach), who had in turn taken Pecchia's place. Zauli coached for the following two seasons; in the last one, his Juventus U23 made their best-ever regular-season score with 54 points. ### Juventus Next Gen (2022–present) On 28 June 2022, Massimo Brambilla was appointed as Juventus U23's coach. On 26 August, the club changed its name to Juventus Next Gen. During the 2022–23 season, Juventus Next Gen failed to qualify for the promotion play-offs, as the team ended the league at the 13th place with 49 points. They also reached the final of the season's Coppa Italia Serie C, which they lost 5–3 on aggregate to Vicenza. ## Stadium Juventus Next Gen does not possess their own stadium, and share the Stadio Giuseppe Moccagatta with Alessandria as their home stadium. Although there had been an agreement among the two parts shortly after Juventus's reserve team's foundation, Alessandria's fans protested to not share their stadium. According to the agreement, Juventus Next Gen fans can sit only in the guests sector. Their players train at the Juventus Training Center in Vinovo. On 27 November 2022, Juventus Next Gen played exceptionally a match against Mantova at the Juventus Stadium, the first team home ground, in which tickets were free. The match was drawn 2–2, with Simone Iocolano scoring a brace for Juventus Next Gen and was seen by 28,572 fans present at the stadium. On 3 March 2023, the Juventus Stadium also hosted the first leg of the 2022–23 Coppa Italia Serie C [it] final between Juventus Next Gen and Vicenza with an attendance of 21,572 spectators and with Juventus Next Gen losing 2–1. ## Regulations Juventus Next Gen play in the same professional league system as their senior team, rather than a separate league dedicated for youth teams. However, the reserve team may not play in the same division or higher as their senior team, nor in the Coppa Italia, making Juventus Next Gen ineligible for promotion to the Serie A. Should both Juventus and Juventus Next Gen qualify in the same league, the reserve team must play in the league immediately below. In case of relegation to the Serie D, it may not register for this league and their activity is suspended. After one season, it may request the team be registered to the Serie C in case of vacancy. Juventus must pay an annual extraordinary fee of €1.2 million to have the reserve team registered to Serie C. In addition, Juventus may not take part to Lega Pro assemblies. They may insert a maximum of 23 players in their team sheets. Only four players aged more than 23 when the season started may be inserted in the team sheets. Up to a maximum of seven players who had been registered to a FIGC-affiliated club for less than seven sporting seasons may be included in the match list. In order to be eligible to play for Juventus Next Gen, players must have not been registered to the 25-man list of Serie A players and must have played at most 50 Serie A matches. Instead, to be eligible to play in promotion play-offs and in relegation play-outs, players must have not played over 25 first-team league matches of at least 30 minutes. If a player is suspended, he is unusable in both the first and reserve teams. Suspensions must be served in the team with whom he committed the infraction. ## Reception Juventus's reserve team and the second-team project itself led by FIGC have faced a lot of criticism. On 28 July 2018, before the team's official foundation, Sicula Leonzio president Giuseppe Leonardo criticised Juventus's choice to form their reserve team by saying: "Reserve teams are a flop, an experiment that does not lead to anywhere. Juventus B are going to be harmful and will distort the championship: they are not a newly promoted team but they are certainly going to be strong, we have seen this in women's football that the Bianconeri don't make a bad impression wherever they put their effort". In August 2018, Sportitalia director Michele Criscitellio criticised the second-team project by stating: "The mission of Juve[ntus] B was to get their youngsters to play and not to take away a place from the Serie C clubs to reach the Serie B. The buying power is so different that there would be no competition. It is pointless to make investments for whoever Juventus will end up in the group". In December 2018, Pisa's fans attacked Juventus U23 by stating, in an official statement: "B teams are an insult to the dignity of those who consider the Lega Pro their own Serie A", further noting that Pisa should not act as a "sparring partner" for "youngsters without a stadium and history". The fans also defected the two league matches against Juventus U23 in the 2018–19 Serie C. In September 2019, Arezzo's fans flew a banner in front of their bus saying "No to B teams". They too defected the match against them as they had done in April. In November 2021, Padova's fans considered Juventus U23 a "Super League franchise" and defected the two league matches against them. In July 2022, Lega Serie B president Mauro Balata expressed dissent towards reserve teams playing in Serie B, saying: "Our league embraces big and important cities. If another league wants to continue with this second-team project they can do so, but without affecting our rights and our history. It is not fair". ## Players ### Current squad ### Youth sector ### Notable players This list includes players that have appeared in at least one top-league and/or senior international game. - Giacomo Vrioni - Enzo Barrenechea - Matías Soulé - Koni De Winter - Daouda Peeters - David Wesley - Kaio Jorge - Grigoris Kastanos - Samuel Iling-Junior - Stephy Mavididi - Marley Aké - Tommaso Barbieri - Marco Da Graca - Alessandro Di Pardo - Nicolò Fagioli - Gianluca Frabotta - Paolo Gozzi - Fabio Miretti - Simone Muratore - Hans Nicolussi - Marco Olivieri - Manolo Portanova - Luca Zanimacchia - Martin Palumbo - Félix Correia - Matheus Pereira - Radu Drăgușin - Hamza Rafia - Franco Israel ## Coaching staff ## Managerial history Below is a list of Juventus Next Gen managers from 2018 until the present day. ## Season to season ## Honours - Coppa Italia Serie C - Winners (1): 2019–20 - Runners-up (1): 2022–23 ## See also - Juventus F.C. Youth Sector	[ "## History", "### Predecessors (1904–1976)", "### Juventus U23 (2018–2022)", "### Juventus Next Gen (2022–present)", "## Stadium", "## Regulations", "## Reception", "## Players", "### Current squad", "### Youth sector", "### Notable players", "## Coaching staff", "## Managerial history", "## Season to season", "## Honours", "## See also" ]	2,219	30,819
9,250,363	Andrew Crofts (footballer)	1,173,863,482	Wales international footballer	[ "1984 births", "Association football coaches", "Brighton & Hove Albion F.C. players", "Charlton Athletic F.C. players", "English Football League players", "English men's footballers", "English people of Welsh descent", "Footballers from Chatham, Kent", "Gillingham F.C. players", "Living people", "Men's association football midfielders", "National League (English football) players", "Newport County A.F.C. players", "Norwich City F.C. players", "Peterborough United F.C. players", "Premier League players", "Scunthorpe United F.C. players", "Wales men's international footballers", "Wales men's under-21 international footballers", "Wales men's youth international footballers", "Welsh men's footballers", "Wrexham A.F.C. players", "Yeovil Town F.C. players" ]	Andrew Lawrence Crofts (born 29 May 1984) is a former professional footballer who is currently a first team coach for Brighton & Hove Albion. He made 29 appearances for Wales at international level. He started his career with Gillingham, for whom he made his Football League debut at the age of 16, and made over 190 appearances for the Kent-based club. He had loans at Peterborough United and Wrexham during the 2008–09 season and joined Brighton & Hove Albion in 2009. After a successful season at Brighton he transferred to Norwich City in 2010, before moving back to the South Coast club in 2012. A tough-tackling midfielder, Crofts represented Wales, where one of his grandparents was born, at under-19 and under-21 level and won his first senior cap in 2005. In 2008, he won his 12th cap, breaking the record for the most international caps received by a Gillingham player. He became the head coach for Brighton U23s in June 2021 after spending a year as a player-coach of the academy. In September 2022, Crofts was made the interim head coach of the first team after the departure of Graham Potter. After the appointment of the new head coach Roberto De Zerbi, Crofts stayed on the first team as a coach. ## Early life Crofts was born in Chatham, Kent, and began playing competitive football at the age of six for a club in nearby Rainham. Between the ages of 10 and 15 he attended weekly training sessions organised by Premier League club Chelsea. He also tried out on two occasions for the English Schools Football Association's national schoolboy team, but was unsuccessful. ## Club career ### Gillingham In September 2000, Crofts joined Gillingham as a trainee and was a regular in the club's youth and reserve teams during the 2000–01 season. At the end of the season, shortly before his 17th birthday, he was a surprise inclusion in the first team squad for a match at home to Watford, and made his Football League debut as a late substitute, replacing Marlon King. The following season, he suffered a broken leg during a reserve team match and missed several months of the season. Although he returned to action in early 2002, his next appearance for the first team did not come until October, when he came on as a substitute in a League Cup match against Stockport County. This was to be his only senior appearance of the 2002–03 season. He finally secured a regular first team place towards the end of the following season, featuring regularly during March and April 2004. Crofts was a first team regular in the 2004–05 season, making 27 Football League appearances, and scoring his first senior goal for the club in a defeat to Brighton & Hove Albion on 26 December. In January 2005, he signed a new contract designed to keep him at the club until 2009. He was omitted from the team for most of March and April, but was recalled for the last match of the season, in which a draw with Nottingham Forest led to the "Gills" being relegated from the Football League Championship, the second tier of English football, to Football League One, the third tier. In the 2005–06 season, he made the most appearances of any player in the Gillingham squad, missing only one of the team's 46 matches in League One. Although the team struggled in the league, finishing in the lower half of the table, they defeated Premier League team Portsmouth in the League Cup, with Crofts scoring the winning goal. The following season, he again made over 40 appearances and also scored eight goals, his best total for an individual season, but Gillingham again finished the season in the bottom half of the table. He made his 100th start for the club on 18 December 2006 in a match against AFC Bournemouth, and marked the occasion with a goal. At the end of the season, he won four awards at the club's Player of the Year event and was dubbed Mr Gillingham by then-manager Ronnie Jepson. He took over as team captain in the 2007–08 season, but it was an unsuccessful season for the team, who were relegated from League One. The following October he was stripped of the captaincy, which was instead given to Barry Fuller. Manager Mark Stimson stated that he felt that the captaincy might have been too much of a burden for Crofts, and had a negative effect on his form. Soon afterwards, the club made Crofts available for transfer. #### Peterborough United and Wrexham (loans) In November 2008, he joined Peterborough United on loan. Shortly after returning to Gillingham the following January, he went on a second loan period, this time to Wrexham until the end of the season. He made his debut on the same day in a 2–1 defeat to Burton Albion. Upon his return to Gillingham from his loan spell, he was released from his contract. ### Brighton & Hove Albion On 29 June 2009, Crofts agreed to join League One club Brighton & Hove Albion on a two-year contract. He made his debut for Brighton during the 1–0 home defeat to Walsall on 8 August 2009 and scored his first goal for Brighton during the 2–2 draw at Yeovil Town on 10 October 2009. Crofts was given the role of captain by new manager Gus Poyet before the 3–1 away victory at Southampton. Crofts was later confirmed as permanent captain at the beginning of January 2010. ### Norwich City On 21 May 2010, Norwich City announced the acquisition of Crofts from Brighton, for an undisclosed fee, believed to be in the region of £300,000. He became the club's first signing of the summer transfer window, signing a three-year deal at Carrow Road. On 6 August 2010, he scored a goal on his debut against Watford. He subsequently gained promotion to the Premier League with the "Canaries" in his first season at the club. He initially kept his place as a regular starter for Norwich in the top tier, but in the second half of the 2011–12 season he gradually fell out of favour at the club. ### Return to Brighton & Hove Albion Crofts was transferred back to Brighton for an undisclosed fee in August 2012. #### Loan return to Gillingham On 19 March 2016, Crofts re-joined Gillingham on loan until the end of the season. ### Charlton Athletic On 22 July 2016, Crofts signed a one-year contract with Charlton Athletic. He scored his first goal for Charlton in a 1–1 draw with Southend United on 31 December 2016. On 1 September 2017 the club announced that he had ended his contract by mutual agreement. ### Scunthorpe United Crofts signed for Scunthorpe United on 31 August 2017, signing a one-year contract with the North Lincolnshire-based club. On 18 May 2018, he was not offered a new contract, ### Newport County On 26 June 2018 Crofts signed for Newport County on a one-year contract. He made his Newport debut in a 3–0 defeat at Mansfield Town on 4 August. Crofts was a 90th minute substitute for Newport in the League Two playoff final at Wembley Stadium on 25 May 2019. He was released by Newport at the end of the 2018–19 season. ### Yeovil Town and second return to Brighton & Hove Albion In June 2019 Crofts joined Yeovil Town as a player-coach. On 27 July 2019, however, he left the club to rejoin Brighton & Hove Albion as a player-coach with the club's under-23 side. He played for Brighton U21s in the 2–0 away win over AFC Wimbledon in the EFL Trophy on 3 September 2019. ## International career One of his grandparents were born in Wales so he was eligible to play in the Welsh national team, and after representing the country at under-19 and under-21 levels he won his first senior cap, in 2005. In 2008, he won his twelfth cap, breaking the record for the most international caps received by a Gillingham player. Crofts was selected for the Welsh national U-19 team in 2002. He made his debut team appearance in the Milk Cup tournament in Northern Ireland, but was forced to return home after suffering an ankle injury in the first match. In total he made eight appearances at under-19 level, including appearing in a second Milk Cup in 2003. After moving up to the under-21 level Crofts was selected for the national U-21 team for the first time in a match against Germany in February 2005. He went on to gain 12 caps at this level, scoring one goal. He made his debut in the Welsh national team against Azerbaijan on 12 October 2005, coming on as a substitute for Carl Fletcher. At the end of the 2005–06 season, as part of manager John Toshack's policy of introducing young players to the team, Crofts gained two further caps, both as a substitute, against Paraguay and Trinidad & Tobago, and also played in an unofficial international match against a Basque Country XI. He was included in the starting line-up for an international for the first time in August 2007 when he played the full 90 minutes of a match against Bulgaria, but was back on the substitutes' bench for the UEFA Euro 2008 qualifying match against Germany the following month. He became established as a regular member of the Welsh squad during the UEFA Euro 2012 qualifying tournament. ## Coaching career ### Brighton & Hove Albion under-23's On 5 June 2021, Crofts became the head coach of the Brighton academy after spending the previous season as a player-coach of the academy, thus ending his playing career. His first professional match as a manager came on 14 September, in a 1–0 away loss to Walsall in the EFL Trophy group stage. Crofts earned his first competitive victory as a manager on 2 November, in a 2–1 away win at Northampton in the EFL Trophy. On 8 September 2022, he was appointed interim head coach of the Brighton first team after the departure of Graham Potter. After Roberto De Zerbi was appointed to replace Potter as manager, Crofts was appointed to the first team coaching staff. ## Personal life Crofts is a fan of Chelsea and at one time shared a flat with the club's future captain John Terry. During his time as captain of Gillingham, he was involved with a number of charity events, including acting as a celebrity waiter at a Gillingham pub and presenting a signed shirt to a brain damaged teenage fan. In January 2005, he dedicated a match-winning goal to his grandmother Lily, who had died several months earlier. ## Career statistics ### Club ### International ## Managerial statistics ## Honours ### Individual - Brighton Player of the Season: 2009–10 - Gillingham Player of the Season: 2006–07	[ "## Early life", "## Club career", "### Gillingham", "#### Peterborough United and Wrexham (loans)", "### Brighton & Hove Albion", "### Norwich City", "### Return to Brighton & Hove Albion", "#### Loan return to Gillingham", "### Charlton Athletic", "### Scunthorpe United", "### Newport County", "### Yeovil Town and second return to Brighton & Hove Albion", "## International career", "## Coaching career", "### Brighton & Hove Albion under-23's", "## Personal life", "## Career statistics", "### Club", "### International", "## Managerial statistics", "## Honours", "### Individual" ]	2,416	2,841
11,310,408	Neville McNamara	1,169,579,183	Royal Australian Air Force and Australian Defence Force chief	[ "1923 births", "2014 deaths", "Australian Knights Commander of the Order of the British Empire", "Australian World War II pilots", "Australian aviators", "Australian military personnel of the Korean War", "Australian military personnel of the Vietnam War", "Australian recipients of the Air Force Cross (United Kingdom)", "Chiefs of Defence Force Staff (Australia)", "Military personnel from Queensland", "Officers of the Order of Australia", "Royal Australian Air Force air marshals" ]	Air Chief Marshal Sir Neville Patrick McNamara, KBE, AO, AFC, AE (17 April 1923 – 7 May 2014) was a senior commander of the Royal Australian Air Force (RAAF). He served as Chief of the Air Staff (CAS), the RAAF's highest-ranking position, from 1979 until 1982, and as Chief of the Defence Force Staff (CDFS), Australia's top military role at the time, from 1982 until 1984. He was the second RAAF officer to hold the rank of air chief marshal. Born in Queensland, McNamara joined the RAAF during World War II and saw action in the South West Pacific, flying P-40 Kittyhawks. He also flew combat missions in Gloster Meteors during the Korean War. In 1961, he was awarded the Air Force Cross for his leadership of No. 2 Operational Conversion Unit. He gained further operational experience heading the RAAF presence in Ubon, Thailand, in the late 1960s. Promoted to air commodore, McNamara was Commander RAAF Forces Vietnam, and Deputy Commander Australian Forces Vietnam, in 1971–72, for which he was appointed a Commander of the Order of the British Empire. As Deputy Chief of the Air Staff in 1976, he was named an Officer of the Order of Australia. Knighted while CAS in 1980, he retired after completing his term as CDFS in 1984. ## Early life and World War II Neville Patrick McNamara was born on 17 April 1923 in Toogoolawah, Queensland. He was educated at Toogoolawah State School, and by the Christian Brothers in Warwick and at St. Joseph's Nudgee College. He enlisted in the Royal Australian Air Force (RAAF) on 12 October 1941. Following aircrew training, he graduated as a sergeant pilot on 15 October 1942. He served as an instructor before being posted to the South West Pacific as a fighter pilot with No. 75 Squadron, flying P-40 Kittyhawks. He was commissioned as a pilot officer in the Citizen Air Force on 1 May 1944, and was promoted to flying officer on 1 November. ## Post-war career ### Rise to senior command After the war, McNamara was stationed in Japan with No. 82 Squadron, as part of the British Commonwealth Occupation Force (BCOF). He was promoted to temporary flight lieutenant on 1 May 1946, and received a short-service commission in the Permanent Air Force on 23 September 1948, with the rank of flight lieutenant. In 1949 he was posted to Headquarters North-Eastern Area for air traffic control work. He married Dorothy Miller on 27 May 1950; the couple had two daughters. On 1 September 1950, McNamara was granted a permanent commission in the RAAF. From 1951 to 1953, he served as an instructor at Central Flying School in East Sale, Victoria, gaining promotion to squadron leader on 1 July 1952. He then saw operational service in the Korean War as the Executive Officer of No. 77 Squadron, flying Gloster Meteors. Initially employed in the conflict as a fighter unit, by this time No. 77 Squadron's role was primarily ground attack, using the Meteors' cannon augmented by newly fitted rocket armament. McNamara briefly took charge of the unit in November–December 1953 when there was a hiatus between commanding officers rotating out and rotating in. Returning to Australia in 1954, McNamara was posted to Headquarters Training Command as pilot training officer. In 1955–56 he served as staff officer fighter operations at the Department of Air, before undertaking training at RAAF Staff College. He was Commanding Officer No. 25 Squadron at Pearce, Western Australia, in 1957–58, receiving promotion to wing commander on 1 July 1957. He took charge of No. 2 Operational Conversion Unit (No. 2 OCU) at RAAF Base Williamtown, New South Wales, in 1959. No. 2 OCU was responsible for training pilots to fly the CAC Sabre jet fighter, which was operated by Nos. 3, 75 and 77 Squadrons. His performance as commanding officer earned him the Air Force Cross in the 1961 Queen's Birthday Honours. In 1960, McNamara was posted to the UK to attend the Joint Services Staff College. The following year he became CO and senior air staff officer of the RAAF Staff in London. In 1964 he was appointed Director of Personnel (Officers) at the Department of Air. He received the Air Efficiency Award in 1965, and the following year took command of RAAF Ubon, Thailand. Operating under the provisions of the SEATO agreement during the early years of the Vietnam War, the Australian contingent included No. 79 Squadron, flying Sidewinder-equipped CAC Sabres. Although only fifty kilometres from the Laotian border and occasionally scrambled to intercept North Vietnamese fighters, the Sabres never saw action, in contrast to their USAF brethren also based at Ubon. Limited as its military role was, the RAAF presence was judged politically valuable. Completing his tour in Thailand, McNamara served as air staff officer at RAAF Base Richmond, New South Wales, in 1967–68. He was promoted to acting group captain on 5 July 1967 and to the substantive rank the following 1 January. His next appointment was as Director General Organisation at the Department of Air. ### Senior RAAF and Defence Force command Promoted to acting air commodore on 12 April 1971, McNamara became the last Commander RAAF Forces Vietnam and Deputy Commander Australian Force Vietnam (AFV) that month. Believing that the Air Force paid "lip service" to its army co-operation responsibilities in the 1950s and 1960s, he familiarised himself with the finer points of air/ground operations by accompanying No. 9 Squadron helicopters on missions supporting 1st Australian Task Force in Phuoc Tuy Province. Given the responsibility of overseeing the withdrawal of the RAAF from Vietnam in 1972, McNamara was praised for his "wise and patient counsel, devotion to duty and firm control", leading to his appointment as a Commander of the Order of the British Empire in September that year. He had been promoted to substantive air commodore on 1 January. In 1973, he was posted to the United States as the Australian Air Attache to Washington, D.C. Promoted to air vice marshal on 20 March 1975, he returned to Australia that year and took up duties as the Deputy Chief of Air Staff, which he later described as "an invaluable learning experience for the top job". He was appointed an Officer of the Order of Australia (AO) on 7 June 1976 for "distinguished service in responsible positions". McNamara was promoted to air marshal and became Chief of the Air Staff (CAS) in March 1979. He succeeded Air Marshal Sir James Rowland, who had been the first CAS to personally command the RAAF in a legal sense, following the abolition of the Australian Air Board in 1976. Previously, the CAS position was more akin to a chairman, "first among equals" with the other members of the Air Board. Under this earlier arrangement, McNamara considered that some senior commanders tended to behave like "regional war lords" who thought that the CAS existed purely to handle politicians and paperwork, while they (the commanders) got on with the Air Force's "real work". As CAS, McNamara put in train development of new strategies for the air defence of Australia, later remarking that "capability must be matched by ideas". He also supervised the selection process that chose the F/A-18 Hornet to the replace the RAAF's Mirage III fighters. McNamara personally favoured the F/A-18 due to its multi-role capability. Appointed a Knight Commander of the Order of the British Empire (KBE) on 31 December 1980, he was the last CAS to be knighted before Australia abandoned the imperial honours system. In 1982, McNamara became the first Air Force member to directly command all three of Australia's armed services as Chief of the Defence Force Staff (CDFS), which had replaced the earlier senior position in the defence force, Chairman of the Chiefs of Staff Committee. He also became only the second RAAF officer to be raised to the rank of air chief marshal. As CDFS, McNamara had to work to repair strained relations between the Defence Department's military and civilian components. He sought to accomplish this through a restrained management style and respect for the department's public servants. At the same time, he maintained the need for military and civilian personnel to be easily distinguishable, and reversed a trend for armed force personnel to wear suits "in the office" and uniforms only "on parade", which was the preference of Secretary of the Department of Defence Arthur Tange. The military and public service wings of the department still clashed over the question of enlarging the CDFS's role to achieve more coherent defence planning. Shortly after McNamara completed his term as CDFS in 1984, the position was redesignated Chief of the Defence Force (CDF), to more clearly reflect its authority over the Australian armed services. ## Retirement Air Chief Marshal McNamara retired from military life in April 1984. He was awarded the Centenary Medal on 1 January 2001 for his "service to Australian society through the Royal Australian Air Force". That year he joined celebrations at Point Cook, Victoria, to mark the 80th anniversary of the founding of the RAAF. McNamara published his autobiography, The Quiet Man, in 2005. He died at Jervis Bay, New South Wales, on 7 May 2014, and was survived by his wife and two daughters. He is commemorated by Sir Neville McNamara Drive in North Turramurra, New South Wales.	[ "## Early life and World War II", "## Post-war career", "### Rise to senior command", "### Senior RAAF and Defence Force command", "## Retirement" ]	2,104	11,781
61,129,131	1994 Football League Third Division play-off final	1,170,272,835	null	[ "1994 Football League play-offs", "1994 sports events in London", "EFL League Two play-off finals", "Football League Third Division play-off finals", "May 1994 sports events in the United Kingdom", "Preston North End F.C. matches", "Wycombe Wanderers F.C. matches" ]	The 1994 Football League Third Division play-off Final was an association football match played on 28 May 1994 at the Wembley Stadium, London, between Wycombe Wanderers and Preston North End. The match determined the fourth and final team to gain promotion from the Football League Third Division, English football's fourth tier, to the Second Division. The top three teams of the 1993–94 Third Division season gained automatic promotion to the Second Division, while the teams placed from fourth to seventh took part in play-off semi-finals, the winners of which competed for the final place for the 1994–95 season in the Second Division. Wycombe Wanderers finished the season in fourth place, and Preston North End in fifth. They defeated Carlisle United and Torquay United, respectively, in the semi-finals. The referee for the match, played in front of 40,109 spectators, was Keith Cooper. Wycombe dominated the first half but in the 32nd minute, Preston took the lead through Ian Bryson with a overhead kick which beat Paul Hyde in the Wycombe goal. Wycombe equalised straight from the subsequent kick-off with Steve Thompson's shot being put into the net by Jamie Squires for an own goal. In the 37th minute, Preston took the lead once more, with Paul Raynor's diving header; the half ended 2–1. Wycombe drew level two minutes into the second with a goal from Simon Garner. Ten minutes later, a four-man play from Wycombe concluded with Steve Guppy's cross being passed by Garner to Dave Carroll who scored at the far post to make it 3–2. Fifteen minutes later Carroll scored his second after beating David Moyes 18 yards (16 metres) out from goal, making it 4–2. No further goals were scored and Wycombe were promoted to the Second Division at their first attempt. In their following season, Wycombe Wanderers finished in sixth place in the Second Division, one place outside the play-offs. Preston North End ended their next season in fifth position in the Third Division, qualifying for the play-offs, but losing their semi-final to Bury. ## Route to the final Wycombe Wanderers finished the regular 1993–94 season in fourth place in the Football League Third Division, the fourth tier of the English football league system, one place ahead of Preston North End. Both therefore missed out on the three automatic places for promotion to the Second Division and instead took part in the play-offs to determine the fourth promoted team. Wycombe Wanderers finished three points behind Crewe Alexandra (who were promoted in third place), four behind Chester City (who were promoted in second place), and nine behind league winners Shrewsbury Town. Preston North End ended the season three points behind Wycombe Wanderers. Preston North End's opponents in their play-off semi-final were Torquay United, and the first match of the two-legged tie took place at Plainmoor in Torquay on 15 May 1994. The home side dominated the first half with Duane Darby scoring from close range in the 20th minute to make it 1–0 after Steve Woods in the Preston goal pushed out Paul Buckle's 20-yard (18-metre) shot. Darren Moore then doubled the lead with a volley in the 57th minute. With ten minutes remaining, Torquay goalkeeper Ashley Bayes saved a strike from Tony Ellis and the match ended 2–0. The second leg of the semi-final was held three days later at Deepdale in Preston. Ellis scored with a header to put Preston ahead but Torquay's Gregory Goodridge equalised after going one-on-one with Woods. In the 36th minute, Moore was sent off for punching Paul Raynor and seven minutes later David Moyes headed in Preston's second goal to make it 2–1 at half-time. A goal from Stuart Hicks made it 3–1 and levelled the tie on aggregate, sending the game into extra time. With four minutes remaining, Raynor scored with a header to make it 4–1, and Preston progressed to the final with a 4–3 aggregate victory. Wycombe Wanderers faced Carlisle United in the second semi-final; the first leg took place at Brunton Park in Carlisle on 15 May 1994. The visitors took the lead in the 33rd minute: David Titterton played a one-two with Steve Guppy before striking a low cross to Simon Garner, whose shot was blocked by Tony Gallimore, but the ball fell to Steve Thompson, who scored from close range. Carlisle dominated the second half but were caught in the 86th minute by Garner on the break who made it 2–0, the final score. The second leg of the semi-final was played three days later at Adams Park in High Wycombe. The home side took an early lead with Dave Carroll heading in a Guppy cross in the eleventh minute. Garner then doubled the lead in the 57th minute after wrong-footing Tony Caig in the Carlisle goal. With ten minutes remaining, Rod Thomas was brought down in the penalty area and awarded a penalty. Simon Davey scored from the spot to make it 2–1, but Wycombe progressed to the final with a 4–1 aggregate win. ## Match ### Background Preston North End had participated in the play-offs once before, losing in the 1989 semi-finals to Port Vale. Preston had played in the Third Division since winning promotion from the Fourth Division in the 1986–87 season. Preston's last competitive match at Wembley Stadium was the 1964 FA Cup Final, where they had lost 3–2 to West Ham United. Wycombe Wanderers had gained promotion from non-League football when they finished the 1992–93 Football Conference as champions and as such were making their first appearance in the play-offs in their first season in the Football League. They had played at the national stadium the previous season, defeating Runcorn in the 1993 FA Trophy final. In the matches between the sides during the regular season, Wycombe had won 3–2 at Deepdale in November 1993 while the return fixture at Adams Park the following May ended in a 1–1 draw. The referee for the match was Keith Cooper. Both sides adopted a 4–4–2 formation. ### Summary The final kicked off at around 3 p.m. on 28 May 1994 in front of 40,109 spectators at Wembley Stadium. Guppy's shot hit the Preston goalkeeper Woods and was deflected over the crossbar. Ian Bryson became the first player of the match to be shown the yellow card in the 16th minute. Four minutes later, Garner struck a shot high over the bar after Guppy's pass put him through. On 30 minutes Carroll's lob was caught by Woods. Wycombe were dominant, but in the 32nd minute Preston took the lead: Ellis flicked the ball on at the near post, and Bryson's overhead kick beat Paul Hyde in the Wycombe goal. Wycombe equalised straight from the subsequent kick-off: Thompson went clear after a through ball from Garner, and an attempt by Preston's Jamie Squires to defend Thompson's strike put the ball into the net for an own goal. In the 37th minute, Preston took the lead once more, with Raynor's diving header from an Ellis cross, and the half ended with the score at 2–1. Neither side made any changes to their personnel during the interval and Wycombe drew level two minutes into the second with a goal from Garner. Titterton's pass found the Wycombe striker who ran past Squires and struck past Woods. Preston's Gareth Ainsworth was then booked in the 49th minute. Eight minutes later, a four-man play from Wycombe concluded with Guppy's cross being passed by Garner to Carroll who scored at the far post to make it 3–2. On 61 minutes, Glyn Creaser became the first Wycombe player to be shown the yellow card. Eleven minutes later Carroll scored his second after beating Moyes 18 yards (16 metres) out from goal to make it 4–2. Garner was then booked in the 75th minute. No further goals were scored and Wycombe were promoted to the Second Division at their first attempt. ### Details ## Post-match Wycombe Wanderers manager Martin O'Neill suggested "everything we have tried to do at the club has come right today" but was cautious about the future noting "we obviously need to strengthen the side". Wycombe's promotion meant they became the first champions of the Conference to be promoted in their first season in the Football League. It also meant they had secured back-to-back promotions having been promoted from non-League football the previous season. John Beck, the defeated Preston manager, conceded that Wycombe deserved the victory: "Justice was done". In their following season, Wycombe Wanderers finished in sixth place in the Second Division, one place and three points outside the play-offs. Preston North End ended their next season in fifth position in the Third Division, qualifying for the play-offs, but losing at the semi-final stage to Bury.	[ "## Route to the final", "## Match", "### Background", "### Summary", "### Details", "## Post-match" ]	1,914	31,230
6,431,158	Simple Kind of Life	1,173,130,113	2000 single by No Doubt	[ "2000 singles", "2000 songs", "American power pop songs", "Interscope Records singles", "Music videos directed by Sophie Muller", "No Doubt songs", "Song recordings produced by Glen Ballard", "Songs about marriage", "Songs written by Gwen Stefani", "Trauma Records singles" ]	"Simple Kind of Life" is a song written by Gwen Stefani for American rock band No Doubt's fourth album, Return of Saturn (2000). The song contrasts Stefani's desire to settle down and start a family with her commitment to the band. It received positive reviews from music critics, who noted the song's somber melody and raw lyrics. "Simple Kind of Life" was released as the album's second single in June 2000. It became the most successful American single from Return of Saturn, but had little international success. The accompanying music video illustrates the song's themes of marriage and family. ## Background and writing Singer Gwen Stefani wrote and composed the track during a last minute recording session. Stefani had been writing with bassist Tony Kanal that day, and she wrote the song late at night during what she referred to as "a PMS moment". Following "Suspension Without Suspense", "Simple Kind of Life" became the second song that Stefani wrote by herself. The song was recorded with no rehearsals the following Monday. Adrian Young's drum parts were mixed through low fidelity filters to get the feel of a lo-fi power ballad. The lyrics of "Simple Kind of Life" also discuss Stefani's relationship with Gavin Rossdale. She describes wanting to settle down, get married, and have children. In the final verse, she even dreams about how her life would be if there were a mistake in her birth control and she became pregnant. However, she contrasts this with her commitment to music and No Doubt. Stefani describes her relationship as unhealthy because of this disparity, comparing herself to "a sick domestic abuser looking for a fight." She ultimately decides that settling down is just a fantasy for her since her freedom and independence is more important for her. ## Music and structure "Simple Kind of Life" is a power pop and lo-fi song composed in the key of C major. It is written in common time and moves at a moderate tempo of 116 beats per minute. Stefani's vocal range in the song covers nearly an octave and a half, from G<sub>3</sub> to C<sub>5</sub>. The song opens with a four-measure introduction, which introduces the Dm9-Cmaj7 modal chord progression used for the song's three verses. Following each verse is the chorus, where the harmony switches to a Cmaj7-C7-F-B progression. A bridge entirely in D minor precedes the third verse. After the third chorus comes a coda, which closes the song as Stefani repeats the phrase "a simple kind of life" ad libitum while the song fades, as the song confirms its dreamy major tonality in a series of Cmaj7 and Fmaj7 chords. ## Critical reception "Simple Kind of Life" received positive reviews from music critics. Rolling Stone described the song as being "at once grand, fragile and very, very sad" and commented that "it's clear this woman whom many desire but few regard as a serious artist has penned a song that can sit on the same shelf with the likes of Elliott Smith and Aimee Mann." Entertainment Weekly characterized the song as "manicured power pop" with a melody "buttery to the point of melting". It later included the song in a list of No Doubt's top five songs, referring to it as "musically understated (layered guitar strumming and a melancholy melody), but lyrically devastating." Slant Magazine found the song's melodic structure odd, but was pleased by how it "unabashedly delivers double-takes". "Simple Kind of Life" was listed at number 28 on the 2000 Pazz & Jop list, a survey of several hundred music critics conducted by Robert Christgau. ## Chart performance In the United States, "Simple Kind of Life" was the most commercially successful single from Return of Saturn. Peaking at number 38, it became the album's only single to enter the Billboard Hot 100. The song fared somewhat better in mainstream music, reaching number 32 on the Top 40 Mainstream and number 35 on the Top 40 Tracks. It had the most success with modern rock and adult contemporary stations, peaking at number 14 on the Modern Rock Tracks and number 18 on the Adult Top 40. The single was a commercial failure outside of the U.S. It debuted at the bottom of the Dutch Mega Single Top 100 in mid-June 2000. It climbed up two positions the next week but exited the chart after its third week. ## Music video The song's music video was directed by Sophie Muller. It opens with a scene of Stefani and Kanal holding each other. During the chorus, she runs to a church while wearing a wedding dress designed after a fashion show by John Galliano, while her bandmates run after her. During the next verse, Stefani and guitarist Tom Dumont sit on a couch, and Stefani gets up on the table while Dumont plays an acoustic guitar. Stefani has a nightmare during the second chorus, in which she is in an endless hall full of wedding cakes, attempting to stop her bandmates from destroying them. There is then a dream sequence in which Stefani is backlit in front of a circle of stars. She sits with Young for the third verse, during which point in time a light in the shape of a birth control pills flashes, with one missing pill. This coincides with her line "Sometime I wished/For a mistake," referencing her desire to get pregnant. In the video, Young quickly stands up and leaves after her line "You seem like you'd be a good dad" to play with Dumont and Kanal. The band walks through a cemetery, and Stefani finds a baby. Her bandmates extend their arms to hold the baby, but Stefani hands the baby off to a woman and enters her trailer to remove her makeup. Muller was staying with Stefani when the song was written, so Stefani stated that "it was obvious that she would be the one to do the video" when Stefani played Muller the song after writing it. Muller designed the video around the song's lyrics because she felt that "there are very few [songs] that reveal as much in their lyrics". She set the band members up with props and filmed after giving loose suggestions. Muller originally intended for the dream sequence to show Stefani over a sea of orange juice but changed the scene based on Stefani's performance. The music video was unsuccessful on video chart programs. It debuted at number seven on MTV's Total Request Live on April 24, 2000. The video made two more appearances later that week but was unable to reach a higher position and dropped out of the countdown. It was unable to chart on MuchMusic's Countdown. ## Track listings American CD/cassette singles 1. "Simple Kind of Life" (G. Stefani) - 4:16 2. "Full Circle" (G. Stefani/T. Kanal/T. Dumont) - 3:16 3. "Beauty Contest" (G. Stefani/T. Kanal) - 4:14 American CD single 1. "Simple Kind of Life" (G. Stefani) - 4:16 American vinyl single 1. "Simple Kind of Life" (G. Stefani) - 4:16 2. "Ex-Girlfriend" (G. Stefani/T. Dumont/T. Kanal) - 3:30 German/Netherlands/Australian CD single 1. "Simple Kind of Life" (G. Stefani) - 4:16 2. "Beauty Contest" (G. Stefani/T. Kanal) - 4:14 3. "Simple Kind of Life" - acoustic live (G. Stefani) - 4:14 4. "Simple Kind of Life" video Netherlands/Australian/Japanese 2-track 1. "Simple Kind of Life" (G. Stefani) - 4:16 2. "Beauty Contest" (G. Stefani/T. Kanal) - 4:14 Netherlands version 2 1. "Simple Kind of Life" (G. Stefani) - 4:16 2. "Simple Kind of Life" video UK CD 1 1. "Simple Kind of Life" (G. Stefani) - 4:16 2. "Ex-Girlfriend" - acoustic live (G. Stefani/T. Dumont/T. Kanal) - 3:50 3. "Cellophane Boy" (G. Stefani, T. Dumont, T. Kanal) - 2:53 UK CD 2 1. "Simple Kind of Life" (G. Stefani) - 4:16 2. "Beauty Contest" (G. Stefani/T. Kanal) - 4:14 3. "Under Construction" (G. Stefani/T. Kanal) - 3:12 4. "Simple Kind of Life" video ## Charts ## Release history	[ "## Background and writing", "## Music and structure", "## Critical reception", "## Chart performance", "## Music video", "## Track listings", "## Charts", "## Release history" ]	1,912	10,118
165,515	Cheddar Gorge	1,167,470,180	Valley in Somerset, England	[ "Canyons and gorges of England", "Cheddar, Somerset", "Iron Age sites in Somerset", "Landforms of Somerset", "Mendip Hills", "National Trust properties in Somerset", "Thynne family", "Tourist attractions in Somerset" ]	Cheddar Gorge is a limestone gorge in the Mendip Hills, near the village of Cheddar, Somerset, England. The gorge is the site of the Cheddar show caves, where Britain's oldest complete human skeleton, Cheddar Man, estimated to be 9,000 years old, was found in 1903. Older remains from the Upper Late Palaeolithic era (12,000–13,000 years ago) have been found. The caves, produced by the activity of an underground river, contain stalactites and stalagmites. The gorge is part of a Site of Special Scientific Interest called Cheddar Complex. Cheddar Gorge, including the caves and other attractions, has become a tourist destination. In a 2005 poll of Radio Times readers, following its appearance on the television programme Seven Natural Wonders (2005), Cheddar Gorge was named as the second greatest natural wonder in Britain, surpassed only by Dan yr Ogof caves. The gorge attracts about 500,000 visitors per year. ## Geology Cheddar is a gorge lying on the southern edge of the Mendip Hills. The maximum depth of the gorge is 137 m (449 ft), with a near-vertical cliff-face to the south, and steep grassy slopes to the north. The B3135 road runs along the bottom of the gorge. The area is underlain by Black Rock slate, Burrington Oolite and Clifton Down Limestone of the Carboniferous Limestone Series, which contain ooliths and fossil debris, on top of Old Red Sandstone and by dolomitic conglomerate of the Keuper. Evidence for Variscan orogeny is seen in the sheared rock and cleaved shales. In many places weathering of these strata has resulted in the formation of immature calcareous soils. The gorge was formed by meltwater floods during the cold periglacial periods which have occurred over the last 1.2 million years. During the ice ages, permafrost blocked the caves with ice and frozen mud and made the limestone impermeable. When this melted during the summers, water was forced to flow on the surface, and carved out the gorge. During warmer periods, the water flowed underground through the permeable limestone, creating the caves and leaving the gorge dry, so that today much of the gorge has no river until the underground Cheddar Yeo river emerges in the lower part from Gough's Cave. The river is used by Bristol Water, who maintain a series of dams and ponds which supply the nearby Cheddar Reservoir, via a 137-centimetre (54 in) diameter pipe that takes water just upstream of the Rotary Club Sensory Garden, a public park in the gorge opposite Jacob's Ladder. The gorge is susceptible to flooding. In the Chew Stoke flood of 1968, the flow of water washed large boulders down the gorge, damaging the cafe and entrance to Gough's Cave and washing away cars. In the cave itself the flooding lasted for three days. In 2012 the B3135, the road through the gorge, was closed for several weeks following damage to the road surface during extensive flooding. ## Ownership The south side of the gorge is owned and administered by the Marquess of Bath's Longleat Estate. The cliffs on the north side of the gorge are owned by The National Trust. Every year, both of the gorge's owners contribute funds towards the clearance of scrub, bush and trees from the area. Most of the commercial visitor activity in the gorge is on the Longleat-owned south side, including access to the two main commercial show caves and the visitor centre, which is operated by Longleat-owned company Cheddar Gorge and Caves Ltd under director Hugh Cornwell. Because visitors to the show caves have decreased from 400,000 a year in the 1980s to 150,000 in 2013, Ceawlin Thynn, Viscount Weymouth, who runs the Longleat estate on behalf of the family trust, proposed the installation of a 600-metre (2,000 ft) 18-gondola cable car at an estimated cost of £10m, which would take visitors from the entrance area to the caves directly to the top of the southside cliffs. The National Trust opposed the proposed development, stating that it would spoil the view and cheapen the experience, creating a "fairground ride" that would make the area feel more like an amusement park. Planning permission was planned in Spring 2014, which would have meant that operations would start in Spring 2016. In 2015 the financial feasibility was still being investigated. ## Ecology Notable species at the gorge include dormice, yellow-necked mice, slowworms and adders and the rare large blue butterfly (Maculinea arion), and small pearl-bordered fritillary (Boloria selene). A wide variety of wild birds may be seen in Cheddar Gorge including peregrine falcon, buzzard, kestrel, raven and grasshopper warbler. The flora include chalk grassland-loving species such as marjoram and wild thyme. The Cheddar pink, Dianthus gratianopolitanus, also known as firewitch, only grows in the wild in the gorge. It was once common in the gorge but declined after being picked by collectors. It is also home to unique species of whitebeam. The nationally rare little robin geranium (Geranium purpureum), and Cheddar bedstraw (Galium fleurotii) and the nationally scarce species include slender tare (Vicia tenuissima), dwarf mouse-ear (Cerastium pumilum) and rock stonecrop (Sedum forsteranum) also occur in the gorge. It is one of the few localities in England with native populations of the Welsh poppy Papaver cambricum. It is one of the very few areas in southern Britain where the lichens Solorina saccata, Squamaria cartilaginea and Caloplaca cirrochroa can be found. The gorge is also an important site for whitebeams and in 2009 a survey was carried out by botanists from the Welsh National Herbarium as part of a nationwide survey of whitebeams. Among the eight species identified were three new species previously unknown to science. Nineteen specimens with oval-shaped leaves were named the "Cheddar whitebeam", Sorbus cheddarensis, fifteen specimens with roundish leaves and greyish brown bark were named the "Twin Cliffs whitebeam", Sorbus eminentoides, and thirteen with long, narrow leaves were named "Gough’s Rock whitebeam", Sorbus rupicoloides. The Cheddar whitebeam, which has evolved as a cross between the common whitebeam and the grey-leaved whitebeam, is unique to the gorge, but its survival is threatened by the goats that were introduced specifically to keep down the growth of new trees and encourage the proliferation of rare plant species such as the Cheddar pink. Cuttings have been taken from the trees to be grafted and grown on at the Welsh National Herbarium. Longleat Estate has fenced off a large part of its land and has introduced goats, as part of a programme to encourage the biodiversity of the area; the goats were intended to replace the sheep that grazed in the gorge until the 1970s. The National Trust announced in March 2007 that it plans to release a flock of sheep on its side of the gorge for the same purpose, but will first consult local residents and interested parties on whether to fence off the gorge or introduce cattle grids to prevent the sheep from straying. There is already a small flock of feral Soay sheep in the gorge. ## Caves The two main caves open to the public are on the southside of the Gorge, owned by Longleat Estate. The extensive Gough's Cave and the smaller Cox's Cave are both named after their respective discoverers. Both are known for their geology, and it has been suggested that the caves were used for maturing cheese in prehistoric times. Gough's cave, which was discovered in 1903, leads around 400 m (437 yd) into the rock-face, and contains a variety of large rock chambers and formations. Cox's Cave, discovered in 1837, is smaller but contains many intricate formations. In 2016 Cox's cave was turned into "Dreamhunters", a multimedia walk-through experience with theatrical lighting and video projection. The Gorge's many caves are home to colonies of Greater and Lesser horseshoe bats. In 1999, the Channel 4 television programme Time Team investigated Cooper's Hole in an attempt to find evidence of Palaeolithic human activity. These caves are the inspirations for the glittering caves of Aglarond situated in the White Mountains behind Helm's Deep in J. R. R. Tolkien's The Two Towers, which was later founded as a new kingdom of Durin's Folk by Gimli after the War of the Ring. Several of the caves have been scheduled as ancient monuments as nationally important archaeological sites including: Gough's Old Cave, Great Oone's Hole, Saye's Hole, Soldier's Hole and Sun Hole. ## Recreational use Cliff Road (B3135), which runs through the Gorge, offers a popular climb for bicyclists and has a maximum gradient of 16%. The ascent featured in stage 6 of the 2011 Tour of Britain. There are about 590 graded rock climbing routes on the South side of the gorge, which are generally open to climbers between 1 October and 15 March each year. The North side of the gorge has about 380 climbing routes and the land is predominantly owned by the National Trust and mapped as Open Access land which give a right of access for climbers all year. Each of the routes is named and included in the British Mountaineering Council guidebook. Although the majority of the climbs are "trad" or "traditional", which means that the leader places protection as they go up, there are also some "sport" routes where bolts are left in place. Climber Chris Bonington was the first to scale the Coronation Street route in 1965. Visitors to the gorge have experienced a number of accidents. Rescue services, including local mountain rescue and cave rescue groups, frequently use the gorge to stage exercises. It is also used as a training location for military rescue helicopter pilots. The Cheddar Man Museum of Prehistory inspired by the discovery of ancient hominids such as Cheddar Man contains information about the caves and their palaeontological development. Exhibits include original flint tools and human remains excavated from the caves. The Visitors' Centre and Restaurant is an important Modernist design by Geoffrey Jellicoe, dating from 1934. Jellicoe was commissioned by the fifth Marquess of Bath, and created a two-block structure with a roof-top pool. He drew inspiration from International Modernist buildings, including the De La Warr Pavilion. The integrity of the building has been greatly compromised. In the 1960s, the glass roof to the restaurant, and the pool set above it, were removed to increase seating capacity, and it has since been re-clad in poor quality materials. Michael Spens, in his comprehensive study, The Complete Landscape Designs and Gardens of Geoffrey Jellicoe, writes that it is "now barely recognizable as a pioneer construction of the modern period". There is a clifftop walk from Jacob's Ladder along the crest of the gorge and back to the road, with views of the gorge. A caving experience is offered within Gough's Cave. There is a path of 274 steps, built up the side of the gorge, known as Jacob's Ladder after the Biblical description of a ladder to the heavens. A watchtower at the top provides a 360–degree view of the entire area and village. An open-top bus tour operates during the summer. Cheddar cheese is made in the lower part of the gorge. ## In popular culture In 1916, a location scene for the movie Just a Girl was filmed at Cheddar Gorge. The heroine, played by Daisy Burrell, had to fire a revolver while riding a pony, which bolted. Burrell clung on grimly, and filming had to be abandoned for the rest of the morning. ## See also - Geology of the United Kingdom - List of National Trust properties in Somerset ## External - Cheddar Caves and Gorge, a commercial company operating some of the tourist attractions at Cheddar Gorge, Somerset - British Geological Survey information about Cheddar Gorge - Cheddar Gorge at Beautiful World [Landforms of Somerset](Category:Landforms_of_Somerset "wikilink") [Mendip Hills](Category:Mendip_Hills "wikilink") [Canyons and gorges of England](Category:Canyons_and_gorges_of_England "wikilink") [Tourist attractions in Somerset](Category:Tourist_attractions_in_Somerset "wikilink") [National Trust properties in Somerset](Category:National_Trust_properties_in_Somerset "wikilink") [\\](Category:Thynne_family "wikilink") [Iron Age sites in Somerset](Category:Iron_Age_sites_in_Somerset "wikilink") [Cheddar, Somerset](Category:Cheddar,_Somerset "wikilink")	[ "## Geology", "## Ownership", "## Ecology", "## Caves", "## Recreational use", "## In popular culture", "## See also", "## External" ]	2,809	29,410
51,249,178	Ontario Highway 76	1,157,018,623	Former Ontario provincial highway	[ "Former Ontario provincial highways" ]	King's Highway 76, commonly referred to as Highway 76, was a provincially maintained highway in the Canadian province of Ontario. The route began at Highway 3 in Eagle and progressed north through the community of West Lorne, encountering Highway 401 immediately before terminating southwest of Glencoe at Longwoods Road (then Highway 2). Today the route it followed is known as Elgin County Road 76 and Middlesex County Road 76. Highway 76 was first designated in 1936, connecting West Lorne with Highway 3. It was extended northwest to Highway 2 in 1957 in anticipation of the construction of Highway 401 through the area, which took place in 1963. The route remained unchanged until 1997, when it was transferred to Elgin County and Middlesex County. ## Route description Highway 76 began near the Lake Erie shoreline in Eagle, at Highway 3. From there it travelled northwest through a mixture of farmland and woodlots for 4.2 kilometres (2.6 mi) to the town of West Lorne, meeting . Immediately north of West Lorne before encountering an interchange with Highway 401 (Exit 137). About 8.6 kilometres (5.3 mi) north of Highway 401, Highway 76 crossed over the Thames River. Highway 76 ended 2.1 kilometres (1.3 mi) beyond the river at Longwoods Road (then Highway 2) midway between Wardsville and Strathburn as well as near the town of Glencoe. South of the Thames River, Highway 76 was within Elgin County, while north of the river was within Middlesex County. Outside of Eagle and West Lorne, the former highway was entirely rural. Today it is known as Elgin County Road 76 and Middlesex County Road 76 in the respective county. ## History Highway 76 was first assigned by the Department of Highways (DHO), predecessor to today's Ministry of Transportation, on September 16, 1936. It was initially 5.6 kilometres (3.5 mi) long, connecting Highway 3 with the village of West Lorne to the northwest along an existing gravel township road. The DHO quickly improved the route, fully paving it by 1938. Several highway routings were altered southwest of London in late 1957, in anticipation for the construction of Highway 401. On December 5, 1957, Highway 76 was extended 12.4 kilometres (7.7 mi) northwest to Highway 2 between Wardsville and Strathburn. Highway 401 would open between Tilbury and London as a two lane freeway on October 22, 1963 with an interchange at Highway 76. For nearly two years, traffic utilised the future westbound lanes until the eastbound lanes opened July 20, 1965. Highway 76 remained unchanged for the next 30 years. As part of a series of budget cuts initiated by premier Mike Harris under his Common Sense Revolution platform in 1995, numerous highways deemed to no longer be of significance to the provincial network were decommissioned and responsibility for the routes transferred to a lower level of government, a process referred to as downloading. As Highway 76 generally served local traffic as opposed to long-distance movement, it was downloaded to Elgin County and Middlesex County effective April 1, 1997. The two counties each retained the number 76 for the route in their respective county road system. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	726	31,947
38,869,214	Fall Down (will.i.am song)	1,167,113,067	2013 single by will.i.am featuring Miley Cyrus	[ "2013 singles", "2013 songs", "Electropop songs", "Interscope Records singles", "Miley Cyrus songs", "Song recordings produced by Benny Blanco", "Song recordings produced by Cirkut", "Song recordings produced by Dr. Luke", "Songs written by Benny Blanco", "Songs written by Cirkut", "Songs written by Dr. Luke", "Songs written by will.i.am", "Will.i.am songs" ]	"Fall Down" is a song by American recording artist will.i.am featuring Miley Cyrus from his fourth studio album, \#willpower (2013). It was released on April 16, 2013, by Interscope Records as the fifth single from the album. The song was written and produced by will.i.am, Dr. Luke, Benny Blanco, and Cirkut. "Fall Down" is an electropop and hip hop song; it strays from the electronic dance elements displayed in will.i.am's earlier singles "Scream & Shout" and "#thatPower", and instead leans towards an urban contemporary style. "Fall Down" received generally negative reviews from music critics, who were disappointed with its overall production and drew comparisons to the work of American recording artist Kesha. It peaked at number 58 on the U.S. Billboard Hot 100, and charted in the lower ends of several record charts worldwide. However, the song reached numbers 14 and 15 on the Australian ARIA Charts and the Official New Zealand Music Chart, respectively, being certified gold in both countries. In the United States when it was planned to be a single, the track was promoted with live performances on Jimmy Kimmel Live! and Good Morning America, weeks later it was confirmed the single release was cancelled. ## Background and composition "Fall Down" marks the first of three collaborations between will.i.am and Cyrus in 2013. In October, he was credited as a songwriter and producer on the track "Do My Thang" from her fourth studio album Bangerz, while Cyrus was featured on his track "Feelin' Myself" from the reissue of his fourth studio album \#willpower in November. will.i.am first became interested in collaborating with Cyrus after hearing an earlier version of her single "Wrecking Ball", and came in contact with her through producer Mike Will Made It. "Fall Down" was first released on April 16, 2013, preceding the release of \#willpower in the United States. It served as the follow-up to will.i.am's earlier singles "Scream & Shout" with Britney Spears and "#thatPower" with Justin Bieber, and served as a promotional single from the record. will.i.am and Cyrus promoted the song with live performances on Jimmy Kimmel Live! and Good Morning America in June. It was released to Australian radio stations in July 2013 as the third single from the record; an Italian release followed on September 6. In contrast from the electronic dance music elements presented in "Scream & Shout" and "#thatPower", "Fall Down" leans towards an urban contemporary musical style. The chorus incorporates electropop elements, while the verses tend towards a hip hop format, while the track itself culminates with an orchestral bridge. will.i.am mentioned the bridge as his favorite piece of \#willpower, and described the overall song as sounding like "Quincy Jones just sneezed on it." Lyrically, the track describes the positive impact a couple has on each other, as seen in the lines "Girl, you're like an elevator cause you always pick me up / Girl, you're like a doctor when I'm sick you always stitch me up". ## Critical reception "Fall Down" received generally negative reviews from music critics, who were disappointed with its overall production. Writing for AllMusic, Fred Thomas was displeased that featuring "big gun" Cyrus still resulted in a "manufactured disposable pop moment", and further elaborated that the song felt like one of \#willpower's "interminable 15 tracks [that] were written in the studio moments before they were recorded." Sam Lansky from Idolator shared a similar sentiment, opining that Cyrus felt "mostly phoned-in" by comparison with the "emotional punch" Cyrus delivered on her collaboration with American rapper Snoop Lion, "Ashtrays and Heartbreaks". Andy Peterson of Contactmusic.com criticized the production of the track, stating that listeners are "treated to the sort of identikit trance-plus-autotune sound that's been annexing American teen culture in the last couple of years". Writing for entertainment.ie, Karen Lawler criticized lyrics like "you could be my Coca Cola, let me sip it up" for acting as a substitute for the "articulate rhymes on which [will.i.am] built his reputation", Brent Faulkner from PopMatters agreed that the lyrical content was sub-par, and called the song itself "utterly ridiculous". Mesfin Fekadu from The Huffington Post called Cyrus' contributions to the song "forgettable". Gregory Hicks of The Michigan Daily compared "Fall Down" to "Die Young" and "Crazy Kids" by American recording artist Kesha, all three of which were produced by Dr. Luke, which Hicks felt indicated that "Dr. Luke's production and writing continues to dwindle as he copy and pastes his work with Ke\$ha onto this will.i.am track." ## Commercial performance In the United States, "Fall Down" peaked at number 58 on the Billboard Hot 100. It also charted at number four on the Dance/Electronic Songs component chart. The track reached number 15 on the Canadian Hot 100, which is also organized by Billboard. In Europe, the track experienced varying commercial success. "Fall Down" peaked at number 17 on the Irish Singles Chart, and charted at number 37 on the Swedish Sverigetopplistan. It reached number 45 on the Ö3 Austria Top 40 and number 48 on the French SNEP. The track respectively peaked at numbers 50 and 52 on the Wallonia Ultratop and the Flanders Ultratip in Belgian, and respectively reached numbers five and 30 on the Dance charts in each region. It also charted at number 59 on the Swiss Hitparade. In Oceania, "Fall Down" respectively peaked at numbers 14 and 15 on the Australian ARIA Charts and the Official New Zealand Music Chart; it was certified platinum in Australia, and gold in New Zealand. ## Credits and personnel Credits adapted from the liner notes of \#willpower. - Produced by Dr. Luke, Benny Blanco and Cirkut - Written by William Adams, Lukasz Gottwald, Benjamin Levin, Henry Walter - Orchestral and string arrangement by Onree Gill and will.i.am - Orchestral portions by Czech Symphony Orchestra - Mixed by Serban Ghenea - Additional mixing by Dylan "3-d" Dresdow - Recorded and engineered by Clint Gibbs at Luke's In The Boo in Malibu, Ca & will.i.am and Padraic "Padlock" Kerin at Record Plant in Hollywood, Ca - Engineering assisted by Rachel Findlen - Czech Symphony Orchestra recorded and engineered by Michal Pekárek at Ve Smečkách in Prague, Czech Republic ## Charts and certifications ### Weekly charts ### Year-end charts ### Certifications ## Release history	[ "## Background and composition", "## Critical reception", "## Commercial performance", "## Credits and personnel", "## Charts and certifications", "### Weekly charts", "### Year-end charts", "### Certifications", "## Release history" ]	1,456	29,860
21,922,547	1956 World Professional Match-play Championship	1,165,531,220	Snooker tournament	[ "1956 in English sport", "1956 in snooker", "Sport in Blackpool", "World Professional Match-play Championship", "World Snooker Championships" ]	The 1956 World Professional Match-play Championship was a snooker tournament that took place from 9 January to 10 March 1956 with the final being held at the Tower Circus in Blackpool, England from 5 to 10 March. Fred Davis won his eighth and last world snooker title by defeating John Pulman by 38 to 35 in the final. Pulman led 31–29 going into the last day of the final on 10 March, but Davis won 8 of the first 10 frames on that day to take a winning lead of 37–33. The event, organised by the Professional Billiards Players' Association, is now recognised as an edition of the World Snooker Championship. There were four participants. Rex Williams made the highest break of the tournament with 141, a championship record, in frame 48 of his semi-final match against Fred Davis in Aston. Pulman defeated Jackie Rea in the other semi-final, which was held in Belfast. ## Background The World Snooker Championship is a professional tournament and the official world championship of the game of snooker. The sport was developed in the late 19th century by British Army soldiers stationed in India. Professional English billiards player and billiard hall manager Joe Davis noticed the increasing popularity of snooker compared to billiards in the 1920s, and with Birmingham-based billiards equipment manager Bill Camkin, persuaded the Billiards Association and Control Council (BACC) to recognise an official professional snooker championship in the 1926–27 season. In 1927, the final of the first professional snooker championship was held at Camkin's Hall; Davis won the tournament by beating Tom Dennis in the final. The annual competition was not titled the World Championship until 1935, but the 1927 tournament is now referred to as the first World Snooker Championship. Davis also won the title each year until 1940, when the contest was cancelled during World War II, and again when the championship resumed in 1946, accumulating a total of 15 titles before retiring from the event. In 1952, the World Professional Match-play Championship was created following a dispute between the Professional Billiards Players' Association (PBPA) and the BACC. In response to player complaints that the BACC was taking too large a percentage of income from the tournament, the BACC claimed that the championship "has always been, and in theory is to be, regarded as an affair of honour and a test of merit", and that "every effort is made to arrange terms advantageous to the professionals competing in the championship, compatible with securing an equitable return for the promoters of it, the B.A.& C.C." The PBPA members established an alternative competition which became known as the World Professional Match-play Championship, now recognised as world championships. There were four entrants for the 1956 World Professional Match-play Championship: John Pulman, Jackie Rea, Rex Williams, and Fred Davis, who had won the world championship in 1948, 1949 and 1951, and the four previous editions of the World Professional Match-play Championship, each year from 1952 to 1955. Joe Davis and Walter Donaldson played in the 1955/1956 News of the World Snooker Tournament, that took place from October 1955 to February 1956, but did not enter the Match-play Championship. ## Summary ### Semi-finals John Pulman and Jackie Rea played in the first semi-final, at the R.A.O.B. Club, Belfast, from 9 to 13 January 1956. Pulman won the first three , making a 55 in the second frame and a 70 in the third frame. He finished the first 4–2 ahead, and led 7–5 at the end of the first day. Each player won three frames in the second day's afternoon session. Rea added the first of the evening, before Pulman took four consecutive frames to lead 14–9, compiling a break of 87 in the process. Rea made a break of 89 in winning the 24th frame. Pulman extended his lead to six frames by winning the first two of the third day, and was still six ahead at 18–12 by the session's conclusion, and his lead over the evening to eight frames, at 22–14. On the fourth day, Pulman won seven of the twelve frames to lead 29–19, including four of the six in the afternoon session. The correspondent for the Northern Whig commented that "the snooker was not of very good quality ... Pulman impressed as the more consistent player of the two. Rea being far too impetuous at times and breaking down when he should have scored from good positions." Pulman secured victory at 31–25 after winning the second and third frames on the final day, and finished 36–25 ahead after were played. The second semi-final, between Fred Davis and Rex Williams, was staged from 23 to 27 January at the Holte Hotel, Aston. Williams took the first frame, and, after Davis had won the second, moved into a 3–1 lead. A break of 90 from Davis reduced the deficit to one frame, and the match was level when Davis added the sixth frame. In the second session, Davis compiled a break of 102 in the seventh frame of the match, and won the following five frames for a 9–3 lead at the end of the first day. The players each won three frames on the second afternoon, and also on the second evening, leaving Davis 15–9 ahead. The day's highest break was a 54 made by Davis in frame fifteen, but Williams won that frame by 82 points to 54. Davis opened up an 11-frame lead by taking the first five frames on day three, and extended this to twelve at 24–12 by the end of the day, having made a 104 break in the evening session. His lead was increased to 14 frames by adding the first two frames of the fourth day, before Williams reduced the gap to ten frames at 19–29, compiling a 141 break in the 48th frame. This stood as the highest break ever recorded in a version of the world snooker championship, until it was bettered by one point by Williams in 1965. On the last day, Williams took four of the first five frames, but Davis achieved a winning margin at 31–23. Following the dead frames played, the score was 35–26. ### Final The final was over 73 frames, and was played from 5 to 10 March at the Tower Circus, Blackpool. Davis won the opening frame and took a 4–2 lead during the afternoon session, making a break of 96 in the fourth frame. Pulman, who compiled a break of 85 in the ninth frame, led 7–5 after the opening day. After the second afternoon session, the players were level at 9–9, Davis having compiled a 104 break in the 18th frame. Davis won the first frame on the second evening, but Pulman then claimed five consecutive frames to lead 14–10 after the second day. Davis reduced his deficit to two frames at 19–17 after the third day, during which he made his second century break of the final, a 102, in the afternoon session. Pulman won four of the six frames on the fourth afternoon, to lead 23–19. In the evening, Davis took the first three frames and the fifth frame, leaving Pulman 25–23 ahead. The following day, the scores were level at both 25–25 and 27–27. Pulman constructed a 104 break in the fourth frame of the afternoon. He won four of the six evening frames, to take a 31–29 lead into the last day. On the sixth day, Davis won five of the six frames in the afternoon session to lead 34–32. He then added three of the first four frames in the evening to achieve a winning margin at 37–33. After dead frames, the final score was 38–35. According to authors Luke Williams and Paul Gadsby, "It was, Pulman admitted, the bitterest disappointment of his career." Snooker commentor Ted Lowe wrote in 1984 that Pulman "looked like a winner ... when leading 31–29 at the start of the final day but experience told and Fred ended up champion". In 2012, snooker historian Clive Everton claimed that Pulman "in retrospect believed that it had done him no good to spend two hours in bed with the daughter of a snooker dignitary just prior to the resumption of play [on the last day]". It was the last of eight world snooker titles won by Davis, who chose not to enter the 1957 World Professional Match-play Championship. ## Schedule ## Main draw Match results are shown below. Winning players and scores are denoted in bold text. ## Final Available details about the final are below.	[ "## Background", "## Summary", "### Semi-finals", "### Final", "## Schedule", "## Main draw", "## Final" ]	1,901	5,624
6,147,214	CSS Muscogee	1,114,045,712	Confederate river warship of American Civil War	[ "1864 ships", "Georgia (U.S. state) in the American Civil War", "Ironclad warships of the Confederate States Navy", "Maritime incidents in April 1865", "National Register of Historic Places in Muscogee County, Georgia", "Scuttled vessels", "Ships built in Georgia (U.S. state)", "Shipwrecks in rivers", "Shipwrecks of the American Civil War", "Shipwrecks on the National Register of Historic Places in Georgia (U.S. state)" ]	CSS Muscogee was an casemate ironclad built in Columbus, Georgia for the Confederate States Navy during the American Civil War. Her original paddle configuration was judged a failure when she could not be launched on the first attempt in 1864. She had to be rebuilt to use dual propeller propulsion. Later renamed CSS Jackson and armed with four 7-inch (178 mm) and two 6.4-inch (163 mm) cannons. She was captured while still fitting out and was set ablaze by Union troops in April 1865. Her wreck was salvaged in 1962–1963 and turned over to the National Civil War Naval Museum in Columbus for display. The ironclad's remains were listed on the National Register of Historic Places in 1970. ## Background and description Muscogee was originally built as a sister ship to the casemate ironclad paddle steamer CSS Missouri, to a rough design by the Chief Naval Constructor, John L. Porter, as a sternwheel-powered ironclad. She proved to be too heavy to be launched on January 1, 1864 and had to be reconstructed and lengthened to a modified CSS Albemarle-class design, based on Porter's advice during his visit to the ironclad on January 23. As part of the reconstruction, the ironclad was lengthened to 223 feet 6 inches (68.1 m) overall after a new fantail was built on the stern. She had a beam of 59 feet (18 m) and a draft of 8 feet (2.4 m). The removal of her sternwheel allowed her casemate to be shortened by 54 feet (16.5 m), which saved a considerable amount of weight. The ironclad had a gross register tonnage of 1,250 tons. As originally designed, Muscogee was propelled by a sternwheel that was partially enclosed by a recess at the aft end of the casemate; the upper portion of the paddle wheel protruded above the casemate and would have been exposed to enemy fire. The sternwheel was probably powered by a pair of inclined two-cylinder direct-acting steam engines taken from the steamboat Time using steam provided by four return-flue boilers to the engines. As part of her reconstruction, Time's engines were replaced by a pair of single-cylinder, horizontal direct-acting steam engines from the adjacent Columbus Naval Iron Works, each of which drove a single 7-foot-6-inch (2.3 m) propeller; the original boilers appear to have been retained. Muscogee's casemate was built with ten gun ports, two each at the bow and stern and three on the broadside. The ship was armed with four 7-inch (178 mm) and two 6.4-inch (163 mm) Brooke rifles. The fore and aft cannons were on pivot gun mounts. The 7-inch guns weighed about 15,300 pounds (6,900 kg) and fired 110-pound (50 kg) shells. The equivalent statistics for the 6.4-inch gun were 10,700 pounds (4,900 kg) with 95-pound (43 kg) shells. The casemate was protected by 4 inches (102 mm) of wrought-iron armor, and the armor plates on the deck and sides of the fantail were 2 inches (51 mm) thick. ## History Muscogee was laid down during 1862 at the Columbus Naval Yard at Columbus, Georgia, on the banks of the Chattahoochee River. The first attempt to launch her failed on January 1, 1864, despite the high water on the river and the assistance of the steamboat Mariana. Porter came down afterwards to examine the ironclad and recommended that she be rebuilt with screw propulsion rather than the sternwheel. She was finally launched on December 22, having been renamed Jackson at some point during the year. A shortage of iron plate greatly hindered the ironclad's completion. On April 17, 1865, after the Union's Wilson's Raiders captured the city during the Battle of Columbus, Georgia, Jackson was set ablaze by Union troops while still fitting out and had her moorings cut. The ship drifted downriver some 30 miles (48 km) and ran aground on a sandbar. She was not thought to be worth salvaging because of the fire damage, but the Army Corps of Engineers dredged around her wreck in 1910 and salvaged her machinery. A Union cavalry officer's report of the ironclad's condition at the time of her capture said that she had four cannon aboard and had a solid oak ram 15 feet (4.6 m) deep. The only detail about her armor that he recorded was that it curved over the edge of the deck and extended below the waterline. ### Recovery CSS Jackson's remains were raised in two pieces; the 106-foot (32.3 m) stern section in 1962 and the 74-foot (22.6 m) bow section the following year. They were then placed on exhibit at the National Civil War Naval Museum in Columbus. A thick metal white frame outline, indicating the various dimensions of Jackson's original fore and aft deck arrangements and armored casemate, is now erected directly above the hull's wooden remains to simulate for visitors the ironclad's original size and shapes. The ship's fantail, which was stored outside in a pole barn, was partially destroyed in a fire on 1 June 2020. The ironclad was listed on the National Register of Historic Places on May 13, 1970. ## See also - Bibliography of American Civil War naval history	[ "## Background and description", "## History", "### Recovery", "## See also" ]	1,185	480
