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Mazaalai (satellite)
| 1,129,364,312 |
First Mongolian spacecraft
|
[
"2017 in Mongolia",
"CubeSats",
"First artificial satellites of a country",
"National University of Mongolia",
"Satellites deployed from the International Space Station",
"Satellites orbiting Earth",
"Science and technology in Mongolia",
"Spacecraft launched in 2017",
"Spacecraft which reentered in 2019",
"Student satellites"
] |
Mazaalai (Mongolian: Мазаалай; ) was a Mongolian nanosatellite CubeSat that was launched into space on 3 June 2017 as part of the SpaceX CRS-11 mission.
Released into space from the Nanoracks CubeSat Deployer on the Kibō module of the International Space Station on 7 July 2017, Mazaalai was the first Mongolian satellite in space. It had imaging capabilities and could transmit songs back to Earth, but its primary mission involved performing experiments including GPS location, air density measurement, and investigation of cosmic radiation. The mission ended when the satellite deorbited 11 May 2019.
## Background
Mazaalai was part of the Birds-1 constellation of satellites, built through the Joint Global Multi-Nation Birds Satellite at Japan's Kyushu Institute of Technology (KIT), a program intended to help universities in non-spacefaring countries get satellites into space. The Birds-1 constellation also included satellites from Japan, Ghana, Nigeria, and Bangladesh. Over a two-year period, three university students from each of the five participating countries learned skills to build, develop, launch and operate the satellites. All five satellites were identical to each other. The satellites from Ghana (GhanaSat-1) and Bangladesh (BRAC Onnesha) were the first satellites in space for those countries.
MongolSat-1, which was launched in early 2017, is sometimes reported as Mongolia's first satellite, but that satellite was in fact launched by a Bermuda-based company, ABS. It was manufactured by the United States company Boeing and was co-branded as MongolSat-1 after launch.
## Design
Mazaalai was named after the endangered Gobi bear, native to Mongolia. It was designed and built by three young researchers of the National University of Mongolia, in collaboration with students from Ghana, Japan, Bangladesh, and Nigeria.
The spacecraft was a CubeSat 1U with a mass of approximately 1 kilogram (2.2 lb). It was equipped with 0.3 megapixel and 5 megapixel cameras, capable of taking images with 100 metres (330 ft) resolution, and had sensors capable of measuring air density and space radiation. The satellite could also transmit songs and data at 437 MHz to Earth that had been uploaded to the satellite.
## Mission
### Launch
Mazaalai was sent to the International Space Station on 3 June 2017 as part of the SpaceX CRS-11 mission. 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. The satellite was released into orbit from the Japanese Kibō module of the ISS on 7 July 2017. The satellite orbited the Earth at an altitude of approximately 400 kilometres (250 mi) and at an inclination of 51.64°, completing an orbit every 92.57 minutes at a velocity of 7.67 kilometres per second (4.77 mi/s).
### Operations
The satellite performed experiments including GPS location, air density measurements, and investigating cosmic radiation. The satellite transmitted the national anthem of Mongolia to Earth. The main purpose of the project for Mongolia was to develop more accurate maps, help mitigate natural disasters, and conduct independent space studies. The project was supported by Mongolian Emergency Organization of Government and National University of Mongolia as part of the Joint Global Multi-Nation Birds Satellite project of Kyushu Institute of Technology (KIT), an international interdisciplinary project for non-space faring countries supported by Japan. 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 deorbited on 11 May 2019.
## Future work
A second satellite launch in 2018 was planned by the Mazaalai team members. Japan's work with non-spacefaring countries continues with the Philippines, Bhutan, and Malaysia through Birds-2, launched on 29 June 2018 along with SpaceX CRS-15.
|
[
"## Background",
"## Design",
"## Mission",
"### Launch",
"### Operations",
"## Future work"
] | 866 | 18,995 |
63,598,250 |
You Go to My Head (film)
| 1,159,194,823 |
2017 romantic thriller film
|
[
"2010s Dutch-language films",
"2010s French-language films",
"2010s romantic thriller films",
"2017 directorial debut films",
"2017 films",
"Films shot in Morocco"
] |
You Go to My Head is a 2017 romantic thriller film, directed and produced by Dimitri de Clercq. The film was produced under the banner of CRM-114 and The Terminal. The film stars Delfine Bafort, Svetozar Cvetković, and Arend Pinoy. The plot revolves around a woman who is suffering from post-traumatic amnesia. The film premiered at the WorldFest-Houston International Film Festival on 27 April 2017.
The film won numerous awards, including Best Directing and Special Jury Award at the WorldFest-Houston International Film Festival. It subsequently won Best Foreign Feature and Best Actress - Feature Film at the 2018 Twister Alley Film Festival. The film has received generally favourable reviews from film critics, with review-aggregation websites Rotten Tomatoes and Metacritic giving 67 percent and 69 percent positive reviews, respectively.
## Synopsis
A woman is lost in the Sahara desert after a car accident. She is found by Jake, an architect, and taken to the nearest doctor, who discovers that the woman is suffering from post-traumatic amnesia. Jake claims that he is her husband and names her Kitty. He takes her to his desert home so she can recover. The woman struggles to understand who she is, and she starts to fall in love with Jake. However, when her past begins to surface, Jake increasingly begins to fear losing her.
## Cast
Credits adapted from Rotten Tomatoes.
- Delfine Bafort as Dafne / Kitty
- Svetozar Cvetkovic as Jake
- Arend Pinoy as Ben
## Production
You Go to My Head was the directorial debut for the producer Dimitri de Clercq. It was entirely filmed in Morocco, with four key crew and three actors. De Clercq wrote the script with the actor Delfine Bafort in mind, and described her as "the soul and spirit behind [the film]". When he approached Bafort to play the lead role, she agreed to act in the film under the condition that she would receive the screenplay. When de Clercq and Matt Steigbigel developed the film's plot, the first draft was more "graphically violent than the script used for the film". The actor Svetozar Cvetković was approached by co-producer Zoran Tasic a few weeks before principal photography began. According to the director, he was "very taken by the story", and immediately agreed to play the lead role.
De Clercq said that the desert was "key in inspiring [him] to make this film". He compared his other films Earth and Ashes (2004) and Son of Babylon (2009), both of which were filmed in deserts, to You Go to My Head. De Clercq collaborated with Stijn Grupping as director of photography, having worked with him on a previous film shot in Morocco. The film does not use any artificial lights. De Clercq has described You Go to My Head as a "dream" film.
When discussing her nudity in the film, Bafort said: "In my nudity, I wanted to feel free. I imagined the sun was my protection. After a while, shame disappears. It wasn’t easy, but I felt more and more connected to nature. In order to find my character, I tried to see and experience my surroundings as if for the first time." She further added that she never felt awkward or uncomfortable with intimate scenes with Cvetkovic, because he made her feel at ease. The post-production work was finished in Munich, Germany.
## Release
The film premiered at the WorldFest-Houston International Film Festival on 27 April 2017, where it won the Best Directing and Special Jury awards. In its opening weekend, You Go to My Head was screened in one theatre, grossing \$5,864. In its second weekend, the film was screened in two theatres, grossing \$2,398, an average of \$1,199 per theatre. You Go to My Head has grossed \$10,682 worldwide.
### Critical response
On the review aggregator Rotten Tomatoes, the film holds an approval rating of 60 percent based on ten reviews, with an average rating of 6.8/10. Metacritic, which uses a weighted average, assigned the film a score of 69 out of 100 based on six critics, indicating "generally favorable reviews".
Frank Scheck of The Hollywood Reporter praised the film's visuals and the lead actors' performances, writing "the movie nonetheless casts a spell, thanks to the hypnotic visuals [...] and the very effective, understated performances by the two leads". Kimber Myers of the Los Angeles Times found aspects of the film problematic, stating that "there's an interesting approach to the standard amnesia story somewhere in this languidly paced drama, but it largely seems engineered to show its lead actress nude for the pleasure of her much-older 'husband,' the director himself and those in the audience unconcerned with Kitty as a human being". Andrew Stover of Film Threat praised the cinematography of the film, writing, "It is a breathtaking, yet deadly location with vistas, ancient sites, and bodies of water."
Joe Leydon of Variety praised Bafort for her performance in the film, stating that her "lithe and expressive physicality serve her well while playing a woman skittishly awakening to a world she doesn't remember". The pacing was criticised by Elizabeth Weitzman of TheWrap, who wrote: "There's nothing wrong with a movie that follows its own, insistently deliberate pace. If there is no satisfying end goal, however, an iconoclastic approach quickly shifts from artistic depth to empty posing". Shilpa Sebastian of The Hindu wrote, "Even though Dimitri has dominantly used the desert sand, huge white walls (of Jake's house) as the backdrop, the imagery created is a class apart and lingers in your mind."
### Accolades
|
[
"## Synopsis",
"## Cast",
"## Production",
"## Release",
"### Critical response",
"### Accolades"
] | 1,236 | 6,661 |
38,833,812 |
Tops in Science Fiction
| 1,146,208,345 |
US pulp science fiction magazine
|
[
"Defunct science fiction magazines published in the United States",
"Fantasy fiction magazines",
"Magazines disestablished in 1953",
"Magazines established in 1953",
"Pulp magazines",
"Science fiction magazines established in the 1950s"
] |
Tops in Science Fiction was an American pulp science fiction magazine launched in 1953. The publisher, Love Romances Publishing, created it as a vehicle to reprint stories from Planet Stories. It was unsuccessful and only lasted for two issues. Although it contained no original stories, it did print some original artwork, including some of Kelly Freas's early work. A British reprint edition appeared in the mid-1950s.
## Publication history
The early 1950s saw dramatic changes in the history of U.S. science fiction publishing. At the start of 1949, all but one of the major magazines in the field were in pulp format; by the end of 1955, almost all had either ceased publication or switched to digest format. Despite the rapid decline of the pulp market, several new science fiction magazines were launched in pulp format during these years; Tops in Science Fiction was one of the last of these. The publisher, Love Romances Inc., also published Planet Stories, and Malcolm Reiss, Planet's editorial director, decided to try to take advantage of the backfile of stories and artwork from Planet's 14 years of publication. He may have been inspired by the example of Fantastic Story Magazine, which was published by Standard Magazines as a vehicle to reprint their extensive backfile of science fiction. If so, he was evidently not aware that by 1953 Fantastic Story was not doing well financially.
The first issue was dated Spring 1953, and was edited by Jack O'Sullivan. The cover, by Alexander Leydenfrost, was reprinted from a 1942 issue of Planet Stories. The fiction included "Black Friar of the Flame" by Isaac Asimov, and "The Million Year Picnic", by Ray Bradbury—the first of his "Martian Chronicles" stories. Interior art included some of Kelly Freas' earliest work. The issue was only modestly successful, and on the advice of his distributor, who told Reiss that they were having trouble getting the magazine distributed, Reiss decided to switch to the digest format for the second issue: digests were starting to become more popular than the pulps, which would be almost completely gone from the market within only a couple more years. The second issue was dated Fall 1953; the cover, by Freas, illustrated "Lorelei of the Red Mist", by Bradbury and Leigh Brackett. Freas also did the interior illustrations for the story, and later commented that he was delighted by the results but felt he was "never quite able to repeat it. A hex, of course." Interior artists for the second issue also included Emsh; the fiction included stories by Fredric Brown and Horace Gold. However, this issue received only limited distribution, and Reiss decided against continuing with the magazine.
## Bibliographic details
Tops in Science Fiction's two issues were dated Spring and Fall 1953; the first in pulp format, and the second a digest. There was a single volume of two numbers. The publisher was Love Romances Publishing, based in Stamford, Connecticut. The magazine was priced at 25 cents for the pulp issue, and 35 cents for the digest issue. Both issues were 128 pages long. The first issue was edited by Jack O'Sullivan; the second by Malcolm Reiss.
A British reprint edition appeared, with three 128-page digest editions published by Top Fiction Ltd. These were released in Autumn 1954, Winter 1955 and Summer 1956, though none of them were dated. The first two reprinted stories from the first U.S. issue; the third reprinted material from the second U.S. issue. They were each priced at 1/6.
|
[
"## Publication history",
"## Bibliographic details"
] | 758 | 10,905 |
17,432,214 |
Haiti at the 2008 Summer Olympics
| 1,037,804,330 | null |
[
"2008 in Haitian sport",
"Haiti at the Summer Olympics by year",
"Nations at the 2008 Summer Olympics"
] |
Haiti sent a delegation to compete in the 2008 Summer Olympics held in Beijing, People's Republic of China, from August 8 to August 24, 2008. Its participation in Beijing marked its seventh consecutive appearance at the summer Olympics and its fourteenth appearance overall, with its first being at the 1900 Summer Olympics in Paris. The Haitian Olympic team included seven athletes (three men and four women) participating in track and field (Barbara Pierre, Ginou Etienne, Nadine Faustin-Parker, and Dudley Dorival), boxing (Azea Austinama), and judo (Joel Brutus and Ange Jean Baptiste). More women participated for Haiti in 2008 than at any single Olympic games prior. Although Pierre and Dorival advanced to quarterfinals in their events, there were no Haitian medalists in Beijing. Brutus carried his country's flag at the ceremonies.
## Background
For Haiti, the 2008 Beijing Olympics marked its fourteenth appearance at any Olympic games and its seventh consecutive appearance since the 1984 Summer Olympics in Los Angeles. Between that and its debut at the 1900 Summer Olympics in Paris, Haitian teams competed at the Olympics that took place during 1924 (Paris), 1928 (Amsterdam), 1932 (Los Angeles), 1960 (Rome), 1972 (Munich, West Germany), and 1976 (Montreál, Canada). As of 2008, Haiti had not participated at a Winter Olympics. The delegation that Haiti sent to Beijing included seven athletes across three sports. With four female athletes, more women participated for Haiti in Beijing than at any single Olympic games before. Prior to Beijing, athletes from Haiti had won one silver medal (by Silvio Cator in 1928) and one bronze medal (by five athletes in 1924). Between then and including the 2008 Olympics, Haitian athletes had not won medals in any event. Moise Joseph, an athlete of the University of Florida, was destined to participate for Haiti in Beijing, but did not compete.
Joel Brutus, a heavyweight judoka, was the flag bearer for Haiti at both the opening and closing ceremonies.
## Athletics
### Women's competition
#### Women's 100 meters
Then 21-year-old athlete of Raleigh's St. Augustine's College Barbara Pierre participated in the women's 100 meters dash on Haiti's behalf in Beijing, marking her first appearance at any Olympic games. She was the only Haitian participating in the event. Pierre competed during the qualification round of the event, which took place on August 15, where she was placed in the tenth heat. Pierre placed fourth with a time of 11.52 seconds, placing directly behind Laverne Jones of the United States Virgin Islands (11.41 seconds) and ahead of Russia's Natalia Murinovich (11.55 seconds). The leaders of Pierre's heat were Jamaica's Kerron Stewart (11.28 seconds) and Norway's Ezinne Okparaebo (11.32 seconds). Overall, Pierre placed 30th out of the 85 athletes who participated in the qualification round. She advanced to quarterfinals, which took place on August 16.