17,721,893	1982 British Army Gazelle friendly fire incident	1,166,645,800	Accidental downing of a helicopter in the Falklands War	[ "20th-century aircraft shootdown incidents", "Accidents and incidents involving helicopters", "Accidents and incidents involving military aircraft", "Army Air Corps (United Kingdom)", "Aviation accidents and incidents in 1982", "British Army in the Falklands War", "Falklands War", "Friendly fire incidents", "HMS Cardiff (D108)", "June 1982 events in South America" ]	On 6 June 1982, during the Falklands War, the British Royal Navy Type 42 destroyer HMS Cardiff engaged and destroyed a British Army Gazelle helicopter, serial number XX377, in a friendly fire incident, killing all four occupants. Cardiff, on the lookout for aircraft flying supplies to the Argentine forces occupying the Falkland Islands, had misidentified the helicopter as an enemy C-130 Hercules. Although the helicopter's loss was initially blamed on enemy action, a subsequent inquiry found Cardiff's missile to be the cause. On the night of 5 June, HMS Cardiff was stationed to the east of the islands to provide gunfire support to the land forces and intercept enemy aircraft. At around 02:00 a radar contact was detected; a British Army Air Corps Gazelle helicopter was making a routine delivery of personnel and equipment to a radio rebroadcast station on East Falkland. From the contact's speed and course, Cardiff's operations room crew assumed it to be hostile. One Sea Dart missile was fired, destroying the target. The Gazelle's wreckage and crew were discovered the next morning, and the loss was attributed to enemy fire. Although Cardiff was suspected, later scientific tests on the wreckage proved inconclusive. No formal inquiry was held until four years later. Defending their claim that the helicopter had been lost in action, the United Kingdom's Ministry of Defence (MoD) stated that they had not wanted to "cause further anguish to relatives" while they were still trying to ascertain how the Gazelle had been shot down. The board of inquiry finally confirmed that the soldiers fell due to friendly fire. It recommended that "neither negligence nor blame should be attributed to any individual", but identified several factors. A lack of communication between the army and the navy meant that 5th Infantry Brigade had not notified anyone of the helicopter's flight. The navy had not informed the land forces that Cardiff had changed position to set up an ambush for Argentine aircraft travelling over the area. The helicopter's identification friend or foe (IFF) transmitter was turned off, because it caused interference with the army's Rapier anti-aircraft missile system. The board of inquiry's findings prompted criticism of the MoD's initial response to the incident. ## Background On 2 April 1982, the British overseas territory of the Falkland Islands was invaded by neighbouring Argentina. The United Kingdom, nearly 8,000 mi (13,000 km) away, assembled and dispatched a naval task force of 28,000 troops to recapture the islands. The conflict ended that June with the surrender of the Argentine forces; the battles fought on land, at sea, and in the air had cost the lives of some 900 British and Argentine servicemen. In early May, British troops landed at San Carlos on the western side of East Falkland, and from there moved overland towards the islands' capital of Stanley. To support the advance, logistical supplies were ferried to the troops by helicopter from San Carlos. The Argentine forces occupying Stanley were supplied throughout the war by C-130 Hercules aircraft from the Argentine mainland. These "milk-runs", as the British termed them, were a source of concern to the Royal Navy, and various attempts were made to intercept them. ## Incident On the night of 5 June, the British Type 42 destroyer HMS Cardiff took up station on the "Bluff Cove Gunline" to the east of the islands. Tasked with a dual mission, Cardiff was to provide fire support to the Royal Marines of 3 Commando Brigade, and to interdict any Argentine aircraft attempting to fly into Stanley. The destroyer had performed a similar role four nights previously, when she unsuccessfully attempted to shoot down a re-supply aircraft as it landed, and again as it took off. Meanwhile, pilots Staff Sergeant Christopher Griffin and Lance Corporal Simon Cockton, of 656 Squadron Army Air Corps, had been ordered to fly equipment and personnel to a malfunctioning radio re-broadcast station on top of Pleasant Peak. The station had been established the previous day to provide a communications link between the 5th Infantry Brigade headquarters at Darwin, and the 2nd Battalion, Parachute Regiment at Fitzroy. Night flying conditions were excellent, with a clear sky, a prominent moon and a wind speed of 20 kn (37 km/h). The crew departed from Goose Green in Gazelle serial number XX377 and collected the replacement equipment from the headquarters at Darwin. They also took on board two passengers; Major Michael Forge, the OC of 205 Signal Squadron, and A Tp Staff Sergeant, Staff Sergeant John Baker. Griffin was an experienced pilot; the flight to the re-broadcast station was expected to take ten minutes. At 02:00 local time, Cardiff's operations room detected XX377 on her surface plot radar at a range of 25 nmi (46 km). The helicopter's identification friend or foe (IFF) system was turned off, so receiving no friendly transmissions and with the contact apparently heading towards Stanley, the operations room crew assumed it to be hostile. After calculating its speed they believed they were tracking an Argentine fixed-wing aircraft – either a Hercules conducting a resupply mission, or a FMA IA 58 Pucará ground-attack aircraft sent to retaliate for Cardiff's shelling. Cardiff fired one of her Sea Dart missiles. 5th Infantry Brigade lost radio contact with the Gazelle, and simultaneously the exploding missile was seen and heard by the re-broadcast station's personnel atop Pleasant Peak. Cardiff's crew were able to see the fireball, but only with the aid of night vision goggles. The helicopter's loss caused the British to suspect that Argentine forces were still operating in the area, so patrols were mounted by Gurkha soldiers. When the Gurkhas came across the personnel manning the Pleasant Peak station there was potential for another friendly fire incident to occur. At first light a proper search was carried out, and the Gazelle's wreckage was found along with the dead aircrew and passengers; 5th Infantry Brigade's first casualties of the war. Immediately there were suspicions that Cardiff had been responsible for the shootdown, and later that evening Rear Admiral "Sandy" Woodward declared a "Weapons Tight" order, forbidding the engagement of any aircraft not positively identified as hostile, for all contacts detected flying over East Falkland at less than 200 kn (370 km/h) and under 610 m (2,000 ft). ## Investigations The crew's bodies were initially examined by senior medical officer, Surgeon-Captain Richard "Rick" Jolly of the Royal Navy. The helicopter's wreckage was inspected on-site, but the British were unable to determine if it had been destroyed by Cardiff's missiles or by Argentine fire. This uncertainty prompted the decision not to hold a board of inquiry, and XX377 was declared "lost in action". It was surmised that, if the relatives of the deceased were told that the Gazelle might have been lost to friendly fire, it would add to their grief. After the war, missile fragments found in the wreckage were taken to the British government's aviation research facility at RAE Farnborough for analysis. The scientific tests concluded that the fragments were not from a British Sea Dart missile, despite a Sea Dart casing later being found "several hundred yards" away from the wreckage. In December 1982 an inquest was held by a Southampton coroner into the death of Lance Corporal Cockton after his body was repatriated to the UK. Based on RAE Farnborough's test results, the Army Air Corps submitted evidence stating that the analysis of the warhead fragments found in the wreckage indicated that the helicopter had been destroyed by a type of anti-aircraft missile "known to have been in the possession of the enemy". The test results were reviewed in November 1985 and determined that there could be "no definitive conclusion as to the exact source of the missile fragments recovered from the crash site". In June 1986, John Stanley, the Minister of State for the Armed Forces, announced in his written answers to the House of Commons: "the [Southampton] coroner has been informed accordingly." In October 1986, partly due to pressure from Cockton's mother and the anti-war politician Tam Dalyell, an official board of inquiry was finally opened. The board took a month to reach the conclusion that XX377 was shot down by Cardiff. Historian Hugh Bicheno remarks: "It took [the] MoD four years and two investigations, the first either incompetent or a deliberate cover-up, even to admit the Gazelle blue-on-blue." The board's findings were made public by a Freedom of Information Act request in July 2008, although Paragraph 13 of the report was redacted under Section 26 of the act as it "contains operational details of the Royal Navy's activities, which, even with the passage of time since the Falklands campaign, would be of use to potential enemies." The board of inquiry found that standard operating procedure dictated that the commanders of 5th Infantry Brigade were not required to declare the helicopter's mission to any other authority, as the flight was to occur in brigade airspace on a brigade task. Gazelle XX377 was equipped with an IFF transmitter, but this was turned off. In the opinion of the board, "had IFF been in use there is little doubt that Cardiff would not have engaged the aircraft that night." At the time, less than half of the land force's helicopters were fitted with IFF transmitters, and those that were had been ordered not to use them because they inhibited the tracking systems of the British ground-based Rapier anti-aircraft missile batteries. A misconception about the Royal Navy's ability to engage air targets over land led to the navy not being informed that the army's helicopters were not using IFF. The board of inquiry concluded that it was this failure to communicate, together with the navy's assumption that all helicopters would be operating IFF, which "had a cumulative effect [and] was a major cause of [the] accident." However, the board recommended that "neither negligence nor blame should be attributed to any individual". ## Effects Given that the role of helicopters in land force operations was increasing, as was the integration of guided missile destroyers for coastal defence, the board of inquiry recommended an amendment to NATO procedures for amphibious warfare and naval gunfire support, to alert other armed forces to the danger of underestimating a ship's missile engagement zone over land. During the late 1980s, the British government placed more emphasis on joint warfare training, with exercises, such as Purple Warrior, taking place in Oman and Scotland. The board noted the establishment of the Permanent Joint Headquarters, designed to put an end to the "ad hoc and reactive way" in which operations had been carried out while under single service control. IFF transmitters were fitted to all Army Air Corps and Royal Marine Gazelle and Lynx helicopters, and the problem of operating IFF in the vicinity of Rapier batteries was successfully addressed. The board supported a recommendation that the responsibilities of naval gunfire-support liaison officers could be broadened to include the interpretation of air defence problems during inshore joint warfare operations. A memorial cross was installed on Pleasant Peak, and the number "205" was painted at the crash site by the soldiers of 205 Signal Squadron. The number is approximately 40 m (130 ft) wide and can be seen from the air at (). ## See also - List of accidents and incidents involving military aircraft (1980–1989)	[ "## Background", "## Incident", "## Investigations", "## Effects", "## See also" ]	2,351	43,285
5,816,756	Illegal (song)	1,148,137,580	2006 single by Shakira	[ "2000s ballads", "2006 singles", "Carlos Santana songs", "Country ballads", "Number-one singles in Romania", "Pop ballads", "Shakira songs", "Songs about heartache", "Songs written by Lester Mendez", "Songs written by Shakira" ]	"Illegal" is a song recorded by Colombian singer-songwriter Shakira for her seventh studio album, Oral Fixation, Vol. 2 (2005). It was written and produced by Shakira and Lester Mendez and it features Mexican guitarist Carlos Santana. Epic Records released the song as the album's third and final single on 28 August 2006, following the release of "Hips Don't Lie". "Illegal" is a pop and country ballad with lyrics concerning mourning of a past lover complete with an understated vocal performance by Shakira and an electric guitar riff by Santana throughout. It received mixed reviews from music critics, who compared it with Alanis Morissette's material and were mixed towards Santana's contribution. The song achieved moderate success, topping the chart in Romania and the US Dance Club Songs chart and peaking within the top ten in Austria, Italy, Netherlands, Hungary and Switzerland among other countries. The music video for the song, co-directed by Jaume de Laiguana and Shakira, had its premiere on 16 November 2006 on MTV's Total Request Live (TRL). It features the singer portraying a girlfriend of a boxer and follows a similar storyline to the song's lyrics. "Illegal" has been performed by the singer live on few occasions, such as during the MTV 5 Star event (2005) and Good Morning America (2006). ## Composition and production "Illegal" is a ballad with lyrics revolving around mourning for the loss of a lover, as seen in the lines, "It should be illegal to deceive a woman's heart". It contains elements of pop and country music. Spence D. of the website IGN felt that Shakira adopted an "almost modern day country-styled pop aesthetic". Throughout the song, her vocals are subdued, complete with "rolling delivering, breathy accentuations, and... trill". AllMusic reviewer Stephen Thomas Erlewine noted that the lyrics "You said you would love me until you died/And as far as I know you're still alive" were similar to Alanis Morissette's "You Oughta Know" (1995). "Illegal" was written and produced by Shakira and Lester Mendez, with all additional production handled by Jose "Gacho" Torres. Mexican guitarist Carlos Santana appears as a featured artist on the song, playing an electrical guitar throughout. The guitar was also played by Lyle Workman. The other instruments featured in the song are keyboards played by Lester Mendez, bass by Paul Bushnell, drums by Shawn Pelton and percussion by Luis Contez. The mixing was done by Rob Jacobs while the audio engineering was finished by Kevin Killen, Serge "Sergical" Tsai and Vlado Meller, who mastered the song with the assistance of Mark Santangelo. ## Release "Illegal" was released as a CD single on 6 November 2006. An EP of the song featuring two versions of the song and "La Tortura" was available for digital download on 9 December 2006. A second, enhanced CD single featuring two versions of the song along with "La Tortura" and its music video was released on 18 December 2006. ## Critical reception The song has received polarized reviews from music critics. A writer of Billboard was very positive towards the song, calling it "gorgeous" and Shakira's "most understated performance to date". He further praised Santana's quiet guitar contribution, comparing it to "tears accompanying the loss". The critic finished his review by concluding that time would be needed for channels streaming the song to propel it to the top 40 of the charts, "but this forlorn masterpiece is as instantly reactive on the slow side as 'Whenever, Wherever' was on the fast". In a review of Oral Fixation, Vol. 2, Thomas Erlewine said that Shakira takes her music into unexpected directions with "Illegal". Matt Cibula, in a review for PopMatters, found country music elements on the song, adding that its chorus could easily make it a CMT number-one single. A Dotmusic journalist praised the singer's vocal performance in the song as a proof that she "certainly has a sweet croon". Spence D. of IGN also praised her vocals in the quiet song and complimented Santana's performance for bringing "nice ambiance". Entertainment Weekly's David Browne gave a more mixed review, opining that "'Don't Bother' and 'Illegal' are sister-of-Alanis catfights we've heard before". Barry Walters from Rolling Stone said that Santana's contribution in the song was "instantly recognizable and somewhat disruptive". Similarly, Lauren Murphy from entertainment.ie felt that his "conscription" and riff contribution to the song was "somewhat lackluster". A writer of E! Online dubbed "Illegal" a "total buzzkill". Robert Copsey of the website Digital Spy placed the song seventh on his list of Shakira's ten best songs, published in 2014 writing that "it hasn't aged a day". The same year, Emily Exton of VH1 placed the track on her list of Shakira's best duets, summarizing "The pained musings of a woman scorned, punctuated by the legend’s iconic guitar groove". A writer of the website Telemundo included "Illegal" on his list of Shakira's best musical collaborations in 2015. Billboard included "Illegal" among Santana's 10 'timeless' collaborations. ## Chart performance In the United States, "Illegal" managed to top the Billboard Dance Club Songs chart for the week of 10 February 2007. On the UK Singles Chart, the single debuted at the position of 94 on 16 December 2006 and it moved to its peak position of 34 the following week. It spent a total of four weeks on the chart. On the charts in Austria, "Illegal" debuted at number nine on 8 December 2006 which later became its peak position on the chart on which it gradually descended for seventeen weeks, appearing for the last time on the chart issue of 13 April 2007. At the end of 2007, it emerged as the 66th top single in that country's year-end chart. The single debuted at number ten in its first week of charting on the Swiss Hitparade on 3 December 2006 and it spent a total of 21 weeks in that country. In Germany, "Illegal" rose to the position of eleven and was ranked 76th on the 2007 year-end chart in that country. On 23 November 2006, "Illegal" debuted at number nine on the Italian Singles Chart and then rose to number four in its ninth week of charting, on 18 January 2007. It spent fourteen consecutive weeks in the chart's top twenty and was last seen on 22 February 2007. Inside the Romanian Top 100, "Illegal" was Shakira's fourth single to reach the number-one position on 22 January 2007. It held the top spot for five non-consecutive weeks. The single further peaked at numbers three, four and six on the charts in Slovakia, the Czech Republic and Hungary, respectively. ## Music video The music video for "Illegal" was shot in Mexico City on 17 October 2006, during a short break in the schedule of the Oral Fixation Tour, between concerts in Mexico and Guatemala. Jaume de Laiguana and Shakira were the co-directors of the video. The filming took a full day, and some American and Mexican fans were invited over as extras. It officially premiered on 16 November 2006 on MTV's Total Request Live (TRL). The video features Shakira as the girlfriend of a boxer. Throughout most of the video, she is shown in the empty boxing venue where her former boyfriend boxes. Through flashbacks, she remembers the good times in their relationship – including being alone in the ring, affectionately treating each other. At the end of the video, the reason behind their break-up is shown. Shakira comes to see her boyfriend boxing in the championship match where he wins, unaware that Shakira is there watching him. Another girl steps in the ring and kisses the boxer, revealing to Shakira he is cheating on her. Her boyfriend, to his shock, finally sees that Shakira is watching him kiss the other girl. The video ends with her looking back at him, clearly hurt, before turning away and leaving. ## Live performances An MTV 5 Star performance of the song from 2005, was uploaded to Shakira's official Vevo account on 24 March 2011. In December 2006, "Illegal" was performed during the singer's appearance at Good Morning America. ## Track listing and formats \; CD single 1 1. "Illegal" [Album Version] (featuring Carlos Santana) – 03:54 2. "Illegal" [Ali Dee Remix] (featuring Carlos Santana) – 03:49 3. "Obtener Un Sí" [Album Version] – 03:20 \; CD single 2 1. "Illegal" [Album Version] (featuring Carlos Santana) – 03:54 2. "Illegal" [Alee Dee Remix] (featuring Carlos Santana) – 03:49 3. "La Tortura" [Album Version] – 3:35 4. "La Tortura" [CD-Rom Video] – 3:45 \*; Promotional CD 1. "Illegal" [Johnny Vicious Warehouse Mix] – 10:00 2. "Illegal" [Johnny Vicious Warehouse Radio Mix] – 3:45 3. "Illegal" [Johnny Vicious Roxy Mix] – 8:00 4. "Illegal" [Johnny Vicious Roxy Radio Mix] – 4:14 5. "Illegal" [Johnny Vicious Ballroom Mix] – 7:28 6. "Illegal" [Johnny Vicious Ballroom Dub] – 5:37 ## Credits and personnel - Featured artist – Carlos Santana - Songwriting – Shakira, Lester Mendez - Music – Lester Mendez - Bass – Paul Bushnell - Drums – Shawn Pelton - Guitar – Carlos Santana, Lyle Workman - Keyboards – Lester Mendez - Percussion – Luis Contez - Production – Shakira - Additional – Jose "Gacho" Torres - Co-production – Lester Mendez - Mixing – Rob Jacobs - Mastering - Vlado Meller - Assistant –Mark Santangelo - Engineering – Rob Jacobs - Recording engineer – Kevin Killen, Serge "Sergical" Tsai Credits and personnel adapted from the liner notes of Oral Fixation Vol. 2. ## Charts ### Weekly charts ### Year-end charts ## Release history ## See also - List of number-one dance singles of 2007 (U.S.) - List of Romanian Top 100 number ones of the 2000s	[ "## Composition and production", "## Release", "## Critical reception", "## Chart performance", "## Music video", "## Live performances", "## Track listing and formats", "## Credits and personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Release history", "## See also" ]	2,308	1,340
48,995,080	Stewart's Castle	1,153,767,863	Former mansion in Washington, D.C.	[ "Buildings and structures demolished in 1901", "Castles in the United States", "Demolished buildings and structures in Washington, D.C.", "Dupont Circle", "Residential buildings completed in 1873", "Second Empire architecture in Washington, D.C." ]	Stewart's Castle, also referred to as Castle Stewart or Stewart's Folly, was a mansion in Washington, D.C., located on the north side of Dupont Circle between Connecticut Avenue and Massachusetts Avenue. The house owed its various names to the original owner, Senator William Morris Stewart, the imposing, turreted facade, and its prominence in an area considered undesirable at the time of its construction. Designed by architect Adolf Cluss, the house was completed in 1873 but only stood for 28 years. It was badly damaged in a fire in 1879 but later repaired and rented to the Chinese Legation from 1886 to 1893. The house was sold to Senator William A. Clark, who razed it in 1901, intending to build a new residence. The plans never came to fruition. The site remained vacant for over 20 years until the construction of a commercial building, which still stands. ## History ### Development and construction Until the 1860s, much of the Dupont Circle neighborhood was still undeveloped marshland with only a few modest houses. The Board of Public Works (BPW) began large-scale improvements in parts of the city in 1871. The following year, Connecticut Avenue was paved from Lafayette Square to Boundary Street (present-day Florida Avenue) with trees flanking the roadway. The circle itself, named initially Pacific Circle in honor of the neighborhood's real estate developers, was improved with paths, fences, and landscaping. The developers, Nevada Senator William Morris Stewart (1827-1909), Curtis Justin Hillyer, and Thomas Sunderland, were wealthy lawyers who had made their fortunes with mining operations in California and Nevada. Their real estate business nicknames included the Pacific Pool, Pacific Syndicate and California Syndicate. Hillyer and Sunderland encouraged Stewart to build a large house in Pacific Circle to spur further development and increase property values in the neighborhood. Despite financial difficulties that he was experiencing at the time, Stewart began plans for his house and selected architect Adolf Cluss (1825-1905) to design it. Cluss, a German immigrant, was the BPW architect at the time who designed many of the city's prominent buildings including the Arts and Industries Building, Center Market and the Franklin School. Construction lasted from 1871 to 1873 at an estimated cost of between \$80,000 and \$100,000. The design of the nearly 19,000 sq ft (1,800 m<sup>2</sup>) house was influenced by the pentagonally shaped, 16,322 sq ft (1,516.4 m<sup>2</sup>) lot on the north side of the arc of the circle between Connecticut Avenue and Massachusetts Avenue All of the house's furnishings were purchased in 1872 by Stewart's wife, Annie, daughter of Senator Henry S. Foote, during a visit to France. The first consignment of furnishings was lost at sea and an almost identical order was placed, which arrived safely. ### Residence There was mixed reaction upon completion of the five-story, Second Empire house, the first to be built on the circle and considered to be one of the most elaborate private residences in the city. Most people agreed it was an impressive mansion and nicknamed it Stewart's Castle or Castle Stewart because of its size, architectural details such as the imposing, turreted facade and its prominence on the circle. But it was also referred to as Stewart's Folly because at the time its location was far from desirable areas of the city and there were few houses in the neighborhood. Development in the neighborhood was minimal for several years due to the Long Depression, which began in 1873 and lasted until 1879. It would be seven years before another residence was built on the circle, the Hopkins-Miller House, completed in 1880 and located on the south side. The James G. Blaine Mansion, built in 1881, would be the next large residence built in the area. The Stewarts spent most of their money on building and furnishing the house. Stewart had left the real estate syndicate. The upkeep of such a large house, including a stable with thoroughbred horses and paying many servants, was financially draining. Nevertheless, the Stewarts hosted large parties, and their house briefly became a center of Washington, D.C.'s social scene. According to one newspaper reporter, "attending a reception at Stewart's Castle makes one feel like Marco Polo at the Court of Kublai Khan." In 1874, the ornate British Legation was built one block south of the circle and the area became a more acceptable section of the city according to prominent members of society. That same year, William Sharon was vying for Stewart's Senate seat, and Stewart chose not to stand for reelection. After only two years in his new house and having exhausted most of his funds, in 1875, Stewart and his family moved back to California, where he resumed his law practice and mining operations. For the next four years, the only occupants were a few servants and a watchman. #### 1879 fire By 1879, Annie Stewart had grown tired of living in California and returned to their home in Washington, D.C. She made plans to host a New Year's Eve reception at Stewart's Castle, but on the night of December 30, while Annie was visiting friends, a fire broke out due to a defective flue. The fire department was telephoned, but the fire had spread from the front stairway to the top floors by the time firefighters arrived. Annie was notified and returned to find her house in flames. British minister Sir Edward Thornton and other diplomatic staff members hurried to the scene. He took Annie and her daughter, who had been asleep upstairs and was rescued by two servants, to the British Legation before returning to the house to assist with rescuing valuables and personal items. Many of the items from the first and second floors were saved, including paintings, furnishings, and silver. However, the upper floors were completely gutted, and the plaster and woodwork on the lower floors were heavily damaged. The estimated cost of the damage was \$50,000. The house was abandoned and sat vacant until 1883 when Stewart hired architect Robert Isaac Fleming to oversee the necessary extensive repairs. ### Chinese Legation The Stewarts attempted to sell their house, but with no success. In 1886, they began renting Stewart's Castle, fully furnished, to the Chinese Legation for \$10,000 a year. When Stewart was re-elected to the Senate in 1887, the family rented a house on H Street. Although Chinese diplomats had been in Washington, D.C. for several years, they still drew curious looks from locals. Nearby residents found the activities of the Chinese diplomatic corps to be peculiar, including staff doing laundry in what was now called Dupont Circle and playing hide-and-seek at night. When staff went out on Stewart's Castle's balconies, onlookers would stare, and police would eventually ask the public to move. Staff would sometimes use the large ballroom as a place to smoke opium. An invitation to the Chinese Legation was coveted by members of society as the receptions were considered fashionable and unique. A local newspaper reported one such event: "Washington ladies are delighted to learn that some of their number have been received by the wife of the new Chinese Minister. She greeted them in her boudoir on the second floor of Stewart's Castle, toddling toward them on her three-inch-long bound feet, and clad in handsome silken robes of pink, lavender, and blue." A social event at the Chinese Legation in 1887 caused a scandal. A ball was held with 400 invitations issued. However, over 1,500 people made their way into the building resulting in the local press describing it as a "mob." Attendees were unable to move for hours, Chinese ornaments were broken or lost, guests lost their wraps and overcoats, and one senator was separated from his wife for over two hours after leaving to get her a refreshment. The Chinese Legation continued renting Stewart's Castle until 1893 when Stewart was re-elected to the Senate. The Legation had caused significant damage to the building. Staff smoking opium left burned holes in the expensive furniture. Fish was cooked on the kitchen tile floors because the staff was unaccustomed to using stoves. There were smoke stains in the rooms because the minister would burn red peppers when he wanted guests to leave. Stewart sued the Chinese government for \$15,000 for damages to the house. Chinese officials hired former Secretary of State John W. Foster to represent them in court. A settlement was reached in the amount of \$3,000. ### Restoration and final years Stewart began a restoration of the house, including repainting and redecorating the interior, repainting the exterior, and repairing holes in the walls. Annie and her youngest daughter returned from an overseas trip with new furnishings. The family leased a house on Vermont Avenue until restorations were completed in late 1894. Upon completion of the renovations, Stewart's Castle returned to its role as a center of Washington, D.C. society. The family continued living in the house until September 1899 when it was sold to wealthy Montana Senator William A. Clark for an estimated \$145,000. Stewart purchased a new property at 1800 F Street NW. A few years after moving out of the house, in May of 1904, Stewart sold many of its furnishings at a G.C. Sloan & Company auction. This resulted in a widely publicized argument between him and his daughters. They claimed Stewart was heartless and cruel for selling the belongings of their mother, who had died in 1902. Stewart said his daughters had already taken all of the items they wanted, but were upset because he had recently remarried against their wishes. He also told his daughters "I need the money." Initial plans for the Stewart Castle site were for a large apartment building or a twelve-story hotel to be erected on the lot. Still, Clark chose instead to build a large neoclassical residence. Clark became embroiled in a scandal when it was discovered he had bribed members of the Montana Legislature in return for their votes. The U.S. Senate refused to seat him, and Clark moved to New York. He never lived in Stewart's Castle but would occasionally allow charity functions to be held there. Clark was re-elected to the Senate in 1901, and Stewart's Castle was razed that year. He lived next door at 1915 Massachusetts Avenue NW (now demolished). He never built a residence in the city, instead focusing on building a Fifth Avenue mansion in New York. For more than 20 years, the site where Stewart's Castle once stood remained a vacant lot overgrown with weeds. The only remnants of the once grand house were the foundation stones. In 1908, New York Avenue Presbyterian Church considered purchasing the lot to build a new, modern church building. Clark continued ownership of the empty lot until December 1921 when it was sold to the Semmes Motor Company for over \$200,000. The company built an automobile showroom on a portion of the lot. In 1922, Riggs Bank (now PNC Financial Services) built a branch next to the showroom, which was later purchased by Riggs Bank and the two buildings were incorporated in 1923. In 1990, Riggs Bank announced it would tear down the branch and construct a 10-story, 100 ft (30 m) tall office building on the entire block, but opposition by neighborhood activists and historic preservationists derailed the project. In 2015, PNC sold the property to L&B Realty Advisors LLP for \$60.75 million, but signed a 15-year lease to continue operating its banking branch. Other tenants have included AT&T, BGR and Sweetgreen. ## See also - Leiter House, nearby Dupont Circle mansion demolished in 1947	[ "## History", "### Development and construction", "### Residence", "#### 1879 fire", "### Chinese Legation", "### Restoration and final years", "## See also" ]	2,464	22,581
7,537,836	Denmark at the 1968 Winter Olympics	1,003,945,045	null	[ "1968 in Danish sport", "Denmark at the Winter Olympics by year", "Nations at the 1968 Winter Olympics" ]	Denmark sent a delegation to compete at the 1968 Winter Olympics in Grenoble, France from 6–18 February 1968. This was Denmark's fifth time participating at a Winter Olympic Games. The delegation consisted of three cross-country skiers; Apollo Lynge, Kirsten Carlsen, and Svend Carlsen. The men both competed in the 15 and 30 km races; Kirsten Carlsen competed in the 5 km and 10 km races. She had the best performance of any of them with her 32nd-place finish in the 10 km event. ## Background Denmark has been part of the Olympic movement since the beginning, having sent three athletes to the first modern Olympics in 1896. Since then, the only Summer Olympic Games they have missed is the 1904 Summer Olympics. Denmark first competed at the Winter Olympics at the 1948 Winter Olympics. Grenoble was accordingly their fifth time participating in the Winter Olympics. Denmark has won at least one medal in every Summer Olympics they have participated in, but won a medal in the Winter Olympics only once, in 1998 at Nagano in the sport of curling. The 1968 Winter Olympics were held from 6–18 February 1968; a total of 1,158 athletes competed representing 37 National Olympic Committees. The Danish delegation to Grenoble consisted of three cross-country skiers; Apollo Lynge, Kirsten Carlsen, and Svend Carlsen. Kirsten Carlsen was the flagbearer for the opening ceremony. The two Carlsens' were husband and wife. ## Cross-country skiing Apollo Lynge was 28 years old at the time of the Grenoble Games, and was making his only Olympic appearance. Svend Carlsen was 29 years of age, and was making his second appearance at an Olympics, having skied the same two races four years earlier for Denmark at the 1964 Winter Olympics The two men raced the same programme, the 30 kilometers on 7 February, and the 15 kilometers on 10 February. In the 30 kilometers race, Lynge finished in 1 hour, 55 minutes, and 40.0 seconds; Carlsen did better, finishing in 1 hour, 50 minutes and 51.8 seconds. Out of 63 classified finishers Lynge was in 62nd place and Carlsen in 53rd. The gold medal was won by Franco Nones of Italy in 1 hour, 35 minutes and 39.2 seconds; silver was won by Odd Martinsen of Norway, and bronze was taken by Eero Mäntyranta of Finland. In the 15 kilometers race, their fortunes were similar. Lynge finished in 1 hour and 34.8 seconds, which placed him 67th out of 72 competitors who finished the race, while Carlsen's time was a faster 56 minutes and 9.5 seconds, good for 57th place. Carlsen's 57th- and 53rd-place finishes were identical to his ranks in the same races four years before. The gold medal was won by Harald Grønningen of Norway in a time of 47 minutes and 54.2 seconds, the silver was won by Mäntyranta and the bronze by Gunnar Larsson of Sweden. Kirsten Carlsen, at 30 years old was the oldest member of the delegation, and also making her only Olympic appearance. On 9 February, she participated in the Women's 10 kilometers race, finishing in a time of 46 minutes and 56.2 seconds, which put her in 32nd place, last among classified finishers. The gold medal was won by Toini Gustafsson of Sweden in a time of 36 minutes and 46.5 seconds, silver by Galina Kulakova of the Soviet Union and bronze by fellow Soviet Alevtina Kolchina. Four days later on 13 February, Kirsten Carlsen was part of the Women's 5 kilometers race. She finished 34th and last in a time of 19 minutes and 56.6 seconds; Gustafsson won another gold medal, this time in 16 minutes and 45.2 seconds; Berit Mørdre of Norway took silver, and fellow Norwegian Inger Aufles won the bronze. ## See also - Denmark at the 1968 Summer Olympics - Denmark at the 1968 Summer Paralympics	[ "## Background", "## Cross-country skiing", "## See also" ]	922	36,234
26,706,697	Summer Catalog	1,146,026,337	null	[ "2010 American television episodes", "Parks and Recreation (season 2) episodes", "Television episodes written by Katie Dippold" ]	"Summer Catalog" is the 20th episode of the second season of the American comedy television series Parks and Recreation, and the 26th overall episode of the series. It originally aired on NBC in the United States on March 25, 2010. In the episode, Leslie organizes a reunion with the last four Pawnee park directors, but is disappointed when it turns out they despise each other. Meanwhile, Tom tries to take a photo of Ann and Mark for the city's summer catalog, while the budding relationship of Andy and April continues to develop. The episode was written by Katie Dippold and directed by Ken Whittingham. It featured a guest appearance by Michael Gross, best known for his role as Steven Keaton from Family Ties, as one of the former park directors. According to Nielsen Media Research, "Summer Catalog" was seen by 4.47 million household viewers. It suffered competition from CBS footage of the first round of the 2010 NCAA Men's Division I Basketball Tournament, which drew 9.68 million household viewers. "Summer Catalog" received generally positive reviews. ## Plot While working on the Pawnee summer catalog, Leslie (Amy Poehler) excitedly organizes a reunion between Ron (Nick Offerman) and his three predecessors. She anticipates a joyous occasion and plans to write a letter about it for the catalog. However, none of the four men get along with each other, and all of them are difficult to get along with. One of them (Dakin Matthews) litters repeatedly, treats everybody disrespectfully, and cheerfully says he never gave a damn about the Parks department and only took the job because it had an easy path to job security and a lucrative pension. Another one (Jack Wallace) exhibits a sexist attitude, and tells Leslie she should not be working there due to menstruation issues. The third (Michael Gross) constantly talks about his affinity for marijuana, going so far as to say "I've planted marijuana in community gardens across this city," and particularly clashes with Ron (who forced him out of the position years ago) who cheerfully confirms he screwed his predecessor over and otherwise is his usual detached self. Later, a frustrated Leslie decides she cannot write the catalog letter; she stops treating the former directors with any respect by telling the sexist to shut up and calling them "turds" when she briefly takes a throwaway picture and then walks away from them without another word. Ron takes her out to dinner to apologize, and the two process their mutual respect, and vow they will never grow to hate each other the way the four former directors do. Ron even tells Leslie that he wants her to take over his Parks Director position if he becomes Pawnee's City Manager. However, Ron cheerfully says in an interview that one of his first acts as City Manager would be to eliminate the Parks department, while Leslie gives an equally upbeat interview where she says one of her first acts as City Manager, were she to leapfrog Ron for the job, would be to double the department's size. Tom (Aziz Ansari) is tasked with taking the cover photo of the summer catalog, and convinces Ann (Rashida Jones) and Mark (Paul Schneider) to pose for photos at a community park. Tom is repeatedly frustrated with Ann, who has a difficult time appearing happy. When the photos are finished, Ann agrees that she looks miserable and asks that the pictures not be used. Mark appears concerned that Ann's unhappiness is a reflection of their relationship. She insists everything is fine, but he is unconvinced. Meanwhile, April (Aubrey Plaza) and Andy (Chris Pratt) appear to be growing closer. After helping Leslie set up her picnic, Andy asks whether April wants to get drinks after work, and she agrees. However, when they arrive at a bar, the bouncer (Mike Mauloff) easily notices April is underage, and her identification confirms she is 20. April tells Andy they can go to another bar, but Andy decides to go home instead, seemingly uncomfortable about their age difference. April is visibly disappointed, but does not convey it to Andy. Later, the summer catalogs arrive, with a photo on the cover of April and Andy appearing happy together at the picnic. ## Production "Summer Catalog" was written by Katie Dippold and directed by Ken Whittingham. The character Michael Tansley, one of the former parks directors, was played by guest actor by Michael Gross, best known for his role as Steven Keaton from Family Ties. At the end of the episode, Leslie and Ron have dinner at J.J.'s Diner, an eatery previously featured in the first season episode "The Reporter". Although the exterior shots of the restaurant are the same, the interior set of the diner is a completely different one from the other episode. Shortly after the episode aired, a copy of the Pawnee Summer Catalog 2010 that was featured in the episode was made available for download on the official Parks and Recreation website. The map of Pawnee contained within the catalog is based on the map of central Christchurch, New Zealand. Within a week of the episode's original broadcast, two deleted scenes from "Summer Catalog" were made available on the official Parks and Recreation website. In the first, a two-minute clip, April and Andy flirt while walking along a trail to set up Leslie's picnic. When April complains about her feet hurting, Andy volunteers to give her a piggyback ride. Later, Leslie tries to write her summer catalog letter based on the picnic, but struggles due to how rude the four men acted. The second clip, which lasted two minutes and 15 seconds, includes further scenes of Tom leading Ann and Mark through a photo shoot at the park. Tom forces them to enter into unusual, avant-garde poses, and yells at young children who get in the way of the shot while playing. ## Cultural references Leslie compares the summer catalog to the Pawnee version of Vogue, a fashion and lifestyle magazine. During one scene, Tom makes a joke, then says, "Am I right, Justin?" The line is a reference to Leslie's stylish ex-boyfriend Justin, played by actor Justin Theroux earlier in the season, who Tom desperately admired. When Jerry takes a bad picture for the catalog, he indicates he will use the graphics software Adobe Photoshop to change the image, prompting April to ask, "Can you Photoshop your life with better decisions, Jerry?" During the picnic, when Andy and April are talking, Andy talks about writing a song called "Life is a Picnic”. Andy makes a reference to NFL quarterback Peyton Manning. ## Reception In its original American broadcast on March 25, 2010, "Summer Catalog" was seen by 4.47 million household viewers, according to Nielsen Media Research. For the second week in a row, the show suffered in comparison to CBS footage of the 2010 NCAA Men's Division I Basketball Tournament, which drew an average of 9.68 million household viewers during Parks and Recreation'''s 8:30 p.m. time-slot. Also for the second consecutive week, Parks and Recreation was outperformed by the ABC drama series FlashForward, which drew 6.2 million household viewers. "Summer Catalog" had an overall 2.9 rating/6 share, and a 3/1 rating/11 share among adult viewers between ages 18 and 49. "Summer Catalog" received generally positive reviews. Alan Sepinwall, television columnist with The Star-Ledger, called the episode a "nice character piece for most of the ensemble", and said it demonstrated how much Leslie has developed as a character since the first season. He praised the jokes about Ron's hunger and the scenes with Tom's demanding photography sessions. Entertainment Weekly television writer Ken Tucker said the storylines moved along briskly, provided a "constant stream of laughs" and displayed the "rich texture" of the characters. Tucker also said the romances in Parks and Recreation were more believable than contemporary ones in shows like The Office and 30 Rock. Matt Fowler of IGN called it a "particularly strong" episode that used all of the characters well. Fowler especially liked that although Ron and Leslie bickered throughout the episode, they still displayed a mutual respect. He also said Tom's photography sessions were a good way to display Ann and Mark's deteriorating relationship. The A.V. Club writer Steve Heisler said "Summer Catalog" laid the foundation for several future developments, like changes to the Andy/April and Mark/Ann relationships, but also kept the episode funny and enjoyable. Heisler said Tom had the best lines of the episode. Kona Gallagher of TV Squad said she was saddened by the decline in Mark and Ann's relationship and the setback for the April and Andy courtship, and feared the subplot might not reach a satisfactory conclusion by the end of the season. Gallagher also said the main-plot with Leslie and the former park heads was predictable, and that guest star Michael Gross was underused. ## DVD release "Summer Catalog", along with the other 23 second season episodes of Parks and Recreation'', was released on a four-disc DVD set in the United States on November 30, 2010. The DVD included deleted scenes for each episode.	[ "## Plot", "## Production", "## Cultural references", "## Reception", "## DVD release" ]	1,899	8,898
24,982,510	Katsudō Shashin	1,173,526,431	1907 fragment of animated film speculated to be the oldest work of animation in Japan	[ "1900s animated short films", "1900s anime films", "1900s rediscovered films", "1907 animated films", "1907 films", "1910s animated short films", "1910s anime films", "Anime short films", "Articles containing video clips", "Japanese silent films", "Rediscovered Japanese films", "Silent films in color", "Works of unknown authorship" ]	Katsudō Shashin (活動写真, "motion picture"), sometimes called the Matsumoto fragment, is a Japanese animated filmstrip from the Meiji era that is the oldest known work of animation from Japan. Its creator is unknown. Evidence suggests it was made somewhere between 1907 and 1912, so it may predate the earliest displays of Western animated films in Japan. It was discovered in a collection of films and projectors in Kyoto in 2005. The three-second filmstrip depicts a boy who writes "活動写真", removes his hat, and bows. The frames were stencilled in red and black using a device for making magic lantern slides, and the filmstrip was fastened in a loop for continuous play. ## Description Katsudō Shashin consists of a series of cartoon images on fifty frames of a celluloid strip and lasts three seconds at sixteen frames per second. It depicts a young boy in a sailor suit who writes the kanji characters "活動写真" (katsudō shashin, "moving picture" or "Activity photo") from right to left, then turns to the viewer, removes his hat, and bows. Katsudō Shashin is a provisional title for the film, whose actual title is unknown. Unlike in traditional animation, the frames were not produced by photographing the images, but rather were impressed onto film using a stencil. This was done with a kappa-ban, a device for stencilling magic lantern slides. The images were in red and black on a strip of 35 mm film whose ends were fastened in a loop for continuous viewing. ## Background ### Imported animation projectors Early printed animation films for optical toys such as the zoetrope predate projected film animation. German toy manufacturer Gebrüder Bing presented a cinematograph at a toy festival in Nuremberg in 1898; soon other toy manufacturers sold similar devices. Live-action films for these devices were expensive to make; possibly as early as 1898 animated films for these devices were on sale, and could be fastened in loops for continuous viewing. Imports of these German devices appeared in Japan at least as early as 1904; films for them likely included animation loops. Projected film technology arrived in Japan from the West in 1896–97. The earliest display of foreign animation in Japanese theatres that can be dated with certainty is of the French animator Émile Cohl's The Nipper's Transformations (1911), which premièred in Tokyo on 15 April 1912. Works by Ōten Shimokawa, Seitarō Kitayama, and Jun'ichi Kōuchi in 1917 were the first Japanese animated films to reach theatre screens. The films are lost, but a few have been discovered in "toy movie" versions for viewing at home on hand-cranked projectors; the oldest to survive is Hanawa Hekonai meitō no maki (1917), titled Namakura-gatana in its home version. ## Rediscovery In December 2004, a secondhand dealer in Kyoto contacted Natsuki Matsumoto, an expert in iconography at the Osaka University of Arts. The dealer had obtained a collection of films and projectors from an old Kyoto family, and Matsumoto arrived the next month to fetch them. The collection included three projectors, eleven 35mm films, and thirteen glass magic lantern slides. When Matsumoto found Katsudō Shashin in the collection, the filmstrip was in poor condition. The collection included three Western animated filmstrips; Katsudō Shashin may have been made in imitation of such examples of German or other Western animation. Based on evidence such as the likely manufacture dates of the projectors in the collection, Matsumoto and animation historian determined the film was most likely made in the late Meiji period, which ended in 1912; historian Frederick S. Litten has suggested c. 1907 as a likely date, and that "a production date before 1905 or after 1912 is unlikely". At the time, movie theatres were rare in Japan; evidence suggests Katsudō Shashin was mass-produced to be sold to wealthy owners of home projectors. The creator of the filmstrip remains unknown; to Matsumoto, the relatively poor quality and low-tech printing technique indicate it was likely from a smaller company. The discovery was widely covered in Japanese media. Given its speculated date of creation, the film would have been contemporary to—or even have predated—early animated works by Cohl and the American animators J. Stuart Blackton and Winsor McCay. The newspaper Asahi Shimbun acknowledged the importance of the discovery of Meiji-period animation, but expressed reservations about placing the film in the genealogy of Japanese animation, writing that it is "controversial that should even be called animation in the contemporary sense". ## See also - Cinema of Japan - History of animation - History of anime - List of rediscovered films - List of anime by release date (pre-1939)	[ "## Description", "## Background", "### Imported animation projectors", "## Rediscovery", "## See also" ]	1,066	42,072
53,165,741	Reed water tube boiler	1,062,871,673	Type of water tube boiler	[ "Marine boilers", "Water-tube boilers" ]	The Reed water tube boiler was a type of water tube boiler developed by J. W. Reed, manager of the engine works at Palmers Shipbuilding and Iron Company of Jarrow, England, where it was manufactured from 1893 to 1905. At this time, Palmers was a vertically integrated business: in its shipyard at Jarrow, using iron ore from its own mine in North Yorkshire, it produced the iron and steel needed for its ships, and engines and boilers of its own design. Intended for use in the steam propulsion of ships, the Reed water tube boiler was similar to other boilers such as the Normand and Yarrow, themselves developments of the du Temple boiler. These differed from locomotive boilers, also known as "fire tube boilers", in that, whereas the fire tube boiler consisted of a cylinder filled with water, which was heated by tubes passing through it carrying exhaust gases from a furnace, in the water tube boiler the situation was reversed, with water passing through steam-generating tubes mounted directly above the furnace. Advantages of the water tube boiler included comparative lightness and the ability to run at higher pressures. About 170 of Reed's water tube boilers were installed in ships of the Royal Navy, in two of which they were installed to replace boilers rejected by the Admiralty. ## Design The Reed water tube boiler was developed and patented in 1893 by J. W. Reed, manager of the engine works at Palmers Shipbuilding and Iron Company, which manufactured it. By the last quarter of the 19th century Palmers had become one of Britain's largest shipbuilders and, during its operation between 1851 and 1933, it produced "more than 900" ships. However, it was a vertically integrated business: from about 1857 it possessed its own source of iron ore, mined near the North Yorkshire coast in the vicinity of Whitby and Saltburn, and, according to the local historians Jim Cuthbert and Ken Smith, "it was said that [Palmers' shipyard] brought in iron ore at one end ... and sent it away again at the other end in the form of finished ships." Thus the Reed water tube boiler was a natural addition to the company's output, which had previously included other designs of boiler, such as the Belleville boiler, besides steam engines. It was similar to its antecedent the du Temple boiler, and other developments from it such as the Normand and Yarrow boilers, in that each featured three cylindrical water chambers arranged to form a triangle or, viewed from one end, an inverted "V" shape: the entire boiler was filled with water but for the upper part of the top chamber, which allowed for the collection of steam, and was connected by two banks of steam-generating tubes to the two lower chambers, between which was a furnace. Water tube boilers could operate at higher pressures and were much lighter than locomotive boilers, also known as "fire tube boilers" or, when used in ships, as "marine boilers". In these, water was contained in a single drum through which tubes carried exhaust gases from a furnace: a locomotive boiler had to be constructed from heavier gauge materials, since the greater size of the single drum required a thicker shell, and, while the tubes in a water tube boiler were subject only to tension from the steam and pressurised water within, a locomotive boiler's tubes were subject to compression from without, again requiring thicker materials. In the Normand boiler, the tubes were comparatively straight and a portion of those in the inner and outer rows of each bank were formed into "tube walls" to direct hot gases generated by the furnace through the boiler. In the Reed boiler, the tubes were bent into pronounced curves of varying radii to maximise surface area and therefore steam production, and baffles were used to direct hot gases. The lowest section of the lowest tubes of Reed boilers was originally bent into tight, "wavy" curves, also to maximise surface area, but this was discontinued by 1901 as it inhibited the flow of water and hence also steam. Further, the external diameter of the tubes tapered at their lower ends from 1+1⁄16 inches (27 mm) to 7⁄8 inch (22 mm) to improve the passage of hot gases between them. They were connected perpendicularly to the chambers at each end, as were the tubes in the Normand boiler, to reduce stress. However, in the Reed boiler these connections were made by hemispherical faces, which allowed "a certain angular play". The tubes were secured by nuts inside the chambers at each end. Handholes gave access to the bottom chambers, and a manhole gave access to the top chamber, allowing rapid replacement of defective tubes. In both types of boiler, the steam-generating tubes joined the top chamber below the designed water line to stop them overheating: in another type of water tube boiler, the Thornycroft, the steam-generating tubes joined the top chamber above the water line, and their tops were "observed to get red-hot when the water was low." Overheated tubes were liable to fail. Large, external "down-comer" tubes transferred water from the top chamber to the two bottom ones. The down-comers thus promoted convection within the boiler, which needed to be rapid because of the small diameter of the tubes, and formed "a substantial part of [its] framework." Steam was collected inside a dome on top of the top chamber, from which it passed out of the boiler for use via engine room controls, and in the Reed boiler all but the dome and the ends of the three water chambers was enclosed in a double-layered casing with an air gap and asbestos lining that reduced the temperature of the outer layer. The casing rose at the top to form an outlet for hot gases into a funnel. The furnace was fed with coal by stokers through firebox doors at one end, and, whereas the Normand boiler required a fire of about 18 inches (460 mm) depth, the Reed boiler required a shallower one of between 8 and 12 inches (200–300 mm). Air was admitted to the furnace through the air gap in the boiler casing, thus providing a supply of heated air that was directed to the rear of the ashpan. This air entered the ashpan through three doors that, along with the firebox doors, closed automatically if a tube failed, the intention being to prevent flames, steam and debris escaping into the boiler room. A constant supply of pure water was essential for this type of boiler, as a shortage of water would rapidly result in an empty boiler liable to severe damage from the furnace, and the deposition of any contaminant, such as limescale, would result in a significant loss of efficiency and could block tubes. To surmount this problem, boiler feedwater circulated in a closed system from the boiler as steam to the engines and then to condensers, from which it returned as water to the boiler, thus completing a cycle. However, some incidental loss of water from the system was unavoidable, and the French naval engineer Louis-Émile Bertin regarded a 5% loss of water per cycle as the maximum that could be sustained in a water tube boiler installation. Therefore, additional feedwater was required, and it was supplied by apparatus such as an evaporator, as was fitted in HMS Spiteful, built by Palmers and launched in 1899. Each boiler had its own feedwater pump, and a feedwater regulator also of Reed's design. Another type of boiler similar to and later than the du Temple boiler was the Yarrow boiler, which usually dispensed with external down-comer tubes after its designer, Alfred Yarrow, demonstrated in 1896 that they were not essential to the circulation of water inside a boiler of this type. However, while the Yarrow boiler employed entirely straight tubes through which water and steam circulated more freely, it was considered by some contemporary writers on the subject such as Leslie S. Robertson as "behind" in its circulation because of the absence of down-comers. Whereas the Yarrow boilers fitted to the armoured cruiser HMS Warrior of 1905 evaporated 11.664 pounds (5.291 kg) of water per pound (454 g) of coal at 100 degrees centigrade (212 degrees Fahrenheit) with natural draught, by the same measure a Reed boiler as fitted to the torpedo boat destroyer HMS Star of 1896 evaporated 12 pounds (5.44 kg). An advantage of the Yarrow boiler was in weight: whereas the Reed boilers in the cruiser HMS Pegasus of 1897 produced 38.5 indicated horsepower (IHP) per ton (1016 kg) of boiler at full power, by the same measure the Yarrow boilers in a slightly earlier Swordfish-class torpedo boat destroyer produced 73 IHP. But, whereas for example a Star-class torpedo boat destroyer of 1896 required four Reed boilers to achieve its specified top speed of 30 knots, a similar Swordfish-class vessel required eight Yarrow boilers to achieve its specified top speed of 27 knots. As fitted to torpedo boat destroyer HMS Lightning in 1895, a dry Reed boiler weighed 13.25 tons (12.44 tonnes). A Reed boiler could be designed to operate at internal pressures of up to 300 pounds per square inch (2,068 kilopascals) and, as constructed for torpedo boat destroyers such as Spiteful, which was capable of steaming at 30 knots, a set of four boilers and associated machinery required nearly 25 miles (40 kilometres) of tubing. Overall, her four boilers each measured about 12 feet (3.7 m) long by 10 feet (3 m) wide and, from the platforms on which her stokers worked, known as "firing flats", about 10 feet (3 m) high. While each of eight Reed boilers in Pegasus had a grate area of about 45 square feet (4.2 m<sup>2</sup>) and a heating area of about 2,360 square feet (219 m<sup>2</sup>), together they produced up to 7,127 IHP (5,315 kilowatts). ## Production and use Reed water tube boilers were a "speciality" of the engine works at Palmers, which was capable of producing one "heavy marine boiler" a week, besides "a large number of water tube boilers". While equipment designed by Reed was used in merchant ships, for example the SS Hanoi built in Sunderland in 1893 for the French mail service between Haiphong in Vietnam and Hong Kong in China, about 170 of his water tube boilers were used in ships of the Royal Navy. These included cruisers, destroyers and gunboats, besides torpedo boat destroyers, of which Palmers alone built 16. Among these was Spiteful, in which the boilers were later adapted to burn fuel oil. Reed boilers were also installed in ships ordered by the Admiralty from other shipbuilders, for example on the River Clyde in Scotland. Two torpedo boat destroyers built by Hanna, Donald & Wilson of Paisley, HMS Fervent and HMS Zephyr, both launched in 1895, were fitted with four Reed boilers each by order of the Admiralty and at a cost of £14,200, after it rejected the locomotive boilers installed by their builders. Similarly HMS Niger, a torpedo gunboat built by the Barrow Shipbuilding Company of Barrow-in-Furness, Cumbria, in 1892, had her boilers replaced with Reed boilers in 1902. Production of the Reed water tube boiler ceased in 1905. ## See also - Three-drum boiler	[ "## Design", "## Production and use", "## See also" ]	2,416	34,568
56,520,766	Tata Sabaya	1,128,913,888	A 5,430-metre (17,810 ft) high volcan in Bolivia	[ "Five-thousanders of the Andes", "Pyroclastic shields", "Stratovolcanoes of Bolivia", "Subduction volcanoes", "Volcanoes of Oruro Department" ]	Tata Sabaya is a 5,430-metre (17,810 ft) high volcano in Bolivia. It is part of the Central Volcanic Zone, one of several volcanic belts in the Andes which are separated by gaps without volcanic activity. This section of the Andes was volcanically active since the Jurassic, with an episode of strong ignimbritic volcanism occurring during the Miocene. Tata Sabaya lies in a thinly populated region north of the Salar de Coipasa salt pan. Volcanic activity at Tata Sabaya and elsewhere in the Central Volcanic Zone is the consequence of the subduction of the Nazca Plate beneath the South America Plate. The volcano has developed along a lineament that separates older crust north of the lineament from younger crust in the south, and the edifice has been formed by andesitic rocks. The southern flank of Tata Sabaya failed during the latest Pleistocene about 12,000 - 12,360 years before present. Debris from the collapse entered a lake that covered the Salar de Coipasa at that time and formed a deposit with a volume of 6 ± 1 cubic kilometre (1.44 ± 0.24 cu mi). Subsequently, the collapse scar was partly filled in with more recent lava flows and lava domes; one eruption occurred about 6,000 years before present. ## Geography and geomorphology Tata Sabaya lies just north of the Salar de Coipasa in Bolivia. The small village of Pagador lies west-southwest of the volcano, but the whole region is overall thinly inhabited. The name means "Father Sabaya"; the term "Sabaya" may be the Aymara corruption of the Quechua term for "devil", "demon". The volcano is a topic in local myths, where it is sometimes personified. Tata Sabaya is part of the Central Volcanic Zone of the Andes, which consists of a volcanic arc that mainly follows the Western Cordillera. There are about 44 Holocene volcanoes, however the remoteness of the region and dry climate has restricted scientific research of these volcanoes; among the better known are Lastarria, the Nevados de Payachata, Ollagüe, San Pablo, San Pedro and Socompa. Tata Sabaya is a volcano which reaches a height of 5,430 metres (17,810 ft). Five lava flows extend north from the summit and display levees and flow fronts, the flows reaching a maximum length of 2 kilometres (1.2 mi). The top of these flows is cut by a collapse scar that extends east and west of the edifice in the form of scarps up to 50 metres (160 ft) high. The space between the scarps is in turn filled by more recent lava flows with a blocky appearance. Farther away of the edifice, the scarp is more noticeable and reaches a height of about 200 metres (660 ft) on the southeastern side of the volcano. A 300-square-kilometre (120 sq mi) large deposit south of the volcano, originally interpreted as a nuee ardente deposit, is actually a landslide deposit which extends over a length of 20 kilometres (12 mi) and a width of 7 kilometres (4.3 mi); its volume is about 6 ± 1 cubic kilometre (1.44 ± 0.24 cu mi). The landslide incorporated material from the salar, and its rocks reflect in part the layering and structure of the pre-collapse volcano. The deposit is one of the more conspicuous of its type, to the point that it was observed and identified on low-resolution Landsat images. It consists of material that forms hummock-like deposits, with individual hummocks becoming smaller the farther away from the edifice they are. The deposit extends into the Salar de Coipasa where it is confined by faults and is in part covered by lacustrine sediments such as tufa. ## Geology Off the western coast of South America, the Nazca Plate subducts beneath the South America Plate at a rate of about 10 centimetres per year (3.9 in/year). This subduction process is responsible for the volcanism in the Andean Volcanic Belt, which occurs in a Northern Volcanic Zone in Ecuador and Colombia, a Central Volcanic Zone in Peru, Bolivia, Chile and Argentina and a Southern Volcanic Zone in Chile and Argentina. These volcanic zones are separated by gaps without volcanism, where the subduction process is shallower. Several phases of tectonic and volcanic activity have been identified in the Central Volcanic Zone. An earlier phase of volcanism in the Cordillera de la Costa commenced in the Jurassic but is considered separate from the Central Volcanic Zone magmatism proper. After an erosional hiatus during the Oligocene, volcanic arc activity increased during the Miocene and culminated in a phase of strong ignimbrite eruptions, which originated in calderas. This phase was associated with a substantial thickening of the crust in the Central Andes. During the Pleistocene ignimbrite volcanism waned again and stratovolcanoes began to develop. Tata Sabaya lies along a crustal transition area which separates a younger crust farther south from an older (Proterozoic) crust in the north, which is made up by the Chilenia terrane and the Arequipa-Antofalla craton, respectively. This transition area appears to coincide with a chain of volcanoes that Tata Sabaya is part of and which extends from Cerro Saxani in the east to Isluga in Chile, as well as with the northern end of the Pica gap where no recent volcanism occurs in the volcanic arc. The basement of the volcano is formed by the ignimbritic Altos de Pica formation, although outcrops of granite have been observed in the region; one of these outcrops may be a Precambrian granite subsequently thermally modified in the Toarcian. This basement is covered by younger volcanic rocks, alluvium and sediments of the Salar de Coipasa. Seismic tomography suggests that molten magma exists in the regional crust. ### Composition Tata Sabaya has produced "two-pyroxene" andesite and porphyritic andesite. Minerals contained within the rock are augite, biotite, hornblende, hypersthene, plagioclase and titanomagnetite with only little variation between rocks erupted during separate stages of volcanic activity. The erupted volcanites define a potassium-rich calc-alkaline suite. Inclusions of more mafic rocks in the erupted material may indicate that mafic magma was injected into the magma chamber of Tata Sabaya. The magma genesis at Tata Sabaya has been explained with magma mixing processes, which gave rise to a fairly uniform composition of the eruption products. ## Climate and vegetation The region is dry with precipitation mainly falling during southern hemisphere summer, and has little vegetation cover. Polylepis tarapacana trees grow on the slopes of Tata Sabaya; these trees form the highest woodlands in the world. Other aspects of regional vegetation are the so-called puna steppe, which is characterized by grass and shrub vegetation. ## Eruption history Of all volcanoes in Bolivia, Tata Sabaya is the only one with Holocene activity which is not on the border with another country. The young age of the mountain has been inferred from the lack of glaciation and moraines on the mountain, unlike neighbouring summits. The earliest activity at Tata Sabaya constructed a pyroclastic shield, which crops out as a 20-metre (66 ft) thick sequence of block-and-ash flows fallout deposits and pumice deposits in the northern sector of the volcano. Effusive eruptions then built up a volcanic cone on top of this shield; the five northerly lava flows were emplaced during this phase of activity. Some lava flows from this stage were unstable and collapsed, covering the northern parts of the volcano with debris. This effusive activity eventually oversteepened the cone, causing its southern sector to collapse. During this collapse and landsliding, large toreva blocks developed from sectors of the cone which slid down undeformed, while other material from the cone formed the hummocks in the sector collapse deposit; there was no explosive eruption at the time of the collapse. The configuration of the deposit indicates that the debris entered the Salar when it was filled with water; the height of the tufa deposits imply that water levels were about 3,700 metres (12,100 ft) above sea level. This and the lake terraces that the landslide overran marks the collapse as synchronous with the Lake Tauca episode 12,000-12,360 years ago when water levels in the Salar de Coipasa reached their maximum. The onset of such collapses on volcanoes is often determined by faulting, climate change or eruption of the volcano; at Tata Sabaya earthquakes and the injection of new magma has been invoked to explain the destabilization of the edifice. After the collapse, Holocene activity filled the scar with lava domes and lava flows, cancelling the traces of the collapse; some of these in turn collapsed as well and gave rise to hot avalanche deposits. Radiocarbon dating for a pyroclastic flow has yielded an age of 6,000 years before present, implying that the volcano may be still active. Reportedly, when in 1600 Huaynaputina erupted in Peru a volcano named Sabaya erupted in Oruro and destroyed a village.	[ "## Geography and geomorphology", "## Geology", "### Composition", "## Climate and vegetation", "## Eruption history" ]	1,997	2,439
1,038,605	MediEvil (series)	1,159,297,319	Action-adventure hack and slash series of games by SCE Cambridge Studio	[ "Fantasy video games", "Horror video games", "MediEvil", "Sony Interactive Entertainment franchises", "Sony Interactive Entertainment games", "Video game franchises introduced in 1998", "Video games developed in the United Kingdom", "Video games set in a fictional country" ]	MediEvil is an action-adventure hack and slash series of games developed by SCE Cambridge Studio and published by Sony Interactive Entertainment. The series revolves around an undead charlatan knight, Sir Daniel Fortesque, as he attempts to restore peace to the fictional Kingdom of Gallowmere whilst simultaneously redeeming himself. The first entry in the series, MediEvil, was released for the PlayStation in 1998 and was re-released on the PlayStation Network in 2007. Its direct sequel, MediEvil 2, was released for the PlayStation in 2000. The first game received two remakes, MediEvil: Resurrection for the PlayStation Portable in 2005 and MediEvil for the PlayStation 4 in 2019. The first three installments of the series were developed by SCE Cambridge Studio (formerly known as Millennium Interactive), a subsidiary of Sony Computer Entertainment in Cambridge. Development of the first MediEvil began in 1995 and was inspired by Tim Burton's The Nightmare Before Christmas. The game was initially aimed for multiple consoles including Microsoft Windows platforms and the Sega Saturn; however, upon being shown progress, Sony Computer Entertainment signed MediEvil to be PlayStation-exclusive and commissioned the studio as SCE Cambridge. The music for all games was composed by Andrew Barnabas and Paul Arnold, commonly known as "Bob & Barn". Critics have been mostly positive to the series, with its graphics and story being particularly praised in the first two games. However, common criticisms included lack of innovation and cumbersome camera controls. ## Games ### MediEvil MediEvil is an action-adventure video game, released in Europe 9 October 1998 and North America on 21 October and in Japan on 17 June 1999. It was re-released on the PlayStation Network in 2007. The story of the game begins in the year 1286, when an evil sorcerer named Zarok plots to take over the kingdom of Gallowmere with his undead army. During the battle, a charlatan knight, Sir Daniel Fortesque, led an army that managed to kill Zarok; however, Dan was in reality struck down and killed by the first arrow fired in battle. 100 years later, Zarok reappears and casts a spell over Gallowmere to awaken his undead army. However, he unwittingly revives the corpse of Dan in the process. Dan uses this opportunity to defeat Zarok, save Gallowmere and earn his place as a true hero. ### MediEvil 2 MediEvil 2 is the second installment in the series and serves as a direct sequel to the first game. It was released on 19 April 2000 in Europe and 30 April in North America. The game takes place 500 years after the first game's events and follows series' protagonist Sir Daniel Fortesque's revival in Victorian era London as he attempts to stop sorcerer Lord Palethorn and Jack the Ripper's plans to terrorise the city by raising the dead. Dan is accompanied by Winston, a ghost sidekick, and Kira, a mummy princess who serves as the player-character's love interest. The game features several improvements over the original, including improved enemy artificial intelligence, increased strategy combat, larger and more detailed levels, more powerful and diverse range of strategic weapons, and a more detailed characterisation and storyline. ### MediEvil: Resurrection MediEvil: Resurrection is the third installment in the series and is a re-imagining of the first game. It was released as a launch title for the PSP on 1 September 2005 in Europe and 13 September in North America. It was re-released for the PlayStation Network in 2008. Similar to the first game, it is set in the medieval Kingdom of Gallowmere and centres around the charlatan protagonist, Sir Daniel Fortesque, as he makes an attempt to stop antagonist Zarok's invasion of the kingdom whilst simultaneously redeeming himself. Unlike the original, Dan is accompanied by Al-Zalam, a genie whose powers were taken away by Zarok. The game features updated graphics and a variety of voice talents, including Tom Baker as the narrator and the Grim Reaper. ### MediEvil remake A remaster/remake of MediEvil for the PlayStation 4 was developed by Other Ocean Interactive and released in October 2019. ## Development All three games of the series were developed by Cambridge-based SCE Cambridge Studio, formerly known as Millennium Interactive. Chris Sorrell, previously known for the James Pond series, created the original concept for MediEvil and served as the first game's creative director. The original design proposal for the game had the working title "Dead Man Dan", and was described by Sorrell as a "fusion" of Capcom's Ghost'n Goblins combined with the art style of Tim Burton's The Nightmare Before Christmas. As development progressed, lead artist Jason Wilson asserted the game into more of a The Legend of Zelda role-playing video game-influenced direction as opposed to the original arcade-style concept. Looking to attract a major publishing deal, Millennium Interactive initially began working on multiple platforms including Windows 95 and the Sega Saturn before giving Sony of Europe a demonstration of the game. Impressed by the progress, Sony signed MediEvil to be an exclusive PlayStation game and commissioned SCE Cambridge Studio as Sony's second studio in the United Kingdom. SCE Cambridge felt that the game should possess a unique lead character; therefore, Sorrell collaborated with script doctor Martin Pond whilst creating a backstory for the lead protagonist, Sir Daniel Fortesque. Pond created the idea that Sir Daniel could have been a failure in life whose reincarnation was his only attempt at redemption. This idea, along with the player-character's unusual appearance, turned appealing to some sectors of the gaming community, as lead designer Jason Wilson later recalled that female gamers considered Sir Daniel to be "endearing". MediEvil was one of the first games to be developed for exclusive use with the PlayStation analogue controller. During development, Sony requested that the game should utilise the new functions of the controller, which was described as a "particularly fortuitous event" by Sorrell. In 1999, after the success of the first MediEvil, Sony requested that SCE Cambridge develop a sequel that would be released before the end of the PlayStation's lifespan. Chris Sorrell, who previously served as director of the first game, was not involved in development thus the project was handed over to James Shepherd. SCE Cambridge decided it would not be difficult to make a sequel to the first MediEvil, considering that the ending of its predecessor would give the team an opportunity to set the next game in a different time period. Shepherd settled on MediEvil 2 being set in the Victorian era, the centrepiece of the Neo-Gothic revival. Shepherd considered the hardest part of the development was deciding how to make the game superior to its predecessor through making certain aspects of the game humorous. To achieve this end, the studio recoded various core technology, which Shepherd considered was arguably similar to "starting from scratch". By the time the game reached beta status the game offered larger levels, improved non-player character (NPC) logic, and more fighting abilities for the player-character. Development of MediEvil: Resurrection began in 2003. Sony of Europe wanted a launch game for the PlayStation Portable and ordered SCE Cambridge to develop the game in time for the console's release. Due to the short notice, the studio was given only a year to develop a game, thus it was decided that a remake of the original MediEvil would be feasible as developing an original title would have taken considerably longer. New additions to Resurrection included an expanded plot, added mini-games, extra characters, multiplayer facilities and a cloud save function. ### Music The soundtrack of the first game was composed by Paul Arnold and Andrew Barnabas, the musical duo more commonly known as "Bob & Barn". SCE Cambridge instructed them to compose a Danny Elfman-influenced score, similar to those of Beetlejuice, The Nightmare Before Christmas and Batman Returns. The music was created using electronic synthesizers to simulate an entire orchestra and organ. The music for MediEvil 2 was also composed by "Bob & Barn". MediEvil: Resurrection used parts of the original MediEvil score, along with elements composed by Bob & Barn that was performed by a live orchestra and choir. An album was made from this music and signed copies can be purchased from the artists' website. The soundtrack in MediEvil: Resurrection is orchestrated, unlike the first installment. Approximately half of the themes from the original were removed while new themes were created to fit with the new levels. The music is split into two halves; the cues from the first half are largely reminiscent of a select number of cues from the original game with the addition of extra thematic elements to strengthen them. The other half of the music is original and composed exclusively for Resurrection. The new soundtrack was composed by Bob & Barn and features performances from members of the City of Prague Philharmonic Orchestra that was recorded in the Czech Republic. The orchestra, headed by Nic Raine, consisted of approximately 80 performers and in addition benefits from a 32 piece choir, also recorded in the same venue. This was in similar vain to SCE Cambridge Studio's previous orchestral game Primal, which was also recorded in Prague by the same performers. ## Reception Overall, the MediEvil series has received positive to mixed reviews from critics. MediEvil and MediEvil 2 were mostly praised upon release, with the atmosphere, visuals and music of both games being the prominently commended aspects. Chris Roper of IGN praised the game's sense of humour and unique presentation, but was sceptical concerning the game's "sloppy" controls, "disjointed" level designs and noted that the game's graphics did not age well over time, in comparison to the graphically superior PSP remake. Joe Fielder of GameSpot credited the first MediEvil for its original look and number of unique puzzles, but criticised the camera work. Reviewing MediEvil 2, Doug Perry of IGN praised the graphical advancements of the game, noticing that the sharper detail brings out a more "sophisticated feel" to the story and the new addition of cutscenes create a better sense of continuity and story. Shawn Sparks of Game Revolution similarly praised the improved graphics of the second game, noting that smooth frame rate and sharper graphics brought out the original PlayStation's power despite nearing the end of its lifespan. At the 2000 BAFTA Interactive Entertainment Awards, MediEvil 2 won the best console game category. MediEvil: Resurrection received largely mixed reviews from critics upon release. General criticisms of the game were directed at the camera controls, combat sequences, and occasional frame rate drops. Both Kristan Reed of Eurogamer and Jason Allen of IGN expressed concern over the camera work, stating that the camera was "sloppy" and that it proved particularly difficult during combat. However, the graphics and celebrity voice talent were praised; especially Tom Baker's role as the narrator and Grim Reaper. Greg Mueller of GameSpot praised the soundtrack and dialogue, with Reed citing that Baker's voice performance was "majestic" and "eccentric". MediEvil creators Chris Sorrell and Jason Wilson expressed disappointment with the game, with Wilson stating that he felt disheartened with having to watch something he "cherished" to be altered with decisions he thought were "questionable". Sorrell felt similar disappointment in the redesign of the game and there were a number of aspects of it that he disagreed with. ## Other media A graphic novel written by original co-creators Chris Sorrell and Jay Gunn, titled MediEvil: Fate's Arrow, was released by Titan Comics on October 29, 2019 to coincide with the release of the PS4 remake. The story picks up after the events of MediEvil 2 and sees Fortesque travel back in time to before the events of the first game. The series is referenced in the PlayStation 5 launch title Astro's Playroom.	[ "## Games", "### MediEvil", "### MediEvil 2", "### MediEvil: Resurrection", "### MediEvil remake", "## Development", "### Music", "## Reception", "## Other media" ]	2,487	12,601
21,187,434	Ki (album)	1,166,126,478	null	[ "2009 albums", "Albums produced by Devin Townsend", "Devin Townsend albums" ]	Ki (/ˈkiː/ KEE) is the eleventh studio album by Canadian musician Devin Townsend, and the first album in the Devin Townsend Project series. The album was released on May 25, 2009, on Townsend's independent record label HevyDevy Records. Townsend, the founder, songwriter, and frontman of extreme metal band Strapping Young Lad and progressive metal group The Devin Townsend Band, dissolved both bands in 2006 to spend time with his family and avoid the burnout of touring and interviewing. After a period of self-discovery and a year-long break from songwriting, Townsend began work on a four-album series to clarify his identity as a musician. Ki includes themes of self-control and sobriety, and is musically subtler than much of the artist's previous work, consisting of ambient rock music interlaced with tentative bursts of heavy metal. The album was written, produced, mixed, and co-engineered by Townsend, who also performed guitar and vocals. Townsend assembled a supporting group of Vancouver musicians including blues drummer Duris Maxwell, rock bassist Jean Savoie, keyboardist Dave Young, and guest vocalist Ché Aimee Dorval to play on the album. While some critics found the album uneven, Ki received generally positive reviews for its unexpected musical direction, along with its production, vocal dynamics, and mix of influences. ## Background After disbanding his extreme metal band Strapping Young Lad and his progressive metal project The Devin Townsend Band in 2006, Townsend shaved off his trademark "skullet" hairstyle and gave up alcohol and marijuana. Townsend found it "disconcerting" that he had difficulty writing music without drugs, and that he had trouble identifying his purpose as a musician. He spent a year producing albums in absence of writing, but found it unrewarding and decided to "pick up the guitar and just write." This began a period of self-discovery where he learned "how to create without drugs". Over two years, Townsend wrote over 60 songs, and found that they fit into "four distinct styles". In March 2009, Townsend announced his plans for a four-album series called the Devin Townsend Project, with the goal of clarifying his musical identity and being "accountable" for the persona he projects to the public. Ki, the first album of the Devin Townsend Project, is written to "set the stage" for the subsequent albums. The word "ki" represents the Japanese concept of "life force" (氣, "ki"). Townsend chose the name as an homage to the 1981 Kitarō album of the same name, which he "loved as a kid". The project's concept includes a different group of musicians for each album. For Ki, Townsend chose a group of musicians with whom he had not previously worked. He discovered Duris Maxwell, a blues drummer who has played with such acts as Heart, Jefferson Airplane, and Tommy Chong, in a blues club in northern Canada. Townsend was impressed by his energy and recruited him for Ki. Townsend also chose Jean Savoie, a music store employee who plays in a Beatles cover band, to play bass on the album. Maxwell and Savoie were ideal for the album, Townsend explained, because they had little experience playing heavy music, and had a fresh perspective that fit with Ki'''s subtler sound. Townsend also brought back Dave Young, an ambient keyboardist who had played in The Devin Townsend Band, and recruited Vancouver artist Ché Aimee Dorval as a vocalist on several tracks. The album was primarily recorded, produced, and mixed from late 2008 to early 2009 at Devestate and Studio D; the drums were recorded at Factory Studios in Vancouver. ## Music and lyrical themes Townsend channelled his new-found self-control and sobriety into Ki, a "restrained, melodic, and tranquil" album that is "a sharp contrast" to the heavy metal he is known for, while maintaining his "signature sound". The album features undistorted guitar tones, live takes, no drum triggering, and relatively quiet mastering, with a musical style combining ambient, progressive rock, jazz rock, and psychedelic blues. The album's recurring musical theme is "tension and release", a gradual build in intensity which suddenly stops and gives way to "something relaxing". The album's musical style has been compared to Porcupine Tree, Chroma Key, and Pink Floyd, with Townsend's vocals drawing comparisons to Steven Wilson and Steve Hackett. Ki was mixed by Townsend, and features very little compression, in contrast with his usual wall-of-sound production style. Townsend explained that he originally "tried doing the wall-of-sound with it and it just kind of ruined it...it turned it into a not-so-good Strapping record." The album deliberately eschews the loudness wars, the recent music industry practice of competitively mastering audio to seem as loud as possible. "I officially pull my hat out of the loudness wars", Townsend told his mastering engineer. The album's songs were primarily written in open C tuning, except for "A Monday", "Trainfire", and "Disruptr" in open B, "Heaven's End" and "Winter" in open B, and "Quiet Riot" in standard tuning. Townsend has cited Second Nature by The Young Gods, Paul Horn, Chants of India by Ravi Shankar, and Ween as influences on the album. Townsend described Ki as both the introduction and the moral to the "larger concept" of the Devin Townsend Project. The album's lyrical themes explore Townsend's inner demons, past addictions, self-acceptance, and his "newfound ability to say no." The album opens with a brief instrumental that leads into "Coast", a quiet, bass-driven track that sets the stage for the album as a "metaphor for Devin's newfound restraint." Townsend described it as "the intro to the story, quiet, dark, haunted and unsure". The track builds in intensity toward the end with layers of vocals, but rather than exploding into Strapping Young Lad–style metal, fades into "loose, bluesy guitar work". "Disruptr" has been described as "a coffee-house metal track", contrasting light instrumentation with heavy metal–style songwriting and vocals in a way that one critic compared to Talking Heads. "Gato" proceeds in a similar vein, but is set apart with backing vocals by Dorval. "Disruptr" and "Gato" continue the musical theme; each song builds in intensity toward the end but "stops and takes a deep breath" before proceeding. The album then fades into "Terminal", an atmospheric track with quiet vocals that was co-written by keyboardist Dave Young. Townsend's restraint reaches a breaking point on "Heaven's End", which Jon Wiederhorn of Revolver described as "a groovy pop song that morphs into a violent, acid-drenched nightmare." It is followed by "Ain't Never Gonna Win", a live studio jam by the album's four musicians which was described by David E. Gehlke of the online magazine Blistering as "trippy". "Trainfire", a classic country–style song inspired by Elvis Presley's cover of "Mystery Train", addresses Townsend's former addiction to pornography, which he described as "this crazy, crack cocaine on the internet that nobody wants to talk about." The song continues the album's theme of honesty and self-acceptance, both about pornography and musical tastes. Townsend explained the song's musical style, saying "yes, I like heavy music and am good at making it, but that is not all that I listen to, and that is not all that I want to play." The album's climax is found in the title track, described by the artist as "a personal breakthrough" and is initially born out of a Grey Skies demo, "Soft," previously released on Ass-Sordid Demos II. "Ki" builds into a cyclical progression of arpeggios which Martin Popoff of Brave Words & Bloody Knuckles described as the album's "proggiest" moment. It leads into "Quiet Riot", an acoustic version of "Cum On Feel the Noize" with new lyrics. "Quiet Riot", Townsend explained, "basically sums up the idea that, although I am 'damaged,' I'm fine, and have chosen to make my life better." ## Release and artwork Ki was released on Townsend's independent record label HevyDevy Records on May 25, 2009, in Canada. It was released May 22, 2009, in Germany, May 25, 2009, in the rest of Europe, and June 16, 2009, in the United States by distributor InsideOut Music. A Japanese release on Marquee/Avalon was released on August 26, 2009. When all four albums in the series were completed, Townsend released an eight-disc special edition box set, including a DVD and various bonus material. This box set, named Contain Us, was released on December 9, 2011. The album art was created by artist Konrad Palkiewicz, who created the art for Townsend's ambient album The Hummer (2006) and directed the video for Strapping Young Lad's "Almost Again". The album art was designed to be viewed with a pair of 3-D glasses. The album cover is an image of "two faces in one". Though "not authentic", it is based on Native American and Chinese art. Palkiewicz directed a music video for the song "Coast", which was released on Townsend's website on July 28, 2009. The InsideOut releases come with an extra lyrics sheet and feature a green slipcase bearing the Devin Townsend Project logo, designed by Travis Smith. ## Sales and critical reception Ki reached number 26 on the Finnish Top 40 and number 179 on the French Top 200, and appeared on the UK Indie and UK Rock charts. It sold 800 copies in its first week of release in the United States, and debuted at number 69 on the Billboard Top Heatseekers chart. Critical reception of the album was generally positive. Jon Wiederhorn of Revolver said the album is "well worth a listen" and praised the heavier tracks such as "Disruptr" and "Heaven Send", saying, "Townsend mostly contains his rage, but he's at his best when he loses it." Martin Popoff of Brave Words & Bloody Knuckles found the album to have an "odd identity", with "all sorts of things going on just under the surface" that rewarded multiple listens. David E. Gehlke of Blistering was less impressed, and found the album inconsistent. Gehlke described "Winter" as "lush and gorgeous", but felt that the album "fails to hit the mark" at other points, such as "Ain't Never Gonna Win" and "Trainfire". Tyler Munro of Sputnikmusic said Ki showed Townsend "at his loosest and most dynamic", and praised Townsend's and Dorval's vocals, but felt the album was held back by musical repetition and its extended guitar jams. Greg Prato of Allmusic gave the album a moderate review, admiring Townsend's unpredictability but feeling the album was not "the most gripping or groundbreaking album" in Townsend's collection. Daniel Cairns of Chronicles of Chaos praised Ki'' as "a difficult, unusual collection of music" that "also might just be Townsend's best yet." ## Track listing ## Personnel ### Musicians - Devin Townsend – vocals, guitar, fretless bass guitar, ambience, programming, production, mixing, engineering - Duris Maxwell – drums - Jean Savoie – bass guitar - Dave Young – keys, piano, ambience ### Additional musicians - Ché Aimee Dorval – additional vocals - Ryan Dahle – additional vocals ("Gato") - Bjorn Strid, Peter, Christopher, Grant, Corey, Jeremy, Ryan – additional vocals ### Production - Adrian Mottrim – recording assistance - Mike St. Jean – preproduction assistance - Brennan Chambers – mixing assistance - Sheldon Zaharko – recording - Ryan Dahle – production, mixing ("Quiet Riot") - T-Roy – mastering ### Release - Konrad J. Palkiewicz – visual consulting, layout, artwork - Erich Saide – photography - Omer Cordell – photography - Jeff Cohen – legal, management - Mike Mowery – legal, management ## Charts	[ "## Background", "## Music and lyrical themes", "## Release and artwork", "## Sales and critical reception", "## Track listing", "## Personnel", "### Musicians", "### Additional musicians", "### Production", "### Release", "## Charts" ]	2,608	4,284
6,792,195	M-107 (Michigan highway)	1,167,288,207	Former state highway in Ontonagon County, Michigan, United States	[ "Former state highways in Michigan", "Transportation in Ontonagon County, Michigan" ]	M-107 was an east–west state trunkline highway in the Upper Peninsula of the US state of Michigan. Running for about 9.6 miles (15.4 km), it connected Lake of the Clouds and the rest of the Porcupine Mountains State Park to M-64 in Silver City. The roadway parallels the Lake Superior shoreline in Ontonagon County. The roadway was built in 1935 and named to honor the 107th Engineer Combat Battalion. The Michigan Legislature named it the "107th Engineer Memorial Road " in 2001. M-107 was transferred from the control of the Michigan Department of Transportation (MDOT) to the Ontonagon County Road Commission on June 4, 2008. This transfer decommissioned the M-107 designation and removed it from the state trunkline system. ## Route description M-107 existed to connect the Porcupine Mountains State Park with the rest of the Michigan state trunkline highway system, running parallel to the Lake Superior shoreline. It began at an intersection with M-64 in Silver City. From there, M-107 ran west into the Porcupine Mountains, crossing the Little Iron River and passing the PMSP Winter Sports Complex. The western end was at the Lake of the Clouds overlook. ### Lake of the Clouds Lake of the Clouds is a lake located in Ontonagon County within the Porcupine Mountains Wilderness State Park. The lake is situated in a valley between two ridges in the Porcupine Mountains. Surrounded by wilderness, the lake is a popular destination for hikers, campers, and fishermen. The lake is a prominent feature of the park, and can be viewed at the Lake of the Clouds Overlook at the west terminus of former M-107. ### Porcupine Mountains Wilderness State Park Porcupine Mountains State Park was established in 1944 to protect the last large stand of old-growth forest remaining in Michigan. Then in 1972, Michigan passed the Wilderness and Natural areas Act. This act gave the park the new designation of the Porcupine Mountains Wilderness State Park. The facilities provided by the park include an extensive network of backcountry trails for hiking and backpacking, rustic trailside cabins, modern campgrounds, swimming and boating areas, and various interpretive programs led by park rangers. The North Country Trail passes through the park. In the winter, a ski area also operates within the park. Because of the copper mining history of the park, it is a cooperating unit of Keweenaw National Historical Park. ## History The routing of M-107 had been largely unchanged since designation. The designation was created in 1935 as a tribute to the 107th Engineer Combat Battalion. The highway was dedicated on June 13, 1954 to the battalion at a ceremony by Highway Commissioner Charles M. Ziegler. This ceremony was attended by approximately 1,200 people at a highway turnout located along the roadway 4 miles (6 km) west of Silver City. A 3-short-ton (2.7 t) boulder was placed on a concrete pedestal with a bronze inscription plaque at the location of the ceremony. The Michigan Legislature named M-107 the "107th Engineer Memorial Road" in 2001. On June 4, 2008, a transfer agreement was reached transferring the jurisdiction of M-107 from MDOT to the Ontonagon County Road Commission. This transfer marked the end of the M-107 designation as the roadway became a county primary road. The OCRC has named it the "107th Engineers Memorial Highway". ## Major intersections ## See also	[ "## Route description", "### Lake of the Clouds", "### Porcupine Mountains Wilderness State Park", "## History", "## Major intersections", "## See also" ]	746	18,430
70,382,754	IBM Building, Honolulu	1,135,412,555	Office building in Honolulu, Hawaiʻi	[ "Buildings and structures completed in the 1960s", "Honolulu", "Howard Hughes", "IBM", "Modernist architecture in Hawaii", "Punched card" ]	The IBM Building is an office building at 1240 Ala Moana Boulevard in Honolulu, Hawaiʻi. Designed by Vladimir Ossipoff, the building opened in 1962 as the Honolulu headquarters for American technology company IBM. It is presently owned by Howard Hughes Corporation, serving as a sales center for its surrounding Ward Village development. Construction cost \$1.5 million (equivalent to \$ in ). The building was dedicated on October 10, 1962, in a ceremony attended by officials including William F. Quinn, who was Governor of Hawaii at the time. The roughly cube-shaped massing of the building is distinguished by the honeycomb structure of its concrete brise soleil, inspired by Polynesian culture and also intended to resemble the punched cards used in the computer industry at the time of its construction. The IBM Building and surrounding area were purchased in 2002 by General Growth Properties, and the building was slated for demolition as part of a 2008 redevelopment plan. Public backlash led to its preservation after the planned development area was purchased by Howard Hughes Corporation, which expressed an intent to maintain the IBM Building's name and general appearance. The development company instead renovated the building to use as an information and sales center for Ward Village. It officially reopened in that capacity in 2014. ## History ### Design and construction On February 29, 1960, the Hawaii regional manager of IBM announced that the technology company would erect a new office building on Ala Moana Boulevard. The announcement projected that construction would cost between \$800,000 and \$1.5 million (equivalent to \$ in ) and stated that the building would be either 5 or 7 stories tall when completed. It noted that planning would be completed after an architect and IBM representatives arrived from the contiguous United States, and that construction was scheduled to finish in March 1961. On May 19, 1961, the regional manager stated that the planning process for the building had been finished and that construction would begin the following month. The announcement noted that a "sculptured ribbon-pattern concrete sun screen" would surround the glass curtain wall of the reinforced concrete building's upper floors, and that the building would contain 61,961 square feet (5,756.4 m<sup>2</sup>) of space. The IBM Building was designed by architect Vladimir Ossipoff and built by contractor Hawaiian Dredging & Construction Company for Victoria Ward Limited. IBM planned to occupy the bottom two floors and Victoria Ward half of the sixth, while the remaining space would be leased to other tenants by IBM. Construction of the IBM Building, which began by July 1961, was the first part of a master plan for eastern Kakaʻako that Harland Bartholomew and Associates created for Victoria Ward Limited. In October 1961, a 20-year-old construction worker fell from the fifth floor of the building while moving a sawhorse from one scaffold to another and landed on a pile of lumber; he survived, but broke several bones in the fall. According to Engineering News-Record, construction cost \$1.5 million (equivalent to \$ in ). It was built as part of IBM's US\$18,000,000 (equivalent to about \$174,139,000 in 2022) effort to build imaginative offices around the world. The magazine praised the cheap construction in an October 1962 article, attributing it to IBM's planning and direction of the process. ### Opening The IBM Building opened in 1962 at 1240 Ala Moana Boulevard as the Honolulu headquarters for IBM. The building was dedicated on October 10, 1962, in a ceremony attended by various corporate and military officials as well as members of the public. Then-Governor of Hawaii William F. Quinn attended and spoke at the event, characterizing the building as "a gratifying demonstration of one company's success in years past and faith in the future of the mid-Pacific area". Also attending were Rev. Abraham Akaka and the president of IBM's Federal Systems Division. Though the IBM Building's appearance was initially criticized by Hawaii residents for its perceived austerity and for not fitting into the aesthetic of Hawaii, it became more popular over time. Its simple design gained various accolades in the architectural community, including a 1964 honorable mention from the Hawaii chapter of the American Institute of Architects. Its landscaping was recognized with the 1964 Beautification Award from the Honolulu Chamber of Commerce. ### Changes in ownership In April 2002, General Growth Properties (GGP) made a \$250 million (equivalent to \$ in ) bid to acquire Victoria Ward Limited and its 65 acres (26 ha) of properties in Kakaʻako, including the IBM Building. GGP was additionally the owner of Ala Moana Center, a major competitor of the Ward developments in Kakaʻako. The sale was finalized the following month. In 2008, GGP proposed demolishing the IBM Building as part of a redevelopment plan, intending to create a new mixed-use "urban village" in the area. The building was instead preserved due to public backlash. Howard Hughes Corporation purchased the redevelopment area from GGP in 2010. In October 2011, Howard Hughes announced a revised master plan for the area; by February 2012, the corporation expressed an intent to maintain the IBM Building's name and general appearance. ### Renovation Woods Bagot and Ferraro Choi designed a renovation to make the building a sales center for Howard Hughes Corporation, as part of the development company's master plan for the surrounding Ward Village development. Contractors Jay Kadowaki Inc. and Albert C. Kobayashi Inc. carried out the renovation, and the building officially reopened on January 25, 2014. The construction cost \$24,000,000 and won the Display category at INSIDE Festival in 2015. Howard Hughes built model units in the building for several of its nearby condominiums. The company also utilized the second, third, sixth, and seventh floors while maintaining an information center on the ground floor. The information center was created by completely redesigning the ground floor and replacing walls with windows on all four sides. Solomon Enos was commissioned to paint a mural in the space, and designed an installation depicting Hawaiian goddess Keaomelemele. The parking lot was replaced with a courtyard for outdoor gatherings, including a water feature. A cube-like structure was built onto one side of the building and the rooftop lanai was extended. These changes were criticized by Ossipoff's former partner Sid Snyder as "unsympathetic to the architecture of the building" – Snyder elaborated that he disliked the bright white color and location of the addition – and were also critiqued by the architect's daughter Valerie Ossipoff. ### Post-renovation In 2018, Howard Hughes Corporation announced plans to move remote workers into the building and notified tenants on the fourth floor that they would be taking it over when leases expired at the end of that year. These tenants included IBM, which maintained its last remaining offices in the building on that floor. Honolulu Civil Beat observed that it was unclear whether "IBM Building" would remain the official name of the building once it was no longer occupied by IBM; a Howard Hughes executive declined to comment. In 2019, IBM vacated the building completely, and the sign reading "IBM" was removed from the roof. ## Architecture The six-story IBM Building, which also has rooftop space referred to as a seventh floor, has cuboid massing. It has a concrete brise soleil with a distinctive honeycomb structure. This facade, which was assembled from 1,360 precast pieces of concrete, intended to resemble the punched cards which were used in the computer industry at the time of the building's construction. Architect Vladimir Ossipoff also drew inspiration from Polynesian culture while designing the facade. The angles of the brise soleil were intended to block sunlight, prevent water from pooling, and discourage pigeon nesting without blocking views from the offices. Ossipoff himself described the grille as a key aspect of the building: The building itself is set back from the road, and Ossipoff used berms to make the parking lot less visible. Stairways, elevators, and utilities are clustered at the building's center to reduce obstructions of the office space. ## Significance The IBM Building has been recognized as a key example of the tropical modernism architectural style that was popular at the time of its construction. Vladimir Ossipoff was a key figure in the style's development. In 2008, architect and Yale University Director of Exhibitions Dean Sakamoto described the building as a Honolulu landmark and a marker of the passing of time, comparing it to Aloha Tower and the Hawaii Convention Center. Jeff Nishi, another architect, characterized it as an example of Ossipoff's versatility as an architect. ## See also - Hawai‘i Preparatory Academy - Liljestrand House	[ "## History", "### Design and construction", "### Opening", "### Changes in ownership", "### Renovation", "### Post-renovation", "## Architecture", "## Significance", "## See also" ]	1,849	5,613
15,155,621	Hurricane Henri (1979)	1,170,133,146	Category 1 Atlantic hurricane in 1979	[ "1979 Atlantic hurricane season", "1979 in Mexico", "Atlantic hurricanes in Mexico", "Category 1 Atlantic hurricanes", "Hurricanes in Florida" ]	Hurricane Henri was a rare tropical cyclone that entered the Gulf of Mexico without having made landfall; it was the second of four times this occurred during the 20th century. The eighth named storm and fifth hurricane of the 1979 Atlantic hurricane season, it formed on September 14 in the northwestern Caribbean Sea. Throughout much of its duration, Henri moved erratically and initially maintained a general westward track. On September 16 it attained tropical storm status, and a day later it reached hurricane status. By two days later, after experiencing hostile conditions, Henri weakened to tropical depression status as it turned to the northeast, before degenerating into a remnant low on September 21. On September 24, it merged with a frontal low in the northeast Gulf of Mexico. Due to its slow and erratic motion, the hurricane forced evacuations along the Mexican coastline. Its remnants brought rainfall and flooding to the Florida Panhandle. ## Meteorological history Hurricane Henri developed as Tropical Depression Eighteen in the extreme northwestern Caribbean Sea on September 14 from a tropical wave, which had previously moved off the coast of Africa. The formation of a tropical depression was confirmed by reports from Hurricane Hunters. The depression tracked northward, brushing the eastern portion of the Yucatán Peninsula. After reaching the Gulf of Mexico it turned sharply westward, with a ridge preventing further northward movement. The depression turned southwestward, and intensified into Tropical Storm Henri on September 16. Tropical Storm Henri continued to intensify as it tracked through the Bay of Campeche. On September 17, the storm turned northwestward after the ridge to its north weakened, and later that day Henri reached hurricane status; six hours later, it reached peak winds of 85 mph (140 km/h) about 150 miles (245 km) northeast of Veracruz. Subsequently, a broad low pressure area developed over the western Gulf of Mexico, causing the motion of Henri to become erratic. On September 18, the cyclone began a steady weakening trend, believed to have been caused by land interaction and the funneling of moisture toward a developing disturbance near the Texas coast. Henri turned eastward on September 19 and weakened to tropical depression status. It failed to regain significant convection, and it turned northeastward along an extended cold front. On September 21, Henri weakened into a remnant low. On September 24, Henri merged with the frontal trough in the northeastern Gulf of Mexico. Hurricane Henri was one of only four hurricanes to enter the Gulf of Mexico without making landfall during the 20th century. The others were Laurie of 1969, Jeanne of 1980, and Alberto of 1982. ## Preparations and impact Although Henri did not affect land in any way as a hurricane, the developing system threatened several states along the southwestern coastline in Mexico. Mexican forecasting officials issued an advisory for the Gulf coast towns of Tampico in Tamaulipas, and Tuxpan and Nautla in Veracruz, to evacuate to higher ground. The government of Veracruz issued warnings on radio and television of possible flooding in oil-rich coastlines. The storm affected cleanup operations of the Ixtoc I oil spill as it passed over the spill area, damaging a 310-ton steel cap designed to stop the blowout. Henri caused driving rains, strong winds, and floods in Ciudad del Carmen, Campeche, forcing over 2000 people from their homes. Waters swelled in the town to about 12 inches (305 mm) above sea level. Maximum rainfall recorded in Mexico in association with Henri was 19.59 inches (498 mm) at Solosuchiapan. The remnants of Henri brought showers and thunderstorms to west-central Florida, causing river flooding and some evacuations. ## See also - Other tropical cyclones named Henri - List of Category 1 Atlantic hurricanes - Hurricane Ingrid (2013)	[ "## Meteorological history", "## Preparations and impact", "## See also" ]	805	25,736
35,305,242	Sweet Love (Chris Brown song)	1,119,886,217	null	[ "2010s ballads", "2012 singles", "2012 songs", "Chris Brown songs", "Contemporary R&B ballads", "Song recordings produced by Polow da Don", "Songs written by Chris Brown", "Songs written by Polow da Don" ]	"Sweet Love" is a song by American recording artist Chris Brown, taken from his fifth studio album, Fortune (2012). It was written by Brown, Cory Marks, Greg Curtis, Jamal "Polow da Don" Jones, Jason "JP" Perry and Tommy Doyle Jr., while the production was handled by Polow da Don and Perry. The song was sent to urban contemporary radio in the United States on April 10, 2012, as the second single from the album. "Sweet Love" is a slow jam R&B ballad which incorporates elements of electronic music. The lyrics of the song revolve around Brown asking his lover to take off her clothes so that they can have sex. "Sweet Love" garnered positive reviews from music critics, who complimented the song's sexual lyrics. In the United States, it peaked at number 25 on the Hot R&B/Hip-Hop Songs chart, and number 89 on the Billboard Hot 100 chart. The accompanying music video was co-directed by Godfrey Taberez and Brown, and filmed at Universal Studios in Los Angeles, California. It displays intimate scenes of Brown and his lover partaking in sexual activity, women levitating out of their beds, and Brown dancing. Critics were complimentary of the video's sexual themes and presentation. ## Background and release "Sweet Love" was written by Chris Brown, Cory Marks, Greg Curtis, Jamal "Polow da Don" Jones, Jason "JP" Perry and Tommy Doyle Jr., while the production was handled by Polow da Don and Perry. The audio mixing was completed by Jaycen Joshua, with assistance by Trehy Harris. Curtis played keyboards on the song. On March 28, 2012, Brown announced via his official Twitter account that he would be releasing "Sweet Love" and "Till I Die" as the next two singles from Fortune, after the lead single "Turn Up the Music". Later that same day, he posted a link to a stream of "Sweet Love". The artwork for the single was shot in black-and-white, and debuted online on March 30, 2012. It displays Brown sitting on the floor, staring up at the legs of one of the three women. Rap-Up magazine described the artwork as "grown and sexy". "Sweet Love" was officially sent to urban contemporary playlists in the United States on April 10, 2012. It was released as a one-track digital download in Oceania and most European countries on April 13, 2012. However, in the US, "Sweet Love" was released on April 17, 2012. A remix of the song by American R&B singer R. Kelly, was posted online on July 26, 2012. ## Composition and lyrics "Sweet Love" is a slow jam R&B ballad that displays elements of electronic music; it lasts for a duration of three minutes and 19 seconds long. The instrumentation is provided by a keyboard, synthesizers, percussion and a drum machine. According to Nadeska Alexis of MTV's Rapfix, Brown sings in a falsetto tone, which she found to be reminiscent of Michael Jackson. Amy Sciarretto of PopCrush described the ballad as "very Michael Jackson and neo-Bieber". JusMusic of Singersroom noted that "Sweet Love" is inspired by Silk's "Freak Me" (1993). Cameron Adams of the Herald Sun musically compared the song to Prince. The theme of "Sweet Love" revolves around sex. It contains lyrics about Brown asking his lover to take off her clothes so that they can have sex. During the chorus, he harmonizes: "Oooh baby let's get naked / Just so we can make sweet love / All these sensations got me going crazy for you / Inside on top of you / Grinding inside and out of you / Baby I know what to do / Let's just take our clothes off". ## Music video The accompanying music video for "Sweet Love" was co-directed by Godfrey Taberez and Brown, and filmed on the back lot of Universal Studios in Los Angeles, California. The video was shot from 6:00 am to 6:00 pm. Twenty models were hired for the shooting of the scenes where they are levitating from their beds. On April 26, 2012, several photos from the shoot were posted online, showing women levitating out of their beds in the streets as Brown walked by them. The video premiered on Vevo on May 25, 2012. A behind the scenes video was released on May 26, 2012, a day after the video premiered online. As the song begins, Brown watches a woman, who appears as a hologram, lying in a bed. This scene is intercut with scenes of Brown singing in front of a flowing backdrop. He then approaches the woman, and together they appear under white bedsheets. Brown is then seen walking down a street, while women are shown levitating out of their beds as he passes by them. He then enters a limo and starts caressing various ghostlike female figures. Brown then returns to the bedroom where he "strips shirtless and makes passionate love" to the woman "as they are showered in water". He later enters a dance studio, where he performs a dance routine with other shirtless male dancers, while several women watch them from across the room. Towards the end of the video, more scenes are shown of Brown and the woman in the bedroom. Melinda Newman of HitFix called the video "undeniably steamy". Emily Hewett of the Metro wrote that the video featured "flawless dance moves" from Brown. Robbie Daw of Idolator noted that Brown "makes things real sexy" in the video, but was unsure if "we should be turned on or utterly creeped out". Jessica Sager of PopCrush noted that Brown "channels his R&B side" and added that he is "a bit of a clumsy romantic". Jessica Sinclair of the Long Island Press described the video as a "juicy new entertainment" for Brown's fans in anticipation of his new album. Jazmine Gray of Vibe magazine described the video as "hot, heavy and really wet". Upon its release, the video went viral and received over one million views in its first day of release. ## Critical reception "Sweet Love" garnered positive reviews from music critics. Nadeska Alexis of MTV's Rapfix wrote that Brown "keeps the sexiness at an all time high" with lyrics that "could easily win any girl over". Contessa Gayles of AOL's The Boombox described "Sweet Love" as "baby making music", while Mark Edward Nero of About.com labeled it as "a straight-up sex jam". Amy Sciarretto of PopCrush called the song a sexy R&B jam that could "easily woo Rihanna back". David Shapiro of Fuse TV viewed "Sweet Love" as "auditory pornography" and commented that the lyrics had him "blushing". Joseph Patterson of MTV UK labeled it one of Brown's classic songs "for the lovers". Maura Johnston of Rolling Stone awarded "Sweet Love" three stars out of five, and noted that Brown appears to be transitioning from singing songs about partying in clubs to singing about sex. Johnston continued writing that the music video for the song "would be almost pornographically unnecessary". Robbie Daw of Idolator wrote that the ballad ticks all the boxes for its "synthy melody, decent beat" and Brown's "vocal harmonies", but felt that it is not "the most innovative offering" from Brown. Melinda Newman of HitFix wrote that in "Sweet Love", it appears "there are two songs at war here as the synth drum beat totally overwhelms and clashes with the ballad". She criticized the song for being "memorable for all the wrong reasons". ## Chart performance In the United States, "Sweet Love" debuted at number 90 on the Hot R&B/Hip-Hop Songs chart in the issue dated April 14, 2012. After spending 12 weeks ascending the chart, the song peaked at number 25 in the issue dated July 7, 2012. The song remained on the chart for a total of 15 weeks. On the Billboard Hot 100, "Sweet Love" debuted and peaked at number 89 in the issue dated May 5, 2012. ## Track listing - Digital download 1. "Sweet Love" – 3:19 ## Credits and personnel Credits adapted from the liner notes for Fortune - Chris Brown – lead vocals, songwriter - Dan Cohen – additional recorder - Greg Curtis – songwriter, keyboards - Tommy Doyle Jr. – songwriter - Trehy Harris – assistant mixer - Jamal "Polow da Don" Jones – songwriter, producer - Jaycen Joshua – mixer - Cory Marks – songwriter - Jason "JP" Perry – songwriter, producer - Bradford Smith – assistant recorder - Brian Springer – recorder ## Charts ### Weekly charts ### Year-end charts ## Certifications ## Release history	[ "## Background and release", "## Composition and lyrics", "## Music video", "## Critical reception", "## Chart performance", "## Track listing", "## Credits and personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications", "## Release history" ]	1,872	7,824
3,993,129	WZDX	1,168,929,191	Fox/MyNetworkTV affiliate in Huntsville, Alabama	[ "1985 establishments in Alabama", "Fox network affiliates", "Ion Mystery affiliates", "MeTV affiliates", "Quest (American TV network) affiliates", "Tegna Inc.", "Television channels and stations established in 1985", "Television stations in Huntsville, Alabama", "True Crime Network affiliates" ]	WZDX (channel 54) is a television station in Huntsville, Alabama, United States, affiliated with Fox and MyNetworkTV. Owned by Tegna Inc., the station maintains studios on North Memorial Parkway (US 72/231/431) in Huntsville, and its transmitter is located on Monte Sano Mountain. WZDX began broadcasting in April 1985 as the first independent station for the Huntsville area; it became a Fox affiliate in November 1987. Its original owner, Media Central, filed for bankruptcy that year and eventually sold the station in 1990 to a consortium of Citicorp and Milton Grant, marking the latter's return to TV station ownership after a prior bankruptcy. The station started a cable channel that served as the local affiliate of The WB—predecessor to its MyNetworkTV subchannel—in 2001. A local newscast, produced at first out-of-state and then by local ABC affiliate WAAY-TV, began to air in 2008. The Grant stations were acquired by Nexstar Broadcasting Group in 2013; Nexstar brought local news production in-house by establishing its own newsroom in 2016, and it formed a duopoly in the market by acquiring The CW affiliate WHDF two years later. When Nexstar acquired Tribune Media, owner of Huntsville CBS affiliate WHNT-TV, in 2019, it retained that station and WHDF and spun out WZDX along with other stations to Tegna. ## History ### Establishment and construction In 1975, Thomas Barr and James Cleary under the name Pioneer Communications petitioned the Federal Communications Commission (FCC) to add another television channel to the Huntsville area for the purpose of building an independent station. At the time, only four channels were assigned to Huntsville: 19, 25, 31, and 48. The FCC proposed adding channel 54, but two Huntsville stations, WAAY-TV and WYUR-TV, opposed the proposal. In 1977, the FCC suggested inserting channel 54 at Decatur, Alabama, which already had channel 23. However, unlike channel 54, channel 23 could not be used at Monte Sano—the main television transmission site in the region, resulting in low interest. Channel 54 was ultimately added to Huntsville, but there were no applications on file until C. Michael Norton, an attorney from Nashville, Tennessee, applied for it in September 1981 after seeing it on a list of unused TV allocations. Norton was soon joined by other applicants, with the FCC selecting Community Service Broadcasting, a company owned by John Pauza of Chattanooga, Tennessee, and Joel Katz of Atlanta. Pauza owned Media Central, which specialized in the construction of new independent stations in medium markets. For two years, Media Central missed a series of deadlines. In February 1983, after being selected for the construction permit, Media Central announced it intended to begin broadcasting that fall. By that fall, the target date had shifted to spring 1984. Issues with locating the station's tower impeded a launch at that time, but in late 1984, channel 54 began to take shape. A tower site was purchased in August, the call letters WZDX were assigned in September, and construction began in November. Even then, the station did not start broadcasting in 1984; the antenna was not hoisted onto the station's new tower on Green Mountain until March 1985. From studios on Mastin Lake Road in northeast Huntsville, WZDX first signed on April 14, 1985, as Northern Alabama's first independent station and the area's first new outlet to launch in 22 years. Programming consisted of syndicated reruns, movies, and short local newsbreaks. The station cost the owners between \$5 and 6 million to put on the air. When the Fox network began late-night service on October 9, 1986, WZDX initially abstained from affiliating with the network unlike many other strong independent TV stations across the country that had signed on with them, despite the network wanting the station "badly". Program director David Godbout felt that his weekend shows were already attracting ratings and that he would have to charge too much for advertising within Fox programming for it to work economically. This was a posture shared by the entire Media Central chain at the network's launch. However, after Godbout left in late 1987, WZDX joined Fox in December of that year, becoming the fifth Media Central outlet to join the network in 1987. The late 1980s were times of uncertainty for Media Central. The company filed for bankruptcy protection in July 1987, and Act III Broadcasting submitted a bid to buy WZDX and WDBD in Jackson, Mississippi, the next year; both were among Media Central's most desirable properties. Act III's bid was rejected, as were proposals from Media Central itself and Maryland investment firm Donatelli & Klein, which did come away with WDBD and WDSI-TV in Chattanooga. ### Grant Broadcasting ownership The bankruptcy court approved the acquisition of the station by a consortium of Citicorp and Milton Grant in August 1989; the \$6.1 million transaction was approved in January 1990. While WZDX represented Citicorp's first venture into broadcasting, WZDX became the first outlet in Grant's return to station ownership. Grant Communications was the successor to the original Grant Broadcasting System, a three-station chain of independent outlets that filed for bankruptcy protection in 1986 and was ultimately sold to its bondholders. Grant obtained rights to The WB programming in the Huntsville market in 1999, airing the programming in late night hours on WZDX; the move was a consequence of Superstation WGN ceasing carriage of WB programs. The company then announced it would launch full-time WB channels in Huntsville and two other markets where it owned stations—the Quad Cities of Iowa and Illinois and Roanoke, Virginia—in December 2000. "WAWB", known as "The Valley's WB", launched as a cable channel in October 2001. When The WB and UPN merged into The CW in 2006, the merged network selected UPN affiliate WHDF (channel 15), and "WAWB" became "WAMY", broadcasting MyNetworkTV. WZDX began broadcasting a digital signal on June 1, 2002. In 2004, the station moved its broadcasting equipment from Green Mountain to Monte Sano on the replacement tower for WAAY-TV, whose mast collapsed during repair work in September 2003, killing three. ### Nexstar ownership On November 6, 2013, Nexstar Broadcasting Group announced that it would purchase the Grant stations, including WZDX, for \$87.5 million. The sale was completed on December 1, 2014. Four years later, in July 2018, Nexstar agreed to acquire WHDF from Lockwood Broadcast Group for \$2.25 million; Nexstar concurrently took over WHDF's operations through a time brokerage agreement. The sale was completed on November 9, creating a duopoly with WZDX. On December 3, 2018, less than a month after closing on its purchase of WHDF, Nexstar announced it would acquire the assets of Tribune Media—owner of CBS affiliate WHNT-TV since December 2013—for \$6.4 billion in cash and debt. WHNT-TV and WZDX, as two of the four highest-rated stations in the market, could not be owned together, though Nexstar could own either station plus WHDF. Nexstar decided to retain the higher-rated WHNT-TV along with WHDF and sell WZDX to Tegna Inc. after finalizing the Tribune sale; WZDX was one of 19 stations disposed by Nexstar to Tegna and the E. W. Scripps Company in separate deals worth \$1.32 billion. The sale of Tribune to Nexstar was approved by the FCC on September 16. ## News operation In January 2008, WZDX launched a 30-minute prime time newscast known as Fox 54 Nine O'Clock News. It was produced by Independent News Network (INN) in Davenport, Iowa; two local reporters contributed local news stories to the news program, which was presented from Davenport. It was the second prime time newscast in the market, as WAAY had previously produced one for air on WHDF from 2000 to 2001. The INN program continued to air for two and a half years and was replaced in September 2010 with a 9 p.m. newscast produced by WAAY; WAAY news personnel were joined by Ellis Eskew, a WZDX reporter. Nexstar announced in December 2015 that WZDX would launch a standalone news operation on April 4, 2016. Concurrently, the station's newscast was extended to an hour. ## Technical information ### Subchannels The station's signal is multiplexed: ### Analog-to-digital conversion WZDX shut down its analog signal, over UHF channel 54, on June 12, 2009, as part of the federally mandated transition from analog to digital television; the station continued to broadcast on channel 41, using virtual channel 54. It was then repacked to channel 18 in 2020.	[ "## History", "### Establishment and construction", "### Grant Broadcasting ownership", "### Nexstar ownership", "## News operation", "## Technical information", "### Subchannels", "### Analog-to-digital conversion" ]	1,955	1,728
223,178	Kwik-E-Mart	1,170,590,203	Fictional shop in the television series The Simpsons	[ "7-Eleven", "Fictional elements introduced in 1990", "Fictional shops", "The Simpsons locations" ]	The Kwik-E-Mart (spelled "Quick-E-Mart" in "Bart the General") is a convenience store in the animated television series The Simpsons. It is a parody of American convenience stores, such as 7-Eleven and Cumberland Farms, and depicts many of the stereotypes about them. It is notorious for its high prices and the poor quality of its merchandise. It is run by an Indian-American named Apu Nahasapeemapetilon. It first appeared in the 1990 episode "The Telltale Head" and has since become a common setting in The Simpsons. The Simpsons family are regular customers. In July 2007, eleven 7-Eleven locations in the United States and one in Canada were transformed into Kwik-E-Marts as part of a special promotion for The Simpsons Movie. Also in 2007, gift shops modeled after the "Kwik-E-Marts" were opened in Universal Studios Florida and Universal Studios Hollywood, where they are a companion to "The Simpsons Ride". ## Role in The Simpsons In The Simpsons the Kwik-E-Mart is a convenience store that sells the usual fare at extraordinarily high prices, including the always popular Squishee. The backstory is that the Kwik-E-Mart chain was started somewhere in the North Pole. In The Simpsons the Kwik-E-Mart is operated by an Indian American character named Apu Nahasapeemapetilon, who mans the store with his brother Sanjay and is a caricature of the stereotypical "foreign born" convenience store clerk. Apu proudly gouges customers and sells tainted merchandise, such as rotten meat or expired milk. The Kwik-E-Mart is quite often the target of robbers, leading to Apu having been shot on several occasions and as a result having almost missed work. On one occasion Marge Simpson mentioned that because of the frequency of shootings, it is only a \$100 fine. ## Real-world versions ### 7-Eleven promotion In July 2007, convenience store chain 7-Eleven converted 11 of its stores in the United States and one in Canada (Coquitlam) into Kwik-E-Marts to promote The Simpsons Movie. The concept was first visualized in 2006 by Fox's advertising agency, and the approximately 10 million dollar (US) cost of the promotion was borne by 7-Eleven. Another part of the promotion was a contest where customers who purchased a slurpee or sandwich also received a coded game piece that could be entered into a website. The grand prize of the contest was to be animated into an episode of The Simpsons. Prior to July, the promotion had long been known but the locations were kept a secret until the morning of July 1, when the 12 stores were made over with industrial foam, vinyl and Kwik-E-Mart signs. These 12 locations, as well as the majority of other North American 7-Elevens, sold products found in The Simpsons, such as "Buzz Cola", "Krusty-O's", "Squishees", pink frosted "Sprinklicious doughnuts" and other Simpsons-themed merchandise. The Squishees were Slurpees that are sold in special collector cups and the Krusty-O's were made by Malt-O-Meal. Several other 7-Eleven items, such as sandwiches, were sold in Simpsons-themed packaging. It was decided that Duff Beer would not be sold due to the movie being rated PG-13, and the promoters wanted to have "good, responsible fun," though it was noted that it was a tough decision. However, a Duff Energy Drink was released in place of the Duff Beer. The promotion resulted in a 30% increase in profits for the changed 7-Eleven stores. Many of the stores sold out of their special Simpsons products within a few days of the start of the promotion. The conversions lasted through early August, when the stores were converted back to 7-Elevens. There was a mild controversy when the promotion offended members of the Indian-American community who felt that Apu is a caricature that plays on too many negative stereotypes. Despite this, 7-Eleven reported that many of its Indian employees have reacted positively to the idea, although it was noted that it was "not a 100 percent endorsement." ### Universal Studios On October 17, 2007, a gift shop that was modeled after a Kwik-E-Mart was opened at Universal Studios Florida. One also opened at Universal Studios Hollywood at a later time. They replaced the old Back to the Future gift shop and supplement The Simpsons Ride, which opened in Spring 2008. The stores sell Simpsons-related merchandise like Flaming Moe's Energy Drinks and Squishees. ### Broadway At The Beach On August 17, 2018, a gift shop modeled after a Kwik-E-Mart opened at Broadway at the Beach in Myrtle Beach, South Carolina. The gift shop is placed at the exit of a 4D ride based on The Simpsons and is housed in a replica of The Aztec theatre from the series, which opened in 2019. The store sells Buzz Cola, Lard Lad Donuts, and Squishees along with merchandise from the show.	[ "## Role in The Simpsons", "## Real-world versions", "### 7-Eleven promotion", "### Universal Studios", "### Broadway At The Beach" ]	1,078	25,107
71,177,889	Patricia Paputsakis	1,171,862,604	Bolivian politician (born 1986)	[ "1986 births", "21st-century Bolivian lawyers", "21st-century Bolivian politicians", "21st-century Bolivian women politicians", "Bolivian people of Greek descent", "Bolivian political scientists", "Bolivian student activists", "Bolivian women activists", "Bolivian women lawyers", "Civic Community politicians", "Living people", "Members of the Bolivian Chamber of Deputies from Tarija", "People from Tarija", "Plan Progress for Bolivia – National Convergence politicians", "United to Renew politicians" ]	Diana Patricia Paputsakis Burgos (born 23 April 1986) is a Bolivian lawyer, politician, and former student leader who served as secretary of women and family of Tarija from 2015 to 2019. Prior to her service in the municipal government, Paputsakis served as a substitute member Chamber of Deputies from Tarija, representing circumscription 45 under Víctor Hugo Zamora from 2010 to 2014 on behalf of the National Convergence alliance. In the 2019 general election, Paputsakis was elected to represent Tarija's circumscription 40 on behalf of Civic Community, but never took office, owing to the annulment of the electoral results and the coalition's decision not to re-nominate her in 2020. Paputsakis later contested the 2021 Tarija mayoral election, finishing sixth in the polls. ## Early life and career Patricia Paputsakis was born on 23 April 1986 in Tarija to Pedro Paputsakis Flores and Agueda Burgos Añasgo. Through her father, she is of Greek descent; Constantino Paputsakis—her grandfather—immigrated to Buenos Aires from the Kingdom of Greece in 1910, later settling in Tarija. Paputsakis was raised in a politically active family; her father, Pedro, represented the Revolutionary Left Front (FRI) in the Chamber of Deputies from 1979 to 1980 and 1982 to 1985 and in the Senate as a substitute senator from 1989 to 1993. Agueda Burgos also counted a political career, representing the FRI on the Tarija Municipal Council for three terms between 1987 and 1993. Paputsakis studied law and political science at Juan Misael Saracho University, graduating with a diploma in pedagogical theory and practice and another in gender violence and women's human rights. Additionally, she holds a master's in administration of justice with a specialty in child human rights and restorative criminal justice. During her time at university, she became active in student leadership, serving as a member and later executive of the Law School Student Center from 2006 to 2007. ## Chamber of Deputies ### Election As with many former student unionists, upon leaving university, Paputsakis sought to enter the political field, joining United to Renew (UNIR), the party of Tarija Mayor Oscar Montes. In 2009, as part of UNIR's alliance with National Convergence (CN), she was elected to represent Tarija's circumscription 45 in the Chamber of Deputies, serving as a substitute under Víctor Hugo Zamora. Aged 23, Paputsakis was one of the youngest legislators in the Plurinational Legislative Assembly. ### Tenure Throughout her term, Paputsakis's work focused on projects in favor of Tarija's university system and legislation expanding administrative decentralization and departmental autonomy. Together with Zamora, she participated in drafting a total of forty-three bills, of which four passed into law. During this time, she also served as vice president of the Union of Women Parliamentarians. In the leadup to the 2014 general election, Zamora resigned to run for higher office, allowing Paputsakis to assume office as the titular deputy for circumscription 45 for the remainder of her term. ### Commission assignments - Planning, Economic Policy, and Finance Commission - Budget, Tax Policy, and Comptroller's Office Committee (2012–2013) - Rural Native Indigenous Peoples and Nations, Cultures, and Interculturality Commission - Coca Leaf Committee (2013–2014) - Amazon Region, Land, Territory, Water, Natural Resources, and Environment Commission - Environment, Climate Change, Protected Areas, and Forest Resources Committee (2014–2015) ## Later political career ### 2015 municipal election In late 2014, nearing the conclusion of her term, Paputsakis was nominated by UNIR to run for a seat on the Tarija Municipal Council. Throughout the campaign, Paputsakis's political prospects remained continually in doubt, given the legal ambiguity of her candidacy. In December, the Supreme Electoral Tribunal (TSE) had issued a controversial ruling barring all legislators who held office in the outgoing legislature from running in the 2015 elections. The court argued that their permanent residence in the last two years had been La Paz and not other regions, contravening the Constitution's residency requirements for candidates. The TSE's determination was opposed by ruling party and opposition parliamentarians alike, including Paputsakis, who stood to be disqualified despite only having spent a week a month in La Paz during her tenure. In January, the TSE opted to exclude substitute legislators from its ruling, reasoning that, on average, they resided more in their constituencies than their full-time counterparts. Though this temporarily allowed Paputsakis to continue in the running, her candidacy remained mired by legal battles. Finally, on 19 March, just ten days before the election, the Departmental Electoral Tribunal of Tarija disqualified Paputsakis, stating that since she became a titular deputy following Zamora's resignation, she was subject to the TSE's ruling. The electoral authority's decision came in response to a "semi-anonymous suit" filed by Daniela Aspiazu, which El País interpreted as a "maneuver" born from UNIR's leader, Montes, who quickly moved to replace Paputsakis's name on the ballot with that of Ruth Ponce, his own wife. Ponce's sudden designation was understood to be a sign of simmering mistrust between Montes and his elected mayoral successor, Rodrigo Paz, with Paputsakis's deposition being the "first hostile act" in their eventual schism. ### Tarija Mayor's Office Shortly after assuming office, Paz established the Secretariat of Women and Family, appointing Paputsakis to head it on 3 June 2015. Paputsakis's administration focused its efforts on combating violence against women and children across the Cercado Province. As outlined by Paputsakis, her office structured its work on two pillars: prevention and attention to cases. In prevention, the Secretariat collaborated with educational institutions and school psychologists to improve public understanding of subjects related to domestic violence, child sexual abuse, teenage pregnancy, and human trafficking, with the aim of reducing such problems. In 2017, Paputsakis launched a family development program seeking to encourage assertive communication, dialogue, and respect between family members. As part of this, the Secretariat deployed Municipal Prevention Brigades in over seventy educational institutions, offering workshops to primary and secondary students to train them in recognizing signs of sexual abuse and violence by or between parents. Together with other social organizations, Paputsakis developed a municipal plan that united various institutions in combating excessive consumption of alcohol and illicit substances, especially by minors. The plan established an observatory on addictions and the supply of alcoholic beverages, expanded the amount of educational material on the matter, and launched a public campaign of prevention throughout the province. The project made Tarija the first municipality to implement an alcohol and drug prevention plan, for which the municipal government was given the National Sobriety Award. Shortly thereafter, Paputsakis released a plan to reduce teenage pregnancies through three lines of action: comprehensive sexual education, promotion of sexual and reproductive rights, and the expansion of sexual and reproductive health. By 2019, the project had reduced the rate of pregnancy among adolescents in Cercado to below eighteen percent, a significant development given that surrounding provinces often registered prevalence rates above fifty percent. The program's successes led the Secretariat to present its plan to the United Nations Population Fund. ### 2019 legislative election When relations between Montes and Paz ultimately broke down, Paputsakis sided with the latter, joining his breakaway political party, First the People (PG). As secretary, Paputsakis's public profile led her to be considered as a possible mayoral successor to Paz, should he not seek reelection. Following Paz's decision to lend PG's support to the 2019 presidential campaign of his father, former president Jaime Paz Zamora, Paputsakis reluctantly added her endorsement. When Paz Zamora withdrew from the race, Paputsakis accepted the invitation of Civic Community (CC) to be its candidate for deputy in Tarija's circumscription 40. The decision led Paputsakis to resign her position in the Mayor's Office, though she said there was no estrangement between herself and the mayor. Ultimately, Paz also opted to support CC, with Paputsakis set to be PG's designated member of the legislature. Though Paputsakis won her election, subsequent social unrest over broader allegations of electoral fraud and the ensuing political crisis ultimately resulted in the annulment of the national election results, precluding Paputsakis from assuming office. She was not re-nominated in the snap 2020 elections, with CC selecting trade unionist Edwin Rosas instead. ### 2021 mayoral campaign Paz's decision to forgo reelection in favor of presenting himself as a candidate for senator put PG in the difficult situation of finding a last-minute mayoral nominee, with Paputsakis discussed as a possible candidate. Ultimately, the party failed to nominate anyone from among its own ranks, instead supporting the candidacy of Alan Echart, a member of Todos, Governor Adrián Oliva's party. Given this, Paputsakis took the politically risky decision to launch her own solo campaign. Her candidacy was facilitated by Nationalist Democratic Action (ADN) and Solidarity Civic Unity (UCS), forming the electoral alliance Sustainable Base for Tarija (BASTA). Paputsakis's campaign sought to present itself as a "new way of doing politics", nominating a slate of young newcomer political leaders on its list of municipal councillors. "The participation of new, young people is necessary, as well as the incorporation of women with new proposals", she stated. Her public policy plan proposed improving basic services, new environmental regulations, and economic reactivation through an alliance between the public and private sectors. However, by the election date, Paputsakis's campaign had failed to garner substantial support; she attained just 2,032 votes, coming in sixth place in a seven-candidate race. ## Electoral history	[ "## Early life and career", "## Chamber of Deputies", "### Election", "### Tenure", "### Commission assignments", "## Later political career", "### 2015 municipal election", "### Tarija Mayor's Office", "### 2019 legislative election", "### 2021 mayoral campaign", "## Electoral history" ]	2,150	14,620
43,848,301	Baby Don't Lie	1,150,619,006	null	[ "2014 singles", "2014 songs", "American reggae songs", "Gwen Stefani songs", "Interscope Records singles", "Music videos directed by Sophie Muller", "Reggae fusion songs", "Song recordings produced by Benny Blanco", "Song recordings produced by Ryan Tedder", "Songs written by Benny Blanco", "Songs written by Gwen Stefani", "Songs written by Noel Zancanella", "Songs written by Ryan Tedder" ]	"Baby Don't Lie" is a song recorded by American singer and songwriter Gwen Stefani. Written by Stefani, Ryan Tedder, Benny Blanco and Noel Zancanella, and produced by Tedder and Blanco, "Baby Don't Lie" is a midtempo electropop and reggae-pop track. The song was made available for digital download on October 20, 2014, and a day later to mainstream radio stations. It served as Stefani's musical comeback as a solo artist; her previous solo single, "Early Winter", was released in January 2008. Lyrically, "Baby Don't Lie" discusses insecurities in a relationship. The song received generally mixed to favorable reviews, with some being receptive towards its reggae environment, while a few were ambivalent towards the song, noting that it wasn't as assertive as they expected. Its music video was released on October 21, 2014, and was directed by Stefani's longtime collaborator Sophie Muller, who directed a handful of videos for Stefani's solo career. Intended to be featured on Stefani's third studio album, This Is What the Truth Feels Like, the single, along with others, was scrapped in favor of new material. ## Background and release After releasing two solo albums, Love. Angel. Music. Baby (2004) and The Sweet Escape (2006), Stefani returned to work with her band No Doubt. In 2012 they released their sixth studio album, Push and Shove. During that time, she claimed, "I never need to do that or want to do it again. I'm happy being in No Doubt." However, after an appearance during Pharrell Williams' performance at the 2014 Coachella Valley Music and Arts Festival, Pharrell teased that the rare live appearance from Stefani was the start of a comeback effort for the singer. In July 2014, during an interview for Idolator, record producer Diplo announced that he had produced some songs for her new album. In September, during an interview for MTV News during New York Fashion Week, she confirmed to be working on a solo album and a No Doubt album, stating, "I'm going into the studio tonight with Pharrell [Williams], I'm going to be writing and also just seeing what comes along my way. I've been recording a few things." Williams completed, "When I tell you she's killing it, it's another level." Later in the same month, music website Popjustice announced that Stefani was going to release a single called "Baby Don't Lie" and it was set to premiere on October 6, 2014. The news was accidentally posted on Interscope's Playiga.com, a site that lists current and upcoming radio releases. Furthermore, the song was reportedly co-written by Ryan Tedder and produced Benny Blanco, while its video was going to be directed by Sophie Muller, with whom Stefani has worked numerous times on videos from No Doubt and her solo career. On October 18, 2014, the song leaked online, ahead of its premiere date, October 19, 2014. The same day, Stefani premiered the single's cover art through her social media. Jocelyn Vena of Billboard described the cover art as "a colorful piece of pop art", which depicts Stefani in front of a clear blue sky, with bright yellow hair and neon pink lipstick, while holding a large gemstone up to her face. The song was released for digital download on October 20, 2014, and it officially impacted mainstream radio on October 21, 2014. ## Composition "Baby Don't Lie" was written by Stefani, Ryan Tedder, Benny Blanco, and Noel Zancanella, with Tedder and Blanco also serving as the song's producers. It is a midtempo electropop and reggae-pop song which begins with Stefani announcing, "Uh huh, here we go," to a rubbery bass line and hand claps. The song also has a hip hop-inflected breakdown, in which Stefani raps, "You can tell me what you're hidin' boy/And you can tell me if I'm gettin' warm". Lyrically, the song discusses insecurities in a relationship, where Stefani questions her man's love. Nolan Feeney of Time complimented that the song is "about falling in love with someone who's got a few skeletons in their closet." As noted by Spin's Brennan Carley, "Stefani sounds shattered as she sings, "But there's something behind those eyes / Those eyes / That you can't that you can't disguise / Disguise." In the "stomping, infuriatingly catchy" chorus she sings, "Baby don't, baby don't, baby don't lie.../I don't want to cry no longer." Melodically, "Baby Don't Lie" is written in the key of B♭ minor, performed in a common time moderate tempo of 100 beats per minute and follows the sequence B♭m - G♭ - D♭ as its chord progression. Stefani's voice spans two octaves from the lowest note A♭3 to the highest note A♭5. ## Critical reception "Baby Don't Lie" received generally mixed to favorable reviews from music critics, who commended the song's reggae-flavour, but some dismissed Stefani's performance on the track. Sal Cinquemani wrote for Slant Magazine that the single "doesn't venture too far from her band's established template," claiming that "it finds Stefani effortlessly grooving to a reggae-flavored beat and an admittedly catchy hook, complete with her signature yelp, but it hews too close to the sound of No Doubt's slept-on sixth album, Push and Shove." Cinquemani also noted that during the song's breakdown "she feels forced, even for the eternally youthful Stefani, on an otherwise breezy track." Bradley Stern wrote for MuuMuse that the song is "dangerously catchy, and an obvious radio smash upon first listen." Nolan Feeney of Time remarked that, "In less capable hands, 'Baby Don't Lie' would leave a weaker impression, but Stefani and all her vocal idiosyncrasies find a way to make it her own." Christina Lee from Idolator noted that "Stefani hiccups through her lyrics like Rihanna does in 2012's Sia-written "Diamonds", save for the Love.Angel.Music.Baby-ready sung-rap breakdown". However, Lee observed that, "Considering the song's subject matter, her bold-faced collaborators (Ryan Tedder, Benny Blanco and Noel Zancanella) and, of course, her own track record, Stefani's new song isn't nearly as assertive as I had expected." Brennan Carley of Spin simply called it "a pretty broadly pop effort in line with 2012's No Doubt record, Push and Shove." Lucas Villa of AXS was mixed with the song, writing that "Gwen had always been ahead of the pop curve on her past two albums but 'Baby Don't Lie' sees her on par with everyone else currently on the charts." Mike Ayers of The Wall Street Journal believed that Gwen "doesn't sound too inspired here," while Carolyn Menyes of Music Times disagreed, noting that the song "doesn't seem to have quite the infectious annoyance of some of Stefani's other works, but it's a more solid, well-rounded pop single". Menyes also praised "her signature sassy, slightly reggae-touched vocals, which according to herself, sells the emotions of this song." Steven J. Horowitz from Billboard noted that even though the song "embraces her [Stefani] less experimental side," it misses her "signature bite", rating it three stars out of five. ## Chart performance "Baby Don't Lie" charted moderately in North America after its release. The track debuted at number 35 on the Billboard Adult Pop Songs chart and at number 29 on the Billboard Pop Songs chart, respectively, for the week ending November 8, 2014. In the US, it debuted and peaked at number 46 on the Billboard Hot 100, becoming one of Stefani's highest-charting single entries. On the Canadian Hot 100, it peaked at number 21 for the week ending December 6, 2014 and spent a total of 14 weeks on the chart, before dropping off the chart on the week ending February 14, 2015. In Europe, the track also received moderate success. In Belgium, the track peaked at number 26 on both Ultratip charts, while peaking at number 19 in Finland, number 58 in France, and number 26 in Germany. Elsewhere, the song peaked at the lower positions of several charts, including number 53 in Australia, number 78 in Italy, and number 128 in Russia. ## Music video ### Background and storyline The music video for the song was directed by Sophie Muller and Weirdcore; Muller has worked with Stefani in numerous videos from her band No Doubt and her solo career. On October 20, 2014, Stefani posted on her Instagram a sneak peek of the behind-the-scenes from the video. It was released on October 21, 2014, the day after the song's release. According to Daniel Kreps from Rolling Stone, the video, which is "a play on The Wizard of Oz, stars a wildly polygonal yellow brick road, an army of dancers and mountains of reoccurring Stefani patterns like bold black-and-white stripes, houndstooth and plenty of pink." Kreps continued the description, commenting that, "in the eye-popping video, Stefani and her dancers are shown with bright pink Beats by Dre headphones around her neck while using the Beats Music app." Jason Lipshutz of Billboard added that the video has Gwen "tiptoeing down a morphing yellow road and showing off the first in her array of polka-dotted outfits," with "a dance troupe eventually arriv[ing] to jazz up the clip a little." The beginning of the music video finds the singer in a gray world, but by the end of the video, the same scenes are now shown in full color. ### Reception The video received divided critics. Lipshutz was disappointed in it, commenting that "the colorful video lacks the innovation of, say, Stefani's 'What You Waiting For?' visual." James Grebey of Spin stated how he was frustrated with the video's "glitchy, low-resolution land of colorful patterns and shapes," calling it "a jarring rejection of aesthetic design, made all the more confusing when the last third of the video suddenly changes the scenery from a computer generated blunderland to a back alley filled with live-action cars." Jeff Benjamin of Fuse noted that the video is "not wacky and sassy like past Stefani visuals like 'Wind It Up' or 'Hollaback Girl,' but praised the video, writing that it "oozes sophistication while still adding Gwen's signature quirky side with its crazy computer effects." Carolyn Menyes of Music Times was favorable, remarking that the video "fits the song's strong reggae vibes, with Stefani channeling everything that's chaotic and trippy not just about her own genre but also about her single." Bradley Stern was more negative, claiming that the video lacks a storyline, complaining about its resolution and named it a "phoned-in green screen affair with some poorly rendered graphics." Bianca Gracie wrote for Idolator that the video's geometric and graphic animation is nothing new, but praised "the fun dance scene towards the end, which breaks the monotony of the video." ## Track listing \; Digital download 1. "Baby Don't Lie" — 3:21 \; Digital download (The Remixes) 1. "Baby Don't Lie" (Kaskade & KillaGraham Remix) — 3:01 2. "Baby Don't Lie" (Dave Matthias Remix) — 5:06 ## Charts ## Release history	[ "## Background and release", "## Composition", "## Critical reception", "## Chart performance", "## Music video", "### Background and storyline", "### Reception", "## Track listing", "## Charts", "## Release history" ]	2,538	20,374