During quarterfinals, Pierre participated in the fifth heat, where she ran her event in a time of 11.56 seconds. In doing so, Pierre placed fifth, ahead of Italy's Anita Pistone (11.56 seconds) and behind Okparaebo (11.45 seconds). The heat's leaders were Torri Edwards of the United States (11.31 seconds) and Lithuania's Lina Grincikaite (11.33 seconds). Pierre did not advance to semifinals.
#### Women's 400 meters
Ginou Etienne, who was 23 years old at the time of her participation in the Beijing Olympics, participated in the women's 400 meters event. She was the only Haitian participating in the event. Etienne had not previously appeared at any Olympic games. Etienne participated in the August 16 qualification round, where she was placed in the third heat. Etienne completed the event in 53.94 seconds, placing sixth in an event of seven participants. She defeated Rachidatou Seini Maikido of Niger (1:03.19) but fell behind the fifth-place finalist, Puerto Rico's Carol Rodriguez (53.08 seconds). The leaders of Etienne's heat were Russia's Anastasia Kapachinskaya (51.32 seconds) and the United States' Mary Wineberg (51.46 seconds). Out of the 50 athletes who participated in the qualification round, Etienne placed 41st. She did not advance to later rounds.
#### Women's 100 meters hurdles
Brussels-born Haitian athlete Nadine Faustin-Parker participated on Haiti's behalf at the Beijing Summer Olympics. She was 32 years old at the time, and was the only Haitian participating in the women's 100 meters hurdles. Faustin-Parker previously competed in the same event at both the 2000 Summer Olympics in Sydney and at the 2004 Summer Olympics in Athens. Faustin-Parker participated in the fifth heat during the August 17 preliminary round, completing her event in 13.25 seconds. She finished sixth out of eight athletes, ahead of Indonesia's Dedeh Erawati (13.49 seconds) and behind the Ukraine's Yevgeniya Snihur (13.06 seconds). Faustin-Parker finished in 29th place out of the 40 participating athletes. She did not advance to further rounds.
### Men's competition
#### Men's 110 meters hurdles
New Jersey-born Dudley Dorival was the only male track athlete to participate on Haiti's behalf at the Beijing Olympics, where he participated in the men's 110 meters hurdles. His appearance at Beijing marked his third appearance; he previously participated in the Sydney Olympics in 2000 and the Athens Olympics in 2004, reaching the finals round and ranking seventh in the 110 meters hurdles in Sydney. Dorival participated in the third heat of the August 17 qualification round, completing his event in 13.78 seconds ahead of Pakistan's Abdul Rashid (14.52 seconds) and behind Puerto Rico's Héctor Cotto (13.72 seconds). The leaders of Dorival's heat were Colombia's Paulo Villar (13.37 seconds) and Barbados' Ryan Brathwaite (13.38 seconds). Overall, Dorival ranked 30th out of the 43 athletes who participated in the qualification round. Dorival advanced to quarterfinals.
At the August 19 quarterfinals, Dorival participated in the third heat and finished last out of seven finishing athletes, completing his event in 13.71 seconds. The eighth athlete in his heat, Mohamed Issa Al-Thawadi of Qatar, was disqualified. Dorival finished behind British athlete Allan Scott (13.66 seconds). The heat leaders of Dorival's quarterfinals heat were Jamaica's Maurice Wignall (13.36 seconds) and Brathwaite (13.44 seconds). Dorival finished 25th out of the 32 remaining athletes. He did not advance to semifinals.
### Summary
Men
Women
Key
- Note–Ranks given for track events are within the athlete's heat only
- Q = Qualified for the next round
- q = Qualified for the next round as a fastest loser or, in field events, by position without achieving the qualifying target
- NR = National record
- N/A = Round not applicable for the event
- Bye = Athlete not required to compete in round
## Boxing
Haiti qualified one boxer for the Olympic boxing tournament. Azea Austinama qualified for the light heavyweight class at the second Americas' qualifying tournament.
The then 25-year-old, Miami-based, Augustama's appearance at Beijing was his first at any Olympic games. Augustama participated in the preliminary round of the light heavyweight class (maximum of 81 kilograms in weight), which took place on August 9. Over the four rounds in which Augustama faced Brazil's Washington Silva, Augustama scored two points–both in the third round. Silva scored a total of six points on Augustama across all rounds to win the bout and advance to the next round.
## Judo
### Men's competition
Then 37-year-old Joel Brutus was the only male judoka to represent Haiti at Beijing. As a result of his weight, which exceeded 100 kilograms, he was placed in the heavyweight class. Brutus' appearance at Beijing marked his second Olympic appearance; he previously competed on Haiti's behalf as a heavyweight at the Athens Olympics in 2004. On August 15, Brutus participated in the twenty-sixth match of the Round of 64, the first round in which the judokas competed. Facing Kim Sung-Bum of South Korea, Brutus was defeated by Kim when he performed a seoi nage, scoring ippon. Brutus did not progress to further rounds.
### Women's competition
Then 23-year-old Ange Jean Baptiste was the only female judoka to participate on Haiti's behalf at the Beijing Olympics. Her appearance at Beijing was her first at an Olympic games. Baptiste participated in the lightweight class, placing her against athletes under 57 kilograms in weight. In the August 11 Round of 32, the first round in which the judokas competed, Baptiste was set against Cuban judoka Yurisleydis Lupetey. Baptiste was defeated by Lupetey by a kuchiki-taoshi, receiving a score of waza-ari. As a result, she did not advance.
### Summary
## See also
- Haiti at the 2007 Pan American Games
- Haiti at the 2008 Summer Paralympics
- Haiti at the 2010 Central American and Caribbean Games
|
[
"## Background",
"## Athletics",
"### Women's competition",
"#### Women's 100 meters",
"#### Women's 400 meters",
"#### Women's 100 meters hurdles",
"### Men's competition",
"#### Men's 110 meters hurdles",
"### Summary",
"## Boxing",
"## Judo",
"### Men's competition",
"### Women's competition",
"### Summary",
"## See also"
] | 2,045 | 36,537 |
26,891,677 |
Gott der Herr ist Sonn und Schild, BWV 79
| 1,106,047,990 |
Church cantata by Johann Sebastian Bach
|
[
"1725 compositions",
"Church cantatas by Johann Sebastian Bach",
"Psalm-related compositions by Johann Sebastian Bach"
] |
Johann Sebastian Bach composed the church cantata Gott der Herr ist Sonn und Schild (God the Lord is sun and shield), BWV 79, in Leipzig in 1725, his third year as Thomaskantor, for Reformation Day and led the first performance on 31 October 1725.
The text was written by an unknown poet, who did not refer to the prescribed readings for the day. Bach began the libretto for the feast with a quotation from Psalm 84 and included two hymn stanzas, the first from Martin Rinckart's "Nun danket alle Gott", associated with Reformation Day in Leipzig, as the third movement, and as the last movement the final stanza of Ludwig Helmbold's "Nun laßt uns Gott dem Herren". Bach composed a work of "festive magnificence", structured in six movements, with an aria following the opening chorus, a pair of recitative and duet following the first chorale. He scored the work for three vocal soloists, a four-part choir, and a Baroque instrumental ensemble of two horns, timpani, two transverse flutes (added for a later performance), two oboes, strings and continuo. He achieved a unity within the structure by using the horns not only in the opening but also as obbligato instruments in the two chorales, the first time even playing the same motifs.
Bach performed the cantata again, probably in 1730. He later reworked the music of the opening chorus and a duet again in his Missa in G major, BWV 236, and the music of an alto aria in his Missa in A major, BWV 234.
## History and words
Bach composed the cantata in his third year as Thomaskantor in Leipzig. While he had written complete annual cycles for many occasions of the liturgical year the first two years in the position, he slowed down in the third. For the Reformation Day, he composed this new cantata, his first extant work for the occasion. The prescribed readings for the feast day were from the Second Epistle to the Thessalonians, "be steadfast against adversaries" (), and from the Book of Revelation, fear God and honour him (). The writer of the text – an unknown poet – was not concerned about the readings, and began with a quotation from Psalm 84 (). He included the first stanza from Martin Rinckart's hymn "Nun danket alle Gott" and as the closing chorale the final stanza of Ludwig Helmbold's hymn "Nun laßt uns Gott dem Herren". According to the Bach scholar Klaus Hofmann, the first of these hymns was sung regularly after the sermon on Reformation Day in Leipzig.
Bach first performed the cantata on 31 October 1725. He repeated it again, probably in 1730, with minor changes in the scoring, doubling the oboes by flutes and assigning a flute as the obbligato instrument in the alto aria.
`He used the music of the opening chorus and the duet again in his Missa in G major, BWV 236, and the music of the alto aria in his Missa in A major, BWV 234.`
## Music
### Structure and scoring
Bach structured the cantata in six movements. A choral movement is followed by an aria, a chorale, recitative and duet, closed by another chorale. He scored the work for three vocal soloists (soprano, alto, bass), a four-part choir and a Baroque instrumental ensemble of two horns (Co), timpani (Ti), two flauto traverso (Ft), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo. The title page of the autograph score reads: "Festo Reformat. / Gott der Herr ist Sonn und Schild / a / 4 Voci / 2 Corni / Tamburi / 2 Hautb. / 2 Viol. / Viola / e / Cont. / di / J.S.Bach".
In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The continuo, playing throughout, is not shown.
### Movements
As Hofmann points out, Bach achieved "festive magnificence", using two horns and timpani not only in the opening chorus but also as obbligato instruments in the two chorales. Bach established unity of form by using a horn motif from the first movement again in the first chorale, juxtaposed to the hymn tune.
#### 1
The cantata opens with a choral movement, "Gott der Herr ist Sonn und Schild" (God the Lord is sun and shield). The instrumental ritornello introduces two themes: "a festive, march-like theme for the horns and timpani, and a more lively counter-theme that develops from a note that is heard seven times." The musicologist Julian Mincham notes that the ritornello, structured in three parts, is among the longest among Bach's opening choruses. The horns are silent in the middle section, but the voices enter "an imitative discussion of a simplified version of the string theme from the ritornello. Complex contrapuntal texture is used as the vehicle to convey the important and ultimately optimistic message ... The driving rhythms infusing the intricate swirling counterpoint produce an effect that is totally infectious", as Mincham writes. John Eliot Gardiner, who conducted during his Bach Cantata Pilgrimage in 2000 the cantatas for Reformation at the Schlosskirche in Wittenberg where the Reformation began, describes the opening chorus as a ceremonial procession, and hears the "insistent drum beat" going along with the "fanfares of the high horns" as "the hammering of Luther’s theses to the oak door at the back of the church".
#### 2
The aria for alto and an obbligato oboe, "Gott ist unsre Sonn und Schild!" (God is our sun and shield!), expresses similar ideas as the first movement in a personal way, described as "tranquil and individual" by Mincham. In a later version, the oboe is replaced by a transverse flute.
#### 3
In the first chorale, "Nun danket alle Gott" (Now let everyone thank God), Bach uses the first theme of the opening again, simultaneously with the chorale tune. Helmuth Rilling notes the unity of topic, praise and thanks to God, for the first three movements. The praise, individual in the preceding aria, is now communal again, "a rousing hymn, now given the most extrovert of settings!" Gardiner assumes that the sermon may have followed the chorale.
#### 4
The only recitative, sung by the bass, "Gottlob, wir wissen den rechten Weg zur Seligkeit" (Praise God, we know the right way to blessedness), mentions the reason for thanks on this occasion. The phrase "Du hast uns durch dein Wort gewiesen" (You have instructed us through Your word) addresses "the basic issues of the Reformation", as Rilling points out.
#### 5
A duet for bass and soprano, "Gott, ach Gott, verlaß die Deinen nimmermehr!" (God, ah God, abandon Your own ones never again!), expresses a prayer for protection. The voices are in homophony, beginning without the instruments, while a "sharply contoured violin theme" appears first alone, then together with the voices. All violins play it in unison. The motif was attributed by the Bach scholar Albert Schweitzer to tumult, representing the "raging of enemies" mentioned in the text. Gardiner hears in the "innocent" setting of the voices "a pre-echo ... of Papageno and Papagena, a Mozartian impression, reinforced by the hint of Eine kleine Nachtmusik in the violin ritornelli".
#### 6
The cantata ends with a four-part setting of the second chorale, "Erhalt uns in der Wahrheit" (Uphold us in the truth), asking for the gifts of truth and eternal freedom.
The horns play again independently, but not in the rousing way of movement 3.
## Recordings
The entries are taken from the listing on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performances are marked green under the header Instr..
|
[
"## History and words",
"## Music",
"### Structure and scoring",
"### Movements",
"#### 1",
"#### 2",
"#### 3",
"#### 4",
"#### 5",
"#### 6",
"## Recordings"
] | 1,822 | 35,040 |
59,145,836 |
William Montgomerie
| 1,144,584,908 |
Scottish surgeon
|
[
"1797 births",
"1856 deaths",
"19th-century Scottish medical doctors",
"British East India Company people",
"People in agriculture"
] |
William Montgomerie (1797–1856) was a Scottish military doctor with the East India Company, and later head of the medical department at Singapore. He is best known for promoting the use of gutta-percha in Europe. This material was an important natural rubber that made submarine telegraph cables possible. Montgomerie was involved in spice cultivation as head of the Singapore botanical experimental gardens and at his personal estate in Singapore. The latter never became economically viable, but he received a Society of Arts gold medal for nutmeg cultivation. He was also responsible for building the first lunatic asylum in Singapore. Montgomerie died at Barrackpore in India a few years after taking part in the Second Anglo-Burmese War as Superintendent Surgeon.
## Early life and family
Montgomerie was born in Scotland in 1797. In 1827, he married Elizabeth Graham in Calcutta. A son is mentioned in a newspaper article. His brother was Major-General Sir P. Montgomerie of the Madras Artillery who fought in the First Opium War.
## Career
In 1818, Montgomerie became a medical officer with the East India Company and was posted to India. In May 1819, he was posted to Singapore with the 2nd Battalion of the 20th Regiment of Bengal Native Infantry with the rank of Assistant Surgeon. Upon his arrival, he took over as senior surgeon of Singapore from a more junior officer, and was given the rank of acting Surgeon. In 1827, Montgomerie was posted back to Bengal. In 1835, the medical department headquarters was moved from Penang to Singapore, whereupon Montgomerie was made the head. He retired to England in January 1844. He was recalled to Bengal some years later as Garrison Surgeon at Fort William, Calcutta, and was Superintendent Surgeon in the field during the Second Anglo-Burmese War (1852–1853). He died of cholera at Barrackpore, India, on 21 March 1856 and was buried in Fort William.