11,982,046	William S. Edmiston	1,173,636,534	Canadian architect (1857–1903)	[ "1857 births", "1903 deaths", "19th-century Canadian politicians", "Architects from Glasgow", "Canadian architects", "Mayors of Edmonton", "Pre-Confederation Alberta people", "Scottish emigrants to Canada" ]	William Somerville Edmiston (November 10, 1857 – July 24, 1903) was an architect and politician in present-day Alberta, Canada. He was a member of the Edmonton Town Council and for two terms, the mayor of Edmonton. Originally a native of Scotland, Edmiston came to Canada to settle in Clover Bar, Northwest Territories in the early 1880s. After living there for about ten years, he relocated to nearby Edmonton where he would employ himself as an architect, the first ever in the town. Engaging in a partnership with another fellow architect, his firm would design some of the first buildings in the newly developing town. He would also involve himself with the town's politics, sitting on the Edmonton Town Council, and later serving out two terms as Mayor of Edmonton, from 1897 to 1899. During his time as mayor, he involved himself in local affairs as well as run his architectural business. He would also lobby for a new bridge to be built over the North Saskatchewan River, connecting Edmonton with the town of Strathcona. He would voluntarily relinquish his position as mayor and not run in the 1899 election, opting to retire. Edmiston was also very active in the sporting affairs of Edmonton, participating in and managing many sporting activities and clubs. He died after an accident which resulted in heart failure in 1903; an industrial park in Edmonton was subsequently named after him. ## Early life Edmiston was born in 1857 at the Hutchesontown section of Glasgow, Scotland, the son of William Thomson and Jessie (née Mitchell) Edmiston. He immigrated to Canada in 1882, and settled in Clover Bar, Northwest Territories where he farmed. His siblings, Janet Hamilton Edmiston and Herbert William Edmiston had also immigrated to Canada. In Clover Bar, he was named justice of the peace, and served as a trustee in the local school board. ## Career He relocated to the town of Edmonton in 1892, becoming the town's first architect. He also operated a brickyard upon settling. In 1892, Edmiston, working independently at the time, was contracted by the Edmonton Town Council to draft a map of the town. In that same year, he was also a member of a committee tasked with a project to establish a brewery in Edmonton. In 1893, he established a partnership with local architect Nathaniel G. Flater, and operated under the name Edmiston & Flater, headquartered at the Edmonton Imperial Bank Building. The firm designed many notable buildings for the town, including the first post office, the city's first brick school (for the Edmonton Public School District), the All Saints' Anglican Cathedral, a home for Herbert Charles Wilson, the McDougall & Secord retail store, and a fire hall. In 1899, he would end his partnership with Flater and enter into a new one, with Henry D. Johnson of Calgary, under the firm name Edmiston & Johnson Architects, Draughtsmen, Valuators and Insurance Agents. This firm was responsible for constructing, amongst many, a hospital building, a new Presbyterian church and making alterations to the Robertson Hall Theatre. In 1900, an article was published in the Edmonton Bulletin, praising the firm Edmiston & Johnson, specifically for their "skill and artistic tastes", stating that they had "built for themselves a reputation that is second to none in their line". William Edmiston was also briefly involved in the meat industry, establishing a pork packing business, the Edmonton Pork Packing Company, around 1896. During the 1890s he was also a director of the Edmonton District Railway Company. ### Civic politics In 1895, Edmiston was nominated for and subsequently elected to Edmonton Town Council, finishing first in the aldermanic race in a field of nine candidates, with 175 votes. He was re-elected in 1896, finishing second of eight candidates. During this term, Edmiston sat as the chair of the board of works. He also sat on the council's finance, public works and market committees. He did not seek re-election in the next election. In early 1897, he was a member of a planning committee for Queen Victoria's Diamond Jubilee celebrations within the town. In the ensuing December 1897 election, having been nominated for mayor by Colin Strang and George Roy, he was the only candidate put forth for the position, and thus was acclaimed to the position. In 1898, in response to getting nominated for re-election as mayor, Edmiston responded by purchasing an advertisement in the Edmonton Bulletin, stating: > As I have been requested by a large number of taxpayers to run for Mayor for 1899, I thank them for the honor and beg to say I have much pleasure and pride in accepting the nomination. He would be re-elected in the election later that year, defeating former mayor Cornelius Gallagher by 81 votes. He did not seek re-election in 1899, opting to retire. Following his last council meeting, after thanking members of the council, he treated members of the council and press members to "an excellent oyster supper" at a dining hall. During his two terms as mayor, he was involved in petitioning the dominion government for the bridge that became the Low Level Bridge, which would be constructed shortly after his final mayoral term, in 1900. He also introduced bylaws that permitted a new flour mill to operate with reduced taxation rates, authorized the widening of Queen Street, and provided for the purchase of additional property for the expansion of the town. In May 1900, Edmiston, along with notables Alex Taylor, John Alexander McDougall, James McDonald, William Johnston Walker, Robert Manson, Thomas Bellamy, Herman McInnes, and Hedley C. Taylor, were named to The Edmonton Public Hospital corporate governing board, on the advice of the Legislative Assembly of the North-West Territories. ## Personal life William Edmiston was a Mason and a member of the Old Timers' Association, the Sons of Scotland, Knights of Pythias, Edmonton Liberal-Conservative Association and Edmonton Board of Trade. Edmiston was active in the sporting community of Edmonton, serving on football and rugby committees in the 1890s, the honorary president of the Victoria Football Club, and as a member of the local hockey, curling and rifleman's clubs. He also played on a local cricket team in the 1890s and in local billiard tournaments. He resided in the Riverdale neighbourhood of Edmonton, where former mayor Matthew McCauley had also lived. At the time of the 1901 Census of Canada, Edmiston was living in Edmonton with his wife, Georgina Edmiston (born in New Brunswick), sister Janet Edmiston, and his two children, Kenneth William and Jessie Gertrude Edmiston. His son, Kenneth would serve in World War I with the 19th Alberta Dragoons. ## Death and legacy Edmiston died suddenly of heart failure July 24, 1903, at his Cliffe Street home in Edmonton. He was 45 years old. He had been recovering from an accident suffered a week prior in which he sustained a broken leg. After his funeral on July 26, 1903, he was buried at the Edmonton Cemetery. His obituary lauded that he was a well-respected citizen who had "always taken a prominent part in all matters pertaining to the welfare of [Edmonton]." Edmiston Industrial, an industrial park located in the Northwest portion of the Edmonton near the Yellowhead Trail, was named in his honour in 1975. The architectural firm of Edmiston & Johnson lasted up until the 1960s, changing partners multiple times, and ultimately folding in 1964 under the name Howard and Robert Bouey Architects.	[ "## Early life", "## Career", "### Civic politics", "## Personal life", "## Death and legacy" ]	1,634	22,559
24,205,365	Winton Train	1,164,761,281	2009 train journey commemorating and recreating the 1939 kindertransport from Prague to London	[ "2009 in rail transport", "Commemoration", "International named passenger trains", "International response to the Holocaust", "Jewish emigration from Nazi Germany", "Kindertransport", "Rail transport in Europe", "Rescue of Jews during the Holocaust" ]	The Winton Train was a private passenger train that travelled from the Czech Republic to Great Britain in September 2009 in tribute to the wartime efforts of Sir Nicholas Winton, described as the 'British Schindler' for his part in saving refugee children from Czechoslovakia. As a result of Sir Nicholas' efforts in the months leading up to the outbreak of World War II in 1939, a total of seven locomotives transported 669 Czechoslovak children of mainly Jewish heritage from Prague to safety in Great Britain. Sir Nicholas' kindertransport efforts remained largely unrecognised until 1988, when they came to public attention after his wife found a scrapbook in their attic documenting the details. Only then did the individuals whom Winton arranged to have transported to safety as children learn the story of how they survived the Holocaust. As the majority of 'Winton's Children' (as they came to be known) were Jewish, it is believed this saved them from certain death had they stayed in Czechoslovakia. As of 2009, the direct descendants of Winton's Children numbered over 5000 people. The 2009 tribute Winton Train carried some of the individuals Sir Nicholas arranged to have transported to safety in 1939, along with their families, as it retraced the original kindertransport route taken by the trains on which they rode as children to safety in Great Britain 70 years earlier. The Winton Train departed on 1 September 2009, the 70th anniversary of the eighth, and intended last, train arranged by Winton to carry children to safety but was prevented from doing so due to the outbreak of World War II on that very day. It departed from Prague Main railway station and travelled through Germany and the Netherlands. After a transfer by ferry to Harwich, the journey resumed by train again to arrive in London's Liverpool Street station on 4 September, where it was met by the 100-year-old Sir Nicholas himself. For the journey across mainland Europe, the train was formed of period carriages and was hauled by historically authentic steam locomotives, while the British leg was hauled by 60163 Tornado, a brand-new, main-line British steam locomotive completed in 2008, along with carriages that were constructed in the 1950s. The tribute train was the centrepiece of a wider cultural awareness project known as 'Inspiration by Goodness', organised by the Czech government. ## Background ### Original Winton trains Between March and September 1939, the months leading up to the outbreak of World War II, Nicholas Winton, a 29-year-old British stockbroker whose parents were of German Jewish descent, organised eight trains to transport mainly Jewish Czech and Slovak refugee children from Czechoslovakia to homes in Britain. In 1939, Winton cancelled a trip to a Swiss holiday resort to go to Prague, having heard of a growing refugee crisis resulting from the German occupation of Czechoslovakia from a friend. His friend was working in the British embassy for the British Committee for Refugees from Czechoslovakia, which was already working to help adults escape from Czechoslovakia. When Winton learned that refugee children could not leave unless accompanied, he decided to arrange their evacuation to Britain. While the Winton evacuations later became known by the collective label of the children's Kindertransports, which were officially being organised elsewhere in other countries, no official Kindertransports had been arranged in Prague at that time. Later rescues were organised by Gertruida Wijsmuller-Meijer from the Netherlands in cooperation with Jewish committees in Britain, Holland, Nazi-Germany and Nazi-Austria from December 1938 through August 1939, totalling 10,000 children. Winton organised the transfer of the children from the Nazi-appointed Protectorate of Bohemia and Moravia to homes in Britain, in the process arranging the necessary bonds and permits for their departure, and finding the families in Britain who would receive the children. Winton and a team identified those children most at risk from the thousands of refugees driven south following the Nazi invasion of the Sudetenland. For each child to be accepted, British officials required a confirmed foster home and a £50 guarantee. Beginning in March, Winton organised eight trains, which in total transported 669 mainly Jewish children from Nazi occupied Czechoslovakia to Great Britain. A ninth and final train with 250 children on board was stopped at the last minute, due to the outbreak of the war. Only two children on this ninth aborted train survived the war. According to Channel 4 News reporting on the 2009 Winton Train, "Sir Nicholas has said many times that the vision that haunts him most is the families waiting at Liverpool Street for the train that never arrived". The original trains left from Prague Wilson railway station (now Prague Main station). While most of the children were met by their new families at London's Liverpool Street station, some of the children got off the trains at Harwich, where they were placed with local families. Few if any of the Winton children saw their parents again. Winton's efforts did not come to public light until 1988, when his wife discovered papers in their loft, whereupon Winton began to publicly talk about his work, and he came to be known as the 'British Schindler', in comparison to Oskar Schindler. Sir Nicholas himself believed this was undeserved, because unlike Schindler, his life had never been in danger. ### Inspiration by Goodness project A project to run a train in tribute to the original Winton trains was announced on 21 January 2008 as the Train Prague – London project, and the organisers were negotiating to have the train named after Sir Nicholas. The train was run by Czech Railways and sponsored by the Czech government, with the project being dedicated to their holding of the Presidency of the Council of the European Union from January to June 2009. The train was part of a wider project encompassing social and cultural events along the route to "inspire young people through the deeds of Nicholas Winton", and with the theme of "Inspiration by Goodness", it incorporated art, film, photographic and literary contests by university students and school children. The project was to follow on from the work of documentary film maker Matej Mináč about Sir Nicholas, including his new film project Nicky's Family. While travelling on the train, Mináč filmed scenes for a new version of the Winton story. The Czech Senate President Přemysl Sobotka said of the project that it "should warn against rising extremism and anti-Semitism in Europe and in the world". ## 2009 Winton Train ### Journey The motive power for the train journey was provided by six different steam locomotives in total, two as a double-headed train in the Czech Republic due to the terrain, two in Germany, one in the Netherlands and one in Great Britain. The entire journey was scheduled to take four days, involving a European train leg, a crossing by the passengers on a ferry and a British train leg. It covered a distance of 1,296 kilometres (805 mi), of which 1,139 kilometres (708 mi) was the train journey across mainland Europe. On 1 September the train departed Prague Main railway station. On this first day it travelled to the German city of Nuremberg, crossing the Czech - German border at Furth im Wald in the Bavarian Forest. The following day, the train was to travel across Germany to Cologne, via Frankfurt am Main. Instead of Frankfurt however, it travelled via Wiesbaden and the right bank of the River Rhine. On the third day, the train arrived on the North Sea coast at the Dutch ferry port, Hook of Holland, crossing the Dutch - German border at Emmerich am Rhein and passing through the Netherlands via Rotterdam. The passengers disembarked the train to cross the North Sea to Great Britain overnight on the Stena Line ferry Stena Britannica to Harwich, a port in the East of England on the country boundary between Essex and Suffolk. The British train journey formed the fourth day of the journey, travelling from Harwich to the London terminus of Liverpool Street station. On this final day the train departed Harwich International railway station at 09:12. It travelled via Colchester and Chelmsford, arriving at Liverpool Street station at 10:37 on Platform 10. Platform 10 was the platform number that the original Winton trains had used. Sir Nicholas, now 100 years old, met the train at Liverpool Street as guest of honour. Also at Liverpool Street to meet the train was Štefan Füle, the Czech Minister for European Affairs, and a former Czech ambassador to Britain. ### Motive power and rolling stock Travelling through the Czech Republic from Prague to Furth im Wald, the train was double-headed by locomotives No. 486.007 and 498.022, with 486.007 leading as the train left Prague. No. 486.007, known as the Green Anton is a preserved steam locomotive built in 1936 and based in Vrútky, Slovakia, owned by Slovak Republic Railways (ŽSR). It is one of the :de:ČSD-Baureihe 486.0 class, and has a green livery. No. 498.022, which is one of the :de:ČSD-Baureihe 498.0 class, has a blue livery and is owned by Czech Railways, who store it at Libeň in Prague, Czech Republic. Travelling through Germany from Furth im Wald to Emmerich am Rhein, the train was hauled by locomotive No. 41 018. No. 41 018 is a preserved steam locomotive built in 1939 and based at the Augsburg Railway Park railway museum in Augsburg, Bavaria. It is one of the locomotive class DRG Class 41, and it is owned by DG München. As the train travelled through the Netherlands from Emmerich am Rhein to Hook of Holland, it was hauled by Locomotive No. 01 1075. No. 01 1075 is a preserved steam locomotive built in 1940 and based at the Stoom Stichting Nederland (SSN) railway museum in Rotterdam. Travelling through England (from Harwich to London), the train was hauled by No. 60163 Tornado, a British mainline steam locomotive built in 2008 by the A1 Steam Locomotive Trust, the construction of which began in 1994 and was completed in 2008. The passenger rolling stock for the European leg from Prague to Hook of Holland comprised nine historic railway carriages of Hungarian and German origin, with a capacity for 240 passengers. The train included the blue liveried state luxury saloon carriage of Tomáš Garrigue Masaryk, the first president of Czechoslovakia, which entered service on 7 March 1930, Masaryk's 80th birthday. For the British leg, behind Tornado and her maroon support coach, the train was headed by Pegasus, a cream and brown Pullman Bar Car incorporating the Trianon Bar, followed by the historic 1950s built red and cream The Royal Scot rake of British Railways Mark 1 passenger coaches of Riviera Trains. Pegasus was built in 1951 for the famous Golden Arrow boat train, and later rebuilt for heritage mainline use. ### Passengers The 2009 Winton train carried 170 passengers, including 22 of those originally rescued, who came to be known as 'Winton's Children'. Passengers included the first, second, or even third generation of descendants of the original children rescued by Sir Nicholas. The descendants of the children Sir Nicholas rescued had by 2009 grown to number 5,000 people. Passengers on the 2009 train also included Sir Nicholas's daughter Barbara. Other survivors who did not travel on the reunion train instead met it at Liverpool Street. ## Subsequent projects It was the hope of the project to follow up the 2009 Winton Train to London with other Winton Trains to other European cities, and for it to become a tradition. In May 2011, an exhibition entitled Winton's Trains opened in London at Liverpool Street station.	[ "## Background", "### Original Winton trains", "### Inspiration by Goodness project", "## 2009 Winton Train", "### Journey", "### Motive power and rolling stock", "### Passengers", "## Subsequent projects" ]	2,581	29,554
707,870	Caulfield railway station	1,166,138,990	Railway station in Melbourne, Australia	[ "Federation Free Classical architecture in Australia", "Heritage-listed buildings in Melbourne", "Listed railway stations in Australia", "Premium Melbourne railway stations", "Railway stations in Australia opened in 1879", "Railway stations in the City of Glen Eira" ]	Caulfield railway station is a commuter railway station on the northern boundary of Caulfield East, a suburb of Melbourne, Victoria, Australia. Opened in 1879 and rebuilt from 1913 to 1914, the station complex is listed on the Victorian Heritage Register and is noted as an example of Federation Free Style architecture. It is named after the nearby suburb of Caulfield, located southwest of the station. The station consists of an island platform and two side platforms, all accessed by a pedestrian underpass. There are three principal station buildings located on the platforms, including a small brick building located on Platform 1, near the main platform building. This building was provided in 1974 and originally served as a ticket office for the Caulfield Racecourse, which is directly adjacent. The station complex also features a rare "horse platform" used when horses were delivered to the racecourse. The station is only partially accessible due to a steep access ramp. Caulfield railway station is served by the Pakenham, Cranbourne, Frankston, and Gippsland lines, which are part of the Melbourne railway network. The station also connects to the Route 3 tram service and routes 624 and 900 bus services. The journey to Flinders Street railway station is approximately 10 kilometres (6.2 mi) and takes 19 minutes. ## Description Caulfield railway station is on the boundary of Caulfield East and Malvern East, suburbs of Melbourne, Victoria. North of the station is Dandenong Road, and south of the station is Normanby Road. The station is located nearby to the Caulfield Village apartment and shopping complex, Caulfield Racecourse, and Monash University. The station is owned by VicTrack, a state government agency, and the station is primarily operated by Metro Trains. The station is approximately 10 kilometres (6.2 mi), or a 19-minute train journey, from Flinders Street railway station. The adjacent stations are Malvern station up towards Melbourne and Carnegie and Glen Huntly stations down towards Dandenong or Frankston. Designed by railway architect J. W. Hardy, the station complex was built in 1913–1914 in the Federation Free Classical style. The station consists of a single island platform and two side platforms with a total of four platform edges. Standard in Melbourne, the platform has an asphalt surface with concrete on the edges. The platforms are approximately 160 metres (520 ft) long, enough for a Metro Trains 7-car HCMT. The station has a pedestrian subway, accessed from the centre of the platforms by a ramp. In addition to the four passenger platforms, there is a horse platform which Heritage Council Victoria notes is "a rare structure of its type" although its physical characteristics are "undistinguished". The Caulfield Railway Complex has three principal station buildings, a former lamp/store room, and a signal box—all heritage listed. Unique architectural features in the three red brick station buildings include elaborately decorated parapets and radiating bands of render around the arched openings. Original fittings that have been retained from the 1914 station reconstruction include the timber palisade gates, timber seating, and ticket office fittings. The signal box was built around 1920. Constructed out of red brick, it has a tiled hip roof and retains its original fittings. The station building, platform, and underpass are largely the same as when originally built, with the main changes being updated signage, technology, and the addition of two new ramp canopies, amongst other minor building and platform upgrades. There is a small 130-space car park on the south side of the station. The station is listed as an "assisted access" station on the Metro Trains website, as the access ramp is too steep and would require assistance for wheelchair customers to traverse. ## History Caulfield railway station was opened on 7 May 1879, with the station consisting of a single platform and track for commuter and freight service. The first station buildings were opened on the site between 1881 and 1883 to coincide with the duplication of track between the city and Oakleigh. The current station was constructed in 1913–1914 to provide new and improved facilities for a station that was facing rapidly increasing growth. The station rebuild was part of level crossing removal works that removed all level crossings, rebuilt all stations, and quadruplicated the corridor between South Yarra and Caulfield by 1914. In late 1922, the line was electrified using 1500 V DC overhead wires, with "three position" signalling also introduced. The station has mostly stayed the same since 1914, with only minor upgrades taking place. In 1977, the goods yard and loading platform was closed to traffic. This platform had been used for cargo, postal, farming, and Caulfield Racecourse horse deliveries during its operational life; however, it was decommissioned after the reduction in use. In 1985, a number of sidings and their associated points and signals were abolished. The station underwent minor upgrades in 1994 and 2015–2016, and in June 1996, it was upgraded to a premium station. In July 2022, the signal box at the station was closed, with operations handled remotely from the Kananook signal control centre. In conjunction with the Metro Tunnel project, Caulfield station has received upgrades to its heritage structures, platforms, ticketing facilities, and signage. These projects have been undertaken to make Caulfield station into a hub and major interchange station. Despite these upgrades, many news outlets and public transport commentators have called for more drastic upgrades to the station, including making the station fully accessible, increasing connectivity to other modes of transport, and reducing overcrowding that is often faced at the station. ### Caulfield railway disaster On 26 May 1926 the 6:02 pm Oakleigh-bound train crashed into the rear of a stationary train at Platform 4 of Caulfield Station, in the first fatal collision to occur on the newly electrified rail system in Melbourne. Casualties included three dead and 170 people injured. A highly politicised story at the time, the coroner's verdict found that "the weight of evidence is certainly against the driver in a more serious degree, and perhaps to a lesser degree against the guard." On 12 September 1926, the relieving stationmaster who had been on duty at the time of the crash, shot and killed himself on the island platform. Later that month, the court found the driver and the guard not guilty with the rider that "In the opinion of the jury, from the evidence given regarding the running of electric trains, the precautions taken to safeguard the public at this particular point are inadequate, and should be rectified immediately." Seven years after the fatal crash, an automatic "trip" system which cut power to trains entering a section against a signal was installed at Caulfield Railway Station. A plaque was unveiled on Platform 4 in 2011 by the Friends of Cheltenham and Regional Cemeteries to memorialise victims of the crash. ## Platforms and services Caulfield has two side platforms and one island platform with four faces. The station is currently served by Pakenham, Cranbourne, and Frankston line trains and is also served by V/Line Traralgon and Bairnsdale services. Caulfield station is served by the Pakenham, Cranbourne, and Frankston lines on the metropolitan train network and the Gippsland line on the regional V/Line network. The Pakenham line runs between Pakenham station and Flinders Street station via the City Loop. The Cranbourne line also follows a similar route, joining the Pakenham line at Dandenong before continuing to the city. The Frankston line runs from Frankston station south east of Melbourne, joining the Cranbourne and Pakenham lines at Caulfield station before continuing onto the Werribee or Williamstown lines via Flinders Street station. The station is also serviced by V/Line's Gippsland line heading up towards Southern Cross station or down towards Traralgon or Bairnsdale stations. From 2025, the Pakenham and Cranbourne lines will run via the Metro Tunnel before continuing onto the Sunbury line to Sunbury. From 2029, Airport services will stop at Caulfield station. Platform 1: - all stations and limited express services to Flinders Street, Werribee and Williamstown Platform 2: - all stations and limited express services to Frankston Platform 3: - express services to Flinders Street - express services to Flinders Street - V/Line services to Southern Cross (set down only) Platform 4: - all stations and limited express services to Pakenham - all stations and limited express services to Cranbourne - V/Line services to Traralgon and Bairnsdale (pick up only) Future services: In addition to the current services, the opening of the Metro Tunnel will link the Pakenham and Cranbourne lines to both the Sunbury line and under-construction Melbourne Airport rail link from 2025 and 2029, respectfully. - express services to Sunbury (2025 onwards) - express services to Melbourne Airport (2029 onwards) ## Transport links Caulfield station has one tram connection and two bus connections. The route 3/3a tram service operates from nearby Derby road up towards the city and down towards Malvern East. The station has two bus connections; route 624 from Kew to Oakleigh station and the route 900 SmartBus from Caulfield station to Stud Park Shopping Centre in Rowville. The station does not have an accessible tram platform or a bus interchange and instead is operated through on-street bus and tram stops. Caulfield station is also a major hub for train replacement bus and coach services due to the junction located east of the station. The station has numerous train replacement bus and coach stops located north and south of the station, with the ability for the southern carpark to be converted into a transfer point. Tram connections: - : Melbourne University – Malvern East (operates as 3a on weekends and public holidays) Bus connections: \*: Kew – Oakleigh station - SmartBus : to Stud Park Shopping Centre (Rowville)	[ "## Description", "## History", "### Caulfield railway disaster", "## Platforms and services", "## Transport links" ]	2,118	22,353
8,010,315	Mysore Airport	1,164,520,872	Airport in Mysuru, India	[ "1940 establishments in India", "20th-century architecture in India", "Airports established in 1940", "Airports in Karnataka", "Buildings and structures in Mysore", "Mysore South", "Transport in Mysore" ]	Mysuru Airport , also known as Mandakalli Airport, is a domestic airport serving Mysore, a city in the Indian state of Karnataka. It is located near the village of Mandakalli, 10 kilometres (6.2 mi) south of the city, and is owned and operated by the Airports Authority of India (AAI). At present, it has direct flights to Chennai, Goa, Hyderabad and Bangalore. The airport's history dates to the 1940s, when it was constructed by the Kingdom of Mysore. Passenger service, training flights of the Indian Air Force, and other operations took place at Mysore Airport during its first several decades. ## History In 1940, the Princely State of Mysore established the airport on 290 acres (120 ha) of land. Following Indian independence in 1947, the Government of Karnataka assumed control of the airfield. The Ministry of Civil Aviation took control in 1950. Passenger service to Bangalore using Dakota aircraft began, but it did not last long as people found travel by road to be faster. Thereafter, The Hindu started daily flights from Chennai via Bangalore to deliver its newspapers. However, these flights lasted only a few months. Afterward, the airfield was used by charter flights carrying foreign tourists and by flights transporting dignitaries to the city, such as Jawaharlal Nehru. The Indian Air Force operated training flights at the airport as well. In 1985, regional airline Vayudoot commenced thrice weekly flights from Bangalore using its Dornier 228 aircraft. The service was inaugurated by famous Indian writer R. K. Narayan. At the time, Mysore Airport consisted solely of a grass airstrip and a one-roomed terminal with one toilet. Because of low passenger loads, the flights ended in 1990. The existing terminal was built in 2010, allowing the airport to handle 200 passengers. Airlines started commencing flights, however due to poor response, the flights were stopped leaving the airport unused. With central government's UDAN scheme, flights started functioning again, and as of December 2020, there are flights to 7 destinations from Mysore Airport. ## Infrastructure Mysore Airport has a single runway, 09/27, with dimensions 1,740 by 30 metres (5,709 ft × 98 ft) and the ability to service ATR 72 turboprop and similar aircraft. The apron has three parking stands and is connected to the runway by a single perpendicular taxiway. Mysore Airport's passenger terminal occupies 3,250 square metres (35,000 sq ft) and can hold a maximum of 200 passengers. Volvo buses from Mysuru City Bus Stand are available 7 times a day before flight timings. ## Airlines and destinations ## Statistics ## Future plans Under the second phase of expansion, the runway would be lengthened to 2,750 by 45 metres (9,022 ft × 148 ft), allowing jet aircraft such as the Boeing 737 and Airbus A320 to land at Mysore Airport. The runway cannot be extended to the west because of the presence of a railway line, while an extension to the east requires diverting National Highway 766. The State Government initially decided to hold off on this phase, preferring to wait until air traffic increased and the cost of diverting the highway was justified. Proposal for second phase was submitted by the State government of Karnataka for extension of runway. It proposed tunneling NH 766 beneath the runway, which requires less land than deviating the highway; but the Central Government rejected this proposal, citing security concerns. In August 2016, however, the Deccan Chronicle reported that the Ministry of Civil Aviation had directed airport officials to have a study conducted regarding tunneling of the highway. On 17 May 2018, central government gave permission to the above proposal and as per the plan the existing runway would be expanded to 2750 metres. In 2020, it was announced that government has agreed to upgrade Mysore Airport to an International Airport after runway expansion. ## See also - List of airports in Karnataka	[ "## History", "## Infrastructure", "## Airlines and destinations", "## Statistics", "## Future plans", "## See also" ]	861	953
5,331,491	Air Combat Group RAAF	1,155,711,512	Force element group of the Royal Australian Air Force	[ "2002 establishments in Australia", "Military units and formations established in 2002", "RAAF groups" ]	The Royal Australian Air Force's Air Combat Group (ACG) is the group which administers the RAAF's fighter and bomber aircraft. ACG was formed on 7 February 2002 by merging the RAAF's Tactical Fighter Group and Strike Reconnaissance Group in an attempt to improve the speed with which the RAAF can deploy its combat aircraft. As of October 2022 the commander of ACG is Air Commodore Tim Alsop. Since the Group's formation, ACG aircraft have deployed to Diego Garcia during Operation Slipper and formed part of the Australian contribution to the 2003 invasion of Iraq. ACG also worked on Operation Guardian II, which was the protection of the Commonwealth Heads of Government Meeting 2002, and on Operation Falconer, which was providing a larger ground crew and strike force in Iraq. Other tasks have included support for Operation Acolyte (Melbourne Commonwealth Games 2006) and participation in exercises such as Exercise Pitch Black in Australia and Exercise Red Flag in the United States. Aircraft from the Group have also performed domestic security tasks and participated in overseas exercises. It comprises No. 78, No. 81 and No. 82 Wings. No. 78 Wing RAAF is headquartered at RAAF Williamtown. It commands No. 76 Squadron, based at RAAF Williamtown, No. 79 Squadron, based at RAAF Pearce, No. 2 Operational Conversion Unit, based at RAAF Williamtown, and No. 278 Squadron, which provides technical training specific to flight training. No. 81 Wing RAAF is headquartered at RAAF Williamtown. It commands No. 3 Squadron, based at RAAF Williamtown, No. 75 Squadron, based at RAAF Tindal, and No. 77 Squadron, based at RAAF Williamtown. No. 82 Wing RAAF is headquartered at RAAF Amberley. It commands No. 1 Squadron, based at RAAF Amberley, No. 6 Squadron, based at RAAF Amberley, and the Forward Air Control Development Unit (FACDU), based at RAAF Williamtown. It is accountable for all of the Air Force's F/A-18 Hornet, Super Hornet and Hawk squadrons, as well as the PC-9A Forward Air Control aircraft. The ACG is equipped with McDonnell Douglas/Boeing F/A-18 Hornet/Super Hornet fighter and attack aircraft, BAE Hawk trainers and Pilatus P/C-9(A) forward air control training aircraft. ## Establishment and purpose The Air Combat Group (ACG) was created on 1 January 2002 with the merging of two Force Element Groups (FEGs), Strike Reconnaissance Group (F-111) and Tactical Fighter Group (F/A-18 Hornet, Hawk and PC-9A). The ACG was tasked to deliver the core capabilities of Control of the Air and Precision Air Strike with the hope that it would allow the RAAF to more quickly deploy its combat aircraft. Although the fighter and strike elements will continue to operate as discrete units for some time, ACG will provide the opportunity for the RAAF to test the organisation required to deliver a range of combat capabilities. ## Responsibilities and bases Air Combat Group is one of the Force Element Groups (FEGs) in the Air Force. It has 145 aircraft, 163 aircrew and 2000 support personnel based across Australia. It is accountable for all of the Air Force's F/A-18 Hornet, Super Hornet and Hawk squadrons, as well as the PC-9A Forward Air Control aircraft. The Wings under the Air Combat Group are located at RAAF Base Amberley, near Brisbane, Queensland, RAAF Base Williamtown, near Newcastle, New South Wales, RAAF Base Pearce, near Perth, Western Australia, and RAAF Base Tindal, near Katherine, Northern Territory. The Headquarters is located at RAAF Williamtown, NSW 2314. ## Training and operational history Air Combat Group maintains a busy training schedule for the air and ground crew on the F/A-18 Hornet, Super Hornet and Hawk. The Group's tasks have included support for Operation Acolyte (Melbourne Commonwealth Games 2006) and participation in exercises such as Exercise Pitch Black in Australia and Exercise Red Flag in the United States. ### Operation Slipper A detachment of four Australian F/A-18 Hornet fighter aircraft provided air defence for the US military base on the island of Diego Garcia during the campaign against the Taliban, which was called Operation Slipper. The initial detachment was provided by No. 77 Squadron RAAF between December 2001 and 10 February 2002. This detachment was replaced by a detachment from No. 3 Squadron RAAF which was deployed between 10 February 2002 and 20 May 2002. No further Australian units have been deployed to Diego Garcia. The United States Air Force commented favourably on the RAAF contingent's professionalism during this deployment. ### Operation Guardian II During Operation Guardian II a squadron was deployed to protect the March 2002 Commonwealth Heads of Government Meeting (CHOGM) in south-east Queensland. During this, the Australian Defence Force pilots were given permission to destroy any hostile aircraft. This has not happened at any time during Australian peacetime, but was deemed necessary because of the 11 September 2001 attacks six months earlier. ### Operation Falconer No. 75 Squadron deployed to Al Udeid Air Base in Qatar in February 2003 as part of the Australian contribution to the invasion of Iraq (Operation Falconer). The squadron was equipped only with recently serviced F/A-18s, and its 14 aircraft were drawn from No. 81 Wing's three frontline squadrons. The other squadrons also provided pilots to bolster aircrew numbers in No. 75 Squadron to 25. The squadron saw action during the Iraq War and provided air defence for high-value assets such as Airborne Early Warning and Control Aircraft, close air support for ground troops and attacked other Iraqi targets. No. 75 Squadron flew 350 combat missions during the war and dropped 122 laser-guided bombs. The squadron was prohibited from operating near Baghdad as the Hornets' electronic warfare suite was judged to not be sufficient for such heavily defended air space. The squadron's rules of engagement also banned it from conducting close air support in urban areas. No. 75 Squadron conducted its final combat mission on 27 April and all 14 aircraft returned to RAAF Base Tindal on 14 May 2003. ## Structure Headquarters Air Combat Group is located at RAAF Williamtown, with elements based at Amberley (Queensland), Tindal (Northern Territory), Pearce (Western Australia) and Williamtown (New South Wales). One hundred and forty-five aircraft, 163 aircrew, and around 2000 personnel make up the ACG. ### Commander The current commander of Air Combat Group is Air Commodore Mike Kitcher, who assumed the post in July 2017. ### Air Combat Group components #### 78 Wing No. 78 Wing RAAF is headquartered at RAAF Williamtown. It commands No. 76 Squadron, based at RAAF Williamtown, flying Hawk Mk127 aircraft, No. 79 Squadron, based at RAAF Pearce, flying Hawk Mk127 aircraft, and No. 278 Squadron, which provides technical training specific to flight training. 78 Wing conducts operational training, both ground and air, on the Hawk Mk 127 at Nos. 76 and 79 Squadrons. It currently has an increasing role providing simulator training to aircrews and maintenance personnel at Air Force bases across Australia. #### 81 Wing No. 81 Wing RAAF is headquartered at RAAF Williamtown. It commands No. 2 Operational Conversion Unit, based at RAAF Williamtown, No. 3 Squadron, based at RAAF Williamtown, No. 75 Squadron, based at RAAF Base Tindal, and No. 77 Squadron, based at RAAF Williamtown, flying F-35A aircraft. 81 Wing is responsible for the provision of combat air power to Australian and coalition forces through Offensive Counter Air (OCA) and Defensive Counter Air (DCA) operations using three squadrons of Lockheed Martin F-35 Lightning II, Nos. 3, 75 and 77 Squadrons. #### 82 Wing No. 82 Wing RAAF is headquartered at RAAF Amberley. It commands No. 1 Squadron and No. 6 Squadron, based at RAAF Base Amberley, flying F/A-18F Super Hornet aircraft and the Boeing EA-18G Growler. No. 6 Squadron specialises in Electronic Warfare. No. 82 Wing strikes designated targets and conducts reconnaissance with Nos. 1 and 6 Squadrons. It also commands No. 4 Squadron composed of the air force special forces Combat Controllers, aircrew who operate the Pilatus PC-21 aircraft and instructors for the Australian Defence Force Joint Terminal Attack Controller (JTAC) course. ## Aircraft The ACG is equipped with Lockheed Martin F-35 Lightning II, and F/A-18F Super Hornet fighter and attack aircraft, Boeing EA-18G Growler Electronic Warfare aircraft, PC-21 (Forward Air Control) and BAE Hawk trainers. Each of these aircraft has a different role. The F-35 replaced the McDonnell Douglas F/A-18 Hornet in Australian service. The F/A-18 was retired from RAAF service in late 2021. ### Fighter and Electronic Warfare aircraft The Australian Government replaced the F/A-18A and B with the F-35A Lightning II, starting in 2017 and with the expected final aircraft of the 72 ordered arriving in 2023. The F/A-18F Super Hornet is a dedicated strike aircraft in RAAF service and are considered superior to the F-22 Raptor in their ability to acquire and track moving ground targets. The RAAF's No. 6 squadron based at RAAF Amberley operates Boeing EA-18G Growler Electronic warfare aircraft. ### Training aircraft The BAE Systems Hawk Mk127, is a British advanced jet trainer which first flew in 1974 as the Hawker Siddeley Hawk. ACG operations 33 Hawks as trainers, and these aircraft have a limited air-to-air and land strike capability. The Pilatus PC-21 Forward Air Control (FAC) is a variant of the Pilatus PC-21 used by the RAAF as advanced pilot training aircraft.	[ "## Establishment and purpose", "## Responsibilities and bases", "## Training and operational history", "### Operation Slipper", "### Operation Guardian II", "### Operation Falconer", "## Structure", "### Commander", "### Air Combat Group components", "#### 78 Wing", "#### 81 Wing", "#### 82 Wing", "## Aircraft", "### Fighter and Electronic Warfare aircraft", "### Training aircraft" ]	2,174	23,734
37,367,905	Lionel Gilbert	1,167,867,340	Australian historian	[ "1924 births", "2015 deaths", "Australian curators", "Australian historians", "Australian schoolteachers", "People educated at Fort Street High School", "Recipients of the Medal of the Order of Australia", "Royal Australian Air Force personnel of World War II", "University of New England (Australia) alumni", "Writers from New South Wales" ]	Lionel Arthur Gilbert OAM CF (8 December 1924 – 28 January 2015) was an Australian historian, author, curator, lecturer, and biographer, specializing in applied, natural, and local history. Born in Burwood, New South Wales, he studied at Sydney Teachers College and, beginning in 1946, worked as a teacher and later a headmaster in state schools in various locations around New South Wales until 1961. In 1963 Gilbert graduated from the University of New England with a Bachelor of Arts in History. That same year, he was appointed a lecturer and curator at the Armidale Teachers' College Museum of Education, in which capacity he served until his retirement in 1984, overseeing several expansions of the museum and establishment of a historical research centre. During his time with the college, Gilbert published a number of articles, papers, and books, many of them focusing on local history of New South Wales, including the state's New England area. He attained a Doctor of Philosophy (PhD) in Botanical History from the University of New England in 1972. After retirement, Gilbert authored several books on Australian natural history, including biographies of three Australian botanists and a history of Sydney's Royal Botanic Gardens. In recognition of his work in education and history, he was selected as a fellow by several historical organizations. In 1995 he was awarded the Medal of the Order of Australia, a Centenary Medal in 2001, and in 2007 with an honorary Doctor of Letters by the University of New England. ## Early life and career with state schools Gilbert was born in Burwood, a suburb of Sydney, on 8 December 1924. His primary and secondary education took place at Burwood Primary School, Homebush Boys High School, and Fort Street High School, receiving a leaving certificate from the latter. After graduation, Gilbert took temporary employment at Gowings Men's Store in Sydney. In 1942, he received a Teacher's Scholarship to Sydney Teachers College, where he trained for one year to be a school teacher. In 1943, Gilbert enlisted in the Royal Australian Air Force, joining 570 other Teachers College students who served in the armed forces during World War II, 68 of whom were killed during the conflict. Assigned as a radar operator in Arnhem Land, Gilbert served until 1946. After his discharge from the military, Gilbert was employed as secondary school teacher at Nabiac Central School from 1946 until 1954. In 1955, he was appointed Deputy Headmaster of Wauchope Primary School, and served in that capacity until 1960. That year, he accepted an appointment as headmaster of Rocky River Primary School near Uralla, New South Wales, a position he held until 1961. While at Nabiac, Gilbert met Margaret Roberts and the two married in 1949. Their daughter Anne was born in 1960. ## Academia and curator career In 1955, Gilbert enrolled as an external student at the University of New England in the first class of the university's external studies program. In 1961, he was appointed by the university as a Research and Information Officer in the Department of External Studies. In this capacity, Gilbert taught weekend classes on the methodology of local history for the university's adult education department throughout the northwest area of New South Wales. In 1963, he graduated with a Bachelor of Arts in History with First Class Honors, submitting his thesis on the history of botanical knowledge of the eastern seaboard of Australia for the years 1788–1815. In July 1963, Gilbert accepted an appointment as lecturer in applied history and curator with the Armidale Teachers' College (later College of Advanced Education) Museum of Education. Holding the position for 21 years, he guided expansion of the facility to better present the history of education in Australia. Between 1976 and 1980 he supervised the relocation to the museum of three historic school buildings from Armidale High School and Dumaresq Public School. In addition, Gilbert designed courses in applied and local history for internal and external students of the college, which became the Armidale College of Advanced Education in 1971. In 1974, Gilbert successfully requested an Innovations Grant from the Schools Commission to establish a Historical Resources Centre at the college. Opened in 1976 with Gilbert as its first director, the centre's goal was to provide education on the history of New England to primary, secondary, tertiary, and postgraduate students, and community groups. Gilbert recalled in 2008 that between 1975 and 1978, 5,758 primary or secondary pupils toured the museum on field trips. A further 1,653 adults visited during that time to conduct historical or genealogical research at the museum or the Historical Resources Centre. In 1981 the Museums Association of Australia recognised the museum with a certificate of merit for its, "authenticity and detail in building, display and education." In 1972, Gilbert was named chair of the school's newly formed Department of History. He attained the position of Acting Deputy Principal for the college before retiring in June 1984. In 1967, Gilbert assisted the National Trust of Australia and the Australian National University's Department of Adult Education with a series of lectures and exhibits on local history of the New England area. Held in Armidale, the series helped establish a local chapter of the National Trust and the subsequent preservation of several historical colonial buildings in the area. While at the college, Gilbert pursued post-graduate studies at New England and received a Doctor of Philosophy (PhD) in Botanical History in 1972, with his thesis titled Botanical investigation of New South Wales, 1811–1880. Also in 1972, he was awarded a Churchill Fellowship to the U.K. for four weeks to study how museums in the U.K. contributed to general education. ## Other work In 1962, Gilbert succeeded Eric Dunlop as Honorary Curator of the Armidale City Council's Folk Museum, serving in the position until 1982. When the museum reached capacity in its original facility, he joined the Armidale town clerk in a successful petition to the Department of Education for New South Wales to relocate the museum into the nearby Hillgrove School. Opened in 1977, the new facility is known as the Museum of Rural Life and Industry. Beginning in 1975, he served on the New South Wales State Archives Authority. During his career at the college, Gilbert authored or co-authored a number of papers and books, particularly on Australian biographical, genealogical, and local history. In 1974, Gilbert joined William Patrick Driscoll, Alan Sutherland, and David Rose in publishing History Around Us: An Enquiry Approach to Local History, a book on historical research targeted at younger readers. The book was re-issued in 1984. In 1978, Gilbert and co-author Elwyn Sydney Elphick wrote a book titled of Forty-three and Seven: A Short Illustrated History of the First Fifty Years of Teacher Education in Armidale : Armidale Teachers' College, 1928–1971 and Armidale College of Advanced Education 1971–1978 to commemorate the school's 50-year jubilee celebration. In 1980, two books by Gilbert were published: A Grave Look at History: Glimpses of a Vanishing Form of Folk Art and New England from Old Photographs. The former studied graveyard monuments and was representative of Gilbert's lifelong interest in studying and documenting epitaphs. The latter book focused on local history of New South Wales. From 1966, he contributed a series of articles to the Australian Dictionary of Biography. ## Post retirement work, professional associations, and honors Gilbert continued to write in retirement, often focusing on natural history. In 1985, 1992, and 2001, he respectively authored books on botanists William Woolls, Herman Rupp, and Joseph Maiden. In 1986, his book on the history of Sydney's Royal Botanic Gardens was published. Two years after its publication, Gilbert was appointed an Honorary Research Associate of the gardens. He was also a patron of the Australian National Museum of Education and a member of Australia's National Trust. Gilbert was named a Fellow of the Society of Australian Genealogists in 1955, an Honorary Fellow of the Royal Australian Historical Society in 1997, and a Fellow of the Federation of Australian Historical Societies in 2007. On 12 June 1995 he was recognised with the Medal of the Order of Australia (OAM), "In recognition of service to the community as a researcher and curator of local history in the New England region." On 1 January 2001 he was awarded the Centenary Medal, "For service to the community through education and local history." The University of New England presented Gilbert with an honorary Doctor of Letters (Hon. D. Litt.) in 2008. Also in 2008, he contributed a historical essay on the Auchinleck-Ross family of New England to the biographical compendium, New England Lives III. Gilbert served as president of the Armidale and District Historical Society and has been honored with Freedom of the City of Armidale. ## Personal life and death Gilbert and his wife, Margaret, resided in Armidale, New South Wales from 1961. He died in Armidale on 28 January 2015 and was survived by his wife, daughter Anne, son-in-law Tony Bennett, and grandson Alexei. ## Awards and professional elections - 1955 Fellow, Society of Australian Genealogists - 1972 Churchill Fellowship - 1988 Honorary Research Associate, Royal Botanic Gardens, Sydney - 1995 Medal of the Order of Australia - 1997 Honorary Fellow, Royal Australian Historical Society - 2001 Centenary Medal - 2007 Fellow, Federation of Australian Historical Societies - 2008 Doctor of Letters, University of New England - Freedom of the City of Armidale, New South Wales - President of the Armidale and District Historical Society ## Selected publications	[ "## Early life and career with state schools", "## Academia and curator career", "## Other work", "## Post retirement work, professional associations, and honors", "## Personal life and death", "## Awards and professional elections", "## Selected publications" ]	2,124	14,498
47,943,833	Osbert Parsley	1,156,338,522	English Renaissance composer and chorister (1510/11 – 1585)	[ "1511 births", "1585 deaths", "16th-century English composers", "Burials at Norwich Cathedral", "Cathedral organists", "Classical composers of church music", "Composers from Norwich", "Musicians from Norwich", "Norwich Cathedral" ]	Osbert Parsley (1510/1511 – 1585) was an English Renaissance composer and chorister. Few details of his life are known, but he evidently married in 1558, and lived for a period in the parish of St Saviour's Church, Norwich. A boy chorister at Norwich Cathedral, Parsley worked there throughout his musical career. He was first mentioned as a lay clerk, was appointed a "singing man" in c. 1534, and was probably the cathedral's unofficial organist for half a century. His career spanned the reigns of Henry VIII and all three of his children. After the Reformation of 1534, the lives of English church musicians changed according to the official policy of each monarch. Parsley wrote mainly church music for both the Latin and English rites, as well as instrumental music. His Latin settings are considered to be more fluent and attractive-sounding than those he wrote to be sung in English. His longest composition, Conserva me, domine, was in a graceful polyphonic style. Parsley's other liturgical works include Daily Offices (two morning services and an evening service), and the five-part Lamentations (notable for the difficulty in singing the top notes of the highest part). His instrumental music, nearly all for viols, including six consort pieces, was written in a style that combines both his Latin and English vocal styles. Some of his incomplete instrumental music has survived. Parsley died in Norwich in 1585 and was buried in Norwich Cathedral. His commemorative plaque, a mark of the respect in which he was held by those who knew him, was a unique honour for a chorister at the cathedral. The plaque is inscribed with a poem praising his character and musicianship. Parsley's music is occasionally heard in church services and concerts. Compositions that have been recorded include his Lamentations and Spes Nostra. ## Life and musical career Osbert Parsley was born in 1510 or 1511; the identity of his parents and place of birth are unknown. Like many of his contemporary English composers, he began his musical career as a choirboy. During the time Parsley was a chorister, Edmund Inglott and his son William Inglott were in turn Master of the Choristers; the works written by William are found in the Fitzwilliam Virginal Book. He became a "singing man" c.1534, a post he retained for 50 years. The historian Noel Boston has conjectured that Parsley was either hired by the cathedral monks to assist them as a layman chorister, or was possibly a novice monk before his career as a monk was stopped short by the English Reformation, and he then was employed as a singing man. Parsley was first listed in Norwich Cathedral's extant accounts for 1538–1540, where he was named as a lay clerk, and he continued to be mentioned in the cathedral's records throughout his life. It is likely that he acted as the cathedral's unofficial organist from 1535 until his death in 1585. In 1558 Parsley was married to one Rose and bought a house and premises in the parish of St Saviour's Church, Norwich, from John Hering and his wife, Helen. Parsley owned the house until 1583. Details of Parsley's life were first published in Henry Davey's History of English Music, first published in 1895, when he was described as a "lesser composer" from Norwich Cathedral whose works existed in manuscript form. From Parsley's will it is known that there were seven surviving children from the marriage: Henry, Edmund, John, Joan, Elizabeth, Dorothy, and Anne. Composers during the Tudor period were honoured by being awarded an academic degree from either Oxford or Cambridge, or by becoming a member of the Chapel Royal—Parsley received neither of these highly prized honours. ### Later life (1570s and 1580s) By the start of the 1570s, Parsley was being paid £12 a year, and the five other men in the cathedral choir were paid either £10 or £8, equivalent to the pay given to an unskilled construction worker. A decade later, the cathedral choirmaster, responsible for both the men's and boys' choirs, was being paid £12. The composer Thomas Morley, master of the choirboys from 1583, had a salary not much more than those of the singing men. In 1578, Elizabeth I and her court came to Norwich as part of a royal progress, and the city was expected to provide accommodation, banquets and entertainment. Then the second city in England after London, Norwich was one of the few cities in the kingdom with such sufficient numbers of skilled musicians, but even so it had to resort to using viol, trumpet and cornett players from Elizabeth's entourage. Elizabeth, in the company of her courtiers, the most prominent of Norwich's citizens, and the clergy of the cathedral, heard a Te Deum by Parsley sung during the first evening of her visit, with the choir being supported by the city's waits. Parsley was paid 6+1⁄2 shillings for the songs he had written and sung during the queen's visit. His music was also performed before Elizabeth when she returned to Norwich in 1597. None of his compositions for her visits to Norwich have survived. ### Death and commemoration In 1580, Parsley's name appeared at the top of the list of lay clerks in the Norwich Cathedral audit book. His will, made on 9 December 1584, was proved by his widow on 6 April of the following year. He died in Norwich in 1585, aged 71, and was buried in the cathedral where he had worked throughout most of his life. He left bequests valued at about £75. A friend of four Bishops of Norwich—Richard Nykke, Thomas Thirlby, John Parkhurst and Edmund Freke—Parsley was also well respected by his contemporaries for his musical ability and his personal character. His fellow lay singing men honoured him by commissioning a commemorative plaque—uniquely for a lay clerk in an English cathedral—in the north aisle. The plaque to Parsley, which once had indecipherable text, was restored in 1930 as a memorial to the composer and organist Arthur Mann. It was unveiled during an evensong service on 10 July 1930, with music by Parsley and Mann sung by the choirs of King's College, Cambridge, Ely Cathedral, and Norwich Cathedral. The text of the memorial reads: > > Here lies the man whose Name in Spight of Death, Renowned lives by Blast of Golden Fame: Whose Harmony survives his vital Breath. Whose Skill no Pride did spot whose Life no Blame. Whose low Estate was blest with quiet Mind: As our sweet Cords with Discords mixed be: Whose life in Seventy and Four Years entwin'd, As falleth mellowed Apples from the Tree. Whose Deeds were Rules whose Words were Verity: Who here a Singing-man did spend his Days. Full Fifty Years in our Church Melody His Memory shines bright whom thus we praise. ## Composing career English composers of the late 15th century and early 16th century set a limited number of types of sacred music, each with a clear place in the liturgy. Until the Reformation of 1534, when Henry VIII broke with the Catholic Church, English composers based their works on the Sarum rite, abolished in 1547. During the decades following the Reformation, the lives of English church musicians changed according to the policies of the reigning monarch. Henry allowed church music in England to continue to be written in a florid style, and use Latin texts, but during the reign of his son and successor, Edward VI, highly polyphonic music was no longer permitted, and the authorities destroyed church organs and music, and abolished choral foundations. These changes were never completely reverted by Edward's successor Mary during her brief reign; their half-sister Elizabeth, who succeeded Mary in 1558, confirmed or reinstated some of Edward's work. Parsley's compositional career spanned the reigns of all four monarchs. He wrote church music for both the Latin and English rites. His Anglican church music for the Daily Office included a morning service, involving the Benedictus canticle and the Te Deum, and an evening service that involved the singing of two canticles, the Magnificat and the Nunc dimittis. The musicologist Howard Brown noted that Parsley belonged to a group of outstanding composers from the middle period of the 16th century—William Mundy, Robert Parsons, John Sheppard, Christopher Tye, Thomas Tallis, and Robert White—who together produced a body of high quality music. According to the scholar John Morehen, Parsley was less at ease when working with English texts, a trait Morehen finds Parsley had in common with similar Reformation composers. His Latin music is fluent and attractive, with extended phrases that become increasingly melismatic as they progress. The parts in Latin are characteristically independent in a way that was typical of sacred polyphony in England before the Reformation. The expressive psalm Conserva me, domine has an elegant polyphonic style. The technique shown in his English church music is less assured than his compositions for the Latin rite. His five-part Lamentations, which differs from settings by his contemporaries Tallis and White in that a treble line (notable for the difficulty in singing the highest notes of the part) is maintained throughout, was probably intended for domestic devotional use. During the 1920s, the musicologist and composer W. H. Grattan Flood described Parsley's Lamentations as being "of particular interest". One piece, a well-crafted three-part canonic setting of the Salvator Mundi, was printed by Morley in 1597. Morley described Parsley's arrangement of this Gregorian hymn as a model of its kind, and alluded to him as "the most learned musician". Some of Parsley's instrumental music, nearly all for viols, survives, including six consort pieces; both his Latin and English vocal styles can be found in his instrumental style. The composition known as "Parsley's Clock" is similar to both Charles Butler's "Dial Song", and "What strikes the clocke?" by the English choirmaster and composer Edward Gibbons and a second anonymous piece, which were built around a line that counts the hours. Peter Phillips, writing in The Musical Times, in commending Conserva me, domine, noted that "Parsley can be remembered as one of those men who just once conjured up a masterpiece, as it seems to us now, from nowhere." ## Compositions Parsley's surviving works consist mainly of church music from several locales. His choral works set to Latin texts include Conserva me, domine, his most substantial work; and the Lamentations; those set to texts in English, written after the Dissolution, are his two Morning Services, each consisting of a Benedictus canticle and a Te Deum; an Evening Service previously attributed to Tye; and the anthem "This is the Day the Lord has made". Other compositions known to have been written by Parsley include Spes nostra, a motet for five viols; five In Nomine; "O praise the Lord all ye heathen", a tenor part recently found in a prayer book; a hymn Salvator mundi domine; a Service in C major; Super septem planetarum and the work known as "Parsley's Clock". Several examples of incomplete instrumental music have also survived. Of the four of the great Lamentations of the Tudor period for Holy Week date from the 1560s, two were composed by Tallis, and one each by William Byrd and Parsley. Earlier Lent services avoided polyphony, which was regarded as lacking in solemnity. The Oxford Dictionary of National Biography describes Parsley's Lamentations as his most famous work. ### Existing manuscripts Key BL—British Library, London; BodL—Bodleian Library, Oxford; ERO—Essex Record Office, Chelmsford; PC—Peterhouse, Cambridge; QC—Queens' College, Cambridge; RCM—Royal College of Music; JO—Private collection of David McGhie, London; Private library of J. A. Owens, Davis, California; f.—folio, r,v—recto and verso; vv—voices. #### Music for voices #### Instrumental music ##### Complete works ##### Incomplete works ## Recordings and performances CD recordings of some of Parsley's compositions have been made, and his music continues to be heard in church services and concerts.	[ "## Life and musical career", "### Later life (1570s and 1580s)", "### Death and commemoration", "## Composing career", "## Compositions", "### Existing manuscripts", "#### Music for voices", "#### Instrumental music", "##### Complete works", "##### Incomplete works", "## Recordings and performances" ]	2,700	42,304
13,238,914	The Last Dog on Earth	1,173,463,822	2003 book by Daniel Ehrenhaft	[ "2003 American novels", "2003 children's books", "American children's novels", "American thriller novels", "American young adult novels", "Children's novels about dogs", "Novels set in Oregon" ]	The Last Dog on Earth is a 2003 young adult novel written by Daniel Ehrenhaft. It follows Logan, a lonely 14-year-old boy who adopts a dog from an animal shelter and names her Jack. The pair's relationship is soon threatened by an incurable prion disease spreading across the nation. Infected dogs become unnaturally violent and bloodthirsty, culminating in the deaths of several people. As public fear heightens and the government intervenes to control the outbreak, Logan struggles to reform his life and remain with Jack. The Last Dog on Earth largely focuses on the impact of disease and both public and governmental panic. Society is ravaged by fear over the epidemic, endangering Logan and Jack despite the two being uninfected. Additionally, the novel presents a coming of age story in which Logan, a troubled youth, matures through his relationship with Jack, his only friend. Despite 17th Street Productions holding the rights to The Last Dog on Earth, Dell Publishing gained permission to publish it. The company released the novel in hardcover in 2003 and in paperback in 2004. Throughout 2009, the book was published on various e-book readers, including the Nook, Kindle, and several Apple Inc. products. The Last Dog on Earth was a winner of the Texas Lone Star Reading List and recognized by YALSA on a 2006 book list for young adults. The novel garnered mixed feedback from critics, who generally felt that the plot held appeal, but that Ehrenhaft tended to rely on coincidence. ## Plot Logan Moore is a troubled 14-year-old boy living with his mother Marianne and stepfather Robert in Newburg, Oregon. Logan does not get along well with Robert or his mother, and holds a grudge against his biological father for leaving when he was young. After an incident at a barbecue, Robert decides to purchase a Labrador Retriever in order to teach Logan responsibility. Eager to rebel against his stepfather, Logan convinces his mother to adopt a dog from an animal shelter. He plans to choose an ugly dog and teach it destructive behavior. At the shelter, Logan encounters a young female mutt who immediately takes a liking to him. Logan adopts the dog and names her Jack after Robert's former dog. Meanwhile, a new prion disease named Psychotic Outburst Syndrome (or POS) is affecting dogs, causing friendly pets to become violent. Officials struggle to control the disease and immediately terminate any dogs that catch it. Humans soon begin to contract the disease. Logan quickly bonds with Jack and values her as his only friend. After getting into trouble while attempting to protect her, Logan is sent to boot camp while Jack remains at home. Both he and Jack manage to escape, find each other, and begin traveling together. During their journey, they encounter another dog called White Paws: Jack's brother who has become infected with POS. White Paws attacks Jack and severely wounds her before dying. Logan worries that Jack may have contracted the disease through contact with White Paws. The pair continue their journey until they reach the town of Dayville. Logan faintly remembers that his biological father lives in the town and decides to find his father and confront him. While Logan is stealing food from a local shop, Jack is found by three men who, fearing that she may be infected, beat her. Logan is arrested and manages to find his father's address at the police station before escaping. He returns to find Jack nearly dead and carries her, attempting to find his father's house, until he faints from exhaustion. He awakens in the house of his biological father, Dr. Craig Westerly, who had found Logan unconscious by his car. Logan learns from Craig that he had not abandoned him and his mother, but that Marianne had divorced him. Logan fears for Jack's life, afraid that she is infected or will be euthanized. Craig runs tests on the dog and learns that Jack, despite having been in contact with POS, isn't infected: she is immune. Craig decides to take Jack to a doctor so that a vaccine can be created. During the meeting, Rudy Stagg, a man infected with POS who had been killing dogs in order to contain the outbreak, stumbles into their room. Rudy ignores pleas to spare Jack and shoots at her, but Logan dives in front of the dog and is shot instead. Logan suffers a collapsed lung and falls into a coma. He awakens weeks later and learns that Jack is on life support. He says a final goodbye to Jack before her life support is turned off. Jack's immunity to POS leads to the creation of a vaccine and cure, and Logan is finally able to reconcile with Robert, Craig, and Devon Wallace—a childhood enemy whose dog died due to POS. The novel's epilogue, written as a newspaper article, reveals Logan and his family hold a private ceremony to honor Jack. ## Themes and style Ehrenhaft deals with several themes over the course of The Last Dog on Earth. Kirkus Reviews commented on the "backdrop of rising governmental and public panic" that interfere with Jack and Logan; despite escaping the disease, they are unable to escape the panic. Rachel Seftel, author of a Journal of Adolescent & Adult Literacy review, also commented on the "mass hysteria" that arose due to POS and noted the novel's core theme of a troubled youth being taught "valuable lessons until an external force threatens to tear them apart." In order to track particular events and plot points related to POS, Ehrenhaft inserts various messages, faxes, and articles throughout the novel. ## Publication history 17th Street Productions, a branch of Alloy Entertainment, holds the rights to The Last Dog on Earth. Dell Publishing (a division of the larger publisher Random House) made arrangements with 17th Street to have it released under their name. On February 11, 2003, the novel was released in hardcover, and was later reprinted in paperback under Dell's Yearling book imprint on June 8, 2004. In January 2009, the novel received a Barnes & Noble Nook release in the United States, enabling it to be read on the Nook e-book readers. The listed file size of The Last Dog on Earth is 2224 KB for the brand. On January 21, 2009, the book was released for the Kindle, Amazon.com's online e-book reader. Its listed file size is 448 KB. On February 3, 2010, The Last Dog on Earth was released on Apple Inc.'s iTunes. It is listed as being compatible with the iPhone, iPod Touch, and iPad. Later, on February 25, 2009, the novel was released digitally with EPUB and mobile-specific file types for the Borders Group e-book app. ## Reception and influence The Last Dog on Earth has been nominated for several awards. The novel was recognized and listed on the Texas Library Association's 2004–2005 Texas Lone Star Reading List. The book was also a nominee for the 2005 Mark Twain Award and 2007 Minnesota Young Reader Award. The Last Dog on Earth was named on "Popular Paperbacks for Young Adults 2006", a list created by YALSA (Young Adult Library Services Association), a division of the American Library Association. The list is conceived by a committee and compiles various novels that hold appeal to teen readers. The Last Dog on Earth was included in the "What Ails You?" category, comprising literature "about how diseases, disorders, and other general health related symptoms affect our lives". In a 2005 interview, Daniel Ehrenhaft mentioned that a school in Chicago created an extracurricular activity wherein "kids designed games and gadgets", having been inspired by Logan's hobby of inventing devices. The Last Dog on Earth has received mixed reception from critics, who have praised the plot, but criticized the heavy use of coincidences to advance the plot. Kirkus Reviews commented that "happenstance plays a large role in the plot" and thought Ehrenhaft had "a tendency to trot in typecast characters, then summarily drop them", but wrote that it would appeal to "disaster-tale fans with a taste for the lurid". Within the Journal of Adolescent & Adult Literacy, Volume 47, Rachel Seftel reviewed the novel. She felt that The Last Dog on Earth'''s main strength was the "well-developed and sympathetic protagonist" Logan, but noted that the "memos and several subplots" interspersed between chapters and Ehrenhaft's "[somewhat] heavy-handed" attempts to foreshadow were drawbacks. Seftel concluded that, despite Ehrenhaft's "reach at times [exceeding] his grasp," The Last Dog on Earth was "an interesting and absorbing variation" of the slightly conventional "boy-and-his-dog story." ## See also - Countdown novel series - Drawing a Blank''	[ "## Plot", "## Themes and style", "## Publication history", "## Reception and influence", "## See also" ]	1,836	2,917
12,030,689	Twyfelfontein	1,165,387,685	null	[ "Archaeological sites in Namibia", "Former populated places in Namibia", "National Monuments of Namibia", "Prehistoric Africa", "Religious buildings and structures in Namibia", "Rock art in Africa", "World Heritage Sites in Namibia" ]	Twyfelfontein (Afrikaans: uncertain spring), officially known as ǀUi-ǁAis (Damara/Nama: jumping waterhole), is a site of ancient rock engravings in the Kunene Region of north-western Namibia. It consists of a spring in a valley flanked by the slopes of a sandstone table mountain that receives very little rainfall and has a wide range of diurnal temperatures. The site has been inhabited for 6,000 years, first by hunter-gatherers and later by Khoikhoi herders. Both ethnic groups used it as a place of worship and a site to conduct shamanist rituals. In the process of these rituals at least 2,500 items of rock carvings have been created, as well as a few rock paintings. Displaying one of the largest concentrations of rock petroglyphs in Africa, UNESCO approved Twyfelfontein as Namibia's first World Heritage Site in 2007. ## History Twyfelfontein valley has been inhabited by Stone-age hunter-gatherers of the Wilton stone age culture group since approximately 6,000 years ago. They made most of the engravings and probably all the paintings. 2,000 to 2,500 years ago the Khoikhoi, an ethnic group related to the San (Bushmen), occupied the valley, then known under its Damara/Nama name ǀUi-ǁAis (jumping waterhole). The Khoikhoi also produced rock art which can clearly be distinguished from the older engravings. The area was uninhabited by Europeans until after World War II, when a severe drought caused white Afrikaans speaking farmers (Boers) to move in. The farm was later procured by the apartheid government as part of the Odendaal Plan and became part of the Damaraland bantustan. The white settlers left in 1965. Topographer Reinhard Maack, who also discovered the White Lady rock painting at Brandberg, reported the presence of rock engravings in the area in 1921. A more thorough investigation was only conducted after David Levin studied the feasibility of farming in 1947. He rediscovered the spring but struggled to extract enough water to sustain his family and his herd. Slowly becoming obsessed with doubts about the capacity of the spring an Afrikaans-speaking friend began calling him David Twyfelfontein (David Doubts-the-spring) in jest. When Levin bought the land and registered his farm in 1948 he gave it the name Twyfelfontein. While commonly being translated as doubtful spring, a more accurate translation for the word twyfel is therefore "questionable" or "uncertain". In 1950 scientific investigation of the rock art started with an investigation by Ernst Rudolph Scherz who described over 2500 rock engravings on 212 sandstone slabs. Today it is estimated that the site contains more than 5000 individual depictions. ## Location and description Twyfelfontein is situated in the southern Kunene Region of Namibia, an area formerly known as Damaraland. The site lies on the banks of the Aba Huab River in the Huab valley of the Mount Etjo formation. The rocks containing the art work are situated in a valley flanked by the slopes of a sandstone table mountain. An underground aquifer on an impermeable layer of shale sustains a spring in this otherwise very dry area. The name Twyfelfontein refers to the spring itself, to the valley containing the spring, and in the context of traveling and tourism also to a greater area containing nearby tourist attractions: the rock engravings, the Organ Pipes, Burnt Mountain, Doros crater, and the Petrified Forest. The World Heritage Site covers the area of rock engravings. The area is a transitional zone between semi desert, savanna, and shrubland and receives less than 150 mm (5.9 in) annual rainfall. Diurnal temperatures vary from 10 to 28 °C (50 to 82 °F) in the winter month of July and 21 to 35 °C (70 to 95 °F) in the summer month of November. Twyfelfontein lies 20 km (12 mi) south of the C39 major road from Sesfontein to Khorixas. From there it is connected by the district road D3214. The Twyfelfontein Country Lodge features a gravel airstrip. The lodge, camp site, visitor's centre and most of the other tourist facilities are managed as a joint venture between the lodge owners and the Twyfelfontein-Uibasen Conservancy. The rock art area consists of fourteen smaller sites that have been introduced by Scherz in his initial site survey. They are still used to describe the location of artworks in Twyfelfontein: ## Artworks Sandstone rocks at Twyfelfontein are covered by the so-called desert varnish, a hard patina that appears brown or dark grey. Engravings were effected by chiseling through this patina, exposing the lighter rock underneath. The indentations were created over the course of thousands of years. The oldest engravings might be as old as 10,000 years, and the creation of new works probably ended by the arrival of pastoral tribes around 1000 AD. Three different types of engravings can be distinguished at Twyfelfontein: - iconic imagery (images of animals, humans, and fantasy creatures) - pictograms (geometric rock art like pecked circles, rows of dots) - indentations for or from everyday use (grinding hollows, board games, gong stones) Additionally, the site contains rock paintings at 13 different locations, with depictions of humans painted in red ochre in six rock shelters. The similar occurrence of rock paintings and rock engravings is very rare. The hunter-gatherers made most of the iconic engravings and probably all the paintings. The carvings represent animals such as rhinoceroses, elephants, ostriches and giraffes as well as depictions of human and animal footprints. Some of the figures, most prominently the "Lion Man"—a lion with an extremely long rectangular kinked tail ending in a six-toed pugmark— depict the transformation of humans into animals. This transformation and the depiction of animals together with their tracks make it likely that they were created as part of shamanist rituals. The more simplistic perception that they only show hunter-gatherers' attempts to acquire food is now thought to be naïve. Engravings of animals that certainly never occurred in this area, like a sea lion, penguins, and possibly flamingos indicate that the hunter-gatherers might have ventured to the coast more than 100 km (62 mi) away. A modern archaeological survey led by Sven Ouzman questions these descriptions of Scherz' initial investigation and describes the not easily recognisable fauna as "strange animals"—rough work of animals, possibly giraffe, that did occur at Twyfelfontein. The Khoikhoi herders produced the geometric imagery, probably depicting herder groups. They are also the creators of the more worldly indentations in that area that served as grinding hollows and game boards. Some of the stones bear marks from use as gong stones, which make unusual sounds when hit. ## Archaeology The archaeological name of the site is Twyfelfontein 534. It is subdivided into 15 smaller sites as described by Scherz in 1975. Objects from the site include a variety of stone tools made mostly from quartzite. Type and shape of these tools indicate not only the use on rock but also the prevalence of wood and leather working. Artwork such as pendants and beads from ostrich eggshell fragments have been found at several places. Of the items of daily use charcoal and bone fragments have been excavated as well as undecorated pottery fragments, although the pottery might have originated from early farmers rather than the Stone Age culture that produced the rock art. The archaeological value of the site does not compare with its importance as rock art collection. The findings do, however, support the shamanist origin of the engravings because food remains from the site proved to be bones of small antelope, rock dassie and even lizards rather than the large species depicted. ## Site protection and recognition On 15 Aug 1952 the area was declared a National Monument by the South West African administration. Despite its early recognition, the site was left unguarded until 1986 when the entire area was declared a nature reserve. As a result, many of the petroglyphs were damaged or removed. Additionally, visitors have left their own graffiti on the sandstone slabs. Under Namibian legislation, the site is now protected under Section 54 of the National Heritage Act. In 2007, UNESCO approved Twyfelfontein as Namibia's first World Heritage Site as one of the largest concentrations of rock petroglyphs in Africa. The organisation recognised "a coherent, extensive and high quality record of ritual practices relating to hunter-gather communities [...] over at least two millennia" (criterion iii), and "links between ritual and economic practices in the apparent sacred association of the land adjacent to an aquifer" according to criterion V of the cultural selection criteria. Twyfelfontein was Namibia's only World Heritage Site until 2013 when the Namib Sand Sea was listed. To achieve having the site listed by UNESCO, the government of Namibia defined a buffer zone of 91.9 km<sup>2</sup> (35.5 sq mi) to protect the visual setting. In the 0.6 km<sup>2</sup> (0.2 sq mi) core site, grazing is restricted and the establishment of tourism facilities is prohibited. Although Twyfelfontein is regarded as "generally intact", the Twyfelfontein Country Lodge within the "Zeremonienplatz" (Place of Ceremonies) rock engraving site in the buffer zone is of concern to UNESCO, who stated "This has severely compromised the integrity of the rock engravings in this area." The hiking trail allowed visitors unsupervised access and is seen as running too close to many of the rock-art sites. Site management has, however, improved since applying for World Heritage status, particularly with regards to visitor management; unsupervised hiking is no longer allowed. ## References and literature ### Literature [World Heritage Sites in Namibia](Category:World_Heritage_Sites_in_Namibia "wikilink") [Rock art in Africa](Category:Rock_art_in_Africa "wikilink") [Religious buildings and structures in Namibia](Category:Religious_buildings_and_structures_in_Namibia "wikilink") [Prehistoric Africa](Category:Prehistoric_Africa "wikilink") [National Monuments of Namibia](Category:National_Monuments_of_Namibia "wikilink") [Archaeological sites in Namibia](Category:Archaeological_sites_in_Namibia "wikilink") [Former populated places in Namibia](Category:Former_populated_places_in_Namibia "wikilink")	[ "## History", "## Location and description", "## Artworks", "## Archaeology", "## Site protection and recognition", "## References and literature", "### Literature" ]	2,379	8,504
61,366,840	Everything We Need	1,157,862,535	Song by Kanye West	[ "2010s ballads", "2019 songs", "Contemporary R&B ballads", "Gospel songs", "Kanye West songs", "Song recordings produced by Kanye West", "Song recordings produced by Mike Dean (record producer)", "Songs written by Ant Clemons", "Songs written by Cyhi the Prynce", "Songs written by Federico Vindver", "Songs written by Kanye West", "Songs written by Mike Dean (record producer)", "Songs written by Ronny J", "Songs written by Ty Dolla Sign", "Ty Dolla Sign songs" ]	"Everything We Need" is a song by American rapper Kanye West from his ninth studio album, Jesus Is King (2019). The song features guest appearances from American singers Ty Dolla Sign and Ant Clemons, and additional vocals by the Sunday Service Choir. It was come up with during a freestyle session in the fall of 2018, inspired by a conversation West had with Clemons about Jesus and religion. The song was recorded as a new version of the leaked track "The Storm". A gospel and R&B ballad with trap elements, "Everything We Need" is reliant on a sparse arrangement. Lyrically, it is themed around being ready for meeting any hardship and need after a religious rebirth. The song received lukewarm reviews from music critics, who mostly complimented the vocals of Ty Dolla Sign and Clemons. Some highlighted the song structure, though critics were generally split towards West's verses. "Everything We Need" reached number 33 on the US Billboard Hot 100, becoming one of Clemons' first two appearances on the chart. It peaked within the top 50 in 10 other countries, including Australia and Iceland. The song was certified gold in the United States by the Recording Industry Association of America (RIAA), giving West his record-setting 85th single to attain this certification. On Easter 2019, it was performed by the Sunday Service Choir at the Coachella Festival. The group performs the song in West's film Jesus Is King, which accompanied the album. ## Background and recording West and Ant Clemons first worked together on the rapper's single "All Mine", recorded in Wyoming for his eighth studio album Ye (2018). In September of that year, Clemons received a phone call from his manager, who told the singer that West wanted to meet him in Chicago. When he arrived in the city, Clemons walked into a room with West, fellow rapper Chance the Rapper, and conservative influencer Candace Owens, where he freestyled with the rappers. Clemons recalled that the group went "back and forth just freestyling", with them coming up with "Everything We Need" during the session. He also expressed excitement in having collaborated with West and Ty Dolla Sign a second time, comparing it to "getting struck by lightning twice" and declaring that he felt "blessed with being able to sing about God on a record with these guys". Clemons contributed vocals to "Everything We Need" and fellow Jesus Is King track "Water"; he revealed both tracks came from conversations with West about Jesus and religion, asserting, "A lot of the best songs come from conversations." Of his time around West, Clemons commented that it "has been like the best time to absorb my surroundings" and recalled trying to listen to "hear a lot of the things that you want to know, without even having to ask". Ty Dolla Sign had become a regular contributor to West's work by 2018, having collaborated with him on three of the seven songs on Ye. Around the time of the album's release, the two both teased the idea of a collaborative project. West also said he is simply "trying to go week after week and improve on the craft", as well as naming Ty Dolla Sign among the strongest artists alive and explaining that "anything I can do to support, get around, produce, take my hands and chop up I'm with it". After Ty Dolla Sign appeared on "Everything We Need", West featured on his single "Ego Death" in July 2020. At the time of the song's release, the musician declared that it is "always an honor working with my brother 'Ye", saying he is "a genius" and the two "make incredible records" whenever they collaborate. In July 2019, West's track "The Storm" was leaked online by an unknown source. The track featured vocals from Ty Dolla Sign and deceased rapper XXXTentacion, originally recorded during the sessions for West's scrapped album Yandhi and standing among the multiple songs that leaked from the album. "Everything We Need" was recorded as a new version of "The Storm". The song omits multiple elements from the original, including layers of bass, an audio clip from TV series Jersey Shore, and XXXTentacion's verse. Alongside the guest appearances of Ty Dolla Sign and Clemons, it features additional vocals from West's gospel group the Sunday Service Choir. The song stands along with "Water" as one of the numerous tracks that the group had premiered prior to the album's release. "Everything We Need" was one of the three tracks that led to Jesus Is King's release being delayed by mixing modifications. ## Composition and lyrics Musically, "Everything We Need" is a gospel and R&B ballad, with elements of contemporary trap. It is sonically minimalist, relying on a sparse arrangement. The song includes guitar, contributed by co-writer Bradford Lewis. West enthusiastically raps short, sparse verses with a sharp delivery, which are succeeded each time by the song's chorus and bridge. These sections are sang gently by Clemons and Ty Dolla Sign, with the soulful chorus being multi-tracked. The artists accompany West's vocals at points, while a falsetto is contributed by Clemons. Lyrically, "Everything We Need" follows the theme of using the blessings that freely flow from a religious rebirth to be prepared to meet every hardship and need. Ty Dolla Sign and Clemons deliver lyrical melodies on the chorus, including singing "ooh-ooh, ooh-ooh oh". The two also assert, "We have everything we need." West makes numerous witty remarks, such as "What if Eve made apple juice?/ You gon' do what Adam do?" ## Release and reception On October 25, 2019, "Everything We Need" was included as the sixth track on West's ninth studio album Jesus Is King. West led the Sunday Service Choir through a performance of the song atop a hillside set named "The Mountain" at Coachella on April 21, 2019, coinciding with Easter. This marked the song's debut, though the title had not been formally announced at the time. A performance of the song by the group is included in West's concert film Jesus Is King, which accompanied the album's release. "Everything We Need" was met with lukewarm reviews from music critics, who generally praised Ty Dolla Sign and Clemons' vocals. Matthew Progress from NOW Magazine named the song the album's top track, citing it as the main example of "some of the most captivating melodies" on any of West's projects. Progress commented that "a smooth yet jubilant chorus and bridge" is delivered by Ty Dolla Sign and Clemons, which is "spliced in between West's short, sparse verses" on the R&B-styled "wavy church" ballad. The Independent correspondent Roisin O'Connor identified Clemons as the best feature on Jesus Is King, expressing that "his gentle, Bon Iver-esque tones" perfectly match West's "sharp delivery". In HipHopDX, Aaron McKrell stated that Clemons and Ty Dolla Sign contribute "a catchy, soulful refrain". At Billboard, Carl Lamarre picked it as the fourth best track on the album, feeling grateful for the guest artists' "soothing vocals" that "inject spiritual warmth to Ye's lackluster quips" and "revive the track". Similarly, Brian Josephs of Entertainment Weekly said the song "skates on Ty Dolla Sign and Ant Clemons['] rapturous vocals" that manage to provide "the Kanye-isms [with] levity". Writing for God Is in the TV, Aidy James Stevens noted a stark difference between the song and its Sunday Service performance, declaring that "a calm, contented mood" is set by Clemons' "soft falsetto" and a "bare-bones arrangement", providing "everything we need". Cyclone from The Music viewed the song as a "retooled" version of "The Storm", focusing on how West "raps eccentrically". In a mixed review for RapReviews, Ryan Feyre assured that Ty Dolla Sign's chorus on "Everything We Need" "could make the sun rise" and is one of the album's "more riveting vocal performances", though felt disappointed in how West's "anemic songwriting falters". On a similar note, The New York Times critic Jon Caramanica saw West's unambitious rapping as "buffeted by transcendent guest singers [...] Clemons and Ty Dolla Sign". Andrew Barker of Variety viewed the song as underdeveloped, feeling that "an absolutely glorious, multitracked vocal hook" is featured from the musician, yet West "never quite figures out what to do with it". In a negative review, The Guardian's Dean Van Nguyen derided its "sonic minimalism" and nakedness as "equally slender" to West's lyrical style throughout Jesus Is King, while declaring that the assertion of having everything needed "feels a bit rich" after the rapper had previously asked Facebook founder Mark Zuckerberg for US\$1 billion. ## Commercial performance Following the album's release, the song entered the US Billboard Hot 100 at number 33. With this entry, it became one of Clemons' first two appearances on the chart, simultaneously with "Water". The former also debuted at number five on both the US Christian Songs and Gospel Songs charts. It was less successful on the US Billboard Hot R&B/Hip-Hop Songs chart, reaching number 17. On July 20, 2022, the song was certified gold by the Recording Industry Association of America (RIAA) for pushing 500,000 certified units in the United States, making West become the first artist to have 85 singles earn this certification as a lead act. "Everything We Need" was most successful in Iceland, peaking at number 19 on the Icelandic Singles Chart. Similarly, the song debuted at number 20 on the Latvian Singles Chart. It peaked at numbers 26 and 27 on the ARIA Singles Chart and NZ Singles Chart, respectively. The song further charted within the top 50 in Canada, Estonia, Denmark, Norway, Lithuania, and Sweden. ## Credits and personnel Credits adapted from Tidal and the BMI Repertoire. - Kanye West – production, songwriter - FnZ (Michael Mulé and Isaac DeBoni) – production, songwriter - Ronny J – production, songwriter - BoogzDaBeast – co-production, songwriter - Federico Vindver – co-production, songwriter - Mike Dean – additional production, songwriter, mastering engineer, mixer - Ant Clemons – songwriter, featured artist - Ty Dolla Sign – songwriter, featured artist - Bradford Lewis – songwriter, guitar - Cydel Young – songwriter - Josh Berg – songwriter - Gerard A. Powell – songwriter - Sunday Service Choir – additional vocals - Jess Jackson – mixer - Sage Skolfield – assistant mixer - Sean Solymar – assistant mixer - Andrew Drucker – recording engineer - Jamie Peters – recording engineer - Jesse Ray Ernster – recording engineer - Josh Bales – recording engineer - Josh Berg – recording engineer - Randy Urbanski – recording engineer - Shane Fitzgibbon – recording engineer - Zack Djurich – recording engineer ## Charts ### Weekly charts ### Year-end charts ## Certifications ## See also - 2019 in hip hop music	[ "## Background and recording", "## Composition and lyrics", "## Release and reception", "## Commercial performance", "## Credits and personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications", "## See also" ]	2,414	26,413
35,012,150	Matteo I Visconti	1,172,181,638	Lord of Milan (1250–1322)	[ "1250 births", "1322 deaths", "13th-century Italian nobility", "14th-century Italian nobility", "House of Visconti", "Rulers of Milan" ]	Matteo I Visconti (1250–1322) was the second of the Milanese Visconti family to govern Milan. Matteo was born to Teobaldo Visconti and Anastasia Pirovano. In 1287, Matteo's uncle Ottone Visconti, archbishop and first lord of Milan, nominated him as capitano del popolo of Milan. Following his uncle's death in 1295, he succeeded him as lord of Milan. Matteo was appointed numerous times as Imperial Vicar over the whole of Lombardy, while expanding, with the assistance of his sons, his sphere of influence to Piedmont, Emilia, Bologna, and Genoa. Caught between the Papal and Imperial power struggle over northern Italy, Matteo would renounce his imperial title as "General Lord of the Milanese People". Found guilty on the charge of necromancy, excommunicated, and facing a crusade, Matteo resigned his position and died months later. He was succeeded by his son Galeazzo I. ## Life ### The early years Matteo was the son of Teobaldo Visconti, and the great-nephew of the first lord (that is, governor) of Milan, Ottone Visconti. His mother was Anastasia Pirovano. In August, 1269, Matteo married Bonacossa Borri. His great-uncle Ottone appointed him Capitano del Popolo [Captain of the People] of Milan, after winning the battle of Desio. In 1289 and 1294, the citizens of Milan re-elected him Captain of the people. ### Imperial influence Following the death of William VII, Marquess of Montferrat in 1292, Matteo expanded his influence westward, taking Casale, gaining the lordships of Novara and Vercelli, and the captaincy of Alessandria. His expansion was temporary as William's son, John of Monferrat, re-took Alessandria and forced the Ghibellines out of Novara and Vercelli. Despite this setback, Matteo was appointed Imperial Vicar of Lombardy in 1294 by Adolf of Nassau. The next year, after the death of Ottone, a period of struggle for domination of Milan began anew between the Ghibellines (the supporters of the Kings of the Romans and Holy Roman Emperors and thus also of Matteo as Imperial Vicar) and the Guelphs, the partisans of the Pope led by the traditional enemies of the Visconti, the Della Torre family. In 1299, Albert I of Germany reappointed him as Imperial Vicar. Matteo managed to remain at the helm of the city until June 1302, when Guido della Torre again took the lordship of Milan, through a league formed by the Torriani and the anti-Visconti families of the cities of Cremona, Pavia, Piacenza, Novara, Vercelli, Lodi, Crema, and Monferrato led by Alberto Scotti and Ghiberto da Correggio. Matteo's home in Milan was attacked and looted. Forced into exile, Matteo remained for several years a guest of the Scaliger family at Nogarola (Motteggiana). In 1311, Matteo met the German King Henry VII at Asti and from this, received a mandate to reach a peace agreement in Lombardy. On 4 December that year, Matteo and the archbishop Cassone della Torre signed an agreement. Between December 1310 and February 1311, the German King, who was crowned King of Italy on 6 January by Cassone della Torre, tried to find common ground between the Torriani and Visconti. However, on 12 February, German soldiers of Henry VIII faced an armed Torriani force, led by Guido della Torre, who did not accept the treaty between their cousin Cassone and Matteo. The King's forces prevailed and Guido della Torre fled Milan. Due to his suspected involvement in della Torre's downfall, Matteo was exiled for a time, but on 13 July 1311 King Henry sold the title of imperial vicar for Milan to Matteo. They then organized a league that included Milan, Como, Novara, Vercelli, Bergamo, Brescia, Lodi, Cremona, and Piacenza, which had all become Ghibelline cities loyal to the Emperor. Just over a year later, the Emperor died on 24 August 1313 at Buonconvento in Tuscany. In 1314, claiming descent from the fictitious counts of Angera, Matteo occupied Angera castle, property of the archbishop of Milan. He commissioned a fresco in the main hall of the castle which illustrated the victory of the Visconti family over Napoleone della Torre at the battle of Desio. ### Suppression of the Guelphs Matteo, despite his lack of military talent, had warlike sons who were directly involved in the war against the Guelphs. In October 1315 Matteo's sons, Marco Visconti and Luchino Visconti defeated the Tuscan Guelphs on the Scrivia River near Voghera, which was followed by the capture of Pavia. This re-established Ghibelline control. For security, Matteo built a castle with a Milanese garrison in the city, captained by his son Luchino. ## Conflict with the Church In an attempt to halt imperial influence over northern Italy, Pope John XXII declared in his bull of 1317, Si fratrum, that anyone claiming the title "Imperial Vicar" without papal consent would be excommunicated. This bull was specifically directed at Matteo of Milan, Cangranda della Scala in Verona and Este in Ferrara. In response, Matteo took the title "General Lord of the Milanese People". The pope appointed two emissaries, Bernard Gui and Bertrand de la Tour, to investigate the Ghibelline areas of Milan, Lombardy, and Romagna. These emissaries insisted on the freeing and restoration of Guelphs. When their peace efforts failed, the pope entrusted the bishops of Asti and Como to enforce the peace accords with the threat of excommunication and interdict. In September, the pope appointed Aicardo Camodeia, a Franciscan, as Archbishop of Milan. During this time, the papal legate, Cardinal Bertrand du Poujet, proclaimed from Asti a holy crusade against the Visconti. ### Excommunication In 1322 at Avignon, Pope John XXII raised the charge of necromancy against Matteo. Matteo refused to appear before the court in the papal city, citing his age and the precarious state of health. The next month the court convicted Matteo in absentia of necromancy. In December, the Pope asked his appointee, the de jure Archbishop of Milan, Aicardo da Camodeia, to open a new case of heresy against Matteo and his son, Galeazzo. Archbishop Camodeia judged them as heretics, condemned Matteo, and ordered the confiscation of his property and the vacating of all his offices. At the end of May 1322, Matteo ceded power to his son Galeazzo and retired to Crescenzago. Matteo died on 24 June 1322. ## Family He married Bonacossa Borri; they had nine children: - Floramonda, who married Guido Mandelli, the Count of Maccagno - Galeazzo I (b. 1277), Lord of Milan, who married Beatrice d'Este, daughter of Obizzo II d'Este and widow of Nino Visconti - Beatrice (about n.1280), who married Spinetta Malaspina, Marquis of Verucola (Fivizzano) - Catherine (b. about 1282), who married Alboino I della Scala - Luchino (b. about 1285) Lord of Milan, married three times: to Violante of Saluzzo, daughter of Thomas I of Saluzzo, then to Caterina Spinola, daughter of Obizzo Spinola, and, in 1349, to Isabella Fieschi, niece of Pope Adrian V; - Stefano (b. about 1287), Count of Arona, married Valentina Doria, daughter of Bernabò Doria and Eliana Fieschi; - (b. about 1289) - Giovanni (b. about 1291), archbishop of Milan; - Zaccarina (b. around 1295), who married Otto Rusconi; - Agnese, who married Cecchino della Scala ## See also - List of rulers of Milan	[ "## Life", "### The early years", "### Imperial influence", "### Suppression of the Guelphs", "## Conflict with the Church", "### Excommunication", "## Family", "## See also" ]	1,863	27,733
26,621,485	SMS Babenberg	1,135,007,540	Austro-Hungarian Navy's pre-dreadnought battleship	[ "1902 ships", "Habsburg-class battleships", "Ships built in Trieste", "World War I battleships of Austria-Hungary" ]	SMS Babenberg was a pre-dreadnought battleship built by the Austro-Hungarian Navy. She was launched on 4 October 1902 as the last of three Habsburg-class battleships. Along with her sister ships, she participated at the bombardment of Ancona during World War I. At the end of the war, she was given to Great Britain as a war prize. She was scrapped in Italy in 1921. ## Construction and layout Babenberg was the last of three battleships of her class. Her keel was laid down on 19 January 1901 at the Stabilimento Tecnico Triestino shipyard in Trieste. Following about a year and a half of construction, she was launched on 4 October 1902, when she was named by Countess Marianne von Goess, wife of the Statthalter of Trieste, Count Leopold von Goess. After final fitting-out work was completed, the ship was commissioned into the Austro-Hungarian fleet on 15 April 1904. Like all ships of her class, Babenberg was 113.11 meters (371 ft 1 in) long at the waterline and was 114.55 m (375 ft 10 in) in overall length. She had a beam of 19.8 m (65 ft 0 in) and a draft of 7.5 m (24 ft 7 in). Freeboard was approximately 5.8 m (19 ft 0 in) forward and about 5.5 m (18 ft 1 in) aft. The ship also displaced 8,364 metric tons (8,232 long tons). Once construction was finished, she was commissioned into the Navy with a crew of 638 officers and enlisted men. Babenberg was powered by 2-shaft, 4-cylinder vertical triple expansion engines, which were supplied with steam by 16 Belleville boilers. Babenberg's power output was rated at 16,000 indicated horsepower (12,000 kW), which produced a top speed of 19.85 knots (36.76 km/h; 22.84 mph). The hull for the ship was constructed from longitudinal and transverse steel frames, over which the outer hull plates were riveted into place. The hull incorporated a double bottom that ran for 63% of the ship's length. A series of watertight bulkheads also extended from the keel to the gun deck. All in all, there was a total of 174 watertight compartments in the ship. Babenberg had a metacentric height of between .82 m (2.7 ft) and 1.02 m (3.3 ft). Bilge keels were mounted on either side of the hull to reduce rolling and prevent her from capsizing. Babenberg had a flush main deck that was planked with wood, while the upper decks were covered with linoleum or corticine. Babenberg had three 24 cm (9.4 in) L/40 guns, two mounted in a twin turret forward and one mounted in a single turret aft of the main superstructure. The C 97-type guns were manufactured by Krupp in Germany. The main guns fired at a rate of between three and four 215 kg (474 lb) armor-piercing (AP) shells per minute. Her secondary armament consisted of twelve 15 cm (5.9 in) SK L/40 guns in casemates. These guns could fire at 4–5 shells per minute. Babenberg was built with face-hardened chrome-nickel steel. The main armored belt was 220 mm (8.7 in) in the central portion of the ship, where the ammunition magazines, machinery spaces, and other critical areas were located. The belt tapered slightly to 180 mm (7.1 in) on either end of the central section. ## Service history ### Peacetime When Babenberg was commissioned in 1904, she began participation in fleet drills with her sister ships SMS Árpád and SMS Habsburg. Following a series of simulated wargames against the three Monarch-class battleships, Babenberg and the other two Habsburg-class ships became the I Battleship Division. With the commissioning of the Erzherzog Karl-class battleships in 1906 and 1907, the Habsburg-class battleships were transferred from the I to the II Battleship Division, and the three Monarch-class battleships were moved from the II to the III Battleship Division. ### World War I During World War I, Babenberg served with the IV Division of the Austro-Hungarian Navy's battleships and along with her sister ships Habsburg and Árpád and the remainder of the Austro-Hungarian Navy. Babenberg was mobilized on the eve of World War I to support the flight of SMS Goeben and Breslau. The two German ships were stationed in the Mediterranean and were attempting to break out of the strait of Messina, which was surrounded by British troops and vessels and make their way to the Ottoman Empire. After the Germans successfully broke out of Messina, the navy was recalled. The fleet had by that time advanced as far south as Brindisi in southeastern Italy. Babenberg and her sister ships also participated in the Bombardment of Ancona after the Italian declaration of war on the Central Powers. Towards the end of the war, the ship was decommissioned and was retained as a harbor defense ship. Following the end of the war, the ship was awarded to Great Britain as a war prize, but was instead sold and broken up for scrapping in Italy in 1921.	[ "## Construction and layout", "## Service history", "### Peacetime", "### World War I" ]	1,184	11,283
30,973,611	On the Brink (Spooks)	1,091,160,908	null	[ "2008 British television episodes", "Spooks (TV series) episodes" ]	"On the Brink" is the fifth episode of series seven of the British espionage television series Spooks, and the 60th episode overall. It was originally broadcast on digital channel BBC Three on 10 November 2008, and repeated on frontline channel BBC One on 17 November. The episode was written by Christian Spurrier, his first writing credit for the series, and directed by Edward Hall. Set during the credit crunch, in this episode, Section D chief Ros Myers (Hermione Norris) works undercover to stop Alexis Meynell (Paul Rhys), a banker who is attempting to bankrupt the country. Later, Ros discovers Meynell's motive. The idea behind the episode came from the financial crisis of Northern Rock in late 2007; the producers wanted to set up a story about a bank collapse so severe it could result in an economic collapse. The episode was filmed in May 2008, with a lot taking place in London's Blue Fin building. About six million viewers saw the episode from both BBC One and Three broadcasts; the BBC One ratings were steady despite heavy competition from I'm a Celebrity, Get Me Out of Here! on ITV1. Critical reactions towards the episode were positive for including a change in plot. ## Plot Section D believes banker Alexis Meynell is trying to bankrupt the country. Sir Harry Pearce (Peter Firth) asks the Chancellor of the Exchequer Gillian Calderwood (Selina Cadell) to freeze Meynell's assets, but is turned down due to lack of evidence. To get the evidence they need, Ros is sent undercover to the London Stock Exchange, where Meynell is targeting the bank Highland Life. After starting a rumour about the bank, he starts betting against it. When the chairman of Highland Life, Francis Debham (Simon Williams), attempts to keep the bank afloat, Meynell doubles his position, bankrupting Highland Life. Ros uses the opportunity to swipe a memory card from Meynell's mobile phone, containing his secure email account that could prove his guilt. However, they find nothing relevant. Lucas North (Richard Armitage) relays this to Ros and tells her to get closer to Meynell. Ben Kaplan (Alex Lanipekun) breaks into Meynell's office to learn of deals between Highland Life and Salma, a Russian bank that according to Elizabeta Starkova (Paloma Baeza), has connections with the Russian mafia. It is also revealed Highland Life owes Salma £65 billion. It was this reason that earlier in the episode, Denham committed suicide. In order to get Meynell to trust her to become part of his plan, Ros sleeps with him. Later, Calderwood receives a call from Asa Darlek (Stephen Noonan), Meynell's associate from Salma, and threatens to either have the £65 billion paid back, or he will go public to inform the country the true extent of its debts. Ros presents a third option; have Calderwood announce she will back Highland Life, while at the same time she will convince Meynell to bet against it. Such a plan would financially ruin Meynell. The next morning however, Darlek realises she is MI5 and threatens to kill her if Calderwood does not back down. Ros fights the gun off and Calderwood goes ahead with her statement. Later, Lucas releases Elizabeta as an asset. Meanwhile, Jo Portman (Miranda Raison) believes Boscard (Gus Gallagher), her captor from the end of series six, is still alive after seeing several hallucinations of him. Later, Ros puts her mind at rest when she shows Jo photographic evidence Boscard is indeed dead, and it was Jo who killed him. Running on a tip that Connie James (Gemma Jones) may have leaked the top secret Sugarhorse to the Russians due to her affair with Hugo Prince, one of only five people to know about the operation, Harry has officers search her home. Harry later finds a tape left by Prince in a Big Ben souvenir. Prince left a message that there is a leak in Sugarhorse, but Connie is not responsible. Later, Harry admits to Lucas that in "The Tip-Off" he was lying about not knowing what Sugarhorse and asks him to recall anything during his interrogations. Lucas eventually recalls the word "Pilgrim" uttered several times. He did a background check and informs Harry that "Pilgrim" is the codename for Bernard Qualtrough, the same man apparently helping Harry find the mole. ## Production The episode was written by Christian Spurrier, his first writing credit for the series. He joined the Spooks writing staff in January 2008. Producer Katie Swinden wanted to base an episode on the economy, which at the time was facing a recession following the financial crisis of the British bank Northern Rock just months before. After trying a few different stories, the producers settled on a story about a bank collapse that is so severe it could result in an economic collapse. Spurrier did research on banking climate in the City of London in March 2008, and realised the economy was going down, but also wanted to exaggerate the numbers for the episode. Ros was chosen to lead because the character had a background in business. In some of the original drafts of the episode, John Castle would return as Jocelyn Myers, Ros' father, but later on the producers realised they did not need him. The producers also wanted to include some jeopardy in the climax, namely adding a gun to a head or a bomb, which created the scenes where Darlek threatened to kill Ros. Spurrier felt he had a "lot of juggling" in writing three separate storylines; the main plot, the Sugarhorse subplot and Jo; but did a lot of learning how to write a Spooks script as he wrote it. The character of Alexis Meynell was inspired by Howard Brenton's writing for "The Russian" in the fourth series. Spurrier wanted him to always suspect Ros, but at the same time be intrigued by her. The producers enjoyed casting Paul Rhys for the role as his performance was "fantastically scary." In playing Asa Darlek, Stephen Noonan had to abandon his Liverpudlian accent and sport a Russian one, which Noonan worked hard on. Director Edward Hall provided the voice for Hugo Prince. The episode was filmed throughout May 2008. The helicopter shots of the city were filmed before principal photography of the seventh series started. Almost all scenes where shot during the day, including the scenes set during the night. The second day of the shoot for the episode took place at a house not belonging to the crew, used as the home of Connie James. The Blue Fin building in London provided several locations for the episode, mostly the stock exchange room. Real life traders were used to film scenes set in the floor. Swinden noted that the traders were "interesting guys" to work with, and told the producers the story was "very close to home." The producers borrowed two expensive cars, more prominently an Aston Martin DB9 convertible, which were driven by Armitage and Norris. Armitage was asked to drive the car for only 10 yards, but the actor ended up getting carried away by wheel-spinning and driving the car around a city block. Another car was a Bentley used for Denham's suicide. Because it was on loan, Firth's options on acting as if he was trying to save Denham was very limited without having to damage the car. ## Broadcast and reception The episode was originally broadcast on the digital channel BBC Three from 10:30 pm on Monday, 10 November 2008, after the broadcast of the fourth episode on BBC One. The episode would later be repeated on BBC One the next week on 17 November 2008 during the 9 pm to 10 pm time slot, except in Northern Ireland, where it was withheld until 10:35 pm. According to overnight figures, the first look on BBC Three was seen by 691,500, a 6.1 per cent share on its timeslot. The BBC One repeat was viewed by 4.95 million, with a 20.3% audience share. Though it went against I'm a Celebrity, Get Me Out of Here! on ITV1, which attracted over eight million viewers, Spooks ratings remained steady from the previous week. According to the final numbers from the Broadcasters' Audience Research Board, the episode was viewed by 0.79 million from BBC Three, and later 5.21 million from BBC One, together adding up to 6 million. The episode received positive reactions from television critics. Gerard O'Donovan of The Daily Telegraph called it "another pertinent, brilliantly written episode" and reacted positively towards the episode's "new kind of threat: the economic terrorist." O'Donovan also praised Paul Rhys' acting for "giving his villainous all." Mof Gimmers of TV Scoop praised the episode for having "a refreshing change from the usual theme of this series", with Rhys' performance and the sub plot of the Sugarhorse story arc adding "definitely one of the best stories so far in what has been an impressive series, if a little heavy on the Islamic terrorist side at times. With three episodes to go the Sugarhorse story is building nicely to a crescendo." ## See also - Nationalisation of Northern Rock - Late-2000s recession	[ "## Plot", "## Production", "## Broadcast and reception", "## See also" ]	1,933	37,838
1,881,884	M-47 (Michigan highway)	1,166,825,171	State highway in Saginaw and Bay counties in Michigan, United States	[ "Freeways and expressways in Michigan", "State highways in Michigan", "Transportation in Bay County, Michigan", "Transportation in Saginaw County, Michigan" ]	M-47 is a north–south state trunkline highway in the US state of Michigan. It runs near Saginaw and Midland in the Tri-Cities area of the Lower Peninsula. The highway runs through suburban and agricultural areas to connect the two cities with the airport in the area. The northernmost section of M-47 runs along a freeway to the terminus at US Highway 10 (US 10). M-47 runs for 14.328 miles (23.059 km), all of which has been listed as a part of the National Highway System. First designated by July 1, 1919, along a different routing, M-47 was extended several times in both directions through the 1920s and 1930s. Two of these extensions replaced sections of M-111 in the Bay City area. At the apex of its length in the 1950s, M-47 stretched from Webberville in the south to Bay City State Park in the north. Since Interstate 75 (I-75) opened in the Tri-Cities area, the northern section of M-47 was rerouted and truncated as a result of related changes to other highways. The southern end was moved after I-96 opened in the Lansing area. Further changes into the 1970s shortened M-47 more, producing the routing in use today. ## Route description M-47 starts at M-46 (Gratiot Road) east of Shields next to the Oakwood Cemetery. M-47 is known as Midland Road as it runs slightly northwest to intersect with M-58 (State Road) in Saginaw Charter Township running parallel to the Tittabawassee River. This area is the western edge of Saginaw's suburbs. Along the road towards Freeland, there are periodic small farms in between small residential subdivisions. In the community of Freeland, M-47 runs near the MBS International Airport off Freeland Road. North of town, M-47 leaves Midland Road and becomes a freeway near Tittabawassee Park. The freeway section of M-47 runs through rural farm land. There is a diamond interchange with Salzburg Road before the terminal interchange at US 10. As part of its maintenance duties, the Michigan Department of Transportation (MDOT) tracks the volume of traffic on the highways it maintains. This number is expressed in terms of annual average daily traffic (AADT), a calculation of the average traffic for a segment of roadway on any average day of the year. In 2009, the department measured a peak of 19,719 vehicles daily on the stretch north of Tittabawassee Road. The section south of the US 10 interchange had the lowest traffic level at 9,315 vehicles AADT. Additionally, the entire route of M-47 has been listed on the National Highway System, a network of roads important to the country's economy, defense, and mobility. ## History The original designation of M-47 was routed from the Shiawassee–Ingham county line north to St. Charles and then east along M-46 into Saginaw. A southern extension into Ingham County to end at M-16 in Williamston was transferred and completed in 1924. A northern extension to Bay City replaced a section of M-111 in 1929, and extended farther to Bay City State Park in 1933. M-47 replaced the remainder of M-111 and extended southward from the park to Bay City in 1938, creating a "U-turn" in the routing. The southern terminus was moved again in late 1951 or early 1952 to Webberville, although still ending on US 16. At its greatest extent in the 1950s, the highway extended north from Webberville through Owosso and St. Charles to a junction with M-46 between Hemlock and Shields. M-47 turned east along M-46, running concurrently with that highway to Saginaw Township. There M-47 turned north independently to a junction with US 10, and then ran concurrently with US 10 into Saginaw. Once in the city, M-47 turned north along Bay Street out of town toward Bay City. M-47 joined US 23 and followed it north of town. M-47 then ran separately to the state park before turning south and back into downtown Bay City, ending at the US 23 business loop. Major changes to the routing of M-47 started in December 1960 when the I-75/US 10/US 23 freeway opened between Saginaw and Bay City. US 10 was rerouted east of Midland to Bay City along the M-20 freeway. M-47 was rerouted along the former US 10 from Saginaw to east of Midland using a connector expressway from Freeland north to the US 10 freeway. M-81 was extended over State Street in Saginaw, and the former routing of M-47 between Saginaw and Bay City was redesignated as M-84. M-13 also replaced the former US 23/M-47 when US 23 was moved to freeways as well. The southern end of M-47 was changed in 1962 with the completion of I-96 in the Lansing area. US 16 was replaced by M-43, and the southern terminus of M-47 was moved to exit 122 along I-96. This segment of M-47 south of M-46 became an extension of M-52 in 1969, truncating M-47 to Hemlock. The interchange at Salzburg Road north of Freeland opened in 1970, and the expressway segment was upgraded to a full freeway. At the same time, M-47 was truncated to its current routing, resulting in the elimination of the M-46/M-47 concurrency near Shields. In the end, only about a mile and a half (2.4 km) of roadway still bears the M-47 from before the changes made starting in 1960, along a section of road that was not originally part of the highway in 1919. In June 2014, a construction project began on the interchange with US 10 at the route's northern terminus. This construction consisted of bridge replacement over US 10, as well as a new ramp connecting northbound M-47 to westbound US 10 that, unlike the old ramp, does not conflict with westbound traffic exiting onto southbound M-47. ### M-111 In 1928, M-111 was assigned to a route connecting M-13 (later signed as US 23 for a time) north of Bay City to Bay City State Park on Saginaw Bay. The original route consisted of what is today Euclid Avenue. In the early 1930s, a return leg towards Bay City was added to the east of the original route along what is now State Park Road, giving the route an upside-down-U shape. In 1933, the western leg along Euclid Avenue from Midland Road to Beaver Road was designated as M-47. In 1938, all of M-111 was re-designated as M-47—thus making M-47 double back to Bay City. ## Major intersections ## See also	[ "## Route description", "## History", "### M-111", "## Major intersections", "## See also" ]	1,512	25,747
6,126,464	Darkness Falls (The X-Files)	1,159,348,807	null	[ "1994 American television episodes", "Eco-terrorism in fiction", "Olympic National Forest", "Television episodes about insects", "Television episodes set in Washington (state)", "Television episodes written by Chris Carter (screenwriter)", "The X-Files (season 1) episodes" ]	"Darkness Falls" is the twentieth episode of the first season of the American science fiction television series The X-Files, premiering on the Fox network on April 15, 1994. "Darkness Falls" was written by series creator Chris Carter and directed by Joe Napolitano. It featured guest appearances by Jason Beghe and Titus Welliver. The episode is a "Monster-of-the-Week" story, a stand-alone plot that is unconnected to the series' wider mythology. "Darkness Falls" earned a Nielsen household rating of 8.0, being watched by 7.5 million households in its initial broadcast, and received mostly positive reviews. The show centers on FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. In this episode, Mulder and Scully are called-in to investigate when a team of loggers disappear without a trace. Initially suspecting eco-terrorism, the agents find themselves trapped by a seemingly ancient menace lurking in the woods. Carter was inspired to write this episode based on an interest in dendrochronology, a subject that involves analyzing annual growth rings found in non-tropical tree species. Carter credits the episode's ominous ending with his experience growing up in the era following the Watergate scandal, having spent his life coming to profoundly mistrust the government. ## Plot In Olympic National Forest in Washington State, a group of loggers flee through the woods, trying to escape from an unseen force. They are eventually killed by a large swarm of small glowing green insects. Later, at FBI headquarters, Fox Mulder shows Dana Scully a photo of the missing loggers, telling her that another group of loggers disappeared in the forest in 1934. The two agents head to the forest, where they meet U.S. Forest Service employee Larry Moore and Steve Humphreys, head of security for the logging company. While driving through the forest, their truck hits caltrops left in the ground by eco-terrorists, forcing them to walk the rest of the way. Upon arriving at the camp site, Mulder and Scully find the cabins abandoned and the communication equipment destroyed. Searching the forest, they find a corpse encased in a large cocoon hanging from a tree. While repairing one of the generators, Humphreys catches an eco-terrorist named Doug Spinney. He tells the group that there's a deadly swarm of insects in the forest and that they must avoid darkness to stay alive. The next morning, they find an old-growth tree cut down with an unexplained band of green contained within its growth rings. Spinney suspects that an organism that was dormant in the tree for centuries was disturbed when the tree was illegally cut down. Humphreys hikes down to Moore's truck but is killed by the swarm at nightfall. In the cabin, everyone else is kept safe by the light. The next morning, Spinney convinces Mulder to let him hike to his colleagues with gasoline so he can return with a Jeep to pick them up. Scully and Moore confront Mulder, since this will leave them with little fuel for the generator. The night passes with only a single light bulb lighting the cabin, going out just as morning arrives. Mulder, Scully and Moore hike down to the truck with a busted tire from camp, hoping to patch it, put on the spare and escape. They find Humphreys' cocooned body. Spinney returns with the Jeep, telling the others his friends are all dead. The Jeep hits another caltrop left in the ground, and Spinney is killed when he leaves the Jeep after dark. Moore and the agents are engulfed by the insects, which enter the vehicle through the air conditioning vents. They are found soon after and brought to a quarantined facility in Winthrop, Washington, where one of the scientists tells Mulder that the forest is being bombarded with pesticides and controlled fire in the hopes of eradicating the insects. Mulder asks the scientist what will happen if the efforts fail, but is simply told "that is not an option." ## Production Series creator Chris Carter was inspired to write this episode based on an interest in dendrochronology, a subject that involves analyzing annual growth rings found in non-tropical tree species, as he believed that trees that were "thousands of years old" might end up acting as "time capsules" that would shed light on past events or species. Carter also credits the episode's ominous ending with his experience growing up in the era following the Watergate scandal, having spent his life coming to profoundly mistrust the government. The green insects in this episode were primarily computer-generated and added in during the post-production process. The close-up shots of the bugs were done using microscopic photography of mites. The episode was intended to be a bottle episode, meaning that it would be an episode that would be based in a single location and help save money, but bad weather plagued production, and it was one of the toughest episodes of the season for the crew. The episode was shot on location in Lynn Valley, British Columbia, in the Lower Seymour Conservation Reserve, known as the Seymour Demonstration Forest. The atmosphere amongst many of the crew had grown quite tense towards the end of the shooting schedule, and it culminated in a heated argument between director Joe Napolitano and first assistant director Vladimir Steffof, after which Napolitano did not appear on location again. "Darkness Falls" was the last episode of the series that Napolitano directed. The weather delayed production at the site so much that pick-up shots and inserts had to be filmed at a later date to finish the episode. Delays were also caused by the inaccessibility of the location, as only generators, camera equipment, and first aid crew were able to stay on-site, and time was wasted commuting staff in each day. Jason Beghe, who played Ranger Larry Moore, was a childhood friend of David Duchovny and helped convince him to pursue an acting career. The camaraderie between the two actors is said to have helped lighten the mood during the episode's difficult production. ## Broadcast and reception "Darkness Falls" premiered on the Fox network on April 15, 1994, and was first broadcast in the United Kingdom on BBC Two on February 9, 1995. This episode earned a Nielsen rating of 8.0 with a 14 share, meaning that roughly 8 percent of all television-equipped households and 14 percent of households watching television were tuned in to the episode. It was viewed by 7.5 million households. In a retrospective of the first season in Entertainment Weekly, "Darkness Falls" was rated a B, with the episode being called an "eerie outing" set against a "torn-from-today's-headlines backdrop". Zack Handlen, writing for The A.V. Club, called "Darkness Falls" an "excellent" episode that "hits the right notes". He praised the episode's setting, comparing it to the earlier first-season episode "Ice"; and felt that the "on-the-nose" approach to the environmental themes worked well. Matt Haigh, writing for Den of Geek, felt positively about the episode's ambiguous resolution, feeling that its "open-ended treatment" lent the episode "a real mysticism and strength" and finding that the episode held a sense of "weight, credibility, and intrigue". Writers for IGN named the episode their fifth-favorite standalone episode of the show, finding that it "boasts several interesting twists" and noting positively the episode's "smart" environmental themes. Although Carter claims "Darkness Falls" was not written with an environmental message in mind, the episode was honored at the fourth annual Environmental Media Awards in 1994, winning in the "Television Episodic Drama" category. The plot for "Darkness Falls" was also adapted as a novel for young adults in 1995 by Les Martin.	[ "## Plot", "## Production", "## Broadcast and reception" ]	1,647	4,568
655,727	Antoine, Duke of Lorraine	1,172,196,013	Duke of Lorraine from 1508 to 1544	[ "1489 births", "1544 deaths", "Dukes of Bar", "Dukes of Lorraine", "Hereditary Princes of Lorraine", "House of Lorraine", "Marquesses of Pont-à-Mousson", "People from Bar-le-Duc" ]	Antoine (4 June 1489 – 14 June 1544), known as the Good, was Duke of Lorraine from 1508 until his death in 1544. Raised at the French court, Antoine would campaign in Italy twice: once under Louis XII and the other with Francis I. During the German Peasants' War, he would defeat two armies while retaking Saverne and Sélestat. Antoine succeeded in freeing Lorraine from the Holy Roman Empire with the Treaty of Nuremberg of 1542. In 1544, while Antoine suffered from an illness, the Duchy of Lorraine was invaded by Emperor Charles V's army on their way to attack France. Fleeing the Imperial armies, Antoine was taken to Bar-le-Duc where he died. ## Biography Antoine was born, 4 June 1489, at Bar-le-Duc, the son of René II, Duke of Lorraine and Philippa of Guelders. He spent seven years at the court of King Louis XII together with his brother Claude, and became friends with the Duke of Angoulême, the future King Francis I. After the death of his father, Antoine succeeded him as duke of Lorraine in December 1508. In 1530, a transaction between Antoine and his brother, divided the family possessions, with Antoine getting the duchies of Lorraine and Bar while Claude would receive the duchy of Guise. In 1509 he entrusted the reins of the Duchy to his mother and Hugues des Hazards, bishop of Toul, and followed Louis XII in his campaign in northern Italy, where he took part in the Battle of Agnadello of that year. After Louis' death, he went back to Italy and under Francis I, participating in the battle of Marignano (13–14 September 1515). However, called back home by problems in Lorraine, he was absent at the decisive battle of Pavia (1525), in which Francis was taken prisoner and his brother François, count of Lambesc, was killed. ## Peasant war In Lorraine, Antoine had to face the spreading of Protestant Reformation, against which he published an edict on 26 December 1523. The situation worsened the following year, when a rebellion, known as German Peasants' War, broke out in Alsace. The insurrectionists captured Saverne and tried to conquer Saint-Dié, while the peasants of Bitscherland also rebelled in May 1525. Antoine launched an expedition in which he massacred a peasant army at Saverne on 16 May and on 20 May he decisively defeated another peasant army near Sélestat. ## Duchy legal status Despite remaining neutral in the wars between France and the Holy Roman Empire, Antoine sent his son Francis to the French court and by 1527 was attempting to marry him to Anne of Cleves. In an effort to improve his relations with German lords, Antoine sent a few hundred soldiers to fight against the Ottomans at the Siege of Vienna in 1529. Antoine dispatched legal envoys to the Imperial diet, in 1532, seeking clarification of the duchy of Lorraine's legal status within the Holy Roman Empire to no avail. In 1538, Antoine claimed the titles of Duke of Guelders and Count of Zutphen upon the death of Charles of Egmond, but was unable to gain possession of them. He married his heir, Francis to Christina of Denmark, niece of Charles V, in 1541, and with the Treaty of Nuremberg (26 August 1542), Antoine obtained from Charles V the independence of the Duchy of Lorraine. He interceded at the start of Francis and Charles' war in 1542 as a peace envoy, visiting Charles in person, but due to gout sent his heir to Francis. In fact, Antoine asked his niece, Mary of Guise, to send him a Scottish hackney horse which he hoped would be easier to ride with his gout. ## Death and aftermath In May 1544, Charles V's army marched into Lorraine as part of a plan to invade France, while Henry VIII of England attacked northern France from Calais. Weakened by an illness, Antoine was unable to respond, and was taken to Bar-le-Duc where he died on 14 June 1544. Antoine's oldest son Francis succeeded him as Duke of Lorraine and ruled for only one year, dying in 1545. His son, Antoine's grandson, Charles III of Lorraine became duke with his mother, Christina of Denmark, as regent. By 1552, King Henry II of France visited Charles and it was decided that Charles would be educated at the French court and that the regency of Lorraine would fall to his uncle, Nicolas, Duke of Mercœur. In 1559, the House of Guise, fearing the influence of the Holy Roman Empire over Lorraine, orchestrated Charles's marriage to Claude of France, daughter of Henry II of France and Catherine de' Medici. ## Family On 26 June 1515, he married Renée of Bourbon, daughter of Gilbert de Bourbon, Count of Montpensier and Clara Gonzaga. They had: - Francis I, Duke of Lorraine (1517–1545), married Christina of Denmark - Nicholas, Duke of Mercœur (1524–1577) - Anna (1522–1568), married firstly René of Châlon, Prince of Orange, and secondly Philip II, Duke of Aerschot (1496–1549) ## See also - Dukes of Lorraine family tree	[ "## Biography", "## Peasant war", "## Duchy legal status", "## Death and aftermath", "## Family", "## See also" ]	1,182	14,764
14,262,834	Active-class cruiser	1,134,778,326	Class of British cruisers	[ "Active-class cruisers", "Cruiser classes", "Ship classes of the Royal Navy" ]	The Active-class cruisers were a trio of scout cruisers built for the Royal Navy shortly before the First World War. They were initially assigned to the First Fleet and became destroyer flotilla leaders in 1914. Amphion and Fearless and their flotillas were assigned to the Harwich Force when the war began in August 1914. They went out on a patrol on the first day of the war and Amphion and her destroyers encountered and sank a German minelayer. On the voyage home, the cruiser struck a mine laid by the German ship and sank. She was the first ship of the Royal Navy to be sunk in the war. Fearless went out on the same patrol, but encountered nothing. She participated in the Battle of Heligoland Bight and the Cuxhaven Raid later that year. The ship and her destroyers were transferred to the Grand Fleet in early 1915. Active, on the other hand, remained with the Grand Fleet and both ships played minor roles in the Battle of Jutland the following year. After the battle, Fearless was converted into a submarine depot ship and rejoined the Grand Fleet in 1917 as the leader of a submarine flotilla. A year later, she accidentally rammed and sank one submarine as part of an incident that sardonically came to be known as the Battle of May Island. Shortly after Jutland, Active again became a destroyer leader and escorted the main body of the Grand Fleet during the action of 19 August 1916. By the end of the year, the ship was assigned to the Dover Patrol and was present during two battles with German destroyers, but was not engaged in either. She was transferred to the Mediterranean Fleet in 1918 and was based in Gibraltar for the rest of the war. The sister ships were both sold for scrap in 1920–21. ## Design and description They were the last class of scout cruisers built for the Royal Navy as they were too slow to lead destroyers in battle or to defend the fleet against enemy destroyer attacks. The Active class was a slightly improved version of the previous Blonde class scouts, with the main visible difference being the new 'plough' bow changed to improve their seakeeping abilities. Two of the three were ordered under the 1910–1911 Naval Programme and the last in the following naval programme. Displacing 3,340 long tons (3,390 t), the ships had an overall length of 405 feet (123.4 m), a beam of 41 feet (12.5 m) and a deep draught of 14 feet 6 inches (4.4 m). They were powered by two sets of Parsons steam turbines, each driving two shafts. The turbines produced a total of 18,000 indicated horsepower (13,000 kW), using steam produced by 12 Yarrow boilers that burned both fuel oil and coal, and gave a maximum speed of 25 knots (46 km/h; 29 mph). They carried a maximum of 855 long tons (869 t) of coal and 200 long tons (200 t) of fuel oil that gave them a range of 4,630 nautical miles (8,570 km; 5,330 mi) at 10 knots (19 km/h; 12 mph). Their crew consisted of 293 officers and ratings. The main armament of the Active class consisted of ten breech-loading (BL) four-inch Mk VII guns. The forward pair of guns were mounted side by side on a platform on the forecastle, six were amidships, three on each broadside, and the two remaining guns were on the centreline of the quarterdeck, one ahead of the other. The guns fired their 31-pound (14 kg) shells to a range of about 11,400 yards (10,400 m). Their secondary armament was four quick-firing (QF) three-pounder 47-millimetre (1.9 in) Vickers Mk I guns and two submerged 18-inch (450 mm) torpedo tubes. In 1918, two 4-inch guns were removed from Active and Fearless. A QF three-inch 20 cwt anti-aircraft gun was added to Active in 1916; Fearless receiving her own two years later. As scout cruisers, the ships were only lightly protected to maximise their speed. They had a curved protective deck that was one inch (25 mm) thick on the slope and 0.5 inches (13 mm) on the flat. Their conning tower was protected by four inches of armour. ## Ships ## Service All three ships were initially assigned to various squadrons in the First Fleet and then became flotilla leaders in mid-1914. When the war began in August, Amphion and Fearless and their flotillas (the 3rd and 1st Destroyer Flotillas (DF), respectively) were part of the Harwich Force. The morning after Britain joined the war, the force sortied on a patrol to the Dutch coast. The 3rd DF encountered and sank a German minelayer, SMS Königin Luise, but not before she had laid many of her mines. While returning home the following morning, Amphion accidentally struck a mine on 6 August off the Thames Estuary and sank with the loss of 132 crewmen killed. She was the first ship of the Royal Navy to be sunk in the First World War. The wreck site is protected and may not be dived upon without permission from the Ministry of Defence. Fearless and the 1st DF saw nothing during that same patrol. She damaged two German light cruisers during the Battle of Heligoland Bight later in August. The squadron provided close cover for the seaplane carriers of the Harwich Force during the Cuxhaven Raid in late December, but the cruiser was only engaged by several Zeppelins and aircraft without effect. The ship was transferred to the Grand Fleet in early 1915 and played a minor role in the Battle of Jutland the following year. She was converted into a submarine depot ship shortly afterwards and briefly deployed to Russia later in the year. Fearless later became the leader of the 12th Submarine Flotilla, initially based in Scapa Flow, but later in Rosyth. On 31 January 1918, she accidentally rammed and sank the submarine HMS K17 at night in poor visibility as part of an incident that sardonically came to be known as the Battle of May Island. The ship was repaired and was sold for scrap in November 1921. Unlike her sisters, Active with her 2nd Destroyer Flotilla were assigned to the Grand Fleet at the beginning of the war, where their primary task was to protect the fleet from submarines. By the beginning of 1916, the cruiser was relieved of her assignment with the 2nd DF and she was on detached service with the Grand Fleet in January. Active also played a minor role in the Battle of Jutland later in the year. Shortly afterwards, she was briefly assigned as the flotilla leader of the 4th Destroyer Flotilla and escorted the main body of the Grand Fleet during the action of 19 August. By the end of the year, the ship was assigned to the Dover Patrol and was present during two battles with German destroyers, but was not engaged in either. Active was based in Gibraltar from April 1918 as part of the Mediterranean Fleet. The ship was reduced to reserve by 1 February 1919 and was sold for scrap on 21 April 1920.	[ "## Design and description", "## Ships", "## Service" ]	1,572	11,074
49,512,306	SMS Erzherzog Albrecht	1,142,780,994	Ironclad warship of the Austro-Hungarian Navy	[ "1872 ships", "Ironclad warships of the Austro-Hungarian Navy" ]	SMS Erzherzog Albrecht was an ironclad warship built for the Austro-Hungarian Navy in the 1870s, the only member of her class. Her design was similar to the ironclad Custoza, but Erzherzog Albrecht was built to a smaller size; like Custoza, she was an iron-hulled casemate ship armed with a battery of eight heavy guns. The ship was laid down in June 1870, was launched in April 1872, and was commissioned in June 1874. The ship's service career was limited; tight naval budgets precluded an active fleet policy in the 1870s, which did not markedly improve in the 1880s. Her first period of active service came in 1881 and 1882, when she helped suppress a revolt in Cattaro Bay. In 1908, she was converted into a tender for the gunnery training school, having been renamed Feuerspeier. In 1915, she became a barracks ship, and after World War I ended in 1918, was ceded to Italy as a war prize. She was renamed Buttafuoco, served in the Italian Navy as a hulk through World War II before being scrapped in 1950. ## Design In 1869, the Austro-Hungarian navy asked its foremost naval designer, Chief Engineer Josef von Romako, who had designed all of the earlier ironclad vessels, to prepare designs for two new ironclads. The first became the larger ironclad Custoza, and the second became Erzherzog Albrecht, built to a slightly smaller design owing to budgetary shortages. Romako incorporated the lessons of the Battle of Lissa of 1866, and decided the new ship should favor heavy armor and the capability of end-on fire to allow it to effectively attack with its ram. This required compromises in the number of guns and the power of the ship's machinery; to make up for carrying fewer guns, Romako adopted the same casemate ship design adopted with the previous vessel, Lissa. Unlike the wooden-hulled Lissa, however, Erzherzog Albrecht's hull would be constructed with iron; along with Custoza, they were the first iron-hulled ships of the Austro-Hungarian navy. Vice Admiral Wilhelm von Tegetthoff, the victor of Lissa, approved Romako's proposals for Erzherzog Albrecht and Custoza, allowing construction to begin. ### General characteristics and machinery Erzherzog Albrecht was 87.87 meters (288 ft 3 in) long at the waterline and 89.69 m (294 ft 3 in) long overall. She had a beam of 17.15 m (56 ft 3 in) and an average draft of 6.72 m (22 ft). The ship displaced 5,980 long tons (6,080 t). According to Conway's All the World's Fighting Ships, she was the second iron-built vessel to be built for the Austro-Hungarian fleet, but the historian R. F. Scheltema de Heere indicates she had a composite iron and wood hull. A small conning tower was built aft of the foremast. She had a crew of 540 officers and enlisted men. Her propulsion system consisted of one single-expansion, horizontal, 2-cylinder steam engine that drove a single screw propeller that was 6.324 m (20.75 ft) in diameter. The engine was manufactured by Stabilimento Tecnico Triestino, the same shipyard that built the ship. Steam was provided by seven boilers with twenty-six fireboxes, which were trunked into a single funnel located amidships. Her engine produced a top speed of 12.84 knots (23.78 km/h; 14.78 mph) from 3,969 indicated horsepower (2,960 kW), though on speed trials conducted on 28 October 1874, she reached a speed of 13.38 knots (24.78 km/h; 15.40 mph) from 4,057 ihp (3,025 kW). The ship had a storage capacity of 467.9 long tons (475.4 t) of coal. ### Armament and armor Erzherzog Albrecht was armed with a main battery of eight 24-centimeter (9.4 in) 22-caliber breech-loading guns manufactured by Krupp's Essen Works. These were mounted in a central, armored battery that had two stories, four guns apiece, which allowed four guns to fire ahead or on the broadside, and two guns astern. She also carried several smaller guns, including six 9 cm (3.5 in) 24-caliber guns and two 7 cm (2.8 in) 15-caliber guns, all manufactured by Krupp. Later in her career, several small guns were added, including five 47-millimeter (1.9 in) Hotchkiss revolver cannon, four 47 mm 35-caliber quick-firing guns, and a pair of 25 mm (0.98 in) machine guns. She was also fitted with four 35 cm (14 in) torpedo tubes, with one in the bow, one on each broadside, and one in the stern. The ship's armored belt was composed of wrought iron plate that was 203 mm (8 in) thick, and it was located at the waterline. The main battery casemate had 177 mm (7 in) of iron plating. The transverse bulkheads on either end of the casemate were 126 mm (5 in) thick. ## Service history The keel for Erzherzog Albrecht was laid down at the STT shipyard in Trieste on 1 June 1870. She was launched on 24 April 1872 and was completed in June 1874, less her armament, which was installed in the naval arsenal at Pola. Completion of the ship was delayed significantly by budgetary shortages, which slowed acquisition of armor plate from British manufacturers. Funding for the iron armor was approved in January 1871. Erzherzog Albrecht was finally completed in June 1874, and began sea trials on 27 October. The ironclad fleet, including Erzherzog Albrecht, was kept out of service in Pola, laid up in reserve; the only vessels to see significant service in the 1870s were several screw frigates sent abroad. In fact, she did not see active service until 1881. Late that year, Erzherzog Albrecht, the unarmored frigate Laudon, and several smaller vessels were sent to Cattaro Bay to help suppress a revolt there. During the operations, which concluded in March 1882, the ships bombarded rebel positions in the area. The ship took part in fleet maneuvers in 1887, which included gunnery training. In June and July 1889, Erzherzog Albrecht served as the flagship during fleet training exercises, which also included the ironclads Custoza, Tegetthoff, Kaiser Max, Prinz Eugen, and Don Juan d'Austria. The ship remained in service until 1908, when she was converted into a tender for the gunnery school. Renamed Feuerspeier, she served in this capacity until October 1915, when during World War I she was repurposed for use as a barracks ship for German naval personnel operating U-boats in the Adriatic Sea. After the Central Powers lost the war in November 1918, Erzherzog Albrecht was ceded to Italy as a war prize under the terms of the Treaty of Saint-Germain-en-Laye. She was renamed Buttafuoco and served as a hulk in the Italian fleet; she survived World War II and was eventually broken up for scrap beginning in 1950.	[ "## Design", "### General characteristics and machinery", "### Armament and armor", "## Service history" ]	1,690	19,497