While he was stationed at Singapore, Montgomerie was usually the doctor attending Singapore's leaders. These included Stamford Raffles, the founder of Singapore, and William Farquhar, who was stabbed by a would-be assassin in 1823. Farquhar had expressed concern over Montgomerie's youth when he arrived in Singapore in 1819. Montgomerie was very young at this point, even younger than the Sub-assistant Surgeon from whom he took over and was now in charge. If anything happened to Farquhar, Montgomerie would have been left in charge of Singapore as the next most senior official. Farquhar wrote to Calcutta asking them to put alternative arrangements in place.
In Singapore, Montgomerie was appointed a magistrate in 1819, head of the botanical experimental gardens in 1823 (where he concentrated on cultivating spices), and sheriff in 1837.
## Agriculture
Montgomerie keenly pursued agriculture in Singapore. He owned the 32-acre (13 ha) Duxton Hill estate for most of his time there, but never succeeded in making it profitable. It was sold after his death and briefly renamed "Woodsville". The area is now built-up and the name has reverted to Duxton Hill, a name also preserved in Duxton Road. The primary crop grown was sugar, but later he planted nutmeg trees. The estate was bounded by a river where Montgomerie had a large watermill. A short distance from the mill, the Serangoon Road crosses the river on a crossing known as Montgomerie's Bridge.
### Spice cultivation
On his return to Singapore in 1835, Montgomerie found that the government spice plantations had been neglected. The clove crop had been destroyed by blight, but since the nutmeg trees still looked healthy, Montgomerie decided to start his own plantation with seeds procured from Penang. He believed that enough nutmeg could be grown in Singapore to supply the entire British Empire by 1850, and that the price could be driven down to something affordable by ordinary people. However, he complained that the government land leasing arrangements were not favourable in Singapore, and discouraged farming. He compared this to Ceylon (now known as Sri Lanka, but at the time a British possession) where land could be bought outright. In 1842, Montgomerie sent a box of nutmeg and mace to the Society of Arts (later to become the Royal Society) for which he was awarded a gold medal.
## Gutta-percha
Gutta-percha is a natural rubber obtained from the sap of certain trees growing in the Far East. It hardens on exposure to air, but has the useful property of being thermoplastic. It can be moulded to a new shape after boiling in water and will reharden when cool. It is credited with being the first plastic available to manufacturing industry.
Montgomerie is sometimes credited with discovering the substance. He is responsible for it coming into widespread use, but it had in fact been known for some time by a few natives who used it to make handles for parangs (Malayan machetes) and other items. However, it was not widely known, even amongst native Malays. Montgomerie said that most people he showed it to could not recognise it. It had even made its way to Europe, but again, was not widely known. Montgomerie's discovery began in 1822 when he was shown a different natural rubber, gutta girek, and was told of the existence of a harder material, gutta percha. However, he could not obtain a sample at the time and did not get another opportunity until 1842 after he returned to Singapore. In that year a Malay showed him a parang with a gutta-percha handle. Montgomerie purchased the item and requested that more of the substance be provided. After experimentation, he concluded that its thermoplastic properties would be ideal for making many surgical instruments. The natural rubbers used for this purpose at the time were easily damaged by solvents and could not withstand the tropical climate.
Montgomerie sent samples to the Calcutta Medical Board with a recommendation for its medical use. The board agreed with him and requested that he obtain as much as possible. Montgomerie also sent samples to the Royal Asiatic Society in London in 1843. He began an investigation into how widespread the tree was. He discovered that it was not only found in Singapore, but all over the Malaysian peninsular and the islands of Indonesia and appeared to be plentiful. However, as early as 1846 Montgomerie was expressing fears that supplies would dry up due to the destructive method of harvesting and large quantities being produced. Trees were cut down and the bark stripped to get to the sap. Montgomerie believed that it was possible to harvest the sap by tapping but did not think it would be possible to persuade the native collectors to use this slower, but more sustainable method.
Besides its use for making medical instruments, Montgomerie proposed several other uses, including as a dental filling (for which it is still used). Numerous other applications were quickly found for the new material, including a much improved golf ball. However, the most important application was as an electrical insulator. This was essential for the worldwide telegraph network as it made possible the transatlantic telegraph cable and other links across oceans. No better material was available until the invention of polyethylene in the 1930s.
## Mental health medicine
It was the custom in Singapore to house 'lunatics' in the jail. Natives and Chinese were confined in this way, while Europeans enjoyed better treatment. It was part of Montgomerie's duties to visit the jail daily to attend to their needs. There had been public disquiet about the lack of proper facilities, but nothing was done until 1840 when one mentally ill inmate murdered another. Montgomerie was tasked with investigating and making recommendations. He recommended a purpose-built lunatic asylum and submitted plans and costings. He rejected an alternative idea of sending patients to India. Montgomerie's plan was accepted and the asylum was built.
## Singapore Stone
Montgomerie played a minor role in recovering pieces of the Singapore Stone after it was demolished by explosives in 1843. The stone was a large rock in the Singapore River bearing an ancient and undeciphered inscription. It was destroyed by the Settlement Engineer to clear the river channel. Montgomerie had intended to set up a Singapore museum, but was unable to do so. Instead, he sent the pieces he recovered to the Asiatic Society museum in Calcutta around 1848. In 1918, some of the fragments recovered by Montgomerie were returned to Singapore on extended loan and are now in the National Museum of Singapore.
The destruction of the stone horrified many of the colony's officials. One described it as vandalism. The stone was first discovered by Bengali sailors tasked with clearing the vegetation by the port's first Master Attendant. On seeing the strange inscription, they refused to carry on. Montgomerie commented "it was a pity that those who afterwards authorised the destruction of the ancient relic were not themselves prevented by some such wholesome superstition."
## Honours
- Society of Arts Gold Medal 1844. Awarded for "the cultivation of nutmegs in that island [Singapore], samples of which have been placed in the Society's repository."
## Recreation
Montgomerie was the head of the Singapore Yacht Club when it formed in 1826. Meetings were held in his house. The game of fives was introduced to Singapore by Montgomerie. He initially played it in the medical store. He was honoured with a dinner in February 1836 for introducing the game. In 1827, a grand jury in Singapore decided gambling farms should be abolished. Montgomerie is said to have remarked, "I did not think there were thirteen such idiots in the entire island."
|
[
"## Early life and family",
"## Career",
"## Agriculture",
"### Spice cultivation",
"## Gutta-percha",
"## Mental health medicine",
"## Singapore Stone",
"## Honours",
"## Recreation"
] | 2,101 | 22,462 |
45,620,966 |
De la capăt
| 1,095,499,111 |
2015 single by Voltaj
|
[
"2014 singles",
"2014 songs",
"Eurovision songs of 2015",
"Eurovision songs of Romania",
"Indie pop songs",
"Indie rock songs",
"Pop rock songs",
"Soft rock songs",
"Songs about child abuse",
"Songs about loneliness"
] |
"De la capăt" (Romanian: "From the Beginning") is a song recorded by Romanian group Voltaj for their tenth studio album X (2016). It was made available as a single for digital download on 31 October 2014 by Cat Music and Voltz Media. A Romanian song, two other versions were released eventually—"De la capăt (All Over Again)" in Romanian and English, and "All Over Again" fully in English. "De la capăt (All Over Again)" was written by band members Călin Goia, Gabriel Constantin and Adrian Cristescu with Silviu Marian Păduraru and Victor Răzvan Alstani, while music was composed by the aforementioned alongside Monica-Ana Stevens and Andrei-Mădalin Leonte. "De la capăt" has been described as an indie pop rock and soft rock song, and is a manifesto raising awareness for children whose parents have left them behind to work abroad.
"De la capăt (All Over Again)" represented Romania in the 2015 Eurovision Song Contest in Vienna, Austria after winning the pre-selection show Selecția Națională. The country went on to reach 15th place in a field of 26, scoring a total of 35 points. During Voltaj's minimalistic and mostly black-and-white show, the stage was scattered with multiple suitcases while excerpts from the music video were shown on the background LED screen. "De la capăt" received mixed reviews from music critics, with praise for the song's message and lyrics, as well as for band soloist Goia's vocal delivery. Observers have compared the track to "I Could Sing of Your Love Forever" (1995) by Delirious?. It won in the Best Pop Rock Song category at the 2015 Radio România Actualități Awards.
In order to promote and support "De la capăt", Voltaj made various appearances to perform the song on Romanian radio stations and in Austria. An accompanying music video was directed by Dan Petcan and uploaded onto the YouTube channel of Cat Music on 1 December 2014. It features scenes from the 2013 Romanian short film Calea Dunării (Way of the Danube), which tells the story of a boy named Ionuț in a Romanian village on the Danube river attempting to regain contact with his parents who work in Vienna. Music videos for the other versions of the song were also released, using the same footage. Commercially, "De la capăt" reached number 22 on Romania's Airplay 100 chart, and also peaked at numbers 70 and 48 in Austria and Iceland, respectively. It was covered by Georgian singer Tamara Gachechiladze during the 2019 Golden Stag Festival.
## Background and composition
Voltaj is a Romanian band, consisting of Călin Goia on lead vocals, Gabriel Constantin on guitar, Adrian Cristecu on keyboards, Valeriu Ionescu on bass and Oliver Sterian on drums. "De la capăt", a Romanian language song, was released for digital download by Cat Music and Voltz Media on 31 October 2014. Since then, two more versions of the song had been created: "De la capăt (All Over Again)", in Romanian and English, and "All Over Again", solely in English. They were featured alongside a shortened edit of "De la capăt" on its digital re-release on 17 March 2015 conducted by the same labels. Cat Music also published an enhanced CD in Romania on 30 March 2015, further listing the music video of "De la capăt (All Over Again)", a TV documentary surrounding it, and the short film Calea Dunǎrii (Way of the Danube).
The lyrics of "De la capăt (All Over Again)" were written by Goia, Constantin, Cristescu, Silviu Marian Păduraru and Victor Răzvan Alstani, while music was composed by the aforementioned alongside Monica-Ana Stevens and Andrei-Mădalin Leonte. Musically, "De la capăt" has been described as an indie pop rock and soft rock song. It is a manifesto, raising awareness for children whose parents have left them behind to work abroad. Voltaj also previously had launched online campaigns in collaboration with Romanian child-care organizations to support the same cause. Goia further elaborated:
> "Those kids live a trauma because of the lack of affection when their parents are away, working abroad, although they receive gifts and packages from them. People must know that Romanians are not lazy or thieves and the biggest majority are hard-working and honest, making enormous sacrifices for their families left behind. Therefore, they must be respected and not discriminated because of this."
## Reception and accolades
Upon its release, "De la capăt" received mixed reviews from music critics. In a Wiwibloggs review containing several reviews from individual critics, Goia's vocal delivery and the song's touching message were praised, although it was noted as unspectacular and outdated. Overall, the reviewers on the website gave the song 6.13 out of 10 points. Carl Greenwood of Daily Mirror awarded the song four out of five stars, while Bella Qvist of The Guardian praised its message, predicting that it "will no doubt hit home with the many Europeans who have seen an influx in foreign-born workers". Irving Wolther of Eurovision.de similarly applauded the song's message and lyrics, as well as Goia's vocal delivery. Some observers noticed similarities to "I Could Sing of Your Love Forever" (1995) by English contemporary Christian band Delirious?. In a 2016 poll on Wiwibloggs called "What is your favourite Eurovision song from Romania?", the track finished in seventh place with over 300 votes.
Commercially, the song attained moderate success on record charts. Upon its original release in October 2014, "De la capăt" peaked at number 23 on Romania's Airplay 100 chart for the week ending 15 December 2014, however it reached a new high at number 22 on 26 January 2015. It further peaked at numbers ten and 18 on Media Forest's Radio and TV Airplay charts, respectively. Later in 2015, "De la capăt (All Over Again)" reached number 70 on Austria's Ö3 Austria Top 40 chart and number 48 on Iceland's Tonlist ranking. At the 2015 Radio România Actualități Awards, "De la capăt" won in the Best Pop Rock Song category, while Voltaj were awarded for Best Pop Rock Artist.
## Promotion
Voltaj performed the song multiple times upon its release. The band appeared on native radio stations Kiss FM, Radio ZU, Radio 21, and Europa FM in November 2014. In the December of the same year, they also sang "De la capăt" live during a Kiss FM event to celebrate the Great Union Day. Furthermore, Voltaj performed the track at the Eurovillage event in Vienna in May 2015, and at Sala Polivalentă in Cluj-Napoca in January 2016. An accompanying music video for "De la capăt" was uploaded onto Cat Music's YouTube channel on 1 December 2014. It was directed by Dan Petcan, while Bogdan Filip was hired as the director of photography and Zebra Film as the producers. The video features scenes from the 2013 Romanian short film Calea Dunării directed by Sabin Dorohoi, which tells the story of a boy in a Romanian village on the Danube river trying to regain contact with his parents who work in Vienna.
The clip begins with Ionuț (played by Răzvan Schinteie) writing a letter to his parents and then putting it into an envelope. In another shot, he and his sister Ana (played by Serena Stanciu) open a package sent by his parents, containing a present; he copies their address seen on the package onto the aforementioned envelope and sends it. However, the letter eventually returns due to an unknown address. Learning this, he packs his rucksack and travels on the Danube by boat. Interspersed shots during the clip's main plot show Ionuț and his grandfather (played by Constantin Dinulescu) travelling the Danube, Ionuț in the classroom looking at a map of Austria, as well as Voltaj performing on a ship and on the top of a mountain. The same footage was also used for the music videos of "All Over Again" and "De la capăt (All Over Again)", released on 3 and 17 March 2015, respectively. In both visuals, the following text further appears onscreen halfway through: "More than 3 million Romanians are working abroad, trying to make a better life for their children. Unfortunately, the children are left behind."
## At Eurovision
### National selection
The Romanian Television (TVR) opened a submission period for artists and composers to submit their entries between 26 January and 8 February 2015 to the Selecția Națională. A jury panel made up of music professionals rated all songs, revealing their 12 finalists on 12 February. At the final round held on 8 March 2015 at the Polyvalent Hall in Craiova, Voltaj performed their entry "De la capăt" first, followed by Băieții with "Dragoste în lanțuri". Subsequently, the song was chosen to represent in Romania in the contest after the jury's votes (12 points) and the televoting (12 points) were combined, resulting in 24 points. Controversy was sparked after the outcome, with several observers complaining about the alleged fact that Voltaj benefited of more promotion than other Selecția Națională participants.
### In Vienna
The Eurovision Song Contest 2015 took place at the Wiener Stadthalle in Vienna, Austria and consisted of two semi-finals on 19 and 22 May, respectively, and the final on 23 May 2015. According to Eurovision rules all countries, except the host country, the "Big Five" (France, Germany, Spain, the United Kingdom and Italy), and Australia, were required to qualify from one semi-final to compete for the final; the top ten countries from each semi-final progressed to the final. Voltaj performed 15th in the first semi-final, preceded by Albania and followed by Georgia, and sang 20th in the Grand Final, preceded by Latvia and followed by Spain.