28,244,173	Road to the North Pole	1,166,291,947	null	[ "2010 American television episodes", "American Christmas television episodes", "Family Guy (season 9) episodes", "Incest in television", "Road to... (Family Guy)", "Santa Claus in television", "Television episodes set in Canada", "Television episodes set in the Arctic", "Television episodes with live action and animation" ]	"Road to the North Pole" is the seventh episode of the ninth season of the animated comedy series Family Guy. Directed by Greg Colton and co-written by Chris Sheridan and Danny Smith, the episode originally aired on Fox in the United States on December 12, 2010. In "Road to the North Pole", Stewie and Brian go on an adventure to the North Pole so that Stewie can kill Santa Claus. They discover a dreary, polluting factory full of inbred elves and carnivorous, feral reindeer, along with a sickly, exhausted and suicidal Santa. Stewie and Brian take pity on him and decide to fulfill Christmas by delivering gifts to the entire globe, albeit unsuccessfully. The "Road to" episodes which have aired throughout various seasons of Family Guy were inspired by the Road to... comedy films starring Bing Crosby, Bob Hope and Dorothy Lamour, though this episode was not originally conceived as a "Road to" show. The episode is the second Family Guy Christmas special after the season three episode, "A Very Special Family Guy Freakin' Christmas", also written by Danny Smith. It was first announced at the 2010 San Diego Comic-Con International. Critical responses to the episode were mostly positive; critics praised its storyline and its numerous cultural references, although it also received criticism from the Parents Television Council. According to Nielsen ratings, it was viewed in 8.03 million homes during its original airing in the United States. The episode featured guest performances by Drew Barrymore, H. Jon Benjamin, David Boreanaz, Carrie Fisher, and Karley Scott Collins, along with several recurring guest voice actors for the series. It is narrated by Ron MacFarlane, Seth MacFarlane's father. It was nominated for 3 Emmy Awards: Outstanding Music Composition for a Series, Outstanding Original Music and Lyrics and Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation. It later won for Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation. The song "Christmastime Is Killing Us" was nominated for a Grammy Award for Best Song Written for Visual Media. ## Plot On Christmas Eve, Brian takes Stewie to the mall, only to get a rude brush-off from the Santa who works there when he leaves for the night. As a result, Stewie vows to kill Santa for blowing him off and forces Brian to take him to the North Pole. Attempting to trick Stewie, Brian brings him to a Santa's Village amusement park. Soon discovering the charade, Stewie threatens to shoot Brian dead if he does not take him to the real North Pole. Stewie hitches a ride with a trucker and so Brian follows him all the way to Canada. On the way, Stewie accidentally causes a traffic pileup by discharging a flare pistol in the cab of the truck, which catches fire and explodes. Crashing his car in a chain reaction, Brian becomes angry and tells Stewie that Santa does not exist. Stewie becomes frustrated and continues to attempt to hitchhike, coercing Brian to join him. The pair then encounter a Canadian who gives them his snowmobile. Continuing north, they soon run out of gas, but receive help from the Aurora Boreanaz, who instructs them to stay at a nearby cabin. The two survive the night in the cabin and set out on foot the next morning. They finally make it to Santa's workshop, only to find the place a dark, gloomy factory in a dreary, polluted, lifeless wasteland. Santa is a sickly, exhausted and depressed old man, the elves are all horribly mutated and inbred due to Santa's attempts to keep up with the increasing gift demands year after year, and the reindeer have become carnivorous, feral monsters that eat the elves who wander out into the snow to die of exhaustion. Santa suddenly collapses and is too sick to deliver the presents. Brian and Stewie agree to do it, but end up wasting an hour and a half at their first house by beating up a mother and a father and duct-taping up them and their young daughter, upon discovering they were in the wrong house the whole time. Realizing that they will not be able to complete the delivery in time and understanding firsthand the impossibility of Santa's job, Stewie and Brian abandon the delivery in lieu of another plan. On Christmas morning, everybody on Earth wakes up without any presents under their trees. They turn on the news, which is broadcasting the same story. Brian and Stewie appear on the broadcast and bring the dying Santa out in a wheelchair, explaining that humanity's greed is killing him, and if they don't shorten their demands to one Christmas present a year, they may have to give up Christmas altogether. Chastened, everyone agrees and by one year later, Santa has recovered, the workshop is once again a lively, colorful cottage and the elves and reindeer are all rejuvenated. ## Production and development "Road to the North Pole" is the sixth episode of the "Road to" episodes of the series which air through various seasons of the show. It was directed by Family Guy veteran Greg Colton, this being the first episode he has directed since the eighth-season episode "Go Stewie, Go." This is also Colton's third "Road to" episode, the first being "Road to Germany" and the second being "Road to the Multiverse." The episode was written by Chris Sheridan and Danny Smith, this being the first Smith wrote since "Partial Terms of Endearment," and his first "Road to" episode. It included staff writers Alex Carter, Andrew Goldberg and Elaine Ko. It is an hour-long special with three musical numbers. Ron MacFarlane, Seth MacFarlane's father, served as the episode's narrator. This is also the first "Road to" episode to be composed by Ron Jones. Two of the musical numbers, "All I Really Want for Christmas" and "Christmastime is Killing Us" were released as digital downloads on iTunes. "Christmastime is Killing Us" was available on December 3, 2010, while "All I Really Want for Christmas" was made available on December 10, 2010. In addition to the regular cast, the episode also guest starred actress Drew Barrymore, voice actor H. Jon Benjamin, actor David Boreanaz, actress Karley Scott Collins, actress Carrie Fisher, actor Ron MacFarlane, father of series creator and executive producer Seth MacFarlane, actor Bruce McGill, voice actor Will Ryan, voice actress Tara Strong and actress Nana Visitor. Recurring guest voice actors John G. Brennan, actor Chris Cox, actor Ralph Garman, writer Chris Sheridan, writer Danny Smith, writer Alec Sulkin, actress Jennifer Tilly, writer J. Lee, and writer John Viener also made minor appearances. ## Cultural references This episode as well as the entire "Road to" series in Family Guy is a parody of the seven Road to... comedy films which were released from 1940 to 1962, starring actors Bing Crosby, Bob Hope and actress Dorothy Lamour. The opening credits show images with Brian and Stewie referencing other Christmas specials such as The Nutcracker, A Christmas Carol, How the Grinch Stole Christmas, Frosty the Snowman and Home Alone. The credits also show Brian and Stewie performing winter activities, such as snowball fights, making snow angels and putting coal in the (Meg's) Christmas socks instead of gifts. Ron MacFarlane, who narrated part of the episode, mentioned that Kenny Rogers was supposed to be there. The episode opens with a musical number in which the members of Quahog sing about what they want for Christmas. Peter wishes to have actress and models Jessica Biel and Megan Fox. He also wishes to have lunch with Michael Landon's ghost and wants twelve kegs of beer. Lois wishes to visit the Spanish coasts, and "Mexico, with two black guys and some blow". Chris wishes for Jennifer Garner and Meg wishes for a Lexus. The neighbors of Quahog also wish for gifts: Herbert wishes for a drummer boy (there is a picture of singer Nick Jonas on the wall while he wishes for this), Mayor Adam West wishes for a tinkertoy, Carl wishes for a Blu-ray version of The Wiz and Consuela wishes for more Lemon Pledge. Continuing with the song, Jillian Russell wishes for Easter eggs, Joe wishes for one day when kids don't stare at him, Bonnie wants platinum-plated silverware, Quagmire wants "Japanese girls of no restraint" to choke him and then whip him and Mort (who is Jewish) says he will sue if they put a Christmas tree in the airport. The song ends with various characters appearing in an advent calendar. Brian and Stewie go to the mall so they can meet Santa, but Peter is asking Santa for gifts (he asks for a game of Uno, a Magna Doodle, a pet chink (a mix of a chinchilla and a mink) and a Charles in Charge lunchbox.) When the mall Santa leaves for the night and Brian demands that he let Stewie sit in his lap, Santa mentions he will be at Applebee's. Stewie says that Santa leaving before he got a chance to sit in his lap felt like a bigger betrayal than the betrayal of Gary Busey by reality; this takes us to Busey looking himself in the mirror asking his reflection, in the form of a crazed clown, how he is doing. Brian and Stewie decide to go to the North Pole to kill Santa, but Brian does not want Stewie to get disappointed if Santa is not what everybody thinks he is; to this Stewie responds that Brian is as negative as Eeyore from Winnie-the-Pooh. To prevent Stewie from going to the North Pole he tells him that Santa is not real; Stewie questions this, also asking if Elmo, SpongeBob SquarePants and Curious George aren't real. On their way to the North Pole, Brian and Stewie find themselves in Canada, where they meet a man with a thick Canadian accent; they also see the Aurora borealis and the Aurora Boreanaz (an aurora with David Boreanaz's face). When they finally get to the North Pole and find it polluted and lifeless, Stewie compares it to Bridgeport, Connecticut; thus resulting in a cutaway to a Bridgeport resident writing an angry letter to the Family Guy writer staff about Stewie's comment. When Santa Claus is near death, he shocks Stewie by saying "I'll be with Allah soon". When Brian and Stewie decide to deliver the presents for Santa, in their travel the Statue of Liberty can be seen. Unfortunately, they are not able to deliver the presents, and the next morning the residents of Quahog are upset because they have no presents, but Mort says he got eight mediocre gifts. ## Reception "Road to the North Pole" was broadcast on December 12, 2010, as a part of an animated television night on Fox, and was preceded by The Simpsons, and followed by Family Guy creator and executive producer Seth MacFarlane's second show, American Dad!. It was watched by 8.03 million viewers, according to Nielsen ratings, despite airing simultaneously with the Desperate Housewives on ABC, The Amazing Race and Undercover Boss on CBS and Sunday Night Football on NBC. The episode also acquired a 3.9 rating in the 18–49 demographic, beating American Dad! and The Simpsons in addition to significantly edging out both shows in total viewership. The episode's ratings increased significantly from the previous week's episode. This episode received generally positive response from critics. Emily VanDerWerff of The A.V. Club gave "Road to the North Pole" a positive review, stating that it is "a satisfying episode of Family Guy all around, filled with funny gags and nice moments." She especially praised the musical segments, and the portrayal of the North Pole, writing that "the way the episode kept piling more and more ridiculous horrors on top of each other kept the whole thing funny." She rated the episode an "A−". Jason Hughes of TV Squad also praised the songs and the depiction of Santa's factory, though he found the delivery of the episode's message "heavy-handed." Kate Moon of TV Fanatic gave the episode 3.6 out of 5 stars. She said, "I had mixed feelings about this one, despite its clever moments and hopeful ending. While I normally have no problems about Family Guy's shocking or offensive themes, I felt bit disconcerted about the direction of this Christmas episode." She went on to say, "Perhaps it was the way that the series stomped on something as innocent as Santa and his elves and twisted them all around. Or perhaps it was the cannibalistic reindeer. Whatever the specific reason, the irreverent nature of Family Guy seemed just a little too graphic for me this time around." Tom Eames of entertainment website Digital Spy placed the episode at number twelve on his listing of the best Family Guy episodes in order of "yukyukyuks" and described the episode as "Christmas comedy gold", praising the 'Christmastime is Killing Us' song and Boreanaz's cameo. The episode was also nominated for Outstanding Music Composition for a Series, Outstanding Original Music and Lyrics (for song "Christmastime Is Killing Us", written by Ron Jones, Seth MacFarlane, and Danny Smith) and Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation (Patrick S. Clark and Jim Fitzpatrick). It won for Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation. The series was successfully nominated in 2009, but failed to merit an award. Mark Hentemann, executive producer and showrunner of Family Guy said of the nominating process, "We had internal discussions in the writers' room, and it seemed like we were much more akin to the other primetime comedies than we were to children's shows in animation. We assumed we would not get anywhere, and so it was a great surprise when we got the nomination." "Christmastime Is Killing Us" was nominated for Best Song Written for a Visual Media at the 54th Grammy Awards. ## See also	[ "## Plot", "## Production and development", "## Cultural references", "## Reception", "## See also" ]	2,979	16,083
64,780,233	Riley's Lock	1,164,827,972	Lock on the Chesapeake & Ohio Canal in Darnestown, Maryland, United States	[ "Chesapeake and Ohio Canal", "Locks of Maryland" ]	Riley's Lock (Lock 24) and lock house are part of the 184.5-mile (296.9 km) Chesapeake and Ohio Canal (a.k.a. C&O Canal) that operated in the United States along the Potomac River from the 1830s through 1923. They are located at towpath mile-marker 22.7 adjacent to Seneca Creek, in Montgomery County, Maryland. The lock is sometimes identified as Seneca because of the Seneca Aqueduct that carried the canal over the creek to the lift lock. The name Riley comes from John C. Riley, who was lock keeper from 1892 until the canal closed permanently in 1924. The lock, lock house, and aqueduct attached to the lock were built in the early 1830s. Construction of Aqueduct 1 and other aqueducts further upriver took longer than other downriver portions of the canal, causing the first phase of canal operation to be between Georgetown and Lock 23. Construction of the entire canal was completed in 1850, and connected Cumberland in Western Maryland with Georgetown on the Potomac River. The canal was necessary because portions of the Potomac River upstream from Georgetown were not navigable. Today, Riley's Lock is part of Chesapeake and Ohio Canal National Historical Park. The site is the only place on the canal that has a lift lock connected to an aqueduct. Picnic tables, restrooms, parking, and a canoe ramp are on site. Ruins of the Seneca Stone Cutting Mill are less than 0.25 miles (0.40 km) away. The lock and surrounding area are known as excellent places for bird watching, and the 40-acre (16 ha) Dierssen Waterfowl Sanctuary is about two miles (3.2 km) away. ## Background Ground was broken for construction of the Chesapeake and Ohio Canal (a.k.a. C&O Canal) on July 4, 1828. One of the early plans was for the canal to be a way to connect the Chesapeake Bay with the Ohio River—hence the name Chesapeake and Ohio Canal. The canal has several types of locks, including 74 lift locks necessary to handle a 605-foot (184 m) difference in elevation between the two canal ends—an average of about 8 feet (2.4 m) per lock. The canal also has 11 aqueducts, and the Seneca Aqueduct at the Lock 24 location is the first aqueduct when traveling up the canal. From Georgetown to Harpers Ferry (includes Lock 24, Riley's Lock), the canal is 60 feet (18 m) wide at the surface, and 42 feet (13 m) at the bottom. Including walls, lift locks are 100 feet (30 m) long and 15 feet (4.6 m) wide—usable lockage was closer to 88 feet (27 m) long and 14.5 feet (4.4 m) wide. Some canal boats could carry over 110 tons (99.79 metric tons) of coal. Portions of the canal (close to Georgetown) began operating in the early 1830s, and construction ended in 1850 without reaching the intended Ohio River termination. Upon completion, the canal ran from Georgetown to Cumberland, Maryland. The canal was necessary since portions of the Potomac River, especially at Great Falls, could not serve for reliable navigation because the river can be shallow and rocky as well as subject to low water and floods. The canal opened the region to important markets and lowered shipping costs. By 1859, about 83 canal boats per week were transporting coal, grain, flour, and farm products to Washington and Georgetown. Tonnage peaked in 1871 as coal trade increased. The canal faced competition from other modes of transportation, especially the Baltimore and Ohio Railroad (B&O Railroad). Starting in Baltimore and adding line westward, the B&O Railroad eventually reached the Ohio River and beyond, while the C&O Canal never went beyond Cumberland in Western Maryland. An economic depression during the mid-1870s, and major floods in 1877 and 1886, put a financial strain on the C&O Canal Company. In 1889, another flood produced an estimated \$1 million () in damages and caused the company to enter bankruptcy. Operations stopped for about two years. Court-appointed trustees recommended by the B&O Railroad took over receivership of the canal and began operating it under court supervision, but canal use never recovered to the peak years of the 1870s. The C&O Canal closed for the season in November 1923. Severe flooding in 1924 prevented the canal from opening in the spring, and the resulting damage from the floods prevented it from opening during the entire year. The flood damage, combined with continued competition from railroads and trucks, caused the shutdown to be permanent. In 1938, the canal was sold to the United States government, and the canal was proclaimed a national monument in 1961. ## History Work on Lock 24 began in March 1829 and was completed March 1832 at a cost of \$8,886.88 (). The lock was made from Seneca Creek Red Sandstone boated down the Potomac River from the Seneca Quarry. Construction of the lock house began in November 1829, and was finished April 1830 at a cost of \$1,066.25 (). By June 1832, a 22-mile (35 km) section of the canal was operating between Georgetown and Lock 23. The Seneca Aqueduct, Aqueduct No. 1, was completed April 1832 at a cost of \$24,340.25 (). The next two aqueducts upriver, No. 2 and No. 3, were completed in May 1833 and February 1834, respectively. It was not until 1833 that a dam at Harpers Ferry was completed and enabled the canal to operate above Lock 23. Riley's Lock is unique because it has a combination of an aqueduct and lift lock. The Seneca Aqueduct carries canal boats over Seneca Creek directly to the lift lock. Some C&O Canal records remain, allowing some of the lock keepers to be identified. Charles H. Shanks was listed as lock keeper on July 1, 1839. He was still listed as lock keeper on May 31, 1842. John Wells was lock keeper on May 31, 1845, and was still lock keeper at the end of 1850. Charles Wood is listed as Lock 24 tender circa 1865. An 1865 map of Montgomery County, Maryland, confirms Wood as the lock keeper by showing "Chas. Wood L.K." (lock keeper) at a point on the canal near Seneca Creek. The map also shows a "J.W. Darby's" near the creek and canal, and John Darby and Son (Upton) were known to have a lease for a nearby warehouse granted in 1871. ### Civil War At the beginning of the American Civil War, Union Army leadership realized that the Potomac River area near Locks 23 and 24 was a possible crossing point for a Confederate invasion that could include Washington. The small community of Darnestown, less than 4 miles (6.4 km) north of Lock 24, became occupied during 1861 by 18,000 Union troops. About halfway between Lock 24 and Darnestown, Major General Nathaniel P. Banks kept his headquarters at the Samuel Thomas Macgruder farm where the Potomac River could be observed from high ground. On June 27, 1863, 5,000 cavalry troops under the command of Confederate General Jeb Stuart crossed the Potomac River near Lock 24. Intent on disrupting Union supply lines, they seized the canal between Locks 23 and 24, and damaged lock gates, drained water from the canal, and burnt canal boats. From there, they advanced to Rockville, Maryland, before rejoining General Robert E. Lee's Army of Northern Virginia in the Battle of Gettysburg. ### Riley family William H. Riley came to America from Ireland around 1849, and found work at the Seneca quarry. By 1880 he was working on the C&O Canal, as was his oldest son, John C. Riley. John married in 1890 and began working at the same quarry where his father worked years earlier. During 1892, the quarry shut down, but John was able to replace William Benson as lock tender for Lock 24. The family lived in the lock house until 1905 when a young daughter drowned in the canal. After the tragedy, John's wife Roberta and the children moved up the hill (at River Road) while John stayed at the lock house. Family members would visit the lock house daily, but at nighttime were always back to the safety of the house on the hill. Riley would sometimes rent the extra lock house rooms to campers. In November after the canal closed for the season, he would live with the family at the house on the hill until the canal reopened in March. The canal was closed permanently in 1924, but Riley continued working near the lock. The 1930 U.S. Census lists him as a canal watchman, and the family had a boat rental business that lasted until the 1940s. At the age of 69, John Riley died suddenly at his home on April 11, 1931, and was buried at the Darnestown Presbyterian Church cemetery. Today, Lock 24 is known as Riley's Lock in honor of John Riley and the Riley family, and the road that leads to the lock is named Rileys Lock Road (without the apostrophe). ## Today Riley's Lock and lock house are part of the Chesapeake and Ohio Canal National Historical Park. Congress authorized the establishment of the park, and acquisition of adjacent land, in 1971. A Riley's Lockhouse History Program is run by local Girl Scouts through a special permit from the park. On weekends in the spring and fall, Girl Scouts give tours of the lock house during the afternoons. Riley's Lock is also part of the Seneca Historic District listed in the National Register of Historic Places along with the Seneca Stone Cutting Mill, Seneca Quarry, and other nearby places. The ruins of the Seneca Stone Cutting Mill are only 0.2 miles (0.32 km) west of the lock. The Maryland Ornithological Society lists the lock as one of the top birdwatching places in Montgomery County, with over 200 species sited. In addition, the 40–acre (16 ha) Dierssen Waterfowl Sanctuary is not far away at towpath marker 20.0. An outdoor education camp and the DC National Rowing Club are located nearby on Rileys Lock Road. Although considered part of the tiny community of Seneca, the lock has a Poolesville address and is found in the Darnestown census-designated place near Seneca Creek by taking Rileys Lock Road off of Montgomery County's River Road. ## See also - Locks on the Chesapeake and Ohio Canal	[ "## Background", "## History", "### Civil War", "### Riley family", "## Today", "## See also" ]	2,343	17,395
60,045,361	Salt (Oh Land song)	1,168,385,239	2019 song by Oh Land	[ "2019 singles", "2019 songs", "Electropop songs", "Oh Land songs", "Song recordings produced by Doveman", "Songs written by Doveman", "Songs written by Oh Land" ]	"Salt" is a song by Danish singer and songwriter Oh Land for her fifth studio album, Family Tree (2019). Oh Land wrote the song with Thomas Bartlett, the sole producer. Her boyfriend, Adi Zukanovic, plays piano on it with Bartlett and Hungarian conductor Peter Pejtsik. The song represents a change in style from her previous work and features a string-led production with Oh Land's distinctive breathy vocals. The lyrics to the song are a metaphor, describing the unpredictable nature of life's events. The song was performed by Oh Land during a live show at Koncerthuset in Copenhagen. A remix of "Salt", created by American producer Arthur Moon, was released on the two musicians' collaborative remix extended play, Replanting Family Tree (2019). It was self-released as the EP's lead single on 4 September 2019, a week after the initial announcement. The remix is an electropop track with newly-added synths and it received generally favourable reviews from music critics. ## Background and release Following the release of her fourth studio album Earth Sick in 2014, Oh Land devoted her time to a number of side projects, such as recording the soundtracks for Askepot (2016) and Watermusic (2018), and a rendition of Denmark's national anthem for the 2018 television series The Rain. In 2018, she confirmed that her then-upcoming album would be formally released in 2019 and was inspired by the recent events of her personal life, such as the divorce from her husband, her second pregnancy, and relocating back to Denmark. To initiate songwriting sessions, Oh Land began to focus on learning how to play the piano again, resulting in a sound and tonal shift for the album. During the first week of January 2019, Oh Land unveiled Family Tree in a press release and released its lead single "Human Error". "Salt" was released as the seventh track on Oh Land's fifth studio album Family Tree on 3 May 2019. It was written by Oh Land and Thomas Bartlett, with the latter serving as the song's sole producer. Oh Land also received additional credits for creating the song's melody and lyrics. "Salt" was mastered by UE Nastasi at Sterling Sound Studios in Edgewater, New Jersey. It was mixed by Patrick Dillett and Peter Pejtsik serves as the track's conductor. ## Composition and lyrics Musically, "Salt" has been referred to as a string-led track that departs from the styles and genres previously explored by Oh Land on Earth Sick. Lucia Odoom from Politiken described "Salt" as one of the several original compositions on Family Tree that sound euphoric. She also said the song sounds like it is a Neo-Christian piece. In the chorus, Oh Land's vocals were described as very breathy by Carson Aguilar from Qrewcial. The song's instrumentation consists of a piano, synthesizer, and spinet. Bartlett, Adi Zukanovic and Pejtsik make up the trio of pianists on the track, while Zukanovic also plays the spinet. According to its sheet music, "Salt" is set in the time signature of common time, and has a moderate tempo of 144 beats per minute. The song is composed in the key of G major and it follows the setup of a verse, followed by chorus-verse-chorus and a post-chorus. The chorus features Oh Land harmonizing with several layers of her own vocals. The song's lyrics are a metaphor for the unpredictability of life's events. In the lyrics, Oh Land personifies her lover as salt water and herself as a river: "Salt is in the water, your ocean with no end / Meet my rivers sweeter, but our waters won't ever blend." ## Reception and promotion In addition to the track "Brief Moment", Aguilar called "Salt" one of the highlights of Family Tree. He enjoyed Oh Land's vocals on the song, saying that they "stack in the most pleasant way" possible. Oppositely, Odoom found that the combination of the song's strings and Oh Land's voice creates an unintentional effect on the listener; she explained that although her vocal style sounded beautiful, they did not match the euphoric sound of the song. In September 2019, Oh Land performed a live show at Koncerthuset in Copenhagen. At the concert, she sang "Salt" during the Family Tree segment, in between performances of singles "Family Tree" and "Brief Moment". Ivan Rod, a contributor to Gaffa, reviewed her live show and found that it could have benefitted from being performed in a more intimate setting, due to the songs' quiet nature. He wrote that although they were unable to meet the fullness of the performance space, the Family Tree songs ended up being some of the highlights of the show. ## Arthur Moon remix ### Development and release Later in 2019, American musician Arthur Moon remixed four of the tracks that appear on Family Tree. The remixes were created as part of the collaborative remix extended play Replanting Family Tree (2019), released by both Oh Land and Moon. BlackBook first reported on the release of the EP on 27 August 2019. The Arthur Moon remix of "Salt" was released as the lead single the following week, on 4 September. The remix was independently self-released, under Oh Land's name, for digital download and streaming. On the EP, which was released on 18 September 2019, the remix of "Salt" appears as the first of five tracks. The remix's single artwork was created by the Danish graphic design firm Hvass&Hannibal, designers of the parent EP's cover. Alongside the announcement of the remix, Oh Land and Moon announced they would embark on a promotional tour of the United States together, with Moon serving as the opening act for all scheduled dates. According to the North American College and Community Radio Chart, the "Salt" remix was distributed for airplay to campus radio stations in the US on 24 September 2019. Moon's remix of "Salt" was described as one of the electropop tracks on Replanting Family Tree. It adds "electro-handclaps, jittery beats, and piercing synth-blasts" to the original composition. The central idea behind the remix, in addition to the other three remixes by Moon, was to completely "reimagine" the song. Additionally, the remixes have a strong electronic sound, unlike their original forms on Family Tree. Regarding her opportunity to collaborate with Oh Land, Moon explained: "It was such a privilege to get to dig into the magical worlds Oh Land and Thomas Bartlett created on these recordings." ### Critical reception The Arthur Moon remix of "Salt" was met with generally favourable reviews from music critics. Ken Scrudato, a writer for BlackBook, raved about the remix, calling it his "new obsession" and insisting that the remix would be featured on his playlists to listen to during the upcoming autumn season. Continuing, he asserted that the remix "commands... or demands nothing less than complete immersion". Eric Keith from Vinyl Chapters called the remix mesmerizing and "again, extremely catchy". He continued, writing: "no matter what style of music you gravitate to, you'll likely enjoy this one. It is capable of putting you in a trance-like state if you'll let it and is a haunting and inventive piece." During the remix's release week, Andy Malt from Complete Music Update featured it in his weekly column which highlights new music. ### Release history ## Credits and personnel Credits adapted from the liner notes of Family Tree. - Nanna Øland Fabricius – lyrics, melody, music - Thomas Bartlett – production, additional arrangements, piano, synthesizer - Adi Zukanovic – piano, spinet - Patrick Dillett – mixing - Peter Pejtsik – conductor, piano - UE Nastasi – mastering	[ "## Background and release", "## Composition and lyrics", "## Reception and promotion", "## Arthur Moon remix", "### Development and release", "### Critical reception", "### Release history", "## Credits and personnel" ]	1,661	17,397
22,695,746	Ashley Graham (Resident Evil)	1,168,968,181	Fictional character in Resident Evil franchise	[ "Capcom protagonists", "Female characters in video games", "Fictional children of presidents of the United States", "Resident Evil characters", "Video game characters introduced in 2005", "Video game sidekicks" ]	is a character in Resident Evil (Biohazard in Japan), a survival horror video game series created by the Japanese company Capcom. She was introduced in the 2005 video game Resident Evil 4, in which she is presented as the daughter of the sitting President of the United States. She is briefly held captive by the Spanish cult Los Iluminados as a means of gaining influence over the United States President before being rescued by the game's protagonist, Leon S. Kennedy. Ashley was originally designed by game designer Yasuhisa Kawamura as an important player character in the original version of Resident Evil 4. Her role was changed into that of companion character who is defenseless following a major structural change in the development team which led to the cancellation of the original version of Resident Evil 4. Her characterization has received a largely negative reception from video game publications, with many questioning her relevance as a stereotypical damsel in distress or usefulness as a sidekick character. In the 2023 remake, she was greatly praised after being redesigned to have a more pleasant experience escorting her. ## Concept and design Ashley was originally created as an unnamed character simply referred to as "Girl" by the game designer, Yasuhisa Kawamura. "Girl" was intended to be the second playable character of the initial version of Resident Evil 4. Scenarios featuring the character were written for the "Castle", "Hallucination", and "Zombie" builds. In the "Castle" scenario, she was supposed to be a test subject held against her will within an underground lab beneath a castle. With the help of a B.O.W. dog taught to follow her orders, she manages to escape. Following the 2002 edition of the Tokyo Game Show expo, the "Castle" game script by Kawamura and Noboru Sugimura was discarded, though Kawamura went on a new script based on the same story. Development was restarted with a version of the "Castle" build script supplied by Sugimura when Shinji Mikami took over as director of the project in late 2003; the original version of Resident Evil 4 which was undergoing development was abandoned. "Girl" was reworked as the daughter of the American President, who player character Leon S. Kennedy must search for and rescue. She is written as a "very weak, fragile" companion that the player must lead and help through obstacles and protect from enemies. Ashley is predominantly controlled by artificial intelligence, but can be directed to wait or hide, and there are certain narrative segments of the game that are played from her perspective. In the remake of Resident Evil 4, the team aimed to expand Ashley's characterization and relationship with Leon. In contrast to the original, Ashley cannot be left alone and will always follow Leon, though she can be told to stay close or maintain distance. Yasuhiro Ampo, co-director of the remake, explained the change: "As a character, we wanted to have her by your side so she left an impression, and as a game, having her hide while you went and fought in the original was fun in some ways. But having a character like Ashley and then having her basically disappear for a while felt like a waste. We wanted to avoid that in the remake." Ashley's health bar was also removed; however, she will get downed after taking too many blows, and Leon must revive her to continue. She can also be picked up and carried away by enemies, and if carried too far away from Leon without being saved, the game ends. Her outfit and overall design were altered to look and act more like a true partner than a damsel in distress. Carolyn Lawrence, who provided the voice for Ashley Graham in Resident Evil 4, described her character as "vulnerable, because Leon has to come to her rescue all the time". In June 2022, Ella Freya publicly disclosed that she is the face model of Ashley in the remake of Resident Evil 4, while Genevieve Buechner provided her voice. ## Appearances ### In Resident Evil 4 Ashley Graham is the 20-year-old daughter of the newly-elected President of the United States. She is kidnapped by Jack Krauser on her way home from Massachusetts and kept captive by the Los Illuminados in a European town. Leon S. Kennedy's initial goal is to find and rescue her. After finding her, it becomes clear that she has been implanted with a Plaga parasite as part of the cult's plan to gain control of her before returning her to the United States. The rest of the game is about Leon and Ashley trying to discover a solution to get rid of the parasites inside their bodies before they are taken over by Osmund Saddler. After Saddler is eliminated, Leon and Ashley escape the sinking island with a jet ski left by Ada Wong. Leon graciously declines Ashley's invitation to visit her at her home. Following that, they are both apprehended by US government agents and put into detention for debriefing. Ashley also appears in the 2023 remake of Resident Evil 4. She was reworked via her gameplay for eight minutes compared to Leon, eliminating her health bar and allowing her to be revived after being incapacitated. Ashley can additionally be commanded now, either to provide Leon some space whilst in a fight, or to stick close to him to be more practical, in contrast to in original which had solely used "wait" or "follow me" commands. She has dozens of outfits that can be unlocked after players have purchased CP after completing their first playthrough. ### Other appearances A framed photo of Ashley Graham is briefly glimpsed in the 2021 Netflix animated mini-series Resident Evil: Infinite Darkness, set after the events of Resident Evil 4. Her father, President Graham, is a major character in Infinite Darkness. In 2023, before the release of the remake of Resident Evil 4, Capcom released a promotional anime of the Resident Evil Masterpiece Theater, depicting the story of Leon and Ashley. ## Reception Ashley's appearance in the original game received a mostly negative reception. Many gaming media outlets have criticized her as one of the worst or most annoying video game characters. Toadette Geldof of Vice described her as one of the lamest video game characters of all time, commenting that "She's so lame that she can't even really walk on her own, so you have to piggy-back her around and then set her back down any time you need to kill something." In Tropes vs. Women in Video Games, feminist media critic Anita Sarkeesian also described Ashley as a damsel in distress who appears to be helpless, arguing that defending her caused players a lot of frustration. Samara Summer of GamePro wished that Ashley doesn't appear in the remake of Resident Evil 4, commenting that "She can't fight, she can't free herself and she can't even look for a hiding place on her own. With her screaming she doesn't motivate me to help her either." Conversely, Shacknews cited Ashley as one of his favorite video game companions, saying that "When you are saddled with her, she's perfectly content to hide in a dumpster while you clear out enemies. If only all companions were so agreeable." Andrei Nae of Immersion, Narrative, and Gender Crisis in Survival Horror Video Games said that Ashley Graham fully embodies the gender role of damsel in distress with her constants pleas to Leon Kennedy to help her, while Bernard Perron of The World of Scary Video Games: A Study in Videoludic Horror felt that some characters, like Ashley, have been eroticized in which she can swap her schoolgirl uniform into a white starlet costume that "highlights her breasts". Critics have also praised the character's portrayal in the 2023 remake, highlighting how less of a sexualized damsel in distress she is. Elijah Beahm of DualShockers appreciated her chapter where she was playable, commenting that she now gets a chance to demonstrate her true competence rather than just a latent capacity to crank old machines extremely quickly and pull switches like she did in the initial game. At the same time Vixal Plane thought Ashley deserved a DLC or standalone game. Jade King of TheGamer noted that the remake avoided sexualizing Ashley, including by eliminating the possibility of players looking up her skirt. Similarly, Ashley Bardhan of Kotaku praised Ashley's new character model, especially the decision to replace her skirt with a skort, but criticized the lack of overall improvement in her characterization. However, Jade King of TheGamer disagreed, arguing that she had been substantially improved as a character. Joseph Yaden of Inverse and Ed Smith of PCGamesN both noted that Ashley had shifted from being a helpless damsel in distress to more of a partner. Ashley has become an internet meme on Twitter known as "Moushley", stemming from a piece of fanart depicting Ashley as a mouse that was shared by fans. They have additionally created various mods involving her. Capcom also acknowledged it, and the official Resident Evil account tweeted emojis of a mouse and cheese in response to the meme.	[ "## Concept and design", "## Appearances", "### In Resident Evil 4", "### Other appearances", "## Reception" ]	1,865	5,898
4,087,806	The Client (The Office)	1,154,659,762	null	[ "2005 American television episodes", "The Office (American season 2) episodes" ]	"The Client" is the seventh episode of the second season of the American comedy television series The Office, and the show's thirteenth episode overall. Written by Paul Lieberstein, who also acts in the show as Toby Flenderson, and directed by Greg Daniels, the episode first aired in the United States on November 8, 2005, on NBC. The series depicts the everyday lives of office employees in the Scranton, Pennsylvania branch of the fictional Dunder Mifflin Paper Company. In this episode, Jan Levinson (Melora Hardin) and Michael Scott (Steve Carell) begin a relationship after landing an important client (Tim Meadows). Meanwhile, the rest of the office finds a screenplay written by Michael and they decide to read it together. The idea for Jan and Michael to have a romantic relationship was conceived by Steve Carell as far back as the filming of the pilot episode. The kiss between the two was rehearsed and filmed "many, many, many times", according to B. J. Novak. While filming, Steve Carell and Tim Meadows improvised a good majority of their dinner scene, but most of it never made the final cut. During the production of the episode, the cast and crew were informed by NBC that the show would be picked up for a whole 22 episodes, a move that "surprised" them. The episode received mostly positive reviews from critics and earned a Nielsen rating of 3.8 in the 18–49 demographic, being viewed by 7.5 million viewers. ## Plot Michael Scott (Steve Carell) and Jan Levinson (Melora Hardin) meet with Christian (Tim Meadows), a county government employee in charge of the government's office paper contract. Taking him on as a client could mean the branch will not have to downsize, a threat that has been looming for the past year. Jan is not happy that Michael changed the meeting location from a hotel meeting room to Chili's without permission and persists in jokes and personal discussion instead of getting down to business. However, she discovers at the end of the day that there is a method to his madness, as the bonding between Michael and Christian allows him to close the deal. Afterwards, in the parking lot, Michael and the recently divorced Jan kiss and leave together. During the meeting Michael calls Pam Beesly (Jenna Fischer) to read from one of the joke books in his desk, where she finds a screenplay written by Michael entitled Threat Level: Midnight, starring himself as "Agent Michael Scarn". The staff perform a read-through of the script, in which the character sequence "Dwigt" appears. They realize Michael based his incompetent sidekick on Dwight Schrute (Rainn Wilson), but later changed the name with a search and replace, which did not affect the single misspelling of Dwight's name. Dwight is upset and shuts down the exercise to invite everyone to set off fireworks outside, but only Kevin Malone (Brian Baumgartner) follows. When the staff discuss their worst first dates, Pam astounds them with a story of how her date forgot about her and left her behind at a minor league hockey game. Their astonishment increases when they realize the date was her now-fiancé, Roy. Later, Jim Halpert (John Krasinski) and Pam break off their respective evening plans to enjoy an impromptu dinner on the roof and watch Dwight and Kevin fool around with fireworks. The next day Jim half-jokingly remarks to Pam that this was their first date. When Pam replies bluntly that it was not a date, Jim is caught by surprise and makes a snide comment about the hockey game date. Hurt, Pam breaks off the conversation. The following morning, Dwight, having spent the night in the office, sees Jan coming by to retrieve her car, igniting gossip that she had sex with Michael. Michael reveals to the documentary crew that they made out and talked long into the night before falling asleep. Jan calls and says she regrets what happened, even accusing Michael of deliberately getting her drunk to initiate a romantic encounter with her, but Michael refuses to accept her change of heart. He and Jim share a moment of confusion at their (apparently) unrequited loves. ## Production This episode was the third episode of the series directed by Greg Daniels. Daniels had previously directed the episodes "Basketball" and "The Dundies". "The Client" was written by Paul Lieberstein, who acts on the show as human resources director Toby Flenderson. The idea for Jan and Michael to have a romantic relationship was conceived by Steve Carell as far back as the filming of the pilot episode. According to writer and producer Greg Daniels "it was like he (Michael) was turned on by his teacher." Writer and actor Paul Lieberstein said that the first idea that anybody came up for the episode was the final shot, where Jim and Michael look at each other and shake their heads, suggesting that they had been through similar experiences. The rest of the episode was written to lead to that scene. The scene where Oscar tells a story about a date getting a background check on him was based on an actual date that Paul Lieberstein went on. While filming, Steve Carell and Tim Meadows improvised a lot of their dinner scene, but most of it never made the final cut. One improvised scene that did make the final cut was the "Baby Back Ribs" song. In an interview, Jenna Fischer said that the rooftop scene was her favorite to shoot. Fischer recalled that "there was a very small crew up on the roof and they had the cameras really far away." After the main shooting ended, producers decided to do a re-shoot to explain the "Dwigt" situation clearly and concisely. The kiss between Michael and Jan was rehearsed and filmed "many, many, many times", according to B. J. Novak. While editing the kiss between Michael and Jan, Greg Daniels brought many people into the editing room to see if they thought the kiss was too long or not long enough. During the production of the episode, the cast and crew were informed by NBC that the show would be picked up for a whole 22 episodes. Initially, the show's second season had only been brought back for six episodes, to test the water. Despite the lackluster reception the first season had, ratings jumped during the second season to 7.7 million in the fall alone. After the ratings success, Kevin Reilly, NBC Entertainment president, "surprised" the cast and crew of the staff and ordered a full season; he later likened the series to Seinfeld and Cheers, noting that they too had "slow starts". ## Cultural references Michael tells Jan that he moved their meeting from a Radisson to a Chili's, per advice—that he sent in—to the magazine Small Businessman. During their meeting, Michael tells Christian and Jan the Lighthouse and naval vessel joke. Dwight reveals to the camera that he was once in a production of Oklahoma!, and played the part of "Mutie The Mailman". He explains that the production had too many kids, so they made up extra roles. Michael's screenplay is a parody of secret agent films, most notably the James Bond franchise. In Michael's screenplay, his love interest is named Catherine Zeta-Jones. The name of Michael's movie has been referenced several other times through the series. In the third season episode "Product Recall", Michael frantically states that, due to the amount of angry customers, the office has been "put at Threat Level Midnight." Michael's screenplay was eventually turned into a home movie, and is viewed by the entire office in the seventh season episode "Threat Level Midnight." ## Reception "The Client" originally aired on NBC in the United States on November 8, 2005. The episode was viewed by 7.5 million viewers and received a 3.8 rating/9% share among adults between the ages of 18 and 49. This means that it was seen by 3.8% of all 18- to 49-year-olds, and 9% of all 18- to 49-year-olds watching television at the time of the broadcast. The episode retained 73 percent of its lead-in "My Name is Earl" audience, the best the show had done up until that point. An encore presentation of the episode, on April 25, 2006, received 2.4 rating/7% share was viewed by over 4.8 million viewers. The episode received mostly positive reviews from television critics. TV Squad's Michael Sciannamea gave the episode a largely positive review wrote that Michael is "totally taken with himself", but still "has shown us his vulnerabilities". Sciannamea noted that, by showing the audience Michael's humanity, the writers were making "this sitcom so compelling". Sciannamea, however, did point out that this is the second week in a row that "Pam is offended by something Jim has said or done", which in his mind "will get tiresome quickly if it continues". "Miss Alli" of Television Without Pity graded the episode with a "B+". Rolling Stone named the scene wherein the employees read Threat Level: Midnight as the tenth funniest in The Office's first three seasons. Erik Adams of The A.V. Club awarded the episode an "A" and called it "a series-best episode of The Office whose series-best status sneaks up on you". He was largely complimentary towards the way the episode built towards a climax, and followed various successful "setup-punchline rhythms". He also applauded the introduction of the Threatlevel: Midnight screenplay, calling it "a subplot so crucial to the mythology of the series, it would form the basis of an entire episode near the end of Steve Carell’s time in Scranton." Adams ultimately concluded that the episode is "a top-notch Office installment overall", thanks in large part to the Pam-Jim and Michael-Jan subplots and dynamics.	[ "## Plot", "## Production", "## Cultural references", "## Reception" ]	2,051	24,482
67,344,366	Punctelia hypoleucites	1,133,579,352	Species of foliose lichen	[ "Fungi without expected TNC conservation status", "Lichen species", "Lichens described in 1858", "Lichens of Africa", "Lichens of Mexico", "Lichens of the South-Central United States", "Lichens of the Southwestern United States", "Punctelia", "Taxa named by William Nylander (botanist)" ]	Punctelia hypoleucites, commonly known as the southwestern speckled shield lichen, is a species of foliose (leafy) lichen in the family Parmeliaceae. First formally described by Finnish botanist William Nylander as a species of Parmelia, it was transferred to the genus Punctelia in 1982. The lichen is found in Africa, North America, and South America, where it grows on the bark of both hardwood and coniferous trees. Its greenish-grey thallus is covered with tiny white pseudocyphellae – minute holes in the thallus surface that facilitate gas exchange. Some macroscopic features that help distinguish this species from other related members of the genus include the presence and the structure of the apothecia (sexual reproductive organs), the absence of asexual surface propagules, and the light brown color of the thallus undersurface. Chemically, the presence of lecanoric acid in the medulla and atranorin in the cortex help distinguish it from lookalikes. ## Taxonomy The lichen was first described as a new species by Finnish botanist William Nylander in 1858 as Parmelia hypoleucites. The type specimens were collected in Pico de Orizaba, Veracruz, Mexico, by Fritz Müller, who sent them to Nylander for identification. Nylander mentioned its similarity to Parmelia saxatilis, but noted that it was smoother, with a paler underside and whitish rhizines (root-like structures). The specific epithet combines the Greek prefix hypo- ("under") with a form of the word leukos ("white"). Although Nylander did not mention it in his text, Müller sent two specimens from Veracruz, both of which were assigned the name Parmelia hypoleucites by Nylander. The smaller one of them is attached to bark (and is thus clearly corticolous), but it is poorly developed and lacks conidia (asexual spores) and apothecia (ascus-bearing structures). The second specimen is much larger, has conidia, but has a clean undersurface indicative of having grown on rock. In 1965, Mason Hale designated the larger specimen as the type for the species, a decision that was followed by Hildur Krog and T.D.V. Swinscow in their 1977 study of the Parmelia borreri species group. A few years later, William and Chicita Culberson reported their observations on the differences in the length of the conidia in populations of P. hypoleucites collected from Arizona and Mexico. They noted that the long-form conidia morphs (P. hypoleucites) grew on bark and had a range restricted to woodlands of the Mexican highlands, while the short-form conidia morphs grew on rocks and were widespread in south-central North America, with few occurrences in regions with the long-form morph. They used this dimorphism to distinguish the short-form morph as a distinct species, P. semansiana, using the larger of Müller's specimens as the type of this new species, and designated the smaller, corticolous specimen as the type for Parmelia hypoleucites. Later, in a 2003 study, Robert Shaw Egan found P. semansiana to be identical with P. graminicola. Krog transferred Parmelia hypoleucites and 21 other Parmelia species with rounded (punctate) pseudocyphellae (tiny pores that facilitate gas exchange) to the newly circumscribed genus Punctelia in 1982. The lichen is known colloquially as the "southwestern speckled shield lichen". ## Description Punctelia hypoleucites has a leafy (foliose) thallus measuring 7 cm (2.8 in) or more in diameter, with an upper limit of 12 cm (4.7 in). It has a fairly tight attachment to its substrate. When fresh, the upper thallus surface has a gray-greenish color; when dry it is brown-yellowish. The individual lobes comprising the thallus are typically up to 5 mm (0.2 in) wide (sometimes up to 1 cm wide), and they have rounded tips, sometimes developing a brownish margin that is narrow and shiny. The entire thallus surface is covered with abundant point-like (punctiform) white pseudocyphellae, which are up to 0.5 mm in diameter. There are not any asexual reproductive structures such as soralia nor isidia. Conspicuous pycnidia (asexual fruiting bodies) are present on the thallus as tiny black dots, especially near the margins of the lobes. The rounded lobes measure 2–6 mm (0.1–0.2 in) wide. The medulla – a layer of interlaced hyphae below the upper cortex – is white, while the thallus undersurface is light brown. Rhizines are abundant on the thallus underside; they are whitish or brown and mostly unbranched. The apothecia are 5–15 mm (0.2–0.6 in) in diameter, and are abundant. These cup-shaped reproductive structures are positioned on the surface of the thallus and have a brown hymenium (fertile, spore-bearing tissue), with a thick margin (an excipulum) that is curled inwards slightly. Pseudocyphellae occur on the excipulum. Ascospores, which number eight per ascus, have an ellipsoid shape, lack septa, and are smooth, translucent (hyaline), and thin-walled; they measure 14.4–17.6 by 8.8–9.6 μm. The conidia are threadlike (filiform) and hyaline, typically measuring 9.6 by 12 μm. Standard chemical spot tests can be used to help identify Punctelia hypoleucites. In the medulla, the results of these tests are K-, KC+ (red), and C+ (red). The last of these indicates the presence of lecanoric acid. The cortex contains atranorin, which results in a K+ (yellow) reaction. Punctelia hypoleucites is quite similar in appearance to P. bolliana; both have a brown underside, have apothecia, and lack soralia and isidia, but P. hypoleucites contains lecanoric acid while the medulla of P. bolliana contains lichesterinic and protolichesterinic acid. Another lookalike is Punctelia subpraesignis, which can be distinguished from P. hypoleucites by its dark brown to almost black thallus undersurface, and chemically by the presence of gyrophoric acid rather than lecanoric acid. Because of its abundant pseudocyphellae and similar overall appearance, Flavopunctelia praesignis is another lichen that could be mistaken for P. hypoleucites, but this species has a black undersurface and an overall yellowish-green coloring resulting from usnic acid. ## Habitat and distribution In Mexico, Punctelia hypoleucites has been recorded from the states of Mexico, Guerrero, Puebla, Hidalgo, Veracruz, Jalisco, Michoacán, Colima, Nayarit, and Zacatecas. It is one of the most abundant foliose lichens in the Nueva Galicia region. In the United States, where it is relatively rare, the lichen is found in the southwestern region of the country; specifically, it has been recorded from Arizona, New Mexico, and Texas. First recorded from East Africa in 1977, it has been found in Ethiopia and Kenya. In South America it occurs in Argentina, and Bolivia. The lichen grows on bark, usually of deciduous trees. It is a conspicuous member of the lichen flora in certain parts of its range, such as in oak and oak-pine forests at high elevations – greater than 2,000 m (6,600 ft). Here it has been observed to be part of flourishing epiphytic lichen communities, along with the common Flavopunctelia flaventior and members of the genera Everniastrum, Heterodermia, Hypogymnia, and Parmotrema. At lower elevations it is mostly absent, despite the abundance of potential substrates, and the individuals that are found tend to lack apothecia and pycnidia. Tree genera upon which the lichen has been recorded include the hardwoods Acer, Alnus, Arbutus, Quercus, Fraxinus, Prosopis, Prunus, Salix,Willardia, and the conifers Cupressus, Juniperus, Pinus, and Pseudotsuga. Because of the widespread occurrence of Punctelia hypoleucites in both urban and industrial sites in and around Tandil, it has been proposed as a potential biomonitor of air pollution in that city. A study on the post‐fire recolonization of dominant epiphytic lichen species on Quercus hypoleucoides determined that the primary means of recolonization for P. hypoleucites is spore dispersal.	[ "## Taxonomy", "## Description", "## Habitat and distribution" ]	1,960	11,153
69,139,024	The Motto (Tiësto and Ava Max song)	1,173,540,512	2021 single by Tiësto and Ava Max	[ "2020s Atlantic Records singles", "2021 singles", "2021 songs", "American electronic dance music songs", "American pop songs", "Ava Max songs", "Dutch Top 40 number-one singles", "Dutch dance songs", "Dutch pop songs", "Number-one singles in Poland", "Number-one singles in the Czech Republic", "Songs written by Ava Max", "Songs written by Pablo Bowman", "Songs written by Peter Rycroft", "Songs written by Sarah Blanchard", "Songs written by Tiësto", "Tiësto songs" ]	"The Motto" is a song by Dutch disc jockey Tiësto and American singer and songwriter Ava Max from the former's seventh studio album, Drive (2023). The song was written by the artists, Claudia Valentina, Pablo Bowman. Sarah Blanchard, and Lostboy, who produced it with the DJ. It was released as the third single from the album for digital download and streaming in various countries by Atlantic and Musical Freedom on 4 November 2021. "The Motto" is a fusion of dance, EDM and pop song, showcasing empowering lyrics that emphasize "doing you, having a good time and letting the world know". Upon its release, the release of the song was well-received by music critics, who praised the music and production of the song, the collaborative effort between the artists and the vocal delivery of Max. At the 2022 MTV Europe Music Awards, the song received a nomination in the category for the Best Collaboration. "The Motto" achieved commercial success, reaching the number one position in the Czech Republic and Poland as well as the top 10 in 18 other countries, including in Belgium, Canada, Germany, Netherlands and Switzerland. The song also reached number one on the US Billboard Dance/Mix Show Airplay chart and number two on the Dance/Electronic Songs ranking. It was certified gold in four countries as well as platinum in seven countries, including in Brazil, Portugal and the United States. The song also received double platinum certifications from Music Canada in Canada and the Polish Society of the Phonographic Industry (ZPAV) in Poland. Two official music videos for the song premiered on Tiësto's YouTube channel on 4 November 2021 and 11 March 2022, respectively. The first video depicts Tiësto and Max time traveling and partying in the 1920s, with the end being inspired by the 1980 psychological horror film The Shining. ## Background and composition A few days prior to its release, Tiësto and Max announced "The Motto" as their collaboration and confirmed the song's release date for 4 November 2021. The song was written by Tiësto (Tijs Verwest), Max (Amanda Ava Koci), Claudia Valentina, Lostboy (Peter Rycroft), Pablo Bowman and Sarah Blanchard, with the production completed by Tiësto and Lostboy. It was released for digital download and streaming in various countries by Atlantic and Musical Freedom on the scheduled date as the third single from Tiësto's seventh studio album Drive (2023). Talking about the song, Tiësto stated, "Ava is such an exciting young talent and her beautiful voice adds such depth to ['the song']", while Max added, "When [he] shared this record with me, I fell in love and couldn't stop playing it." Musically, "The Motto" is a dance, EDM and pop song, with an eurodance production. According to Max, the song has an empowerment message and is about "doing you, having a good time and letting the world know". ## Critical reception "The Motto" was met with widespread critical acclaim from music critics after its release. Ellie Mullins for We Rave You complimented the artists' collaboration, commenting that "Max's pop prowess shines spectacularly against Tiësto's signature dance soundscape". Bradley Stern of MuuMuse labeled the song as a "dance floor anthem", writing that "Max is [...] refusing to let her grip on the industry loose for even a moment, this time in the form of a tag-team with the legendary Tiësto". JB from Fun Radio similarly commended the song as an "electro anthem", commenting that "[it] will remind you of [Tiësto's] prominent 'The Business' [2020], with an inflated bass line". A writer of Dancing Astronaut likewise found the song as "a welcome return to the swagged out sounds of 2020's 'The Business'". Gabriel Krongold for EDM Tunes acclaimed the song's beat, adding that "Max mixes her enthralling vocals with Tiësto's electronic magic to make a track that'll bring most everyone off their feet". A writer of Rádió 1 characterised the song as a "massive-sounding", annotating that Tiësto's "characterful house style" with Max's "brilliant vocals" created an "unbeatable pair". Another writer of Radio Eska noted the song as a "speeding banger" and "party anthem", which according to him "will not let anyone stand still". Michael Rädel of Männer considered the song an "earworm" and a "standout" from the "current monotony" of the charts. Writing for Maxim, Jordan Riefe held the view that the song "represent[ed] an evolution in [Max's] creative process". "The Motto" received a nomination in the category for the Best Collaboration at the 2022 MTV Europe Music Awards, with Max being one of three ethnic Albanian artists nominated in the same category. The song was further ranked among the most popular songs on Apple Music in 2022. ## Commercial performance "The Motto" charted in several English-speaking countries after its release. In the United States, the song reached number 45 on the Billboard Hot 100 issue dated 9 April 2022, standing as Tiësto's sixth and Max's fourth entry in the ranking. It reached number one on the Dance/Mix Show Airplay, number two on the Dance/Electronic Songs and number 16 on the Mainstream Top 40 rankings. The song received a platinum certification from the Recording Industry Association of America (RIAA) for selling more than 1,000,000 equivalent copies in the US. In Canada, the song reached number six on the Canadian Hot 100 and entered the top 25 on the Canada CHR/Top 40 and Canada Hot AC rankings. It received a double platinum certification from Music Canada (MC) for shifting more than 1,000,000 units in Canada. In Australia, the song peaked at number 22 on the ARIA Singles Chart and received a double platinum certification from the Australian Recording Industry Association (ARIA) for selling more than 140,000 copies. The song reached number 12 on the UK Singles Chart in the United Kingdom and number six on the Irish Singles Chart in Ireland. It received a gold certification from the British Phonographic Industry (BPI) for shifting more than 400,000 copies in the UK. "The Motto" also entered the charts in multiple other countries around the world. Topping the charts in the Czech Republic and Poland, the song reached the top 10 in Austria, Belgium, Germany, Greece, Hungary, Lithuania, Luxembourg, Netherlands, Nicaragua, Puerto Rico, Romania, Russia, Switzerland and Ukraine. It further peaked within the top 100 in Argentina, the Commonwealth of Independent States (CIS), Chile, Colombia, Denmark, Dominican Republic, El Salvador, Finland, France, Iceland, Italy, Norway, Panama, Portugal, South Africa, Slovakia and Sweden. The song received gold certifications France, Germany and Italy as well as platinum certifications in Austria, Brazil, Denmark, Norway, Poland and Portugal. ## Music video To accompany the release, a music video for "The Motto" debuted to Tiësto's official YouTube channel on 4 November 2021, with a broadcast premiere on MTV Live, MTVU and ViacomCBS Times Square billboards. Directed by Christian Breslauer, the three-minute and 31-second video revolves around Tiësto and Ava Max time traveling and partying in the 1920s. It opens with a sequence of Max leaving a hotel party and a close-up shot of her entering an elevator with a glass of champagne in hand. She then presses the button for the first floor and spills the glass of champagne on the elevator control panel, which she manages to render inoperable. Next, the elevator deposits her in the lobby of a hotel in the Jazz Age and Max starts to dance and hang out around the lobby, which is filled with a number of people. After taking a luggage cart to another part of the hotel, she then joins Tiësto at a banquet, which she promptly crashes and this causes all the guests to clap and dance with her. The following sequence shows everyone posing for a group photo, which becomes a sepia-toned photograph appearing framed in the hotel lobby in the present-day hotel, as a reference to the American psychological horror film The Shining (1980). As the video ends, Max walks across the lobby in front of the photo, while telling someone on the phone, "Man, last night was crazy. It felt like a dream!" For further promotion, a second music video for "The Motto" premiered on 11 March 2022 and was filmed in Los Angeles, California. The two-minute and 42-second video was directed and choreographed Charm La Donna and includes appearances from Cache Melvin, Caho Kitaori, Candice Savage, Darrion Gallegos, Gato Waddell, Honey Balenciaga, Joseph John Perez and Maggie Anne Wade as dancers. A third, drag version of the music video was published on Max's official YouTube channel, with scenes featuring appearances of Derrick Barry, Jaida Essence Hall, Kameron Michaels and Pangina Heals. ## Track listing - Digital download and streaming 1. "The Motto" – 2:44 - Digital download and streaming – Remixes 1. "The Motto" – 2:44 2. "The Motto" (Tiësto VIP Remix) – 3:26 3. "The Motto" (Robin Schulz Remix) – 2:37 4. "The Motto" (Öwnboss Remix) – 3:13 5. "The Motto" (Nathan Dawe Remix) – 3:01 ## Credits and personnel Credits adapted from Spotify. - Tiësto (Tijs Verwest) – lead artist, producing, songwriting - Ava Max (Amanda Ava Koci) – lead artist, songwriting - Claudia Valentina – songwriting - Lostboy (Peter Rycroft) – producing, songwriting - Pablo Bowman – songwriting - Sarah Blanchard – songwriting ## Charts ### Weekly charts ### Monthly charts ### Year-end charts ## Certifications ## Release history ## See also - List of Dutch Top 40 number-one singles of 2022 - List of number-one dance airplay hits of 2022 (U.S.) - List of number-one singles of 2022 (Poland) - List of number-one songs of the 2020s (Czech Republic)	[ "## Background and composition", "## Critical reception", "## Commercial performance", "## Music video", "## Track listing", "## Credits and personnel", "## Charts", "### Weekly charts", "### Monthly charts", "### Year-end charts", "## Certifications", "## Release history", "## See also" ]	2,237	12,584
5,800,750	Invader (artist)	1,159,590,914	French urban artist	[ "1969 births", "French graffiti artists", "Guerilla artists", "Living people", "Pseudonymous artists" ]	Invader is an anonymous French street artist. He is known for his ceramic tile mosaics modeled on the pixelated art of 1970s–1980s 8-bit video games, many of which depict the titular aliens from the arcade games Space Invaders, Pac-Man and Super Mario Bros. (the inspirations for his pseudonym). As of December 2020, his creations can be seen in highly-visible locations in 79 cities in 20 countries. To accompany his citywide installations, or "Invasions", Invader publishes books and maps as guides to the locations of his mosaics. Invader also makes mosaics using QR codes and stacks of Rubik's Cubes (with the latter typically installed indoors). ## History A graduate of a Parisian École des Beaux-Arts, Invader initially derived inspiration for his creations from the video games he played when he was growing up in the 1970s and 80s. Using tiles to represent the pixels in the games' 8-bit graphics, Invader began making mosaics in Paris in the 1990s, and went on to install mosaics in 31 other cities in France. Invader has since staged "invasions" in cities and countries worldwide, including seven in New York City and three in Hong Kong. He often installs mosaics in culturally and/or historically important locations, with one high-profile example being his December 31st, 1999 mosaic on the letter D of the Hollywood Sign marking the Y2K bug. During subsequent trips to Los Angeles, he also placed mosaics on the eight other letters of the sign. Paris remains a primary location for the artist's work; in June 2011, Invader marked the installation of his 1,000th work in Paris with an exhibition at La Générale entitled 1000. Since 2000, he has also installed more than 70 pieces of work around Hong Kong. As of January 2020, Invader had created mosaics in 79 cities, with 3,858 Space Invaders comprising over 1.5 million ceramic tiles, and had published 24 "invasion maps." In 2012, Invader made a short film Art4Space documenting his attempt to launch one of his aliens into space on a modified weather balloon. Invader also makes QR code mosaics using black and white tiles. The patterns can be easily decoded using standard QR reader smartphone apps; one such message, when decoded, reads, "This is an invasion." Invader installations have become desirable collectors' pieces, to the point where some works have been stolen off of the walls upon which they were installed. ## Identity Invader works incognito, often masked and largely at night. To guard his anonymity on camera during interviews, he pixellates his own image or wears a mask. He claims that only a few people know his real name and his face and that his parents think he works as a tiler in the construction industry. ## Modus operandi Invader sees himself as a "hacker" of public space spreading a mosaic "virus". He believes that museums and galleries are not accessible to everyone, and so installs his work at street level for ordinary people to enjoy on a daily basis. The sites for his mosaics are often chosen for their visibility, local interest and symbolism. No two pieces are alike. Although many of his works feature his signature aliens, Invader's repertoire of subjects also includes Star Wars characters, the Pink Panther, Mega Man, Spider-Man, Hong Kong Phooey, Thomas from Kung-Fu Master and Popeye. The subject matter may also be themed and adapted to a particular location; sites near major bank buildings might be marked with dollar sign mosaics, while those in Hong Kong often have an oriental theme. Each "invasion" usually takes around two or three weeks, with the actual installations taking at least a week. The mosaics are mapped, catalogued and photographed to indicate their locations within a city; using this data, the artist then prints and distributes city "invasion maps". Smartphone users can also hunt for mosaics globally using the "FlashInvaders" app. In Montpellier, locations were chosen so that, when plotted on a map, they form an image of a giant Space Invaders alien. More recently, Invader has adopted strategies to avoid the removal of his works. Since the 2010s, when his works became highly sought-after by art collectors and theft became a real concern, he has begun to choose sites that are more difficult to reach and to create larger works with more delicate tiles that cannot be removed without damaging the piece. He has also taken steps against legal action; in late 2015, while planning another "invasion" in New York City, he put out a call on social media for building owners who would be willing to host his mosaics legally. ## Rubikcubism Since 2004, Invader has also created a series of works, typically for indoor display, exclusively using Rubik's Cubes (a style the artist calls "Rubikcubism," a play on the Cubist art movement of the early 20th century). Using a computer program, the artist works out the precise distribution of the six colors on a Rubik's Cube required to achieve the desired image; he then manipulates one side of each Rubik's Cube to reach the required pattern. Stacking the cubes eventually produces a full image, which is then glued to a backing board. Each piece is typically composed of approximately 300 cubes, measures about 0.9 by 1.3 metres (3 ft × 4 ft), and weighs approximately 36 kilograms (80 lb), though the exact dimensions depend on the subject and the level of detail. The works are organized into three series: "Bad Men," comprising portraits of famous villains such as Osama bin Laden, Jaws and Al Capone; "Masterpieces," which reproduces famous paintings by artists such as Delacroix, Warhol, Seurat, and Lichtenstein; and "Low Fidelity," based on iconic album art such as Country Life, The Velvet Underground & Nico, and Nevermind. Among the images Invader has created using this technique are those of the Mona Lisa and the Dalai Lama; he received particular attention for a 2005 portrait of Florence Rey. ## Reception Invader has had solo exhibitions at art galleries in Paris, Osaka, Melbourne, Los Angeles, New York City, London, Rome and Lyon at Galerie de Bellecour (now Michali Gallery, Palm Beach; exhibition for which he created the famous "Rubik Mona Lisa"). He has exhibited works at the 6th Lyon Contemporary Art Biennale (2001), the MAMA Gallery in Rotterdam (2002), the Paris-based Magda Danysz Gallery (2003), the Borusan Center for Culture and Arts in Istanbul, Subliminal Projects in Los Angeles (2004), and Lazarides in London (2011). In 2010, he was included in the Banksy documentary Exit Through the Gift Shop, filmed by fellow urban artist Thierry Guetta (AKA Mr. Brainwash), whom Invader has claimed is his cousin. In 2011, he took part in "Art in the Streets, a MoCA LA show at the Geffen Contemporary curated by Jeffrey Deitch. His work, when sold in galleries, can fetch six-figure sums. Fellow street artist Shepard Fairey wrote in Swindle: > Invader's pop art may seem shallow, but by taking the risk of illegally re-contextualizing video game characters in an urban environment that provides more chaotic social interaction than a gamer's bedroom, he makes a statement about the desensitizing nature of video games and consumer culture. In a postmodern paradox, a game like Grand Theft Auto takes the danger of the streets and puts it in a safe video game, while Invader takes a safe video game icon and inserts it into the danger of the streets. During an early 2014 "invasion" in Hong Kong comprising a total of 48 works, the city's Highways Department removed the life-sized Hong Kong Phooey (HK 58) mosaic, which had been placed by the side of a road in Fortress Hill. This angered local residents, who saw the removal as an example of the government only paying lip-service to promoting the arts in the city. In early 2015, a replica of the mosaic reached HK\$1.96 million (\$250,000) at auction at Sotheby's. NY145, featuring an invader and an old Apple Computer icon, sold for HK\$562,500 (\$72,000). A solo exhibition of new and retrospective works – called Wipe Out – was held in Hong Kong in May 2015 in association with the Hong Kong Contemporary Art Foundation and Le French May. In 2017, following an "invasion" in Ravenna, Italy (famed for its ancient mosaics), Invader installed a series of vegetarian-themed works in the "Veggietown" neighborhood of Paris (9th and 10th arr.) as a show of support for vegan restaurants. ## Publications - L'Invasion de Paris: Livre 01, la Genése. Paris: Invader, 2003. By Invader. . With text by Invader in French with English translation. - Invasion Los Angeles: Invasion Guide 2: Los Angeles / Mission Hollywood. Paris: Invader, 2004. By Invader. . With text by Invader in French with English translation. Edition of 2000 copies. - Invasion in the UK: London, Manchester, Newcastle: Invasion Guide 3. Paris: Invader, 2008. . With text by Invader in French with English translation. - L'Invasion de Paris: 1000. Control P, 2013. . 2 Volumes. Text in French and English. - Mission Miami: Art4Space Project: Invasion Guide 5. Control P, 2013. . - Wipeout in Hong Kong: Invasion Guide 6. Control P, 2015. - Invasion Los Angeles (Control P Editions, 2018), introduction and English translation by Bruno Blum. ## See also - List of street artists - Tavar Zawacki a.k.a. ABOVE – arrow icon proliferated in over 50 countries	[ "## History", "## Identity", "## Modus operandi", "## Rubikcubism", "## Reception", "## Publications", "## See also" ]	2,165	9,644
6,126,472	Vishnudevananda Saraswati	1,169,209,071	Founder of the International Sivananda Yoga Vedanta Centres and Ashrams	[ "1927 births", "1993 deaths", "20th-century American male writers", "20th-century Hindu religious leaders", "American Hindus", "American male writers of Indian descent", "Indian yoga gurus", "Modern yoga gurus", "Modern yoga pioneers" ]	Vishnudevananda Saraswati (31 December 1927 – 9 November 1993) was an Indian yoga guru known for his teaching of asanas, a disciple of Sivananda Saraswati, and founder of the International Sivananda Yoga Vedanta Centres and Ashrams. He established the Sivananda Yoga Teachers' Training Course, possibly the first yoga teacher training programs in the West. His books The Complete Illustrated Book of Yoga (1960) and Meditation and Mantras (1978) established him as an authority on Hatha and Raja yoga. Vishnudevananda was a peace activist who rode in several "peace flights" over places of conflict, including the Berlin Wall prior to German reunification. In 2007, his long-serving assistant, Julie Salter, reported sexual abuse against her by the guru; she published details of her experiences in 2019, leading at least 14 other women to report their experiences of similar abuse by Vishnudevananda. ## Early life and training Vishnudevananda was born Kuttan Nair in Kerala, South India, on 31 December 1927. During his short career in the Indian Army in 1944, he was inspired by a pamphlet, Sadhana Tattwa, written by the yoga guru Sivananda, founder of the Divine Life Society. He entered the Sivananda Ashram by the River Ganges in Rishikesh in 1947 at the age of twenty. He took sannyas, becoming a monk, in February 1949, and was appointed the first professor of hatha yoga at the Sivananda Yoga Vedanta Forest Academy. In this capacity, he trained many students in the Pacific Rim area in 1957, and became a recognised yoga guru. ## Sivananda Yoga ### A practice for the West Vishnudevananda arrived in San Francisco in December 1957, and began to teach yoga; he moved to New York to teach hatha yoga in 1958. The practice he taught, which he named Sivananda Yoga after his guru, consisted largely of asanas, yoga postures, but rather than emphasising yoga as exercise, he taught a combination of yoga philosophy, the shatkarmas or purifications, the sattvic diet, and pranayama, breath control, alongside the postures. He is credited as the asana pioneer within Sivananda Yoga. He condensed the teachings of classical yoga into five principles: proper exercise, proper breathing, proper relaxation, proper diet (vegetarian), and meditation and positive thinking. In the 1960s, he introduced The Beatles to yoga. ### The Complete Illustrated Book of Yoga He published his guide to hatha yoga, The Complete Illustrated Book of Yoga, in 1960. It was one of the first reference books on asanas; it was illustrated throughout with 146 large monochrome studio photographs of Vishnudevananda, wearing swimming shorts, demonstrating the poses. It has been translated into at least thirteen languages, and was said to have sold over a million copies by 1989. The book took Surya Namaskar, the salute to the sun, which Sivananda had promoted as a health cure, and presented it as fitness exercise. ### Centers and ashrams Vishnudevananda founded the first Sivananda Yoga Vedanta Centre in Montreal, Quebec, Canada, in 1959. He set up the first yoga vacation in Val-Morin, Quebec, (on 11th Avenue) in 1961; this has since become a tradition in the Sivananda Yoga Vedanta Centres and Ashrams. In February 1962, Vishnudevananda saw the present site of the Yoga Camp in Val Morin, and chose to settle in the dense forest area near the Laurentian Mountains. The Sivananda Yoga Vedanta Centre was opened there on 19 September 1962 by Marcia Moore, an American trained by Vishnudevananda a few years earlier. Vishnudevananda founded the Sivananda Ashram Yoga Retreat on Paradise Island in the Bahamas in 1967. He established the Sivananda Ashram Yoga Farm in 1971 in Grass Valley, California. In 1974, Vishnudevananda inaugurated a fourth ashram, in Woodbourne, New York, near the Catskill Mountains, and in February 1978, he inaugurated the Sivananda Yoga Vedanta Dhawanthari Ashram in Neyyar Dam, near Thiruvananthapuram in the foothills of the Sahyadri Mountains, Kerala. A small Himalayan ashram, Sivananda Kutir, was established in Netala, just outside Uttar Kashi on the banks of the Ganges. As of 2021, the organization founded by Vishnudevananda has 11 ashrams and 31 centers around the world. In addition, it has 33 affiliated centers. ## Peace missions In reaction to a vision of a world in peril, Vishnudevananda began his peace mission. The first act was to create the Sivananda Yoga Teacher Training Course in 1969; this is said to be the first training programme for yoga teachers. Later he conducted peace flights over the world's trouble spots, earning himself the name "The Flying Swami". On 30 August 1971, Vishnudevananda piloted his Peace Plane from Boston to Northern Ireland, a twin-engine Piper Apache plane painted by artist Peter Max. Upon landing, he was joined by actor Peter Sellers. Later that same year, on 6 October, he took off with his co-pilot Bren Jacobson, who had been with him during the entire trip, from Tel Aviv to fly over the war-ridden Suez Canal and was buzzed by Israeli jets. The same thing happened with the Egyptian Air Force on the other side of the Canal. He continued eastward, "bombing" Pakistan and Bangladesh with flowers and peace leaflets. On 15 September 1983 Vishnudevananda flew over the Berlin Wall, from West to East Berlin, in a highly publicized and dangerous mission to promote peace. In 1984, he and his students toured India in a double-decker bus, conducting programs to awaken the Indian people to their ancient tradition of yoga. In February he tried to mediate between the Hindu and Sikh factions in Amritsar, entering the Golden Temple to speak to the Sikh leaders who had sought refuge there. Over the years, Vishnudevananda met regularly with other spiritual and religious leaders to promote interfaith dialogue and understanding; among other things, Catholic students studied Yoga at the Sivananda center in Larchmont. He organized yearly symposia on topics relating yoga to modern life. Vishnudevananda died on 9 November 1993. His body was then placed into the Ganges at the Sivananda Kutir, and the rite named jalasamadhi was performed, merging the abandoned body with the water. ## Allegations of abuse Julie Salter worked for 11 years as Vishnudevananda's personal assistant, until his death in 1993. She has stated that she was continuously overworked and sleep-deprived, and that she became dependent and unable to leave. She stated that for three of these years Vishnudevananda abused her sexually. In 2007, Salter reported sexual abuse committed against her by Vishnudevananda to The International Sivananda Yoga Vedanta Centres, but they did not accept her allegations. In November 2019, Salter posted a personal testimony to Facebook, detailing the long-term physical, mental, and sexual abuse she received from Vishnudevananda. The testimony prompted several other women to publish their own testimonies about abuse by Vishnudevananda; Pamela Kyssa stated on Salter's thread that Vishnudevananda had raped her in 1974. The next month, December 2019, the Board of Directors published an apology for not believing her 2007 allegations. The Board promised to run an independent investigation of the allegations made by Salter and others. The investigator, Marianne Plamondon of Langlois in Montreal, declined to comment on whether the results of the investigation would be made public. Salter and 14 other women described their experiences, including alleged rape, to the BBC journalist and Sivananda yoga teacher Ishleen Kaur. Salter stated that when she told Vishnudevananda she did not understand his instruction to lie down next to him, he replied "Tantra yoga", implying some form of spiritual sexual activity. ## Works - The Complete Illustrated Book of Yoga (The Julian Press, 1960 ; Three Rivers Press, 1988, ) - Meditation and Mantras (Om Lotus Publications, 1978; Penguin Ananda, 2014, ) - Yoga: the Hatha Yoga Pradipika (Motilal Banarsidass, 1987; Om Lotus Publications, 1987, )	[ "## Early life and training", "## Sivananda Yoga", "### A practice for the West", "### The Complete Illustrated Book of Yoga", "### Centers and ashrams", "## Peace missions", "## Allegations of abuse", "## Works" ]	1,882	35,145