"De la capăt (All Over Again)" has been used for Eurovision, as announced on 15 March 2015. Band leader Goia explained for Adevărul that his personal favorite version of the song was the fully Romanian one, but thought that its message needed to be understood by foreigners as well. He said that he found the perfect version to tell the message as well as keeping the Romanian language. For their minimalistic and mostly black-and-white show, Voltaj are seen performing in all-black outfits designed by Florin Dobre while the stage is scattered with "strategically placed" suitcases. Some inserts from the song's music video are displayed on the background LED screen. At the end of their performance, Goia says: "Don't leave your children behind", and the camera cuts to Schinteie, the boy featured in the song's video.
#### Points awarded to Romania
Below is a breakdown of points awarded to Romania in the contest's first semi-final and Grand Final. The country finished fifth in the first semi-final with 89 points, including 12 from Moldova and eight from Albania, Austria, France and Spain. In the Grand Final, Romania reached 15th place with 35 points, including 12 from Moldova, and five from Belgium, Israel and Spain.
## Track listing
- Digital download 1
1. "De la capăt" – 3:29
- Digital download 2
1. "De la capăt (All Over Again)" – 2:59
2. "De la capăt" – 2:59
3. "All Over Again" – 2:59
- Romanian CD single
1. "De la capăt (All Over Again)"
2. "All Over Again"
3. "De la capăt"
4. "De la capăt (All Over Again)" [Music video]
5. "De la capăt (All Over Again)" [TV documentary]
6. "Calea Dunării" [Short film]
## Charts
### Weekly charts
### Year-end charts
## Release history
## See also
- Euro-orphan
|
[
"## Background and composition",
"## Reception and accolades",
"## Promotion",
"## At Eurovision",
"### National selection",
"### In Vienna",
"#### Points awarded to Romania",
"## Track listing",
"## Charts",
"### Weekly charts",
"### Year-end charts",
"## Release history",
"## See also"
] | 2,691 | 27,247 |
11,888,246 |
Fire in My Heart
| 1,057,494,874 | null |
[
"1999 singles",
"1999 songs",
"Creation Records singles",
"Super Furry Animals songs"
] |
"Fire in My Heart" is the tenth single by Welsh rock band the Super Furry Animals. It was the second single to be taken from the group's 1999 album Guerrilla, and reached number 25 in the UK Singles Chart after its release on 9 August 1999. The track, originally titled "Heartburn", has been described by the band's singer Gruff Rhys as a country and western song with lyrics that offer "soul advice".
Critical reaction to "Fire in My Heart" was generally positive with the NME stating that it confirmed the band's position as the best British singles band in "ages and ages" and placing the track at number 25 in their singles of the year chart for 1999. The music video for the song was directed by Jake & Jim and shows Super Furry Animals waiting to leave the planet Mars, having played a concert there.
## Themes and recording
"Fire in My Heart" was originally called "Heartburn", a name which the group's singer Gruff Rhys felt was more poignant and gave the song "a twist", but other members of the band were not happy with the title so the name was changed. Rhys has described the track as a country and western song which was written with absolute sincerity despite featuring clichéd lyrics. The song is "soul advice" and is about "all kinds of people in your life". The track was recorded in the middle of 1998 at Real World Studios, Box, Wiltshire, along with the rest of Guerrilla, and was produced by the Super Furry Animals. B-side "The Matter of Time" was considered for inclusion on Guerrilla, but the band felt the album would be too self-indulgent if the song were added to the record's track listing. The group instead opted to include the "stupid" song "The Teacher", a decision which Rhys has called a decisive moment in the creation of the record.
## Composition
"Fire in My Heart" is 2 minutes and 45 seconds long and is in the key of E major. The song begins with Gruff Rhys singing the first verse backed only by finger picked acoustic guitar. Rhys's vocals are joined by sparse drums, a synthesizer, organ and harmony backing vocals in the second verse which immediately follows the first at 31 seconds. The drums become louder during the third and final verse which leads into a bridge that begins after 1 minute and 31 seconds. During the bridge Rhys sings the lines "Oh the monkey puzzle tree has some questions for the watchdogs of the profane, and I ask, is it sad that I'm driving myself mad as this fire in my heart turns blue". A key change to F♯ major follows for the final verse, with Rhys repeating the line "I've got a fire in my heart for you" backed by multiple harmony vocals. The song ends with a coda during which Rhys elongates the word "you" over the chords A minor, A, G minor and F.
## Release and critical reception
"Fire in My Heart" was released on CD, cassette and 7" on 9 August 1999, and reached number 25 in the UK Singles Chart. The track was included on the band's 'greatest hits' compilation album Songbook: The Singles, Vol. 1, issued in 2004.
The Melody Maker called the track a "lovely song, a real scarf-waver", although the magazine expressed disappointment that "Fire in My Heart" did not see the band "howling at the moon in their more deep-throated manner". American model Caprice–in the role of guest reviewer for the Melody Maker–likened the song to the music of Carole King and Rickie Lee Jones and said that the track is "just about the words" and is an example of the sort of music that "never goes out of fashion". The NME described the song as a "bizarre psychedelic-folk-gospel record" and said that it confirmed the band's position as the best British singles band "in ages and ages". The magazine later placed the track at number 35 in their singles of the year chart for 1999. Yahoo! Music called the track a heartbreaking song of "staggering genius". Mojo described "Fire in My Heart" as "trad-sounding" four chord folk, while Pitchfork stated that the track was a song of "country endearments". The BBC called "Fire in My Heart" an "idiosyncratic love song". The song was placed at number 17 in the 1999 Festive Fifty on John Peel's BBC Radio 1 show.
### Accolades
## Music video
A promotional music video was produced to accompany the release of "Fire in My Heart" as a single. The video was directed by Jake & Jim, who also directed the video for the group's subsequent single "Do or Die", and shows the Super Furry Animals waiting to leave Mars having played a concert on the planet.
The video begins with Gruff Rhys standing alone on the Martian soil, singing along to the song. A silver, computer generated, spaceship is seen landing behind Rhys. Around one minute into the track the camera pans back to reveal the rest of the Super Furry Animals sitting down to the left of Rhys. Guitarist Huw Bunford is sat on the floor playing an acoustic guitar while the rest of the group are sat on three metal seats which are connected together. Two aliens are seen walking from the spacecraft towards the band while drummer Dafydd Ieuan pours some of the Martian sand through his hands. When the aliens arrive, one of them, with a bald head, sunglasses and pointy ears, places his left hand on Rhys's right shoulder. Rhys turns around and looks at the other alien who has one eye in the centre of a large round face and is wearing a blue hoodie. The alien smiles at Rhys who then turns around and looks up to see the Earth in the sky above. Ieuan and keyboardist Cian Ciaran are also shown looking at the Earth before the camera moves behind them to reveal hundreds of aliens stood in front of several minaret-like towers, waving at the group. The band are shown picking up a suitcase and guitar before walking towards the spaceship as the song finishes. The aliens were designed by regular Super Furry Animals collaborator Pete Fowler, who acted as "creative advisor" for the video. According to Rhys the aliens were animated by the same special effects team that worked on Star Wars: Episode I – The Phantom Menace. Rhys has stated that he considers his performance in the video to be "wooden" as he was forced to take painkillers during the shoot due to a "stiff neck".
## Track listing
All songs by Super Furry Animals.