2,274,184	Finnieston Crane	1,143,271,239	Disused giant cantilever crane	[ "Category A listed buildings in Glasgow", "Individual cranes (machines)", "Industrial buildings completed in 1931", "Shipyard cranes", "Tourist attractions in Glasgow" ]	The Finnieston Crane or Stobcross Crane is a disused giant cantilever crane in the centre of Glasgow, Scotland. It is no longer operational, but is retained as a symbol of the city's engineering heritage. The crane was used for loading cargo, in particular steam locomotives, onto ships to be exported around the world. It is one of four such cranes on the River Clyde, a fifth one having been demolished in 2007, and one of only eleven giant cantilever cranes remaining worldwide. ## History The first crane to be called 'Finnieston Crane' was moved from a site opposite York Street to Finnieston Quay in 1848. It was tested with a load of 30 tons of pig-iron and ready for use at the end of April of that year. A newspaper report mentions the crane would be entirely used for lifting machinery on board steam-vessels. Queens Dock was opened in August 1877 as a 61-acre (25 ha) dock for exporting goods from the centre of Glasgow. A 130-tonne (130-long-ton; 140-short-ton) steam crane was constructed west of the current one in the 1890s, until it was demolished to make way for a proposed bridge crossing between Finnieston Quay and Mavisbank Quay that was never built. The present crane, constructed as a replacement, was the last giant cantilever crane to be built on the Clyde. It was commissioned in June 1928 by the Clyde Navigation Trust, the operators of the port and dock facilities in Glasgow, completed in 1931 and commenced operation in 1932. The tower was built by Cowans, Sheldon & Company of Carlisle and the cantilever by the Cleveland Bridge & Engineering Company, under the supervision of Daniel Fife, mechanical engineer to the Clyde Navigation Trust. The contract to build the crane did not go to Sir William Arrol & Co., who had significant experience in dock cranes, and built a number of other cranes along the Clyde including the Titan Clydebank, although Arrol was involved in the design of the foundations. The total cost of the crane and foundations was £69,000, 85% of which was met by the Trust. It is properly known as the "Stobcross Crane" or "Clyde Navigation Trustees crane \#7", but its proximity to Finnieston Quay, and the fact that it was intended to replace the previous Finnieston Crane, has led to its being popularly known as the Finnieston Crane. ## Public artwork Commissioned as part of the TSWA 3D exhibition, and displayed during Glasgow's 1987 Mayfest arts festival, a full-size replica locomotive made from straw by local sculptor George Wyllie was hauled from the old Hyde Park Works in Springburn and suspended from the crane, then hauled back to Springburn and burned to reveal the metal framework underneath. After Wyllie's death in May 2012, a giant question mark was suspended from the crane in an acknowledgement of his work. In 2013, microphones were attached to the crane by American artist Bill Fontana, to record the sounds made by the structure. ## Purpose Connected to a spur of the Stobcross Railway, the crane's primary purpose was the lifting of heavy machinery, such as tanks and steam locomotives, onto ships for export. As many as 30,000 locomotives were hauled through the streets of Glasgow by Clydesdale horses, traction engines and diesel tractors, from the works at Springburn to the crane for export to the British Empire. The crane is (as of 1988) not in working order, but is retained as a symbol of the city's engineering heritage. ## Design The Finnieston Crane is a giant cantilever crane, 53 metres (175 ft) tall with a 46-metre (152 ft) cantilever jib. It has a lifting capacity of 175 tons, and could perform a full rotation in three and a half minutes. It can be ascended either by a steel staircase or an electric lift, the only example of such a personnel lift in Britain. It is also the only crane fitted with a horizontal rail to permit movement of the jigger hoist, an auxiliary crane intended to handle lighter loads. The docks serviced by the crane were closed in 1969, and have since been filled in and redeveloped. The North Rotunda (part of the defunct Clyde Harbour Tunnel) stands to the east of the crane, and the Scottish Exhibition and Conference Centre and the Clyde Auditorium to the west. It is one of four such cranes on the Clyde, after the Fairfield Titan was demolished in 2007, and one of only eleven giant cantilever cranes remaining worldwide. The crane can be seen in the background of Reporting Scotland broadcasts from BBC Pacific Quay and also in the backdrop of Live at Five on STV 2. ## Cultural references The Finnieston Crane is the subject of a sketch in Limmy's Show!, a Scottish anti-humour sketch show broadcast on BBC Two Scotland, written and directed by Brian "Limmy" Limond. In character as Dee Dee, a zoned-out Glaswegian waster with a loose grip on reality, he recalls a dream he had that he can't be sure happened or not, where he had a party at the top of the 'Finneston Cran' with his father and sister. > “It was me, ma Sister and ma Da, and we wur huvin’ a party. But somehow we wur huvin’ it up the top a’ that Finnieston Cran. That’s whut makes me ‘hink it nevur happened 'cuz that canny be done.” - Dee Dee, Limmy’s Show	[ "## History", "## Public artwork", "## Purpose", "## Design", "## Cultural references" ]	1,210	9,870
39,671,032	1882 Navy Midshipmen football team	1,170,577,315	American college football season	[ "1882 college football season", "1882 in sports in Maryland", "College football undefeated seasons", "Navy Midshipmen football seasons" ]	The 1882 Navy Midshipmen football team represented the United States Naval Academy in the 1882 college football season. The team was the second intercollegiate football squad to represent the United States Naval Academy, and the first since 1879. The team was coached by player-coach Vaulx Carter, and was entirely student-operated. It was captained by squad member Alex Jackson. The team played just a single game, an 8 to 0 (8–0) shutout of Johns Hopkins, which was the school's first ever win. The squad was entirely student operated, and was not supported by the Naval Academy's faculty. The season would mark the beginning of eight season rivalry between the Midshipmen and Johns Hopkins. ## Prelude It is widely believed by football researchers that the playing of intercollegiate football began in November 1869, when a player at Rutgers University challenged another player at the nearby College of New Jersey (now Princeton). The contest more closely resembled soccer, with teams scoring by kicking the ball into the opponent's net, and lacked a uniform rules structure. The game developed slowly; the first rules were drafted in October 1873, and only consisted of twelve guidelines. Even though the number of teams participating in the sport increased, the game was still effectively controlled by the College of New Jersey, who claimed eight national championships in ten years. Only Yale presented any form of challenge, claiming four national championships in the same time period. The Naval Academy's first ever football team was fielded in 1879. The squad was entirely student-operated, receiving no official support from Naval Academy officials. The team was entirely funded by its members and their fellow students. This would continue until 1892, when that season's team was led by coach Ben Crosby. The 1879 team participated in just one game, which resulted in a scoreless tie. It was played against the Baltimore Athletic Club, at most likely an unused drill field on the Naval Academy campus. Navy would not field a football team in 1880 or 1881, likely due to the lack of support. ## Schedule ## Season summary ### Navy 8, Johns Hopkins 0 The 1882 season began when second-year cadet Vaulx Carter formed a team, which he led as both a player and the coach. Alex Jackson was appointed captain of the squad. Carter scheduled a single game for the season, which was played on Thanksgiving Day against the Baltimore-based Clifton Football Club. The Clifton team was made up of players from Johns Hopkins University, who were unable to play for their school due to their administrator's negative views towards the sport. Navy's team itself played without official permission; the first year the team received approval was in 1885, when, according to Morris Allison Bealle, "some of the faculty actually gave in and admitted that football might, at that, be or become an interesting diversion". It snowed heavily before the game, to the point where players for both teams had to clear layers of snow off of the field, making large piles of snow along the sides of the playing ground. The field was 110 yards by 53 yards, with goalposts 25 feet (7.6 m) apart and 20 feet (6.1 m) high. The first half of the game went scoreless; the Baltimore American reported that "the visitors pushed Navy every place but over the goal line in the first half". During play, the ball was kicked over the seawall a number of times, once going so far out it had to be retrieved by boat before play could continue. The American described the second half in detail: After ten minutes interval the ball was again put in play, this time being kicked off by the Cliftons. The rest period had apparently stiffened the Cliftons, for the Academy making a vigorous spurt got the ball thru them, and Street, following it up well, scored a touchdown for the Academy. The try at goal failed, but the ball, instead of going to the Cliftons behind the line, fell into the field and into the hands of one of the Academy team. By a quick decisive run, he again got the ball over the Cliftons goal line and scored a touchdown. Cadet George Washington Street, of Wisconsin, was identified as the first person ever to score a touchdown for the Naval Academy. The Baltimore Sun stated that William Abrose O'Malley, of Pennsylvania, was the cadet who caught Street's blocked kick and scored the second touchdown. The Sun also covered, in detail, the uniforms the squads wore; Johns Hopkins sported blue, black, and white striped uniforms, while the Naval Academy wore maroon and white uniforms. Both teams also nailed strips of leather to the bottom of their shoes to help deal with slipping. ## Players and coaching staff ### Players The 1882 Naval Academy team was made up of eleven players at five different positions. The squad consisted of four rushers, two ends, two tackles, two guards, and a center: Rushers - Alex Jackson (capt.) - Vaulx Carter - William O'Malley - Julius Dashiell Ends - Frank Hill - Ned Tilden Guards - James Kitrell - Jim O'Leary Tackles - Tremlet Toney - Foxhall "Kid" Parker Center - George Washington Street ### Coaching staff Vaulx Carter took on coaching duties for the 1882 team. He was the academy's first coach; it was not until a decade later, in 1892, when Ben Crosby was hired as the school's next coach. The squad also appointed an official umpire, the only time it would ever do so. Its three staff members were: Head coach - Vaulx Carter Manager - Elton Dalrymple Umpire - Allen McLain ## Postseason and aftermath The first postseason college football game would not be played until 1902, with the Pasadena Tournament of Roses' establishment of the east-west tournament game, later known as the Rose Bowl. The Midshipmen would not participate in their first Rose Bowl until the 1923 season, when they went 5–1–2 and tied with the Washington Huskies 14–14 in the match. As a result of the lack of a competition, there were no postseason games played after the 1882 season. According to statistics compiled by the National Championship Foundation, Parke Davis, and the Billingsley college football research center, Yale was declared the 1882 season champion, giving them their eighth championship overall. The Midshipmen's win was the first in school history, and continued the team's shutout streak. They would lose their only game in the 1883 season, ending the consecutive shutouts, and the Naval Academy would not get another shutout until the 1886 season, when they defeated Johns Hopkins 6–0. The 1882 season also marked the start of an eight-season long rivalry with Johns Hopkins, which Navy would win, five games to four. The team would not have another coach until the 1892 season, when Ben Crosby was hired to lead. Navy would finish the 1880s with four winning seasons, and an overall record of 14–12–2. The squad would outscore their opponents 292–231, and would finish the 19th century with an overall record of 54–19–3. ## See also - List of the first college football game in each US state	[ "## Prelude", "## Schedule", "## Season summary", "### Navy 8, Johns Hopkins 0", "## Players and coaching staff", "### Players", "### Coaching staff", "## Postseason and aftermath", "## See also" ]	1,562	19,721
37,299,635	WestJet Encore	1,168,475,904	Canadian regional airline	[ "2013 establishments in Alberta", "Air Transport Association of Canada", "Airlines established in 2013", "Canadian brands", "Canadian companies established in 2013", "Companies based in Calgary", "Low-cost carriers", "Regional airline brands", "WestJet" ]	WestJet Encore is a Canadian regional airline headquartered in Calgary, Alberta that operates feeder flights for WestJet, owned by the same parent company WestJet Airlines, Ltd. In response to internal market studies about future growth limitations by WestJet Airlines operating only Boeing 737 aircraft, WestJet Encore was formed in 2013 to allow the increased frequency of flights by using smaller aircraft and to expand service to routes with less traffic. The airline operates a fleet of turboprop aircraft: the De Havilland Canada Dash 8. They operate 47 Q400NextGen aircraft, a variant of the original De Havilland Canada Dash 8. WestJet Encore is the fourth largest operator of the Q400 series. A pilot base is in Calgary, where many WestJet Encore flights operate. Air service originally started in Western Canada, but routes in the country's eastern half were added later. The airline was initially staffed with non-union employees, but the pilots and cabin crew have since unionized. WestJet Encore participates in the WestJet Rewards, a revenue-based frequent flyer program that offers flight discount rewards. ## History ### Market conditions leading to formation (2005–2013) Prior to the formation of WestJet Encore, WestJet Airlines, Inc. internal studies concluded in 2005, when the company had 50 Boeing 737 aircraft, that WestJet would saturate the Canadian commercial airline market when it reached a 90–100 Boeing 737 aircraft fleet. WestJet Airlines became the second-largest airline in Canada in 2002. Solutions included slowing expansion of the airline or adding smaller aircraft models to serve routes with less traffic. The absence of turboprop aircraft in the WestJet fleet was seen as a disadvantage compared to competitor Air Canada. In some cases where Air Canada had smaller aircraft, WestJet either avoided the market or had only one daily flight using a Boeing 737, an aircraft much larger than the ones Air Canada used. Having more flights on a route than a competitor is a competitive advantage. WestJet made an initial order of 20 Bombardier Q400 NextGen aircraft through a letter of intent on May 1, 2012, which resulted in a conditional order on June 28, 2012. A firm order of 20 Q400 NextGen and 25 options was announced on August 1, 2012. The ATR-72-600 had been considered, having a lower initial acquisition price and better fuel economy on short flights but slower speed, worse fuel economy on longer flights and slightly less passenger capacity. ### Inauguration of air service and operating conditions The parent company, WestJet Airlines, Ltd., formed WestJet Encore, which is a wholly owned but legally separate airline from WestJet. Prior to the selection of the Encore name, other names were considered, including Chinook, Echo, and Reach. Calgary was selected for the WestJet Encore corporate headquarters but Toronto Pearson International Airport was also considered. WestJet Encore received an Air Operator Certificate separate from WestJet Airlines on June 12, 2013. On June 24, 2013, with two Q400s in its fleet, it began flights. That day, the airline flew between Calgary International Airport and Saskatoon, Nanaimo (British Columbia), and Fort St. John (British Columbia) as well as between Fort. St. John and Vancouver. The IATA assigned WestJet Encore an airline code of "WR", which had previously been used by Royal Tongan Airlines. Some WestJet Encore flights were new routes not served by the WestJet mainline carrier because there was insufficient traffic to support Boeing 737 flights. Other WestJet Encore flights increased frequencies on existing WestJet routes. WestJet Encore's service was initially limited to Western Canada, but it opened service in the eastern part of the country in June 2014 with a route from Toronto to Thunder Bay, Ontario. It later began service on eastern routes centred on Toronto and Halifax. WestJet Encore moved into the international market in 2016, with flights serving Boston Logan Airport; Nashville International Airport was added the following year. WestJet Encore flies Q400 NextGen on regional flights up to 700 nautical miles. 50% of WestJet Encore passengers are travelling on connecting flights with WestJet. The WestJet Encore fleet of Q400s expanded to 18 aircraft by March 2015, and later to 34 aircraft by December 2016 and to 43 aircraft by December 2017. In 2015, WestJet Encore was the fastest-growing operator of Q400 aircraft. By 2017, it was the fourth largest operator of Q400 aircraft in the world. In August 2015, WestJet Encore adopted a revised livery. The tail and type style used with the word "WestJet" remained the same, but the teal-and-blue geometric widget ahead of the WestJet titles was replaced with a teal-and-blue stylized maple leaf with a similar pattern. Westjet Encore has a partially unionized workforce. Initially having an entirely non-union staff, the airline became a target for union drives starting in 2014. Starting January 1, 2016, the airline management initiated WestJet Pilots Association, a subgroup of the WestJet Proactive Management Team, to ratify pilot contracts between with WestJet Encore. The pilots union which represents many pilots that fly for U.S. carriers, the Air Line Pilots Association, was successful in unionizing the 500-pilot workforce in November 2017. A pilot base is located in Calgary. WestJet pilots are required to be Canadian citizens or Canadian permanent residents. Pilot shortages in the airline industry have affected WestJet Encore, resulting in requirements that newly hired pilots need only 1,000 flight hours of experience prior to hiring, `which has been lowered to 250. Pilots are guaranteed an eventual higher paying position flying larger jets at WestJet, unlike competitor airline Jazz, which does not offer guarantees of an eventual job at Air Canada. WestJet Encore and its flight attendants reached an agreement regarding compensation and work rules beginning January 1, 2018, for a one-year period. However, the Canadian Union of Public Employees (CUPE), which was not a party to the agreement, announced that it would continue efforts to unionize the flight attendant ranks.` On October 31, 2016, a \$2 billion, two million square foot international terminal for U.S. cross border and international flights opened at Calgary International Airport, the largest hub of WestJet Encore and its affiliate WestJet. Despite consultation with the airlines, the terminal design proved problematic. The Calgary Airport Authority CEO characterized the new terminal as being "long on aesthetics and short on functionality." There is reduced aircraft efficiency due to the need to tow aircraft to another concourse if an aircraft is used for both domestic and either U.S. cross border or international flights as well as the need to hire additional staff because they cannot be deployed to more than one concourse due to long walking distances. The baggage system of the new terminal is inoperable with the rest of the airport from 2016 to 2019. Passenger problems include WestJet trans-border and international gates being up to a two-kilometre walk to the domestic WestJet gates as well as lack of enough seating at the gate so passengers sit on the floor. These problems are seen as a threat to passenger traffic, which might be driven to other connecting airports, such as Seattle or Vancouver, cities that WestJet Encore has fewer or no flights serving. ## Corporate affairs ### Management WestJet Encore is a wholly owned company of WestJet Airlines, Ltd. Sales and marketing of WestJet Encore flights are conducted by WestJet, An Alberta Partnership, which is jointly owned by two corporate entities owned by WestJet Airlines, Ltd. The first president of WestJet Encore was Ferio Pugliese, who retained his title of Executive Vice President at WestJet Airlines, Ltd. He was hired in November 2012 coming from WestJet, where he began work in 2007. He left in 2016 to become an Executive Vice President at Hydro One Ltd., an electricity company and in 2018 subsequently he is now a Senior Vice-President for Air Canada. He was replaced in September 2016 by Charles Duncan, an American who previously worked as Senior Vice President of Technical Operations at United Airlines and, earlier in his career, was Chief Operating Officer at Continental Micronesia. ### Financials Financial statistics are not released separately for WestJet Encore but reported for WestJet Airlines, Ltd., which comprises several units and the larger WestJet Airlines. WestJet Encore has increased traffic in markets that it served as well as lowered airfares 30–40% than was previously available. ## Destinations WestJet Encore flies regional routes throughout Canada, primarily to or from Calgary. Routes include smaller cities, such as Brandon, Manitoba to Calgary, two cities with an oil industry. This new service re-introduced air service to Brandon. Other routes are increased frequencies on existing WestJet routes, such as between Calgary and Saskatoon. WestJet Encore services four destinations outside of Canada, namely Nashville, Portland, OR and Seattle. WestJet Encore operated flights between Kelowna, British Columbia and Fort McMurray, Alberta, neither a WestJet Encore hub airport, from 2014 to 2016 but discontinued flights amid a decline in the oil industry due to lower oil prices. WestJet Encore flights are numbered as flight 3100 to 3899. ## Fleet WestJet Encore operates one type of aircraft, the De Havilland Canada Dash 8-400 NextGen, an updated version of the Dash 8-400 with updated landing gear, redesigned interiors, lighting, and larger overhead cabin storage. In turn, the Dash 8-400 is an updated version of the De Havilland Canada Dash 8-400 that has active noise suppression to create a quieter passenger cabin. To prevent freezing of water lines during overnight stays at airports with cold weather, the airline rendered the water flow to the lavatory basins inoperative in 2013. WestJet Encore uses a navAero supplied Windows-OS based electronic flight bag (EFB) that can connect to the aircraft. In conjunction with a WestJet developed Integrated Communication and Application System (ICAS), objective flight data can be shared with maintenance personnel improving aircraft efficiency. One example of use would be after an aircraft was subjected to severe turbulence, EFB and ICAS could determine whether or not objective thresholds were exceeded. If such thresholds are not exceeded, four hours of maintenance and inspection are avoided instead of having pilots subjectively characterize the level of turbulence. As of December 2021, the WestJet Encore fleet consists of the following aircraft: ## Marketing WestJet Encore participates in WestJet Rewards, a frequent flyer program and loyalty scheme originally started by WestJet. Instead of miles or points, WestJet Dollars are earned by participants and can be redeemed as full or partial payment of future airfare. Participants earn 1% of their airfare in WestJet Dollars. Elite level participants, who spend \$3000 or more per year in WestJet airfare are classified as Silver or Gold and earn a 3% or 5% rate in WestJet Dollars. WestJet also participates in WestJet Rewards as does Air France (2017–present), KLM (2017–present), Delta Airlines (2014–present), and Qantas (2016–present). WestJet Dollars earned as a base amount do not expire but bonus amounts have an expiry date. Passengers flying on WestJet Encore may alternatively receive credit in Air France/KLM Flying Blue, Delta Skymiles, or Qantas Frequent Flyer ## Cabins and services As well as economy class seating, WestJet Encore aircraft has a designated Premium section. Unlike the Premium section on the mainline carrier, WestJet, it does not have increased legroom. The Premium section on WestJet Encore has seating in the forward part of the cabin and does not have change fees when changing flights ticketed. The majority of WestJet Encore flights do not use jet bridges and are instead ground loaded, meaning the passengers exit the terminal onto the apron before stepping on to the aircraft. WestJet Encore aircraft do not have drop down oxygen masks, which are not required by regulations due to the aircraft's certification to operate up to 25,000 feet in altitude. Food is available for purchase. WestJet Encore does not operate airport lounges but has arrangements with private, non-airline affiliated airport lounges where WestJet Encore passengers are extended a discount for pay-for-visit use. ## See also - WestJet Link	[ "## History", "### Market conditions leading to formation (2005–2013)", "### Inauguration of air service and operating conditions", "## Corporate affairs", "### Management", "### Financials", "## Destinations", "## Fleet", "## Marketing", "## Cabins and services", "## See also" ]	2,591	42,486
65,952,081	Heartbreaker (Inna album)	1,171,955,071	null	[ "2020 albums", "Inna albums", "Pop albums by Romanian artists" ]	Heartbreaker is the seventh studio album by Romanian singer Inna. It was released for streaming to YouTube and SoundCloud by Global Records on 27 November 2020, and was issued to fellow platforms and released for digital download a week later under the same label. An EDM, Middle Eastern and Latin-influenced dance-pop release, the album was preceded by Inna's retransition to the EDM genre following the release of Yo (2019), her experimental and gypsy-inspired sixth studio album. Heartbreaker was created over the course of three weeks in a mansion where Inna resided with Romanian songwriters and producers Sebastian Barac, Marcel Botezan, David Ciente, Alexandru Cotoi and Minelli. To document the progress made on what was initially planned to be an extended play (EP), Inna uploaded daily YouTube vlogs that constituted the first season of her Dance Queen's House series. However, the EP was ultimately scrapped after the creation of over 50 songs to choose from. Heartbreaker was aided by the release of two singles—"Flashbacks" and "Maza". The former reached number one in Russia's radio ranking, and the top ten in Romania, Bulgaria, Ukraine and the Commonwealth of Independent States. ## Background Inna released her sixth studio album Yo in May 2019, which was jointly distributed by Global Records and Roc Nation. Containing songs written solely in Spanish, the singer took the entirety of creative control over the album and worked extensively with Romanian producer David Ciente. Inna described Yo's material as experimental and gypsy-influenced, marking a departure from her previous EDM work. With the release of "Bebe" in November 2019, Inna's fourth number one on the native Airplay 100 chart, she retransitioned to the EDM genre; it was the first in a string of several non-album singles. ## Creation and release Heartbreaker was created during a three-week period in November 2020 at a rented Bucharest mansion with two recording studios, in which Inna resided with Romanian songwriters and producers Sebastian Barac, Marcel Botezan, Ciente, Alexandru Cotoi and Minelli. Inna documented the progress made during daily vlogs on her YouTube channel—which constituted the first season of her series called Dance Queen's House—that ran from 3 to 21 November 2020. The record was initially supposed to be an extended play (EP) released on 20 November 2020. Inna's 19 November 2020 vlog featured Romanian singer Antonia, which prompted InfoMusic writer Raluca Chirilă to speculate that Heartbreaker included a collaboration between Inna and the singer. On the same occasion, Inna confirmed that the project had been expanded to a studio album and postponed to 27 November, with over 50 songs having been created to choose from. A Zoom party was held during Inna's vlog on 21 November 2020 for fans to listen to demo versions of the chosen songs for the album; the tracks went on to be finished as well as mixed and mastered the following week. "Madja Jadja", a demo of what later became "Maza Jaja", was uploaded to SoundCloud on 22 November 2020. Inna revealed the album's final title, Heartbreaker, and a preliminary tracklist through Instagram posts on 27 November. On the same date, the album was issued for streaming to YouTube and SoundCloud, with its release to fellow platforms and for digital download following on 4 December 2020. Global Records handled the release process, and additionally issued all 10 songs on Heartbreaker as promotional singles on 4 December. ## Critical reception and composition Bradley Stern of MuuMuse called Inna a "solid supplier" and "damn prolific", praising her decision to issue a completely new body of work with Heartbreaker and not stretch it out by not adding the previously released non-album singles to its tracklist. Stern further applauded the album's release strategy as a "power move", and jokingly concluded: "[The album] came right after [Spotify's] \#Wrapped2020 happened. I will be launching a Change.org petition to have Spotify recount the votes immediately." Running for approximatively 30 minutes, Heartbreaker consists of EDM, Middle Eastern and Latin-influenced dance-pop songs that are written in both English and Spanish. The album opens with the Arabic music and reggaeton-inspired "Maza Jaja" and "One Reason", with Stern commenting that the latter is "bound to be on heavy rotation at my Russian barbershop in Midtown that solely blasts deep house dance hits". Dance-Charts' Manuel Probst commended Heartbreaker as "top notch" and singled out "Flashbacks" as his favorite track, noticing "atmospheric" sounds, a piano loop and slap bass in its composition. The "drama[tic]" song is followed by "Beautiful Life", which Stern compared to material released by Danish singer Medina. The Spanish-language "label brag" "Gucci Balenciaga" includes the explicit lyrics "me importa una mierda" (Spanish: "I don't give a shit"), and is followed by the title "Heartbreaker", which InfoMusic's Alex Stănescu picked as the album's highlight, noticing its oriental influences as well as the use of a synthesizer and vocal chopping. While Stern likened "Sunset Dinner" to American recording artist Britney Spears' "Change Your Mind (No Seas Cortes)" off her 2016 studio album Glory, he praised "Thicky" as "stand[ing] out above the rest". Seeing it as a "hypnotic dance floor anthem" and "a spiritual successor" to American singer Dev's "In the Dark" (2011), the writer noted "award-worthy lyricism that would make someone like Nadia Oh proud", including lines such as "He likes the kitty, I dog with it" and "Go down, stay there... don't move..." ## Promotion and singles On 20 January 2021, "Flashbacks" was serviced to Romanian radio stations as the lead single of Heartbreaker; the song was also aided by a music video released that month. Upon entering the Shazam chart in Russia, "Flashbacks" experienced commercial success on the radio ranking in the region, as well as in those of Romania, Bulgaria, Ukraine and the Commonwealth of Independent States, peaking at numbers one, four, seven, nine and two, respectively. After performing "Maza Jaja" live on Selly Show, the Artist Awards and Untold Festival in December 2020, Inna released a marginally remastered version of the song—titled "Maza"—as the album's second single on 11 June 2021 alongside a music video. Other renditions of "Maza" include French lines from Black M and the contribution of Thutmose, respectively. ## Track listing All tracks lyrics written by Elena Alexandra Apostoleanu (Inna) and Luisa Luca whereas musical composition was done by producers Alexandru Cotoi, Sebastian Barac, Marcel Botezan and David Ciente. Additionally, Nicole Ariana provided additional lyrics "You and I" and "Thicky", while Andres Alcaraz provided additional lyrics on "Gucci Balenciaga". ## Release history	[ "## Background", "## Creation and release", "## Critical reception and composition", "## Promotion and singles", "## Track listing", "## Release history" ]	1,520	13,367
70,248,027	Tiger Fire	1,171,895,415	Wildfire in Yavapai County, Arizona	[ "2021 Arizona wildfires", "Prescott National Forest" ]	The Tiger Fire was a wildfire that burned 16,278 acres (6,587 ha) in the U.S. state of Arizona from June to July 2021. The fire was caused by a dry lightning strike in the Prescott National Forest. Although Horsethief Basin Lake was evacuated and both the community of Crown King and the census-designated place of Black Canyon City were threatened, no injuries or deaths were reported, and no buildings were destroyed. Over 300 fire personnel were assigned to contain the blaze. ## Events ### Cause The fire began at around 2 pm (MDT) on June 30, 2021, in the Castle Creek Wilderness in the Prescott National Forest. The fire was caused by dry lightning from passing thunderstorms. ### Wildfire One day after the fire ignited, on July 1, the fire had burned 1,700 acres (690 ha) of land and was burning in steep, rugged terrain 11 mi (18 km) east of Crown King. Heavy smoke from the fire was visible along Interstate 17 near Sunset Point, Arizona. By the end of the following day, the fire had already burned 5,567 acres (2,253 ha) and was burning 3 mi (4.8 km) northwest of Black Canyon City, where a 2015 wildfire had scorched 4,900 acres (2,000 ha). At this point, approximately 63 fire personnel were working to control the blaze, using equipment including two helicopters. By 8:30 am on July 4, the completely-uncontained blaze had burned 9,800 acres (4,000 ha). A total of 159 personnel were working on easing the fire to keep it under control. Throughout the day, aerial firefighting was effective on the southern and eastern perimeters. An evacuation order was issued for Horsethief Basin Lake due to winds pushing the fire towards the reservoir, while Crown King was put on high alert. On the same day, scattered rain showers slowed the expansion of the fire and reduced its activity. The greatest concentration—approximately 2.65 in (67 mm) of rain—landed towards the south of the fire. By July 7, the fire had burned 12,133 acres (4,910 ha) due to high temperatures and low humidity caused by a high-pressure system hovering over Arizona on July 6. A total of 323 personnel were working on containing the fire. On July 15, with a burned area of more than 16,000 acres (6,500 ha), the fire reached 59% containment; all evacuation orders were lifted, and although there was no threat of the fire spreading any further, firefighters continued to monitor containment lines throughout the day. The Tiger Fire was fully contained on July 30 after burning a total area of 16,278 acres (6,587 ha). ### Aftermath The Tiger Fire burned 16,278 acres (6,587 ha) of dry grass and brush, with over 300 fire personnel responding to the blaze. The fire cost \$5,644,000 (2021 USD) to suppress. A shelter was opened at New River Elementary School near Black Canyon Highway for evacuees affected by the blaze. No buildings were destroyed, and no injuries or deaths were reported for the duration of the fire. ## Gallery	[ "## Events", "### Cause", "### Wildfire", "### Aftermath", "## Gallery" ]	683	21,893
45,068,351	Adrift in a Great City	1,167,127,226	null	[ "1910s American films", "1910s English-language films", "1914 drama films", "1914 films", "1914 lost films", "American black-and-white films", "American drama short films", "American silent short films", "English-language drama films", "Lost American drama films", "Silent American drama films", "Thanhouser Company films" ]	Adrift in a Great City is a 1914 American silent short drama produced by the Thanhouser Film Corporation that stars Florence LaBadie. The film begins with Pat Moran who pays for the passage of his wife and daughter to join him in America, but he is seriously injured on the way to greeting them. Left by themselves, the daughter works in a sweatshop and goes blind, forcing her and her mother to become beggars. By pure happenstance, the blind girl wanders to the hospital where her father is recovering and tells her story to a doctor. The father recognizes the girl as his daughter and the family is reunited, and the doctor confirms her blindness can be cured. The film was reviewed negatively by critics for its poor scenario, settings and technical execution. The film is presumed lost. ## Plot Pat Moran, the foreman of a construction gang, worked hard to save up enough money to pay for the passage of his wife and daughter to their new home in America. On the day of their arrival, he heads to the pier to greet them and becomes involved in a serious accident. He is injured and taken unconscious to the hospital as an unidentified patient. His wife and daughter know nothing of what has befallen him and struggle to live in the city. The daughter gets a position in a sweatshop, and her eyesight deteriorates until she is unable to work anymore. Now blind, she resorts to playing the violin for money while her mother becomes a beggar. As Pat Moran recovers in the hospital, he sends messengers out to contact his wife and child, but they all fail to find them. One day, the blind girl has lost her way and stumbles into the hospital grounds. She encounters the doctor and tells him of her story and plight. Weakly reclining in a chair nearby, Pat Moran overhears her and recognizes the girl as his daughter. The grief of the separated family abates with their reunion and doctor's assurance that the blind girl that her sight can be restored. ## Cast - Florence LaBadie as the blind girl / Kathleen Moran - Sidney Bracy as Pat Moran – the prosperous father - Arthur Bauer as the doctor - Lila Chester as a nurse ## Production The scenario was written by Lloyd F. Lonergan, but the director of the film is uncredited. Little is known of the production, but a review in The New York Dramatic Mirror made the assumption that the scenes were shot in the morning. The film starred Florence La Badie, who was the most prominent player of the Thanhouser Company and frequently in the leading roles of films including The Million Dollar Mystery which would captivate the United States. The role of the father was played, Sidney Bracy, was a stage actor of considerable experience who claimed to have been affiliated with the Thanhouser players since 1910. Though Q. David Bowers says that it is probably an incorrect assertion, it is possible that Bracy may not have been a full-time member of the company. Bracy's first credited work appears in 1913, but it would not be until The Million Dollar Mystery that Bracy would garner much attention in the role of Jones, the Butler. The role of the doctor was played by Arthur Bauer who was a veteran of the stage and film, through the Great Northern Film Company, before signing onto the Thanhouser Company. The announcement of Bauer's role at Thanhouser came after the release of sixteen films, including Adrift in the Great City, on March 21, 1914. Lila Chester, played the role of a nurse in the production. Chester was claimed by a Thanhouser publicist to have appeared in over 400 films by February 14, 1914. Bowers reasons that if these productions were with Thanhouser, than most of them had to be minor roles because of the lack of attention and credits she was given. The one reel drama film, approximately 1008 feet long, was filmed in New York City and New Rochelle, New York. ## Release and reception The film was released in the United States on January 13, 1914, and later in Britain on April 13, 1914. The film had a wide release in the United States with showings in Kansas, Pennsylvania, Maryland, Indiana, North Carolina, Texas, Kentucky, Wisconsin, and Missouri. The film was met with negative reviews by critics and mixed enthusiasm by theater proprietors. The Morning Telegraph found it unbelievable and only for the sake of the plot that family would be reunited by happenstance. The Moving Picture World was negative finding that it was not a strong offering because of the plot and the camerawork having resulted in a cloudy image quality in parts of the production. The New York Dramatic Mirror found the concept of the plot to be interesting, but the execution to have been poorly executed. The review found that the production was crude, cheap and unconvincing because the set was bare and lacked the presence of onlookers on the city scenes. Advertisers like the Majestic theater of Wellington, Kansas, would prompt it as a "well told story". The Empire in Frederick, Maryland, would be equally promotional and appeal to the audience as having pretty girls in the cast. The Edisonia in Durham, North Carolina, advertised the film as a strong Thanhouser drama that was "thrilling, pathetic, interesting". The film is presumed lost.	[ "## Plot", "## Cast", "## Production", "## Release and reception" ]	1,112	19,330
57,636,042	Kids See Ghosts (song)	1,142,683,268	2018 song by Kids See Ghosts featuring Yasiin Bey	[ "2018 songs", "Kanye West songs", "Kid Cudi songs", "Mos Def songs", "Song recordings produced by Kanye West", "Song recordings produced by Kid Cudi", "Songs written by Justin Vernon", "Songs written by Kanye West", "Songs written by Kid Cudi", "Songs written by Mos Def" ]	"Kids See Ghosts" is a song by American hip hop duo Kids See Ghosts, composed of Kanye West and Kid Cudi, from their debut studio album of the same name (2018). The song features a guest appearance from Mos Def, who received credit under his real name of Yasiin Bey. It was produced by West, Kid Cudi, and Plain Pat, while additional production was handled by Andrew Dawson, Justin Vernon and Noah Goldstein. Apart from Plain Pat and Goldstein, the producers wrote the song alongside Bey. Making heavy use of synthesizers, the song draws inspiration from ambient music. Lyrically, the song reflects on the difficulties of fame and success. The song received widespread acclaim from music critics, who generally complimented Bey's vocals. They often highlighted the presence of his feature on the album, while some critics praised the lyrical content of "Kids See Ghosts" and a few appreciated the duo's chemistry. It reached number 73 on the US Billboard Hot 100, while further appearing at number 53 on the Canadian Hot 100. The song was performed live by Kids See Ghosts at the 2018 Camp Flog Gnaw Carnival. In June 2018, Tyler, the Creator shared his remix of the song, titled "Crust in Their Eyes". It was recorded that same month and features him rapping personal lyrics over the original. The remix received positive reviews from critics, mostly being praised for Tyler, the Creator's rapping; a number of them placed emphasis on his lyricism. ## Background On April 19, 2018, Kanye West announced a collaborative album with Kid Cudi. The album was revealed as being titled Kids See Ghosts by West, with him proposing the release date of June 8, 2018 for it, and he later announced that the album was set to include a song of the same name. Kid Cudi had been featured on a number of tracks by West prior to the announcement of Kids See Ghosts, such as "Welcome to Heartbreak" (2008) and "Gorgeous" (2010). West released his eighth studio album Ye on June 1, 2018, with vocals from Kid Cudi included on the tracks "No Mistakes" and "Ghost Town". "Kids See Ghosts" includes a feature from rapper Mos Def, who was credited as Yasiin Bey, which is his real name. He had collaborated with West since the start of the latter's career, with him contributing a feature to "Two Words" from West's debut studio album The College Dropout (2004). In January 2018, fellow rapper Talib Kweli teased that West and Bey were working together with an Instagram photo. The picture shows West and Bey sat at a table alongside stand-up comedian Dave Chappelle, with the three of them writing notes. However, it was not known at the time if West and Bey were working on material together. The song was produced by West, Kid Cudi, and Plain Pat, with additional production from Andrew Dawson, Justin Vernon and Noah Goldstein. The producers, excluding Plain Pat and Goldstein, co-wrote it with Bey. ## Composition and lyrics Musically, "Kids See Ghosts" is an ambient influenced song. According to The Guardian's Dean Van Nguyen, it has a rumbling beat. The song heavily features synths alongside hand drums that softly pitter-patter, accompanying the verses from Kids See Ghosts. It contains chilling sounds as well as clicking percussion and a bassline, with the latter of the three appearing during the bridge. The song includes a jungle groove. Bey performs both the bridge and the hook of the song, and his vocals are covered in electronics. Kid Cudi contributes a verse, which is accompanied by humming from him. During West's verse, he raps enthusiastically. In the lyrics of "Kids See Ghosts", the duo of the same name rap reflectively about the difficulties of fame and success. The lyrics feature respective references to religion from West and Kid Cudi. For the hook, Bey declares, "Kids see ghosts sometimes/Spirit, moving around, just moving around." In Kid Cudi's verse, he alludes to his private mental health battle while commenting on struggling to find happiness. West's performance sees him actively attempting to live up to his own legacy, as well as rapping about the public fight for his soul. On the bridge of the song, Bey recites a brief mission statement. ## Release and promotion On June 8, 2018, "Kids See Ghosts" was released as the sixth and penultimate track on Kids See Ghosts' eponymous debut studio album. The song switched position from the track list tweeted by West on May 15, 2018 that showed it as originally being slated for release as the second track. However, on the day of its release, multiple tracks from the album were mislabeled on streaming services due to a technical error, with "Kids See Ghosts" being incorrectly labeled as the album's second track, "Fire". For the first show that they were billed as Kids See Ghosts, the duo delivered a performance of the song at the 2018 Camp Flog Gnaw Carnival. "Kids See Ghosts" was the seventh track of their set, while it was the penultimate track to be performed that was released by them under the moniker of Kids See Ghosts. ## Critical reception "Kids See Ghosts" was met with widespread acclaim from music critics, with Bey's performance mostly garnering praise. Narsimha Chintaluri from HipHopDX asserted that Bey "grabs a hypnotic hook" on the song. The staff of XXL wrote that with the title track's lyrical style alongside "the context of Kids See Ghosts", the former's "driving force" is "youthful energy" and liked how Bey "takes command of the song's creeping bassline". They continued, voicing the belief that the song completes the album's "strongest sequence" while Bey contributes to forming "a strong supporting cast that aids the Kids See Ghosts narrative", along with the other featured artists. On a similar note, Exclaim! writer Riley Wallace cited Bey's appearance as one of the features that help make the album "feel like more of a larger collective" as West and Kid Cudi "feel like lead singers". Ben Devlin from musicOMH listed the feature as evidence Kids See Ghosts' guest appearances "are well-picked and serve their respective tracks in contrasting ways"; he called Bey's presence "very unassuming" on the title track and described his lyrics as "enigmatic". Nguyen considered Bey's voice to be "swathe[d]" in "gentle electronics" and noticed that the "spiritual hums" from Kid Cudi "match the rumbling beat" of the song, with him being complimentary of how West is able to "artfully fold the orchestration into the voices of his collaborators" and demonstrate his "almighty" musical ear has come back. He further made consideration that the song can be "viewed primarily as an exercise in highlighting all of Cudi's strengths" as "the more outlandish proclivities" are erased, remarking West "is frequently pulled into Cudi's lane" rather than the other way round. While Robert Christgau pointed to Bey's "envisioning" as the album's "closest brush with wisdom" in his Expert Witness column at Vice, he also named the song's "nursery rhyme in waiting" one of the best parts of Kids See Ghosts due to it being an example of how the duo of the same name "fool around like male bonders should". Reviewing for Entertainment Weekly, Chuck Arnold commented that the song "spins a jungle groove" by presenting a confrontation of "the monsters that lurk in our heads". In Rolling Stone, Christopher R. Weingarten praised Kid Cudi's lyricism. For Highsnobiety, Russel Dean Stone wrote that the atmosphere of the album is "fully embodied" on the song. ### Accolades On June 8, 2018, Pitchfork named "Kids See Ghosts" the best new track. The magazine's writer Sheldon Pearce complimented Kids See Ghosts' chemistry, noting that they do "bridge the gap between Cudi's stoner hymnals and the cursed, self-flagellating ego trips of Kanye's ye" while acclaiming the duo's rapping and the "gentle rush" of the song's music. The track was listed by Eric Renner Brown from Billboard as the 19th best song from the five albums produced by West in 2018, with him questioning that it "could be West's most lyrically limber moment" out of the recording sessions for the albums. On the Pitchfork Readers' Poll for the top 50 songs of 2018, the track was voted in at number 14. ## Commercial performance Upon the release of Kids See Ghosts, the title track opened at number 73 on the US Billboard Hot 100. The track simultaneously entered the US Hot R&B/Hip-Hop Songs chart at number 37. It was most successful in Canada, peaking at number 53 on the Canadian Hot 100. In Australia, the track reached number 84 on the ARIA Singles Chart. Elsewhere, "Kids See Ghosts" debuted at number 64 on the Irish Singles Chart. The track further charted at number 39 on the UK R&B Chart. ## Tyler, the Creator remix ### Background and composition American rapper Tyler, the Creator released a remix of "Kids See Ghosts" entitled "Crust in Their Eyes" to his SoundCloud on June 15, 2018. The title comes from a line in the remix. Tyler, the Creator had remixed West's music in the past, sharing a freestyle over "Freestyle 4" under the title of "What the Fuck Right Now" in the same year as the original's release on West's seventh studio album The Life of Pablo (2016). The previous year, Tyler, the Creator featured West on the track "Smuckers" from his third studio album Cherry Bomb. He tweeted of "Kids See Ghosts" that "i like this song alot [sic] and wrote to it the same hour i heard it", also revealing a friend sent the instrumental to him and he "recorded it that night". Tyler, the Creator posted another tweet, in which he recalled West "sent me that beat same night" and expressed strongly positive feelings of West's verse while also praising Bey's performance on the original. The remix's cover art was created by French contemporary photographer Matthieu Venot. On "Crust in Their Eyes", Tyler, the Creator raps over the original, while Bey's hook is kept. After the hook, the rapper's performance begins. The remix features personal lyrics from Tyler, the Creator, and includes references to Twitter cancellations. He begins by mentioning calling his sister and admitting to not telling her that he loves her enough. At one point, Tyler, the Creator calls out people who feel assured they are "woke but got crust in their eyes." ### Critical reception "Crust in Their Eyes" was received with positive reviews from music critics. In a review for Consequence of Sound, Ben Kaye expressed positive feelings of the lyrical content. Grace Fleisher from Dancing Astronaut asserted that Tyler, the Creator puts himself forward "as characteristically clever and collected" on the remix, and concluded by saying he does "his peers' work considerable justice". HotNewHipHop writer Mitch Findlay stated that the rapper delivers "mixtape-ready bars" on the remix, citing his lyrics as "conjuring images of The Simpsons legend Squeaky Voiced Teen". Despite being disappointed in the remix ending "before it truly blossoms", Findlay enjoyed how it highlights the "rapper" side of Tyler, the Creator's artistry. For This Song Is Sick, Jake Nixon wrote that the "fire" remix "does not disappoint" and features an "amazing verse" from Tyler, the Creator, who "sounds incredible over the production" in his opinion. Phil Witmer of Vice regarded the remix as "particularly affectionate" due to Tyler, the Creator's past connections to West. ## Credits and personnel Recording - Recorded at West Lake Ranch, Jackson Hole, Wyoming Personnel - Kanye West – songwriter, production - Kid Cudi – songwriter, production - Andrew Dawson – songwriter, additional production, engineer - Justin Vernon – songwriter, additional production - Yasiin Bey – songwriter, featured artist - Plain Pat – production - Noah Goldstein – additional production, engineer - Zack Djurich – engineer - Mike Malchicoff – engineer - William J. Sullivan – engineer - Jenna Felsenthal – assistant engineer - Mike Dean – mixer - Jess Jackson – mixer - Sean Solymar – assistant mixer Information taken from the Kids See Ghosts liner notes and Tidal. ## Charts ## Certifications	[ "## Background", "## Composition and lyrics", "## Release and promotion", "## Critical reception", "### Accolades", "## Commercial performance", "## Tyler, the Creator remix", "### Background and composition", "### Critical reception", "## Credits and personnel", "## Charts", "## Certifications" ]	2,722	19,428
47,553,636	Our Lady of Perpetual Exemption	1,173,591,832	2015 US satirical church	[ "2015 disestablishments in New York (state)", "2015 disestablishments in Texas", "2015 establishments in New York City", "2015 establishments in Texas", "Charity law", "Churches in Texas", "Investigative journalism", "Last Week Tonight with John Oliver", "Law about religion in the United States", "Parodies of televangelism", "Religious organizations disestablished in 2015", "Religious organizations established in 2015", "Satirical websites", "Satirical works" ]	Our Lady of Perpetual Exemption was a legally recognized church in the United States established by the comedian and satirist John Oliver. Announced on August 16, 2015, in an episode of the television program Last Week Tonight with John Oliver, the church's purpose was to highlight and criticize televangelists, such as Kenneth Copeland and Robert Tilton, who Oliver argued used television broadcasts of Christian church services for private gain. Oliver also established Our Lady of Perpetual Exemption to draw attention to the tax-exempt status given to churches and charities. During his show on September 13, 2015, Oliver announced that the church had received over \$70,000 and a variety of other items from viewers, and announced that the Church would be shutting down. The segments and future spinoff segments featured the comedian Rachel Dratch as Oliver's fictional wife, Wanda Jo. All donations were forwarded to Doctors Without Borders. Oliver created two spinoffs of the church in later segments. In April 2018, Oliver founded Our Lady of Choosing Choice, which owned the van labeled "Vanned Parenthood", for a segment about crisis pregnancy centers. In June 2021, Oliver set up a church in Florida called Our Lady of Perpetual Health, which owned the health care sharing ministry "JohnnyCare", satirizing the lack of regulations on health care sharing ministries to provide care. ## Creation On August 16, 2015, Last Week Tonight with John Oliver broadcast a segment about televangelism, the practice of using television broadcasts for Christian church services. In the segment, Oliver criticized televangelists like Kenneth Copeland and Robert Tilton for using donations from their programs to pay for private luxuries and pointed out that the money was tax-exempt because of its recognition by the Internal Revenue Service (IRS) as a church donation. Oliver established Our Lady of Perpetual Exemption partly to demonstrate the lack of legal requirements to establish a tax-exempt religious organization and to illustrate the "disturbingly easy" process. The host explained that he was able to found the church due to "vague" legal restrictions. He chose his New York City studio for the church's official location, but registered the nonprofit organization in Texas. During the satirical infomercial segment of the episode, the comedian Rachel Dratch appeared as John Oliver's fictional wife Wanda Jo Oliver; she later reprised the role in episodes featuring spinoffs of the church and in Last Week Tonight's 2019 segment about psychics. The "megachurch" used a toll-free phone number to permit callers to donate to the church, and said that donations would be redistributed to the charitable relief organization Doctors Without Borders upon the church's dissolution. Oliver criticized the practices used by televangelists for donations, which included promising that donations and prayer would cure sickness or that donations would get rid of credit card debt. In his broadcast on August 16, the host revealed letters of his months-long correspondence with Tilton, in which he initially sent \$20 to Tilton's church and received a letter back asking for more in donations; by the end of the correspondence, he had received a total of 26 letters and donated \$319. Oliver criticized pastors such as Tilton, Copeland and his wife Gloria, Creflo Dollar, and others for using the IRS's religious tax breaks for personal luxuries. ## Response and dissolution In response to the episode, viewers of Last Week Tonight sent in \$70,000, international currency, a check for \$65 billion, and different packages of seeds, including allegedly, semen (in reference to the "seed faith" gospel the show was parodying). Callers to the toll-free number heard a pre-recorded message from Oliver demanding donations. A week after the announcement of the church's creation, Oliver devoted a short segment of his show to the donations the church had received, which included money from around the world. Oliver said he had received "thousands of envelopes with thousands of dollars" from donors, displaying several US Post Office containers full of mail. Oliver told viewers that the more money they sent in, the more "blessings" would be returned to them, adding that "that is still something I'm—amazingly—legally allowed to say". On September 13, 2015, Oliver announced on Last Week Tonight that he was closing Our Lady of Perpetual Exemption. A message found on the church's website stated: "We're also not closing down because you all kept sending us actual seeds, even though we explicitly told you not to. We're closing because multiple people sent us sperm through the mail." Upon the church's dissolution, Oliver announced that the tens of thousands of dollars received would be donated to Doctors Without Borders and mockingly said that "if you want to send money to a fake church, send it to Scientology". ## Reception Matt Wilstein, writing in Mediaite, compared Oliver's stunt to the comedian Stephen Colbert's "Colbert Super PAC", which Colbert used to test the limits of the 2010 Supreme Court decision in Citizens United v. FEC. Many reviewers agreed with Oliver's exposé of televangelists as "frauds", as one reviewer wrote. Some reviewers found that Oliver's criticism of the IRS was incomplete and useless; others criticized Oliver's failure to discuss the long history of tax-exempt status for churches. Peter J. Reilly, writing in Forbes, found his criticism "ironic", as one of the reports Oliver cites describes why the IRS has a difficult time auditing churches. Steve Thorngate, writing in The Christian Century, suggested that the question of religious tax exemption was more difficult and nuanced than Oliver portrayed, and not a simple matter of government regulation. However, Thorngate agreed that Oliver's exposure and criticism of televangelists was accurate. After the segment aired, the IRS was pressured to investigate televangelists and their use of tax-exempt status. The IRS and the televangelists discussed in the segment did not publicly comment. ## Spinoffs On April 8, 2018, Last Week Tonight broadcast a segment about crisis pregnancy centers (CPCs), which dissuade pregnant women from getting abortions, often through misinformation. Oliver highlighted an image of a van that would park outside centers to advertise free ultrasounds. Oliver filed paperwork in New York to start the nonprofit Our Lady of Choosing Choice, which owned the CPC van labeled "Vanned Parenthood". Oliver announced the van at the end of the segment on CPCs with Rachel Dratch as Wanda Jo, who said multiple incorrect medical claims to point out the right CPC workers have to misinform patients. Oliver finished the segment by saying, "This is all perfectly legal and there is absolutely nothing stopping us from parking outside an abortion clinic tonight and haranguing people in the morning." Pro-life organizations and CPC operators criticized the segment for presenting a "one-sided" argument, with one CPC founder calling it a "hate piece". On June 27, 2021, Last Week Tonight broadcast a segment about health care sharing ministries (HCSMs), which are religion-based organizations where members' premiums directly pay the healthcare costs of other members, exempt from tax. Oliver discussed the lack of regulation on HCSMs, allowing the organizations to deny coverage for anything, and advocated for states to pass laws mandating HCSMs to disclose their practices and properly allocate funds. In 2018, Florida eased restrictions on HCSMs, changing the criteria from mandating an HCSM have people of the same religion to having people who "share a common set of ethical or religious beliefs". Due to the lax requirements, Oliver founded the church Our Lady of Perpetual Health, which owned the HCSM "JohnnyCare". Oliver announced the new organization in an informercial at the end of the Last Week Tonight segment about HCSMs, bringing back Rachel Dratch as Wanda Jo. Oliver stated that 5,000 Florida residents may sign up for a \$1.99 fee and receive a JohnnyCare-branded set of bandages in return. ## See also - Free church - Parody religion - Religion and politics in the United States - Religious satire	[ "## Creation", "## Response and dissolution", "## Reception", "## Spinoffs", "## See also" ]	1,686	3,503
12,430,646	Spotted sandgrouse	1,173,446,169	Species of bird	[ "Birds described in 1771", "Birds of North Africa", "Birds of the Middle East", "Pterocles", "Taxa named by Carl Linnaeus", "Taxonomy articles created by Polbot" ]	The spotted sandgrouse (Pterocles senegallus) is a species of ground dwelling bird in the family Pteroclidae. It is found in arid regions of northern and eastern Africa and across the Middle East and parts of Asia as far east as northwest India. It is a gregarious, diurnal bird and small flocks forage for seed and other vegetable matter on the ground, flying once a day to a waterhole for water. In the breeding season pairs nest apart from one another, the eggs being laid in a depression on the stony ground. The chicks leave the nest soon after hatching and eat dry seed, the water they need being provided by the male which saturates its belly feathers with water at the waterhole. The spotted sandgrouse is listed as being of "least concern" by the International Union for Conservation of Nature in its Red List of Threatened Species. ## Description The spotted sandgrouse reaches a length of about 33 centimetres (13 in). The male has a small reddish-brown nape surrounded by a band of pale grey that extends to the bill and round the neck in a collar. The chin, neck and throat are orange and the breast grey. The upper parts are pinkish-grey with dark flight feathers and dark patches on the wings, tail and lower belly. The primaries are pale with dark trailing edges, a fact that distinguishes this species from the crowned sandgrouse (Pterocles coronatus) which has completely dark primaries. The female also has an orange throat region but is generally duller in plumage than the male. The body colour is greyish-brown liberally spotted with small dark markings and with dark patches on the wings, tail and lower belly. The central tail feathers in both sexes are elongated but not to the extent that they are in the pin-tailed sandgrouse (Pterocles alchata). When flying overhead, a dark belly stripe is visible. ## Distribution and habitat The spotted sandgrouse is found in North Africa and the Middle East. In Africa its range extends through Morocco, Algeria, Tunisia, Libya, Sudan, Egypt, Eritrea, Somalia, Ethiopia, Djibouti, Mali, Mauritania, Chad and Niger. In the Middle East it is native to Oman, Saudi Arabia, Israel, Jordan, Syria, Iran, Iraq and Afghanistan and its range extends as far as Pakistan and north west India. In 2016, a flock of around a hundred birds arrived at Kutch after a gap of 19 years. `It has also been recorded as a vagrant in Italy, the United Arab Emirates and Turkey. It inhabits deserts and semi-arid countryside and is largely resident although there is some local movement of flocks. The population size has not been firmly established but it seems to be stable and the bird seems to be common over most of its extensive range. It is listed as being of "least concern" by the IUCN Red List of Threatened Species.` ## Behaviour The spotted sandgrouse has a rapid wing beat and flies swiftly. Its call is a musical "queeto-queeto" which distinguishes it from other species of sandgrouse with similar plumage. The spotted sandgrouse is a ground-dwelling bird and feeds on seeds and other plant material that it finds among the scrubby vegetation of its dry habitat. During the breeding season it is solitary but at other times of year it is gregarious. Flocks move into a new feeding ground after a storm has stimulated new green growth. In the Sahara the spotted sandgrouse are particularly fond of a species of spurge and concentrate on this until the foliage begins to parch, after which the birds return to their normal diet of seeds. These are abundant on the desert floor, remaining in a dormant state until rain occurs. The birds are very wary and easily frightened. Their chief enemy is the lanner falcon which flies rapidly just above the ground and scoops up any unwary bird. The sandgrouse strategy is to have one bird flying high overhead. When it sees an approaching falcon it gives a warning call and the other sandgrouse freeze. So good is their camouflage that the raptor is unable to detect them and flies on. Sandgrouse need to make a daily journey to a drinking hole, which may be many kilometres from their feeding ground. They land a short distance from the water and maintain a sentinel system here too as, beside the falcons, mammal predators may lurk nearby and nomads may water their herds. When all is safe, another distinctive call from the sentinel bird sends all the others to the pool where their daily water needs are taken up within about fifteen seconds. The journey to the waterhole is undertaken at around dawn when the air is cool. Later in the day, when the air temperature may reach over 50 °C, the birds are inactive and have the ability to increase their thermal insulation when the air temperature exceeds their body temperatures. At very high temperatures they also resort to gular fluttering and gaping to cool themselves. At night, several flocks coalesce and fly off into the rocky desert far away from any vegetation. Each bird scrapes itself a shallow sleeping hollow by moving from side to side. There are no jerboas or other small mammals in these barren wastes so foxes and jackals do not roam there at night and the birds are safe. ## Life cycle In the Sahara, breeding takes place in the hottest part of the summer on a stony desert plain. When choosing a nest site, the female scrapes several trial hollows before selecting one of them. The main criterion for selection seems to be the porous nature of the underlying rock. Spongy rock heats up less in the sun and provides a cool spot to nest. Also desirable are one or two "cover stones" close by, chosen because their dense structure attracts dew at night, moisture which drains into the soil and gets absorbed by the porous rock which helps keep the nest cool by day. The nest is made in a shallow depression in the ground without any bedding material and two, occasionally three, eggs are laid. The eggs are elongated ovals in shape, buff with grey and brown blotches and speckles. Their colour and shape makes them difficult to distinguish from the pebbles lying around them. Both parents incubate the eggs and their cryptic colouration makes them almost invisible when sitting on the nest. The eggs hatch after about 20 days. The young are precocial and already covered in down when they emerge from the eggs. Soon after they are hatched the female leads the chicks to one of the many wadis that wind across the plains and there she teaches them to peck at and ingest seeds. It is four or five weeks before they are fledged and able to fly. Meanwhile, the problem of supplying them with water is solved by the male which has specially adapted, absorbent down on his belly. While at the waterhole he immerses himself in the water to saturate the plumage which absorbs a quantity that is sufficient for the chicks to last them until the following day. When he leaves the waterhole with his water-laden feathers, the male emits a repeated high-pitched "queet - queet - queet" calls. When the female and chicks pick up the sounds of his approach, they reciprocate, and by this means the male can find his family even when they have moved away from the nest. On his arrival he assumes an upright posture and raises his wings, displaying the wet belly feathers. This is the sign for the chicks to approach and stand underneath him with their beaks upturned and suck the fluid from between the feathers. If danger threatens, the chicks crouch under a plant or any cover that offers, their dappled brown down merging into the desert scene. The parents are very vigilant in defence of their family. If a jackal approaches, an adult gives a warning cry and all crouch down and freeze. Usually the enemy fails to notice them and passes by. If it gets too close, one of the parents tries to lure it away by flapping along the ground, pretending to be injured and helpless. When the jackal has been led far enough away, the adult "recovers" and flies off. After three or four days, the chicks can be left alone while both parents visit the water hole, and the chicks can guide them back with their "queet - queet" cries.	[ "## Description", "## Distribution and habitat", "## Behaviour", "## Life cycle" ]	1,759	11,717
20,758,969	Action of 18 September 1810	1,168,710,856	Naval engagement during the French Revolutionary Wars	[ "1810s in Réunion", "Conflicts in 1810", "Naval battles of the Napoleonic Wars", "September 1810 events" ]	The action of 18 September 1810 was a naval battle fought between British Royal Navy and French Navy frigates in the Indian Ocean during the Napoleonic Wars. The engagement was one of several between rival frigate squadrons contesting control of the French island base of Île de France, from which French frigates had raided British trade routes during the war. The action came in the immediate aftermath of the Battle of Grand Port, in which four British frigates had been lost, and just four days after a fifth British frigate had been captured and subsequently recaptured in the action of 13 September 1810. In consequence of the heavy losses the British force had suffered, reinforcements were hastily rushed to the area and became individual targets for the larger French squadron blockading the British base at Île Bourbon. HMS Ceylon had been despatched by the British authorities at Madras after the Battle of Grand Port to reinforce the remains of the squadron under Commodore Josias Rowley on Île Bourbon. Searching for Rowley off Île de France, Ceylon was spotted by French Commodore Jacques Hamelin who gave chase in his flagship Vénus, supported by a corvette. Vénus was faster than Ceylon, and although Captain Charles Gordon almost reached the safety of Île Bourbon, he was run down and forced to engage the French ship during the night, both frigates inflicting severe damage on one another before the wounded Gordon surrendered to the approaching corvette. As dawn broke, Rowley's flagship HMS Boadicea arrived, recaptured Ceylon, drove off the corvette and forced the battered French flagship to surrender, capturing Hamelin. This was the last ship-to-ship action in the region before the successful invasion of Île de France in December 1810: without Hamelin the French squadron, short on supplies and low on morale, did not contest British control of the region and failed to even attempt to disrupt the invasion fleet. ## Background The French Indian Ocean island bases of Île de France and Île Bonaparte had been ideal positions from which French cruisers could raid the valuable trade routes from Britain to India since the start of the war in 1803. However, it was not until 1808 that the French authorities spared a significant force to operate from the region, providing a squadron of four frigates under Commodore Jacques Hamelin. In 1809 and early 1810, these frigates operated with impunity along British trade routes, capturing seven valuable East Indiamen, a number of smaller merchant ships and several small warships. In response, the British admiral at the Cape of Good Hope, Albemarle Bertie, provided a small force of British warships to blockade the islands under Commodore Josias Rowley. Rowley knew that it would be almost impossible find and defeat the French ships out in the wider ocean with his limited resources, but he was able to limit French effectiveness by attacking their bases, raiding Saint Paul harbour in 1809 and capturing Île Bonaparte in 1810, renaming it Île Bourbon. In August 1810, a squadron of four of Rowley's frigates, making up the majority of the forces under his command and led by Captain Samuel Pym, were despatched to Île de France to blockade Grand Port on the south-eastern coast. The arrival of a French squadron under Captain Guy-Victor Duperré on 20 August prompted Pym into ordering an inadequately planned attack on the harbour on 23 August and two of his vessels were wrecked on the reefs that protected the harbour entrance. Pym was unable to withdraw his remaining ships and the entire squadron was lost, leaving Rowley with only his flagship HMS Boadicea and two small brigs to conduct his campaign against six large French frigates. Urgent reinforcements were requested, as French ships under Captain Pierre Bouvet blockaded Île Bourbon. The first ship to arrive was HMS Africaine under the Captain Robert Corbet. In the action of 13 September 1810, Corbet engaged Bouvet's two frigates alone and was defeated, dying of his wounds shortly after the battle. Rowley in Boadicea was able to recapture Africaine later in the day, but the frigate was severely damaged and unable to provide any reinforcement to the British squadron. Bouvet retired to Grand Port several days later for repairs, and thus was not on blockade duty on 17 September when HMS Ceylon arrived. Ceylon was an unusual ship, constructed by the Honourable East India Company (HEIC) in Bombay as an East Indiaman merchant ship designed to operate as a 32–gun frigate during wartime. In 1805 she was purchased by the British government and commissioned into the Royal Navy for service in the Indian Ocean. In 1810, her commander was Captain Charles Gordon, who had been ordered to sail to Rowley's aid when word of the losses suffered at Grand Port reached Madras. In his haste to depart, Gordon had been unable to obtain any Royal Marines, whose place was taken by 100 men of the 69th Regiment and the 86th Regiment from the Madras garrison. Also embarked was General John Abercromby and his staff, who were to lead a planned assault on Île de France. ## Pursuit Gordon arrived off Port Napoleon on 17 September, hoping to find Rowley maintaining the blockade off the port in Boadicea. Rowley was however off Île Bourbon, sparring with Bouvet's frigates, and therefore Gordon only found Hamelin's squadron in the harbour. This force consisted of the frigates Vénus and Manche with the corvette Victor. Recognising that he was heavily outnumbered, Gordon sailed westwards towards Île Bourbon to meet with Rowley and pass on the location of Hamelin's squadron. French lookouts on shore spotted Ceylon but mistook her for a troopship due to her unusual construction. The sighting was rapidly passed on to Hamelin, who immediately gave chase with Vénus and Victor. At 14:00, Ceylon spotted Hamelin's ships in pursuit and her crew increased their efforts to escape, mistaking Victor, which carried three masts, for a larger ship and therefore considering themselves significantly outnumbered. As night fell, Gordon slowed Ceylon by shortening sail in the hope of meeting Vénus (which had outdistanced Victor) alone. However, the French flagship also slowed to allow the corvette to catch up and so Gordon increased sail once more, leading Hamelin southwest towards Île Bourbon. ## Battle At 00:15 on the morning of 18 September, Vénus caught up with Ceylon, which began firing on the larger French frigate as she passed. Hamelin, recognising that his vessel had the advantage in size and weight of shot, did not wait for Victor but attacked immediately, passing Ceylon and tuning across her bows to open a raking fire. For an hour the frigates exchanged broadsides, until 01:15 when Hamelin, who had realised that he was fighting a warship not a troopship or East Indiaman, dropped back to effect repairs after suffering damage to his rigging. Ceylon was more severely damaged than the French ship and when Hamelin returned at 02:15, her repairs were not complete, preventing her escape. The battle began again, both frigates suffering serious damage in the second encounter. By 03:00, Vénus had lost her mizzenmast and two topmasts, while Ceylon had lost all of her topmasts, which had destroyed much of the ship's rigging as they fell. With both ships now unable to manoeuvre, the action continued at close range until 04:00, when Vénus was able to haul herself away to await the arrival of Victor. The French corvette had been struggling to catch up during the night and did not arrive until dawn approached, revealing the flagship in a damaged state and the British vessel even more stricken. Sailing directly at Ceylon, the corvette was able to manoeuvre around the frigate and place herself in a raking position, from which her cannon could cause heavy damage and casualties to Ceylon without reply. Rather than have his ship destroyed, the wounded Gordon surrendered (although it is not clear whether Victor opened fire or not before the British surrender). Victor's men boarded Ceylon and Gordon and his officers, including Abercromby, were taken to Vénus as prisoners of war. As dawn broke and visibility cleared, the sailors on Ceylon, Vénus and Victor realised that they were within sight of Saint Denis on Île Bourbon, and thus vulnerable to counterattack from Rowley's flagship Boadicea. Despite hasty repairs, neither Ceylon nor Vénus were seaworthy by 07:30, when British lookouts on the island spotted the three ships and sent word to Rowley. Within ten minutes, Rowley was at sea, taking 50 volunteers from Africaine to augment his crew. Hamelin made desperate efforts to limp back to Île de France, ordering Victor to tow Ceylon, but progress was slow and strong winds, which did not help the dismasted Ceylon and Vénus, repeatedly broke the tow rope. During the day, Boadicea continued to close until Victor was forced to abandon Ceylon and sail in support of Vénus at 15:30. As soon as the French prize crew was removed, Lieutenant Philip Fitz Gibbon, the remaining officer on Ceylon, rehoisted British colours and assumed control of the ship. This allowed Boadicea to sail past the recaptured frigate and engage the French ships directly, reaching Vénus at 16:40. Hamelin recognised that the battered state of his flagship meant that he would not be able to adequately defend against Rowley's attack and ordered Victor to take news of his defeat back to Port Napoleon. Readying his ship for a token action, Hamelin fired at Boadicea as she came up but was forced to surrender within ten minutes. ## Aftermath With the assistance of HMS Otter, which had followed Boadicea from Saint Denis, Rowley was able to return his prize and the battered Ceylon to Île Bourbon without significant difficulty. British casualties had been relatively minor for such a difficult engagement, Ceylon suffering 10 men killed and 31 wounded and Boadicea just 2 wounded. French losses were also comparatively light, with only 9 dead and 15 wounded on Vénus and none at all on Victor. Rowley repaired Ceylon and restored Gordon in command. Vénus was also repaired, and entered British service as HMS Nereide to replace the Nereide lost at Grand Port. Nearly four decades later the battle was among the actions recognised by the clasps "BOADICEA 18 SEPT. 1810", "OTTER 18 SEPT. 1810" and "STAUNCH 18 SEPT. 1810" attached to the Naval General Service Medal, awarded upon application to all British participants still living in 1847. With the British squadron bolstered and the French commander and best frigate in British hands, the campaign stalemated. The French were no longer able to repair or maintain their ships due a lack of naval stores on Île de France, and so remained in port and prepared for the inevitable invasion. Rowley meanwhile was busy preparing troops, stores and his squadron for the coming attack, which was led by Admiral Bertie in November 1810. The French squadron made no attempt to disrupt the invasion forces and were captured intact in their harbours. Bertie was credited with the final defeat of Île de France and was made a baronet as reward for the successful campaign, sending Rowley back to Britain with despatches. A court martial, held on HMS Illustrious in the aftermath of the invasion cleared Gordon of any blame in the defeat of his ship, although historian William James criticised Gordon's assumption during the battle that Victor was a French frigate rather than a much smaller corvette, and identified discrepancies between Gordon's published account and the ship's log.	[ "## Background", "## Pursuit", "## Battle", "## Aftermath" ]	2,565	14,894
13,891,287	Bayshore Route	1,169,045,868	Highway between Kanagawa, Tokyo and Chiba prefecture, Japan	[ "1976 establishments in Japan", "Roads in Chiba Prefecture", "Roads in Kanagawa Prefecture", "Roads in Tokyo", "Shuto Expressway" ]	The Bayshore Route (湾岸線, Wangan-sen) signed as Route B, is one of the routes of the tolled Shuto Expressway system in the Greater Tokyo Area. The Bayshore Route is a 62.1-kilometer (38.6 mi) stretch of toll highway that runs from the Kanazawa ward of Yokohama in the west, northeast to the city of Ichikawa in Chiba Prefecture in the east. Opened in phases beginning in 1976 and ending in 2001, it is an important route that runs between the artificial islands lining the western shore of Tokyo Bay by way of bridges and sub-sea tunnels that bypass central Tokyo. ## Route description The Bayshore Route is a tolled expressway in the Shuto Expressway network of the Greater Tokyo Area and the only route of the network that serves Chiba Prefecture. It is called Route B after its name in English, Bayshore. The road was constructed by the Metropolitan Expressway Company as a motorway to add capacity to the existing National Route 357. It now runs parallel to the older road, which is used by more local traffic. For administrative purposes, the expressway is also designated on prefecture-level as Route 294 by Chiba Prefecture, Kanagawa Prefecture and Tokyo. The western terminus of the Bayshore Route lies at the eastern end of a spur route of the Yokohama–Yokosuka Road in the Kanazawa ward of Yokohama. The Bayshore Route runs from Yokohama across the Yokohama Bay and Tsurumi Tsubasa Bridges, through the Kawasaki Subsea, the Tama Subriver, Haneda Airport North, and Tokyo Bay Subsea Tunnels, which connects it to the popular tourist spot of Odaiba, and then on to Urayasu (near Tokyo Disneyland) in Chiba Prefecture. The expressway facilitates direct road travel between Chiba and Kanagawa prefectures as well as Narita and Haneda Airports. It also serves to link the ends of all of Tokyo's ring roads, aside from the Inner Circular Route. As a result, it is used as a bypass for the heavily congested city center of Tokyo. Owing to the nature of the route from Kanagawa passing through Tokyo to Chiba, the direction of travel is represented in Japanese by "eastbound/westbound" rather than the Japanese norm of "up/down" direction that only functions relative to the direction one is traveling and Tokyo. The eastern terminus of the Bayshore Route connects to the southern terminus of the Higashi-Kantō Expressway and the eastern end of the Tokyo Gaikan Expressway at Kōya Junction. ### Traffic The Ministry of Land, Infrastructure, Transport and Tourism (MLIT), conducts surveys on the Japan's national routes and expressways every five years to measure their average daily traffic. In 2015, the most utilized point along the expressway was in the Kōtō ward of Tokyo between Tatsumi Junction and Shinkiba, where a daily average of 163,404 vehicles traveled on the Bayshore Route. The least busy section of the expressway was in Yokohama between its western terminus and the interchange at Sugita, there it carried an average of only 27,268 vehicles. Generally, the expressway is more heavily used between Haneda Airport and Chiba Prefecture. From Haneda to Yokohama, traffic levels slowly drop, then decline sharply beyond Honmoku Junction. Cargo from Narita International Airport in Chiba destined for southern areas travels on large trucks on the Bayshore Route, though the opening of Chubu International Airport helped ease heavy truck congestion on the expressway. It is notable as Tokyo's first offshore highway, providing sightseers with urban views of Minato Mirai 21, Odaiba, the Rainbow Bridge, downtown Yokohama, and the Yokohama Bay Bridge. Although the expressway is heavily congested during the day, it is frequented by street racers during late night hours. From the late 1980s all the way to 1999 there was a presence on the Bayshore Route with street racers racing along the expressway's long, straight stretches; however, due to increased police presence the street racing scene has since dwindled. ## History The first section of the Bayshore Route was completed in August 1976 between Ōi and Rinkai-fukutoshin. It was expanded in stages with the earlier phases of construction generally taking place in Tokyo and Chiba. The first section of the expressway to open in Kanagawa Prefecture, where later phases of the expressway's construction were completed, opened in January 1989. The Bayshore Route was selected in April 2000 to be one of two trial routes of the Shuto Expressway network for the implementation of electronic toll collection (ETC). The ETC system was popular among the route's drivers and was implemented throughout the network in December 2003. The final link in the expressway's route was opened in October 2001 when the expressway was completed between the interchanges at Sugita and Sankeien. There have been several developments on the Bayshore Route since its completion in 2001. Between 2004 and 2008, the expressway was widened to four lanes in each direction in a series of projects in the wards of Minato and Kōtō. The first of these widening projects was completed in 2004 on the westbound side of the expressway between Shinkiba and Tatsumi Junction on 17 September 2004. The final stage of the project was completed in March 2008 with the widening of the eastbound section of the Bayshore Route between Tatsumi and Ariake Junction. Part of this expansion project also made room for the addition of Shinonome Junction where the Bayshore Route meets the southern terminus of the Harumi Route. The junction was opened on 11 February 2009. On 4 March 2017, the interchange at Minami-honmoku futō in Yokohama was completed, providing a direct connection from the Bayshore Route to Honmoku Wharf by a 2.5-kilometer-long (1.6 mi) viaduct. Kōya Junction was expanded on 2 June 2018 to add the Tokyo Gaikan Expressway to the highways served by the terminal junction of the Bayshore Route. ### Street racing The Bayshore Route (also known as the Wangan route), received worldwide notoriety during the 1990s as the home course for the Mid Night Club, one of the most notorious street racing clubs, who were known for their 300 km/h, sometimes 320 km/h exploits. Tuning companies such as Top Secret also set well-known illegal speed records on the Wangan such as 0-400 km/h (0-249 mph), 0-300km/h (0-186 mph), 1000m, and top speed challenges, often with a Toyota Supra A80. These exploits and street racing culture on the Shuto Expressway have made the Bayshore Route a well-known location for street racing and speed records. Due to this infamy, the Wangan is the setting for several entertainment franchises, such as the manga and arcade game Wangan Midnight, video games Shutokou Battle and Gran Turismo 5, 6, Sport and 7 (as the street circuit) and the movie series Shuto Kousoku Trial. Numerous car enthusiast magazines and DVDs, like Best Motoring, also highlight races and activities on the Wangan. ## Junction list ## In popular culture - Wangan Midnight, a manga and anime series based on street racing on the Wangan. - Wangan Midnight Maximum Tune, an arcade racing game taking place on the Wangan. - Tokyo Xtreme Racer, known in Japan as Shutokō Battle (首都高, abbreviation for "Shuto Expressway"), a Genki game based on Wangan racing ## See also - Shuto Kosoku Trial, a series of six movies about Wangan racing that have been banned from Japan.	[ "## Route description", "### Traffic", "## History", "### Street racing", "## Junction list", "## In popular culture", "## See also" ]	1,702	21,132
24,879,604	The Volcano (British Columbia)	1,090,873,879	Mountain in British Columbia, Canada	[ "Boundary Ranges", "Cinder cones of British Columbia", "Holocene volcanoes", "Northern Cordilleran Volcanic Province", "One-thousanders of British Columbia", "Polygenetic cinder cones", "Rift volcanoes", "Stikine Country" ]	The Volcano, also known as Lava Fork volcano, is a small cinder cone in the Boundary Ranges of the Coast Mountains in northwestern British Columbia, Canada. It is located approximately 60 km (40 mi) northwest of the small community of Stewart near the head of Lava Fork. With a summit elevation of 1,656 m (5,433 ft) and a topographic prominence of 311 m (1,020 ft), it rises above the surrounding rugged landscape on a remote mountain ridge that represents the northern flank of a glaciated U-shaped valley. Lava Fork volcano is associated with a small group of volcanoes called the Iskut volcanic field. This forms part of the much larger Northern Cordilleran Volcanic Province, which extends from the Alaska–Yukon border to near the port city of Prince Rupert, British Columbia. Eruptive activity at The Volcano is relatively young compared to most other volcanoes in the Northern Cordilleran Volcanic Province. Geologic studies have shown that The Volcano and its eruptive products were emplaced in the last 400 years; this is well after the last glacial period, which ended about 10,000 years ago. ## Geology The Volcano is the southernmost of ten volcanoes comprising the Iskut volcanic field, as well as the most recent to erupt. Its structure is poorly formed and has been reduced by erosion from alpine glacial ice found at its elevation and latitude. It represents one of the few historically active volcanoes in the Northern Cordilleran Volcanic Province, with a base elevation estimated to be 100 m (330 ft). Like most cinder cones, The Volcano consists of a pile of loose volcanic ash, lapilli-sized tephra and volcanic bombs. These were deposited during periods of lava fountain activity. The vent area contains volcanic bombs up to 0.5 m (1.6 ft) long and small deposits of sulfur precipitated from volcanic gases. Like other Iskut-Unuk River Cones, The Volcano has its origins in continental rifting—a long rupture in the Earth's crust where the lithosphere is being pulled apart. This incipient rifting has formed as a result of the Pacific Plate sliding northward along the Queen Charlotte Fault, on its way to the Aleutian Trench. As the continental crust stretches, the near surface rocks fracture along steeply dipping cracks parallel to the rift known as faults. Basaltic magma rises along these fractures to create effusive eruptions. The rift zone has existed for at least 14.9 million years, and has created the Northern Cordilleran Volcanic Province. Several dormant volcanoes in the province are potentially active, with The Volcano being one of the three having erupted in the last few hundred years. Tseax Cone, which last erupted in the 18th century, is the southernmost volcano in the province, while Prindle Volcano in easternmost-central Alaska, which last erupted more than 10,000 years ago, is generally considered the northernmost. ### Volcanic history At least two phases of volcanic activity have been identified at The Volcano. Each event was followed by the eruption of lengthy basaltic lava flows that flowed down steep granitic flanks of the mountain ridge on which The Volcano lies. After this took place, they travelled through the Lava Fork valley for 5 km (3 mi). Here, the flows crossed the British Columbia border into the U.S. state of Alaska and blocked the Blue River, a tributary of the Unuk River, forming several lakes. The lava flows in total are about 22 km (14 mi) long and still contain their original features from when they cooled, including pressure ridges and lava channels. A series of large trees were engulfed by the lava flows during eruption. The bases of the trees burned and the upper trunks and branches collapsed into the solidifying lava, leaving the trees embedded on the surface of the lava flows. After the flows solidified, tree molds and lava tubes collapsed to form volcanic pits. At the southern end of one of the lava flows, it spreads into a broad terminal lobe on the flat alluvial plain of the Unuk River. Volcanic ash and lava from The Volcano still linger on small glaciers near Mount Lewis Cass, a 2,094-metre-high (6,870 ft) mountain near the Alaska–British Columbia border. At least one lava flow from The Volcano was notified by a surveyor named Fremont Morse in 1905 during a survey for the International Boundary Commission. In 1906, Morse wrote that the most recently erupted lava flow had "probably occurred within less than fifty years". Since Morse's report, tree ring and radiocarbon dating techniques have been used to establish the dates of The Volcano's two volcanic phases. The first is estimated to have occurred about 360 years ago and the latest possibly took place only 150 years ago. This indicates that The Volcano is the youngest known volcanic mountain in Canada and that its volcanic activity is recent compared to many other volcanoes in British Columbia. In several documents, the last eruption of The Volcano is written to have occurred in 1904. However, according to the Smithsonian Institution's Global Volcanism Program, this eruption is considered uncertain. Although The Volcano is estimated to have last erupted 150 years ago, it is one of the five volcanoes in the Northern Cordilleran Volcanic Province that have recorded seismicity since 1985. Others include Castle Rock (two events), Hoodoo Mountain (eight events), Crow Lagoon (four events) and the Mount Edziza volcanic complex (eight events). Seismic data suggest that these volcanoes still contain active magma chambers, indicating that some Northern Cordilleran volcanoes are probably active, with significant potential hazards. The seismic activity corresponds both with some of Canada's recently formed volcanoes and with persistent volcanoes that have had major explosive activity throughout their history, such as Hoodoo Mountain and the Mount Edziza volcanic complex. ## Human history ### Naming controversy The name of the peak was suggested by an explorer named Chris Dickinson during the Cambridge Coast Mountains Expedition in 1979. It was adopted on November 24, 1980, and has been its official name since then. However, this name for the peak does not normally show up in any volcanological resources. Instead, it is informally referred to as Lava Fork or Lava Fork volcano due to its close association with the creek of the same name. The reason for this controversy is because The Volcano is generic. In speech it may not be obvious whether The Volcano or the volcano is intended, leading to confusion. Similar named volcanoes in Canada include Volcano Vent in the Tuya volcanic field of northwestern British Columbia and Volcano Mountain in the Fort Selkirk volcanic field of central Yukon. As of 2009, the unofficial terms for The Volcano continue to be used by Natural Resources Canada. ### Protection and monitoring The Volcano, its eruptive products and a large mineral spring are protected in Lava Forks Provincial Park. Founded in 2001 as a Class A provincial park, this highly remote park covers an area of 7,000 ha (17,000 acres). Lying within its boundaries are the Lava Lakes, two lakes dammed by lava flows erupted from The Volcano. Located in asserted traditional territory of the Tahltan First Nation, Lava Forks Provincial Park provides a location to study ecological processes associated with primary succession or the establishment of vegetation after a major disturbance. After 150 years of non-eruptive activity, vegetation has grown on the surface of the lava flows, including mosses and lichens. Western Hemlock, Mountain Hemlock and Alpine tundra biogeoclimatic subzones also occur in the area, which form part of the Boundary Ranges Ecosection. Like other Iskut-Unuk River Cones, The Volcano is not monitored closely enough by the Geological Survey of Canada to ascertain its activity level. The Canadian National Seismograph Network has been established to monitor earthquakes throughout Canada, but it is too far away to provide an accurate indication of activity under the mountain. The seismograph network may sense an increase in seismic activity if The Volcano becomes highly restless, but this may only provide a warning for a large eruption; the system might detect activity only once the mountain has started erupting. If The Volcano were to erupt, mechanisms exist to orchestrate relief efforts. The Interagency Volcanic Event Notification Plan was created to outline the notification procedure of some of the main agencies that would respond to an erupting volcano in Canada, an eruption close to the Canada–United States border or any eruption that would affect Canada. ## Volcanic hazards At least seven eruptions have occurred in the Iskut-Unuk River volcanic field in the last 10,000 years. Since around 1600, all eruptions have occurred from The Volcano, which has a total eruption volume of 2.2 km<sup>3</sup> (0.53 cu mi). Future eruptions from The Volcano will probably be similar in character to those that have occurred throughout its 360-year eruptive history. There is a one in 200 chance per year of an eruption occurring in Canada and one in 220 chance per year of an effusive eruption. An eruption in the foreseeable future is probably more likely along the Northern Cordilleran Volcanic Province than in an unrelated volcanic zone outside the province. This is because the Northern Cordilleran Volcanic Province, which includes the Iskut-Unuk River Cones, is the most active volcanic zone in Canada. ### Effects A small range of effects are expected from future eruptions at The Volcano. Its remote uninhabited location makes volcanic hazards less extreme and is therefore not very hazardous. Ash and rock fragments (tephra) ejected during lava fountain activity are unlikely to be high enough to disrupt regional air traffic. However, they could possibly endanger lower flying aircraft along the northern coastal corridor between Vancouver and Alaska. The closest major air route is about 170 km (110 mi) to the east. Volcanic ash reduces visibility and can cause jet engine failure, as well as damage to other aircraft systems. Lava flows emitted during future volcanic eruptions would likely be basaltic in nature based on the composition of its lavas produced during past volcanic activity. Basaltic lava flows are low in silica content and can spread rapidly and move quickly downslope. The last eruption at The Volcano 150 years ago had a large impact on fish, plant and animal inhabitants in the valley the lava flows travelled through to cross the Canada–United States border. Because of these circumstances, future eruptions may again block the flow of local water courses if the volume of the erupted lavas are significant enough. This would again have disastrous consequences for fish habitats and spawning grounds. However, there are neither records of any impacts on people during this eruption, nor evidence that it was even witnessed by people. A repeat of wildfires in the Lava Fork valley is also a possibility due to the existence of vegetation on and around the erupted lavas. ## See also - Cinder Mountain - Cone Glacier Volcano - Iskut Canyon Cone - King Creek Cone - List of cinder cones - List of Northern Cordilleran volcanoes - Second Canyon Cone - Snippaker Creek Cone - Tom MacKay Creek Cone - Volcanism of Western Canada	[ "## Geology", "### Volcanic history", "## Human history", "### Naming controversy", "### Protection and monitoring", "## Volcanic hazards", "### Effects", "## See also" ]	2,381	40,318
53,411,437	Neon Blue	1,154,359,513	null	[ "2010s ballads", "2017 singles", "2017 songs", "LGBT-related songs", "Pop ballads", "Songs written by Carl Ryden", "Songs written by Fiona Bevan", "Steps (group) songs" ]	"Neon Blue" is a song recorded by British group Steps for their fifth studio album, Tears on the Dancefloor (2017). Written by Carl Ryden and Fiona Bevan, it was announced as the third single from the album on 20 July 2017, and subsequently released on 4 August. Musically, it is a mid-tempo pop ballad which begins with a soft piano introduction and builds into an upbeat synth track, while lyrically, it is about encouraging a downcast friend to come out and have some fun. Band member Ian "H" Watkins described "Neon Blue" as a gay anthem due to its message of coming out. It garnered a positive response from music critics, with a general consensus that it is a classic Steps song. Its accompanying music video features a man and a woman who have had bad fortune in their relationships meeting at a party in a night club and their luck turning around. "Neon Blue" was included on the set list of their eighth headlining concert tour, the Party on the Dancefloor Tour (2017). ## Composition and release "Neon Blue" was co-written by Carl Ryden and Fiona Bevan and produced by Ryden with The Alias for Steps fifth studio album, Tears on the Dancefloor (2017). It appears as the ninth song on the track listing, with a running time of three minutes, 26 seconds. It is a mid-tempo pop ballad which begins with a soft piano introduction which unfolds in an upbeat "euphoric" chorus backed by a piano and synths. Official Charts Company writer Justin Myers wrote that the song's introduction was reminiscent of the musical style of Coldplay, and also compared elements of it to "Collide" by Leona Lewis and Avicii (2011). Lyrically, the group sings about asking a downcast friend to join them on a night out and have some fun, which can be heard in the line "Come out, come out and dance with me/ If you're down it's a remedy." Band member Ian "H" Watkins considered the track to be a gay anthem owing to its message of coming out. On 20 July 2017, the group announced the song as the third single from the album, and it was released in the form of two remixes – a radio edit and a club mix – produced by Adam Turner on 4 August. A radio edit and a club mix by 7th Heaven was later released on 11 August. On 18 September 2017, Steps announced that Tears on the Dancefloor would be reissued as a deluxe edition with new songs and accompanying remixes, titled Tears on the Dancefloor: Crying at the Disco. "Neon Blue" appears as the fourth track on the deluxe edition instead of the ninth, and the Adam Turner Radio Edit is included as the nineteenth track. ## Critical reception The song was met with a positive response from critics. Matt Bagwell of The Huffington Post awarded the song five out of five stars in his track-by-track review of Tears on the Dancefloor in April 2017; he wrote that the piano introduction is reminiscent of the musical style on English singer Adele's third studio album 25 (2015), but noted that it soon evolves into "classic Steps. Or Kylie." He concluded by endorsing its release as a potential single. Shaun Kitchener of the Daily Express echoed Bagwell's notation of the down to up-tempo structure, and described the song as an "instant classic". AXS contributor Lucas Villa praised the track, writing that the song "shines as a true Steps classic with feel good lyrics that could light up the darkest room." In his review for the music video, Villa also wrote that the song is a "glowing ode to celebrating away the bad times" and the "perfect pop potion for fighting the blues." ## Music video The treatment for the accompanying music video for "Neon Blue" was written by band member Lee Latchford-Evans, his girlfriend Kerry-Lucy Taylor and Steps' stylist Frank Strachan. Claire Richards and Latchford-Evans premiered a clip of the music video on This Morning on 11 August 2017 and it was released in full the same today. It begins with solo shots of each of the band members during the first verse sitting in a room with dust covers draped over various props. It is intercut with shots of a woman sitting at a table in a cafe who has been stood up. The barista looks over and hands her a leaflet to attend a party at a nightclub for people who are feeling downcast. At the same time, a man and woman are shown to be having an argument outside of the nightclub and it is premised that they break up. As the chorus begins, a dust cover is pulled off of a glitter ball and the room transforms into a lively club space whereby Steps are performing a dance routine along with club goers. As the video progresses, the woman from the cafe and the man from the argument meet each other on the dancefloor, their luck having turned around, amongst the crowd of people enjoying themselves and dancing. The video ends with confetti and streamers flying around the night club as the band hug each other. Lucas Villa for AXS praised the video, writing that "the feel good hues of the song come through beautifully on the screen." Gay Times writer Daniel Megarry noted that the video contains everything fans of Steps would look for, writing "Disco balls? Check. Insanely catchy chorus? Check. Easy-to-learn choreography? Check. What more could you ask for?" ## Formats and track listings Digital download – Adam Turner Remixes 1. "Neon Blue" (Adam Turner Radio Edit) – 4:05 2. "Neon Blue" (Adam Turner Club Mix) – 6:21 Digital download – 7th Heaven Remixes 1. "Neon Blue" (7th Heaven Radio Edit) – 3:37 2. "Neon Blue" (7th Heaven Club Mix) – 6:43 Remixes EP 1. "Neon Blue" (Adam Turner Radio Edit) – 4:05 2. "Neon Blue" (7th Heaven Radio Edit) – 3:37 3. "Neon Blue" (Adam Turner Club Mix) – 6:21 4. "Neon Blue" (7th Heaven Club Mix) – 6:43 Tears On The Dancefloor - The Singles Collection (4-CD Box Set) CD3 - Neon Blue 1. "Neon Blue" (Radio Mix) – 3:26 2. "Neon Blue" (7th Heaven Club Mix) – 6:43 3. "Neon Blue" (7th Heaven Radio Edit) – 3:37 4. "Neon Blue" (Adam Turner Mix) – 6:21 5. "Neon Blue" (Adam Turner Radio Edit) – 4:05 6. "Neon Blue" (Adam Turner Dub Mix) – 6:22 7. "Happy" (Club Junkies Radio Edit) – 3:39 8. "Happy" (Club Junkies Club Mix) – 5:57 9. "I Will Love Again" (Porl Young Radio Edit) – 3:56 10. "I Will Love Again" (Porl Young Club Mix) – 7:57 ## Credits and personnel - Lead vocals – Faye Tozer, Claire Richards, Lisa Scott-Lee, Lee Latchford Evans, Ian "H" Watkins - Songwriting – Carl Ryden, Fiona Bevan - Production – The Alias, Carl Ryden - Keyboards and programming – Julian Gingell, Barry Stone, Carl Ryden - Mixing – Pete Hofmann Credits adapted from the liner notes of Tears on the Dancefloor. ## Release history ## See also - LGBT marketing	[ "## Composition and release", "## Critical reception", "## Music video", "## Formats and track listings", "## Credits and personnel", "## Release history", "## See also" ]	1,665	34,132
64,871,732	Demonet Building	1,172,245,447	Historic building in Washington, D.C., U.S.	[ "District of Columbia Inventory of Historic Sites", "Dupont Circle", "Houses completed in 1880", "Office buildings completed in 1984", "Office buildings in Washington, D.C.", "Postmodern architecture in the United States", "Victorian architecture in Washington, D.C." ]	The Demonet Building is composed of a historic townhouse and adjoining office building on the southeast corner of Connecticut Avenue and M Street N.W. in Washington, D.C. Constructed in 1880, the townhouse is the last Victorian residence on Connecticut Avenue between Dupont Circle and Farragut Square that has not been significantly altered. It features an octagonal tower topped by a dome with cartouche windows. Following a multi-year legal battle to demolish the townhouse, which had been added to the District of Columbia Inventory of Historic Sites in 1979, the Demonet Building and adjoining lot were sold for what was then a record price for downtown real estate. The adjoining office building, designed by Skidmore, Owings & Merrill, was completed in 1984. The building's namesake, John Charles Demonet, established a confectionery business on Pennsylvania Avenue in 1848. During the next several decades, he and his family grew the business into a successful company that included catering services. It was a confectionery supplier for the White House. In the early 1900s, the business was moved to Connecticut Avenue, a fashionable residential area at the time. It became a commercial pioneer of what was nicknamed the Fifth Avenue of Washington, D.C. After the business was moved a few blocks north in 1927, the Demonet family continued to own the building. It was rented to various retailers. The family sold the building in 1979. Since the modern addition was constructed, several organizations have owned the property, the most recent being an affiliate of the Qatari royal family. ## Construction and first owner During the 1870s Connecticut Avenue between Dupont Circle and Farragut Square became a fashionable residential area for Washingtonians, spurred by the construction of the British Legation at Connecticut Avenue and N Street and Alexander "Boss" Shepherd's mansion at Connecticut Avenue and K Street. On April 23, 1880, real estate developer John Sherman was issued a building permit to construct four brick houses near the southeast corner of Connecticut Avenue and M Street. No architect was listed on the permit, but John and his wife Ella are believed to have designed some of the houses they built and sold throughout their careers. The four-story corner building was designed in the Victorian style with Gothic Revival elements. It features a tin roof, a wooden cornice with decorative ornaments, and molded brick below the cornice, windows, and on the tower. The alternately projecting bays also feature molded brick. The ribbed tin dome features eight facets, cartouche windows, and is topped with a spire. The corner building might be one that was advertised in the Evening Star from November 1880 to February 1881: "FOR SALE - Two very fine HOUSES at the corner of Connecticut ave., Rhode Island ave., and M st. for sale...11 rooms, coal vault & c. Price \$8,500. Terms easy. JOHN SHERMAN & CO..." [sic] The corner house, listed at 1756 M Street NW, was owned by William Warrington Evans from 1882 to 1901. Evans was a dentist who operated his practice in the building. ## Demonet ownership During the first few decades of the 20th century, many of the Victorian homes on Connecticut Avenue between Farragut Square and Florida Avenue were converted into high-end shops or replaced with small commercial buildings, resulting in the street being called the Fifth Avenue of Washington. On November 15, 1901, the building was purchased by Jules Demonet, a native of the Alsace-Lorraine region of France. The Demonet family owned a successful confectionery and catering business founded in 1848 by John Charles Demonet, Jules' father. The original shop was located in a three-story brick building at 1714 Pennsylvania Avenue NW and, due to its convenient location to the White House, was reportedly visited by President Abraham Lincoln and General Ulysses S. Grant during the Civil War. With help from his wife, Ida, who was also from Alsace-Lorraine, the business grew in popularity. In 1884 the business was described in Historical and Commercial Sketches of Washington and Environs as "one of the leading houses of the kind in the city" and "has furnished the President's House since President Buchanan with all the confections, creams, pastries used, as well as the best families in the city." An article in The Washington Post from 1893 said, "Whenever it is desired to make a good impression upon some foreign potentate or distinguished citizen at the White House" that Demonet's business would do so. Jules received training in pastry and ice cream making in France and New York City and, along with his mother, continued the family business following his father's death. Following the building's purchase, it underwent several alterations, including removing part of the ceiling, building an interior balcony and balustrade, adding show windows, and installing a marquee. In 1904 Jules hired the architectural firm owned by George Oakley Totten Jr. and Laussat R. Rogers to design a three-story brick addition on the south side (facing Connecticut Avenue) of the building. The shop moved from Pennsylvania Avenue to its new location on Connecticut Avenue in 1905, and the business continued to grow. Along with Magruder's Grocery Store at Connecticut Avenue and K Street and the Maison Rauscher catering firm at Connecticut Avenue and L Street, Demonet's was considered a pioneer in the commercial development of the area. In 1911, Demonet's opened a confection factory at 2021–2023 L Street NW to produce its catering and store products. Business continued to grow during the next decade despite sugar shortages during World War I. In 1927, the Demonet family moved their shop four blocks north to 1520 Connecticut Avenue NW in Dupont Circle. Maison Rauscher, Demonet's main competitor, also moved around the same time to a building less than a block away from Demonet's new location. The Demonet family continued ownership of the corner building for the next several decades as the area continued to develop into a major commercial area. Due to the construction of the adjoining Elizabeth Arden Building, Waggaman-Ray Commercial Row, and most notably the Mayflower Hotel, the 1100 block of Connecticut Avenue had the highest assessed property value of any block on Connecticut Avenue in 1929. The Demonet family rented the corner building to various retailers, starting with the Madame Ash dress shop in 1928, followed by tenants selling furniture, clothing, statuary, and makeup. In 1944 there was a fire inside the building when a customer's cigarette ignited a straw hat. Due to austerity and sugar shortages during World War II, the Demonet business closed in the early 1940s. The recipes and operations were handed over to the Avignone Freres confectionery and catering business at 1777 Columbia Road NW. ## Legal battle In 1979 the Demonet family sold the building to real estate developer Dominic F. Antonelli Jr., who planned to demolish it along with adjoining properties on M Street. He planned to replace the Demonet and adjoining site with an office building with street-level retail space. The Dupont Circle Citizens Association (DCCA) responded with an application to have the Demonet Building named a historic landmark and added to the District of Columbia Inventory of Historic Sites (DCIHS). Allison Luchs of the DCCA described the building as "an obstinate survivor from the past, hanging on as if to celebrate its centennial in 1980" and described the building's dome as "a scaled down version of the Florence Cathedral dome" that "appears today as a minor echo of the St. Matthew's Cathedral dome across the street." Wolf Von Eckardt, architecture critic for The Washington Post who had previously written a tribute to the building in 1966, implored local officials to save the building: "I hope the Landmarks Committee members will close their eyes for a moment and imagine what that corner of Connecticut Avenue will look like if the mini-Brunelleschi were replaced with a bland 12-story box – or even an interesting 12-story box. It will look like K Street, that's what it will look like." The city's Joint Committee on Landmarks of the National Capital (JCLNC), in partnership with the National Capital Planning Commission, added the Demonet Building, listed at 1149 Connecticut Avenue NW and 1758 M Street NW, to the DCIHS on November 23, 1979, thus preventing the building from being demolished. The committee said the building was "an exuberant example of the rich architecture which characterized post-Civil War Washington" but declined a request to add the building to the National Register of Historic Places. Following the landmark designation there were legal battles between the committee and Antonelli for two years. In 1980 Antonelli demolished the building behind the Demonet and asked the United States Court of Appeals for the District of Columbia Circuit to overturn the historic landmark status. In A&G Limited Partnership v. Joint Committee on Landmarks of the National Capital lawyers for Antonelli argued the JCLNC was not a city agency and did not have the authority to designate historical landmarks. In 1982 a three-judge panel refused to overturn the historic landmark status. The court said it did not have jurisdiction over the JCLNC because it was not a city government agency. In response to the court's ruling, the president of a local historical preservation group said, "Generally, we're very pleased with the decision. While it did apply directly to the Demonet building...what it does for the city is to give the Joint Committee a signal to go ahead, and it preserves their effectiveness." ## Restoration and new office building The Demonet Building and adjoining lot were sold in 1982 to a British subsidiary, Second British American Inc., for approximately \$10 million, or around \$1,000 per square foot (\$11,000/m<sup>2</sup>), which was a record price for downtown Washington, D.C. real estate. Viking Property Group, Inc., which was also a subsidiary of a British company, was selected as the project developer. It was the first US project for the group. Unlike other real estate development companies, Viking appreciated the building's historic status. A representative for the company stated: "What was a negative to many people in the development community was a positive attribute to the Viking Group. They thought it was worth saving and enhancing." The Dupont Circle Conservancy participated in the design of the new office building to ensure architectural cohesiveness with surrounding properties. Renovation of the original building and construction of the new 12-story postmodern office building, which includes a three-story underground parking garage, began in 1983 and was carried out by Omni Construction Inc. for \$6.1 million. Richard Giegengack and Robert Larson of Skidmore, Owings & Merrill were selected to design the 134,000 sq ft (12,449 sq m) project. To make the old and new buildings architecturally compatible, bricks were incorporated into the design of the new building's façade. Concrete floors were poured into the 12,000 sq ft (1,115 sq m) corner buildseting, and once the new building was completed, floor joists were replaced with steel beams. The roof of the corner building was converted into a terrace for the fifth floor of the new building. The sixth through twelfth floors of the new building rise above and behind the corner building and feature a beveled tower with a six-story arched window. On the M Street side, the building's eleventh and twelfth floors are set back 20 ft (6.1 m) from the first ten floors. A brick four-story historicist section was built between the two buildings to blend the corner building's cornice line. During construction, a large beam was dropped on the original building wall, resulting in a crack that almost caused the wall to collapse, but the damage was quickly repaired. Around a year after the \$35 million project was completed in 1984, the British owners rented the first floor retail space in the corner building to British luxury retailer Burberry. The Demonet Building was sold to Japanese real estate firm Mitsui Fudosan in 1986. It was later acquired by the Stockbridge Capital Group who sold it to Alduwaliya Asset Management (AAM) in 2017 for \$64,250,000. It was the third local real estate purchase by AAM, an affiliate of Qatar's Al Thani royal family.	[ "## Construction and first owner", "## Demonet ownership", "## Legal battle", "## Restoration and new office building" ]	2,617	23,418
24,769,513	Mary Bell (aviator)	1,107,013,384	20th-century Australian aviator	[ "1903 births", "1979 deaths", "20th-century Australian women", "Australian women aviators", "People from Launceston, Tasmania", "Royal Australian Air Force officers", "Royal Australian Air Force personnel of World War II", "Women in the Australian military" ]	Mary Teston Luis Bell (3 December 1903 – 6 February 1979) was an Australian aviator and founding leader of the Women's Air Training Corps (WATC), a volunteer organisation that provided support to the Royal Australian Air Force (RAAF) during World War II. She later helped establish the Women's Auxiliary Australian Air Force (WAAAF), the country's first and largest women's wartime service, which grew to more than 18,000 members by 1944. Born Mary Fernandes in Tasmania, Bell married a RAAF officer in 1923 and obtained her pilot's licence in 1927. Given temporary command of the WAAAF on its formation in 1941, she was passed over as its inaugural director in favour of corporate executive Clare Stevenson. Bell refused the post of deputy director and resigned, but subsequently rejoined and served until the final months of the war. She and her husband later became farmers. Nicknamed "Paddy", Bell died in 1979, aged seventy-five. ## Early life and WATC Mary Teston Luis Bell was born on 3 December 1903 in Launceston, Tasmania. She was the daughter of Rowland Walker Luis Fernandes, an English-born clerk, and his Australian wife, Emma Dagmar, née Mahony. Her maternal great-great grandfather was shipwright Jonathan Griffiths. Mary attended Church of England Girls' Grammar School, Launceston, and St Margaret's School, Devonport, before commencing work in a solicitor's office aged fourteen. She married John Bell (1889–1973), a Royal Australian Air Force (RAAF) officer and World War I veteran of the Gallipoli campaign and the Australian Flying Corps, at St Andrew's Anglican Church in Brighton, Victoria, on 19 March 1923. They had a daughter in 1926. From 1925 until early 1928, the Bells lived in England while John attended RAF Staff College, Andover, and served as RAAF liaison officer to the Royal Air Force (RAF). Interested in aviation since her teens, Mary learnt to fly in England and in April 1927 qualified for a Grade A private pilot's licence. Returning to Australia, on 20 March 1928 she became the first female to gain a pilot's licence in Victoria, and the sixth in Australia. The following year, she became the first Australian woman to qualify as a ground engineer. The Bells moved to Brisbane in 1939. John was employed as Queensland manager for Airlines of Australia Ltd, having left the RAAF in 1929. Mary became leader of forty or so members of the Women's National Emergency Legion Air Wing who had volunteered to assist with aircraft maintenance during times of war. Determining that their objectives would not be met in their existing organisation, on 17 July they formed a new volunteer paramilitary group, the Women's Air Training Corps (WATC), and elected Bell its commander. She soon expanded the WATC into a national organisation, with commandants leading each state's chapter, and herself as Australian Commandant. WATC members trained as drivers, clerks and telegraphists. They wore a uniform of field grey coat and skirt, and navy blue tie and glengarry. Active membership had grown to 2,000 by October 1940. Bell wrote to Air Vice-Marshal Richard Williams, with whom she was acquainted via her husband and through aviation circles, advocating the establishment of a women's branch of the RAAF similar to the RAF's Women's Auxiliary Air Force (WAAF). Among other things, she called attention to the female volunteers who had already been supporting the Air Force in transport, nursing and clerical duties. The WATC was one of several women's voluntary organisations whose members were keen to support the military, arguing that their personnel provided a ready-made pool of skilled staff for auxiliary services, saving the government time and money training unskilled labour. ## World War II and WAAAF Australia having declared war on Germany on 3 September 1939, the RAAF Air Board met in November to discuss Bell's letter, but postponed taking action. She continued to lobby, as did several other women's groups seeking to support the war effort and free male staff for overseas postings. In July 1940, the new Chief of the Air Staff, Air Chief Marshal Sir Charles Burnett, invited Bell to produce a proposal for a women's auxiliary under the supervision of her husband John, who had rejoined the Air Force at the war's outbreak and was now a wing commander in the Directorate of Organisation at RAAF Headquarters, Melbourne. Mary recommended forming the new service under the Air Force Act to permit women to enlist for the duration of the war under conditions similar to RAAF members, rather than enrolling on a short-term contractual basis, a radical idea at the time that would not be put in place until 1943. She also suggested a volunteer reserve or citizen force to augment the enlisted women, effectively the existing WATC, though this was seen as placing too much emphasis on her personal command. Some senior Air Force officers, including the recently promoted Air Marshal Williams, and the Director of Personal Services, Group Captain Joe Hewitt, opposed a women's service. Burnett, an RAF member who appreciated how the WAAF proved its worth during the Battle of Britain, championed its establishment as the Women's Auxiliary Australian Air Force (WAAAF). Bell was appointed to the RAAF's Personnel Branch as Staff Officer (Administrative) with the probationary rank of section officer (acting flight officer) on 24 February 1941, to lay the groundwork for the new organisation. She was succeeded as Australian Commandant of the WATC by the Countess of Bective, previously the State Commandant of South Australia. Formally established on 25 March, the WAAAF was the first uniformed women's branch of an armed service in Australia, predating similar organisations in the Army and Navy. Bell led the WAAAF for the first three months of its existence, recruiting approximately two hundred women by June; of the first six officers she appointed, five were former members of the WATC. On 21 May 1941, Berlei corporate executive Clare Stevenson was appointed Director WAAAF with Bell as her deputy director, effective from 9 June. The Air Member for Personnel, Air Vice-Marshal Henry Wrigley, chose Stevenson on the basis of her management background and because she was not a "socialite". Notwithstanding her aviation experience and familiarity with the RAAF, he considered Bell to be "tangled up with the WATC", where she "waved the flag and obtained a great deal of publicity for herself". Bell may also have alienated Burnett by not including his daughter Sybil-Jean, a founding member of the WAAF, among the initial intake of staff. Bell chose to resign on learning of Stevenson's appointment, rather than stay on and report to someone from outside the service fraternity; she later rejoined at Wrigley's request, but stipulated that she would accept no promotion higher than flight officer. Two of her original officer appointees also resigned when Bell was passed over, later describing her as "a thorough and effective organiser" and the "obvious choice" as director. Returning to the WAAAF on 5 October 1942, Bell served at RAAF Headquarters in several directorates, mainly that of Medical Services. Despite Bell's recommendation in July 1940 that women be enlisted into the WAAAF as permanent staff, they were at first enrolled only for renewable twelve-month contracts. They did not become part of the Permanent Air Force, with the benefits that entailed, until the Air Force (Women's Services) Regulations were enacted on 24 March 1943; that day, Bell's commission as a section officer, and her temporary rank of flight officer with effect from 1 October 1942, was promulgated in the Commonwealth of Australia Gazette. Pay in the WAAAF was only ever two-thirds that of male equivalents. The organisation nevertheless grew rapidly, peaking in strength at over 18,600 members in October 1944, or twelve per cent of all RAAF personnel. By the end of the war 27,000 women had served in the WAAAF, at one stage comprising over thirty-one per cent of ground staff and filling sixty-one trades, all previously occupied by men. ## Later life Ranked flight officer, Mary Bell was discharged from the WAAAF at her own request on 11 April 1945. Her husband John was an acting air commodore when he left the RAAF on 15 October. The WAAAF, Australia's largest wartime women's service, was disbanded on 30 September 1946. It was succeeded in 1950 by the Women's Royal Australian Air Force (WRAAF), which had a separate charter to the RAAF; members achieved a pay scale equal to the male service in 1972, and five years later were integrated with the RAAF. After leaving the military, the Bells became farmers, first in Victoria and then in Tasmania. They retired in 1968. Survived by her daughter, Bell died in Ulverstone, Tasmania, on 6 February 1979, and was buried beside her husband, who predeceased her in 1973, at Mersey Vale Memorial Park cemetery in Spreyton.	[ "## Early life and WATC", "## World War II and WAAAF", "## Later life" ]	1,946	39,581
23,178,132	Where You Go I Go Too	1,028,477,116	null	[ "2008 albums", "Ambient techno albums", "Hans-Peter Lindstrøm albums", "Smalltown Supersound albums" ]	Where You Go I Go Too is the first studio album by Norwegian electronica artist Hans-Peter Lindstrøm. It was first released in the United Kingdom on 18 August 2008 and was subsequently released the next day in the United States. The album comprises three tracks, roughly 30, 10, and 15 minutes in length. Where You Go I Go Too is usually labeled "space disco" due to its "spacey, psychedelic" feel and four-to-the-floor beats. Production of the album followed the 2006 release of It's a Feedelity Affair, a compilation of singles. Lindstrøm had become dissatisfied with simply producing remixes and average length songs, which led to experimentation with lengthy tracks. The album received positive reviews from critics, who praised its slick production values and epic scope. At the 2009 Spellemannprisen award ceremony in Norway, the record won the award for "best electronica album". ## Background and production Following the release of It's a Feedelity Affair in 2006, Lindstrøm had become tired of producing dance remixes and average length vocal pieces. He began giving the artists and labels mixes with slower tempos. Lindstrøm also felt he was unwisely incorporating musical ideas into remixes instead of original works, which led to experiments with lengthier tracks for an original album. Four to five tracks were originally envisioned for Where You Go I Go Too, but only three were chosen. The title track was a time-consuming project; Lindstrøm called it a "nightmare to finish." The song comprised over 70 layers of sound and spanned almost 30 minutes. Around half the sound consisted of live performances, which Lindstrøm found difficult to merge with the electronic portions. After changing the music, he would usually listen to the entire song and evaluate the change. The repeated listens took a toll: "I needed to listen to 30 minutes of music every time I did something," said Lindstrom "So I'll never gonna [sic] do it again." Despite this, he enjoyed working with extended songs because it allowed them to evolve and move at a slow pace. The album mixing was delayed during spring 2008. Typically, Lindstrøm would mix the record himself, but he felt overwhelmed by the album's scope and decided to seek outside help: "I’ve kind of discovered that I’m not good at doing everything myself. The problem with involving other people is that sometimes all the progress gets slowed down, but as long as the results are good, I’m happy... Leave the post-production to somebody else." Though a common theme was not purposefully established for the album, some journalists noted similar feelings of travel and adventure when listening to the record. Lindstrøm has recommended people listen while traveling, and believes his travels may have influenced the album: "I don't particularly like traveling, but I've realised that it's perfect for listening to whole albums... I'm sure the way I'm listening to music now ... has something to do with the music I'm writing." The song titles were left "open" so "the listener could make up his own story." Where You Go I Go Too was released by Smalltown Supersound on 18 August 2008 in the United Kingdom, and 19 August in the United States. A special edition was issued on 23 December 2008. The album featured a bonus disc with edited versions of the original tracks by frequent Lindstrøm collaborator Prins Thomas. Lindstrøm toured in Austria, Germany, Spain, and the United States that fall. ## Musical style and influences Where You Go I Go Too comprises three tracks, roughly 30, 10, and 15 minutes in duration, which seamlessly flow into each other in transitions that were described as "gradual and subtle". The songs grow and develop independent musical traits, such as motifs, polyrhythms, and melodies. According to The Guardian, some musical changes are pronounced, such as the introduction of a synthesizer, while others, such as small tempo changes, remain "almost insensible". Some critics have noted the album conjures the feeling of a journey. The music is a collage of electronic music, characterized by synthesized melodies, layered sounds, live performances, and four-to-the-floor beats. Pitchfork editor Dominique Leone described it as a "seamless combination of digital production, analog synthesizers and live instrumentation." Lindstrøm has been heavily influenced by music from the 1970s and 1980s, particularly disco progenitors Jean-Marc Cerrone and Giorgio Moroder. Where You Go I Go Too is often classified as "space disco" due to these influences and because it possesses a "spacey, psychedelic" sound. Lindstrøm listened to the Beach Boys, the Eagles, and Kirsty MacColl while writing the album. ## Reception Where You Go I Go Too debuted at No. 11 on the Norwegian music chart. The following week it fell to No. 27 before leaving the list. The record did not chart internationally. In 2009, Where You Go I Go Too received a Spellemannprisen award for "best electronica album". The album was well received by critics and received an 82 out of 100 on the aggregate website Metacritic, which signifies "universal acclaim". AllMusic writer K. Ross Hoffman declared the record an "entirely satisfying display" of Lindstrøm's talents and positively commented on the textured instrumentation. Hoffman concluded the music was an "expansive, exploratory journey" worth experiencing. Andy Battaglia of The A.V. Club disagreed, believing the album to be narrow minded and a missed opportunity to exploit the lengthy tracks and deliver more musical depth. Praise was given by Alex Macpherson of The Guardian, who stated "Every aspect of the record seems tailor-made to produce maximum pleasure [...] Where You Go I Go Too would make even the most hellish of journeys seem like a first-class trip." Jim Brackpool of Yahoo! Music felt audience reactions would be polarized; some would find it "sophisticated and lovingly crafted", while others might be put off by its "unabashed opulence". No Ripcord writer Sam Draper christened the record "one of the finest pieces of music [he had] heard in years." Pitchfork editor Tim Finney believed Where You Go I Go Too showed signs of a masterpiece, but also possessed "bloat, excess, and splendor" reminiscent of disco revivalists. Pitchfork named it one of the best albums of 2008. The album's title track was received favorably. Draper displayed particular fondness for the song and was amazed the music could stay fresh for its entire length. Hoffman also spoke highly of it, stating "[It] contains only as many discernible musical ideas as your average five- to seven-minute techno track [...] but its luxurious length lets those ideas stretch out gloriously [...] allowing a slow, fluid evolution that gestures towards a cosmic infinity." Finney praised the title track for its "shimmering, strobing synthesizer melodies" and ability to expand and surprise. A favorable comparison to Kraftwerk's similarly lengthy song "Autobahn" was made by Jason Newman of URB. Reviews of the other two tracks were generally positive. Brackpool wrote favorably about "Grand Ideas" and made comparisons to Vangelis and Tangerine Dream, while Hoffman named it the most danceable track on the album. Though Battaglia felt the song kept repeating the same chord progression, he believed the "accents and shifts in pitch" strengthened it. Jeff Rovinelli writing for Tiny Mix Tapes thought "The Long Way Home" sounded silly. Brackpool agreed, writing "[If] isolated from the rest of the album [The Long Way Home] could easily pass for generic library music..." While Draper considered it a solid song, he decided it was a "little too saccharine for its own good". Hoffman enjoyed the song and wrote "the vibe is rangy and exultant [...] as blissful and bemused as the vehemently unpretentious [cover] shot of Lindstrøm." ## Track listing All songs written by Hans-Peter Lindstrøm except where noted. Original release 1. "Where You Go I Go Too" – 28:58 2. "Grand Ideas" – 10:10 3. "The Long Way Home" – 15:58 iTunes bonus song (also available on Spotify) 1. "Grand Ideas (Johan Agebjörn Remix)" – 6:49 Special edition 1. "Where You Go I Go Too" – 28:58 2. "Grand Ideas" – 10:10 3. "The Long Way Home" – 15:58 4. "Where You Go I Go Too Pt. 1" (Prins Thomas Edit) – 13:05 5. "Where You Go I Go Too Pt. 2" (Prins Thomas Edit) – 8:37 6. "Grand Ideas" (Prins Thomas Radio Edit) – 5:14 7. "The Long Way Home" (Prins Thomas Edit) – 12:32 ## Personnel - Hans-Peter Lindstrøm – writing, producing, performing, mixing - Knut Sævik – mixing - Chris Sansom – mastering - Kim Hiorthøy – photography ## Charts	[ "## Background and production", "## Musical style and influences", "## Reception", "## Track listing", "## Personnel", "## Charts" ]	1,975	6,923
273,665	Little egret	1,156,522,594	Species of water bird	[ "Articles containing video clips", "Birds described in 1766", "Birds of Africa", "Birds of Eurasia", "Birds of Japan", "Birds of Nepal", "Birds of Oceania", "Birds of the Gulf of Guinea", "Egretta", "Taxa named by Carl Linnaeus" ]	The little egret (Egretta garzetta) is a species of small heron in the family Ardeidae. It is a white bird with a slender black beak, long black legs and, in the western race, yellow feet. As an aquatic bird, it feeds in shallow water and on land, consuming a variety of small creatures. It breeds colonially, often with other species of water birds, making a platform nest of sticks in a tree, bush or reed bed. A clutch of three to five bluish-green eggs is laid and incubated by both parents for about three weeks. The young fledge at about six weeks of age. Its breeding distribution is in wetlands in warm temperate to tropical parts of Europe, Africa, Asia, and Australia. A successful colonist, its range has gradually expanded north, with stable and self-sustaining populations now present in the United Kingdom. In warmer locations, most birds are permanent residents; northern populations, including many European birds, migrate to Africa and southern Asia to over-winter there. The birds may also wander north in late summer after the breeding season, and their tendency to disperse may have assisted in the recent expansion of the bird's range. At one time common in Western Europe, it was hunted extensively in the 19th century to provide plumes for the decoration of hats and became locally extinct in northwestern Europe and scarce in the south. Around 1950, conservation laws were introduced in southern Europe to protect the species and their numbers began to increase. By the beginning of the 21st century the bird was breeding again in France, the Netherlands, Ireland and Britain. Its range is continuing to expand westward, and the species has begun to colonise the New World; it was first seen in Barbados in 1954 and first bred there in 1994. The International Union for Conservation of Nature has assessed the bird's global conservation status as being of "least concern". ## Taxonomy The little egret was formally described by the Swedish naturalist Carl Linnaeus in 1766 in the twelfth edition of his Systema Naturae under the binomial name Ardea garzetta. It is now placed with 12 other species in the genus Egretta that was introduced in 1817 by the German naturalist Johann Reinhold Forster with the little egret as the type species. The genus name comes from the Provençal French Aigrette, "egret", a diminutive of Aigron, "heron". The species epithet garzetta is from the Italian name for this bird, garzetta or sgarzetta. Two subspecies are recognised: - E. g. garzetta (Linnaeus, 1766) – nominate, found in Europe, Africa, and most of Asia except the south-east - E. g. nigripes (Temminck, 1840) – found in the Sunda Islands, Australia and New Zealand Three other egret taxa have at times been classified as subspecies of the little egret in the past but are now regarded as two separate species. These are the western reef heron Egretta gularis which occurs on the coastline of West Africa (Egretta gularis gularis) and from the Red Sea to India (Egretta gularis schistacea), and the dimorphic egret (Egretta dimorpha), found in East Africa, Madagascar, the Comoros and the Aldabra Islands. ## Description The adult little egret is 55–65 cm (22–26 in) long with an 88–106 cm (35–42 in) wingspan, and weighs 350–550 g (12–19 oz). Its plumage is normally entirely white, although there are dark forms with largely bluish-grey plumage. In the breeding season, the adult has two long plumes on the nape that form a crest. These plumes are about 150 mm (6 in) and are pointed and very narrow. There are similar feathers on the breast, but the barbs are more widely spread. There are also several elongated scapular feathers that have long loose barbs and may be 200 mm (8 in) long. During the winter the plumage is similar but the scapulars are shorter and more normal in appearance. The bill is long and slender and it and the lores are black. There is an area of greenish-grey bare skin at the base of the lower mandible and around the eye which has a yellow iris. The legs are black and the feet yellow. Juveniles are similar to non-breeding adults but have greenish-black legs and duller yellow feet, and may have a certain proportion of greyish or brownish feathers. The subspecies nigripes differs in having yellow skin between the bill and eye, and blackish feet. During the height of courtship, the lores turn red and the feet of the yellow-footed races turn red. Little egrets are mostly silent but make various croaking and bubbling calls at their breeding colonies and produce a harsh alarm call when disturbed. To the human ear, the sounds are indistinguishable from the black-crowned night heron (Nycticorax nycticorax) and the cattle egret (Bubulcus ibis) with which it sometimes associates. ## Distribution and habitat The breeding range of the western race (E. g. garzetta) includes southern Europe, the Middle East, much of Africa and southern Asia. Northern European populations are migratory, mostly travelling to Africa although some remain in southern Europe, while some Asian populations migrate to the Philippines. The eastern race, (E. g. nigripes), is resident in Indonesia and New Guinea, while E. g. immaculata inhabits Australia and New Zealand, but does not breed in the latter. During the late twentieth century, the range of the little egret expanded northwards in Europe and into the New World, where a breeding population was established on Barbados in 1994. The birds have since spread elsewhere in the Caribbean region and on the Atlantic coast of the United States. The little egret's habitat varies widely, and includes the shores of lakes, rivers, canals, ponds, lagoons, marshes and flooded land, the bird preferring open locations to dense cover. On the coast it inhabits mangrove areas, swamps, mudflats, sandy beaches and reefs. Rice fields are an important habitat in Italy, and coastal and mangrove areas are important in Africa. The bird often moves about among cattle or other hoofed mammals. ## Behaviour Little egrets are sociable birds and are often seen in small flocks. Nevertheless, individual birds do not tolerate others coming too close to their chosen feeding site, though this depends on the abundance of prey. ### Food and feeding They use a variety of methods to procure their food; they stalk their prey in shallow water, often running with raised wings or shuffling their feet to disturb small fish, or may stand still and wait to ambush prey. They make use of opportunities provided by cormorants disturbing fish or humans attracting fish by throwing bread into water. On land they walk or run while chasing their prey, feed on creatures disturbed by grazing livestock and ticks on the livestock, and even scavenge. Their diet is mainly fish, but amphibians, small reptiles, mammals and birds are also eaten, as well as crustaceans, molluscs, insects, spiders and worms. ### Breeding Little egrets nest in colonies, often with other wading birds. On the coasts of western India these colonies may be in urban areas, and associated birds include cattle egrets (Bubulcus ibis), black-crowned night herons (Nycticorax nycticorax) and black-headed ibises (Threskiornis melanocephalus). In Europe, associated species may be squacco herons (Ardeola ralloides), cattle egrets, black-crowned night herons and glossy ibises (Plegadis falcinellus). The nests are usually platforms of sticks built in trees or shrubs, or in reed beds or bamboo groves. In some locations such as the Cape Verde Islands, the birds nest on cliffs. Pairs defend a small breeding territory, usually extending around 3 to 4 m (10 to 13 ft) from the nest. The three to five eggs are incubated by both adults for 21 to 25 days before hatching. They are oval in shape and have a pale, non-glossy, blue-green shell colour. The young birds are covered in white down feathers, are cared for by both parents and fledge after 40 to 45 days. ## Conservation Globally, the little egret is not listed as a threatened species and has in fact expanded its range over the last few decades. The International Union for Conservation of Nature states that their wide distribution and large total population means that they are a species that cause them "least concern". ### Status in northwestern Europe Historical research has shown that the little egret was once present, and probably common, in Ireland and Great Britain, but became extinct there through a combination of over-hunting in the late medieval period and climate change at the start of the Little Ice Age. The inclusion of 1,000 egrets (among numerous other birds) in the banquet to celebrate the enthronement of George Neville as Archbishop of York at Cawood Castle in 1465 indicates the presence of a sizable population in northern England at the time, and they are also listed in the coronation feast of King Henry VI in 1429. They had become scarce by the mid-16th century, when William Gowreley, "yeoman purveyor to the Kinges mowthe", "had to send further south" for egrets. In 1804 Thomas Bewick commented that if it were the same bird as listed in Neville's bill of fare "No wonder this species has become nearly extinct in this country!" Further declines occurred throughout Europe as the plumes of the little egret and other egrets were in demand for decorating hats. They had been used in the plume trade since at least the 17th century but in the 19th century it became a major craze and the number of egret skins passing through dealers reached into the millions. Complete statistics do not exist, but in the first three months of 1885, 750,000 egret skins were sold in London, while in 1887 one London dealer sold 2 million egret skins. Egret farms were set up where the birds could be plucked without being killed but most of the supply of so-called "Osprey plumes" was obtained by hunting, which reduced the population of the species to dangerously low levels and stimulated the establishment of Britain's Royal Society for the Protection of Birds in 1889. By the 1950s, the little egret had become restricted to southern Europe, and conservation laws protecting the species were introduced. This allowed the population to rebound strongly; over the next few decades it became increasingly common in western France and later on the north coast. It bred in the Netherlands in 1979 with further breeding from the 1990s onward. About 22,700 pairs are thought to breed in Europe, with populations stable or increasing in Spain, France and Italy but decreasing in Greece. In Britain it was a rare vagrant from its 16th-century disappearance until the late 20th century, and did not breed. It has however recently become a regular breeding species and is commonly present, often in large numbers, at favoured coastal sites. The first recent breeding record in England was on Brownsea Island in Dorset in 1996, and the species bred in Wales for the first time in 2002. The population increase has been rapid subsequently, with over 750 pairs breeding in nearly 70 colonies in 2008, and a post-breeding total of 4,540 birds in September 2008. The first record of breeding in Scotland happened in 2020 in Dumfries & Galloway. In Ireland, the species bred for the first time in 1997 at a site in County Cork and the population has also expanded rapidly since, breeding in most Irish counties by 2010. Severe winter weather in 2010–2012 proved to be only a temporary setback, and the species continues to spread. ### Status in Australia In Australia, its status varies from state to state. It is listed as "Threatened" on the Victorian Flora and Fauna Guarantee Act 1988. Under this act, an Action Statement for the recovery and future management of this species has been prepared. On the 2007 advisory list of threatened vertebrate fauna in Victoria, the little egret is listed as endangered. ### Colonisation of the New World With its range continuing to expand, the little egret has now started to colonise the New World. The first record there was on Barbados in April 1954. The bird began breeding on the island in 1994 and now also breeds in the Bahamas. Ringed birds from Spain provide a clue to the birds' origin. The birds are very similar in appearance to the snowy egret and share colonial nesting sites with these birds in Barbados, where they are both recent arrivals. The little egrets are larger, have more varied foraging strategies and exert dominance over feeding sites. Little egrets are seen with increasing regularity over a wider area and have been observed from Suriname and Brazil in the south to Newfoundland, Quebec and Ontario in the north. Birds on the east coast of North America are thought to have moved north with snowy egrets from the Caribbean. In June 2011, a little egret was spotted in Maine, in the Scarborough Marsh, near the Audubon Center.	[ "## Taxonomy", "## Description", "## Distribution and habitat", "## Behaviour", "### Food and feeding", "### Breeding", "## Conservation", "### Status in northwestern Europe", "### Status in Australia", "### Colonisation of the New World" ]	2,869	14,908
37,181,156	Russian monitor Koldun	1,092,640,749	Russian Uragan-class monitor	[ "1864 ships", "Ships built in Belgium", "Uragan-class monitors" ]	Koldun (Russian: Колдун) was an Uragan-class monitor built for the Imperial Russian Navy in Belgium in the mid-1860s. The design was based on the American Passaic-class monitor, but was modified to suit Russian engines, guns and construction techniques. She was one of two ships of the class to be built in Belgium and assembled in Russia. Spending her entire career with the Baltic Fleet, the ship was only active when the Gulf of Finland was not frozen, but very little is known about her service. She was stricken in 1900 from the Navy List, converted into a coal barge in 1903 and renamed Barzha No. 324. Abandoned by the Soviets in Finland in 1918, the ship was later scrapped by the Finns. ## Description Koldun was 201 feet (61.3 m) long overall, with a beam of 46 feet (14.0 m) and a draft of 10.16–10.84 feet (3.1–3.3 m). She displaced 1,500–1,600 long tons (1,500–1,600 t), and her crew numbered eight officers and 88 enlisted men in 1865. They numbered 10 officers and 100 crewmen in 1877. The ship was fitted with a two-cylinder, horizontal direct-acting steam engine built by the Belgian Cockerill Company. It drove a single propeller using steam that was provided by two rectangular boilers. Specific information on the output of the ship's engine has not survived, but it ranged between 340–500 indicated horsepower (254–373 kW) for all the ships of this class. During Koldun's sea trials on 21 July 1864, she reached a maximum speed of 6 knots (11 km/h; 6.9 mph). The ship carried a maximum of 190 long tons (190 t) of coal, which gave her a theoretical endurance of 1,440 nmi (2,670 km; 1,660 mi) at 6 knots (11 km/h; 6.9 mph). Koldun was designed to be armed with a pair of 9-inch (229 mm) smoothbore muzzle-loading guns purchased from Krupp of Germany and rifled in Russia, but the rifling project was seriously delayed and the ship was completed with nine-inch smoothbores. These lacked the penetration power necessary to deal with ironclads and they were replaced by license-built 15-inch (380 mm) smoothbore muzzle-loading Rodman guns in 1867–68. The Rodman guns were replaced around 1876 with the originally intended nine-inch rifled guns. All of the wrought-iron armor that was used in the Uragan-class monitors was in 1-inch (25 mm) plates, just as in the Passaic-class ships. The side of the ship was entirely covered with three to five layers of armor plates, of which the three innermost plates extended 42 inches (1.1 m) below the waterline. This armor was backed by a wooden beam that had a maximum thickness of 36 inches (914 mm). The gun turret and the pilothouse above it was protected by eleven layers of armor. The conning tower armor was 11 inches (279 mm) thick. Curved plates six layers thick protected the base of the funnel up to a height of 7 feet (2.1 m) above the deck. Unlike their predecessors, the Uragans were built without deck armor to save weight, but Koldun's deck was reinforced by the addition of 0.5-inch (12.7 mm) armor plates after completion. ## Construction and career Construction of Koldun began on 9 November 1863 by the Belgian firm of Cockerill for assembly in Saint Petersburg. The ship was laid down on 9 December 1863 and she was launched on 8 May 1864. She entered service on 1865 and cost a total of 1,237,000 rubles, almost double her contract cost of 600,000 rubles. The ship was assigned to the Baltic Fleet upon completion and she, and all of her sister ships except Latnik, made a port visit to Stockholm, Sweden in July–August 1865 while under the command of General Admiral Grand Duke Konstantin Nikolayevich. Sometime after Koldun was completed, an armored ring, 5 inches (127 mm) thick and 15 inches (381 mm) tall, was fitted around the base of the turret to prevent splinters from jamming it. Later, an armored, outward-curving bulwark was fitted around the top of the turret to protect any crewmen there. Three sponsons were later added, probably during the 1870s, to the upper portion of the turret. Each sponson, one above the gun ports and one on each side of the turret, mounted a light gun, probably a 1.75-inch (44 mm) Engstrem gun, for defense against torpedo boats. A fourth gun was mounted on a platform aft of the funnel when a hurricane deck was built between the funnel and the turret, also probably during the 1870s. Little is known about the ship's career other than that she was laid up each winter when the Gulf of Finland froze. Koldun was reclassified as a coast defense ironclad on 13 February 1892 and turned over to the Port of Kronstadt for disposal on 6 July 1900, although she was not stricken until 17 August. During 1903, the ship was converted into a coal barge by the removal of her turret, her side armor, and its wooden backing, and by the division of her hull into three holds. She was redesignated as Barzha No. 31, Barzha No. 50 and, in 1914, Barzha No. 323. The ship was abandoned by the Soviets when they were forced to withdraw from Finland in April 1918 according to the terms of the Treaty of Brest-Litovsk and was later scrapped by the Finns.	[ "## Description", "## Construction and career" ]	1,283	26,089

Subsets and Splits

No community queries yet

The top public SQL queries from the community will appear here once available.