- CD (CRESCD323), MC (CRECS323), 7" (CRE323)
1. "Fire in My Heart" – 2:45
2. "The Matter of Time" – 5:46
3. "Mrs. Spector" – 3:02
## Personnel
The following people contributed to "Fire in my Heart":
- Gruff Rhys – vocals
- Huw Bunford – guitar
- Guto Pryce – bass guitar
- Cian Ciaran – keyboards
- Dafydd Ieuan – drums
## Singles chart positions
|
[
"## Themes and recording",
"## Composition",
"## Release and critical reception",
"### Accolades",
"## Music video",
"## Track listing",
"## Personnel",
"## Singles chart positions"
] | 1,543 | 36,357 |
62,683,068 |
Tuarii
| 1,170,238,373 | null |
[
"1911 deaths",
"19th-century monarchs in Oceania",
"19th-century women rulers",
"French Polynesian royalty",
"People from Raiatea",
"Protestant monarchs",
"Queens regnant in Oceania",
"Year of birth unknown"
] |
Tuarii or Tūari'i (died 1911) was the queen regnant of Raiatea and Tahaa in the Leeward Islands of the Society Islands, part of present-day French Polynesia. She was the last monarch of the kingdom of Raiatea-Tahaa from 1887/1888 to 1897 before the conquest and annexation of the islands to France.
Tuarii was born into the ruling family of Raiatea. Her father was King Tahitoe and her sister Queen Tehauroa. A succession dispute gave the throne to a female-line cousin Tamatoa VI who submitted to French rule in 1888. In response, she and the minor chief Teraupo'o led a resistance government during the Raiatean rebellion (1887–1897) against the French. She unsuccessfully attempted to enlist the diplomatic support of the British by offering the islands to Queen Victoria and traveling to the British-controlled Cook Islands. The British refused to intervene. The rebellion ended with the surrender of Tuarii and her followers and the defeat and capture of Teraupo'o in 1897. She was pensioned off by the French colonial government and died in 1911.
## Family
Tuarii was a younger daughter of King Tahitoe of Raiatea and Tahaa who ruled from 1871 to 1881. Her grandfather Hihipa Tahitoe was the son of Vete'a-ra'i U'uru, the chief of Opoa, and grandson of King Tamatoa II of Raiatea from whom her family claimed the right to the throne of Raiatea.
In 1880, King Tahitoe accepted the provisional protectorate by French commissioner Isidore Chessé. Tahitoe was deposed by his subjects for requesting the protectorate and his other daughter and successor Queen Tehauroa unsuccessfully attempted to enlist the protection of the British to preserve the independence of Raiatea in accordance with the Jarnac Convention of 1847. After Tehauroa's death in 1884, a civil war nearly broke out between two rivals for the throne. To avoid French intervention a female-line cousin and a junior member of the royal family of Huahine was installed as King Tamatoa VI.
## Reign
On 16 March 1888, the French annexed Raiatea and Tahaa after formal negotiation between Great Britain and France ended the 1847 Convention. In either 1887 or 1888, Tuarii was installed on the throne by the rebel chief Teraupo'o in opposition to King Tamatoa VI who had sided with the French. Her government and the resistance movement was centered at the village of Avera, located on the eastern coast of Raiatea. The Raiateans unsuccessfully appealed to Robert Teesdale Simons, the British Consul in Tahiti, for assistance and offered their country to Queen Victoria or the "Great White Queen". In 1895, Queen Tuarii traveled to the British protectorate of Rarotonga in the Cook Islands to seek help from the British Resident Frederick Moss who refused to meet with her.
The French appointed Governor Gustave Gallet to suppress the rebellion. Gallet had previous experience with suppressing the 1878 Kanak rebellion in New Caledonia. In 1896, two French warships, the cruiser Duguay-Trouin and the transporter Aube, arrived from New Caledonia with two hundred French soldiers to quell the native resistance. The invasion force was further reinforced with a company of Tahitian volunteers. On 27 December 1896, Governor Gallet attempted to parley with the rebels to avoid bloodshed. He set an ultimatum for the rebels to surrender by 1 January 1897. The rebel government at Avera under Queen Tuarii and 1700 rebels reluctantly surrendered.
Teraupo'o and the rebels of Tahaa and the district of Tevaitoa refused the call to surrender and the rebellion ended after the rebel chief's capture after two months of guerilla warfare on 16 February 1897. The casualties of the six-week campaign were nearly fifty deaths mainly on the side of the Raiateans.
## Later life and death
Tuarii was offered an annual pension of 2,400 francs, but the French refused her request for pensions for members of her family. The French governor wrote: "Je vous laisse d’ailleurs le soin, si vous le jugez convenable, de prévenir Tuarii que si elle nous crée la moindre difficulté sa pension lui est retirée, car elle ne la doit qu’à notre extrême bienveillance en sa faveur" or "I leave it to you, if you find it appropriate, to warn Tuarii that if she creates any sort of difficulty, her pension will be withdrawn, given that she is only allowed it thanks to our extreme benevolence towards her".
She died in 1911.
## Ancestry
## See also
- French Polynesia
- Queen Mamea
- Annexation of the Leeward Islands
- List of monarchs of Raiatea
- List of monarchs who lost their thrones in the 19th century
|
[
"## Family",
"## Reign",
"## Later life and death",
"## Ancestry",
"## See also"
] | 1,089 | 15,829 |
26,622,202 |
Tropical Storm Linda (1997)
| 1,162,264,505 |
Pacific severe tropical storm and North Indian cyclone in 1997
|
[
"1997 Pacific typhoon season",
"1997 in Vietnam",
"History of Bạc Liêu Province",
"History of Cà Mau Province",
"History of Cần Thơ",
"History of Kiên Giang Province",
"History of Sóc Trăng Province",
"Typhoons in Thailand",
"Typhoons in Vietnam",
"Typhoons in the Philippines",
"Western Pacific severe tropical storms"
] |
Severe Tropical Storm Linda, also known as Typhoon Linda, Cyclonic Storm Linda (BOB 08), or in the Philippines as Tropical Depression Openg, was the worst typhoon in southern Vietnam in at least 100 years, killing thousands of people and leaving extensive damage. It formed on October 31, 1997, in the South China Sea, between Indochina and the Philippines. Strengthening as it moved westward, Linda struck extreme southern Vietnam on November 2 with winds of 65 mph (105 km/h), dropping heavy rainfall. Once in the Gulf of Thailand it strengthened further to minimal typhoon status, but weakened to tropical storm strength before crossing the Malay Peninsula into the Bay of Bengal, the first storm to do so in five years. It restrengthened in the Indian Ocean to typhoon status, but increasing wind shear and weakened steering currents caused Linda to dissipate on November 9.
The worst of Linda's impact was in Vietnam, where 3,111 people were killed, and damage totaled \$385 million (USD). Heavy rainfall caused flooding, which damaged or destroyed about 200,000 houses and left about 383,000 people homeless. Widespread crop and transportation damage also occurred, the latter which impeded relief efforts. Several countries around the world sent relief aid, including medical teams, food, and clothing. However, the food supply and health status of the storm victims proved not as bad as originally feared. Linda later struck Thailand, causing flash flooding and at least 164 deaths. The storm also affected Burma (Myanmar), Indonesia, Malaysia, and Cambodia to a lesser degree.
## Meteorological history
The origins of Typhoon Linda were from an area of convection that were first noted east of the Philippines on October 26. A subtropical ridge persisted to the north, which caused the disturbance to move generally westward. On October 29, the system crossed the Philippines and entered the South China Sea. It subsequently began to organize, and late on October 31, the Joint Typhoon Warning Center (JTWC) initiated advisories on Tropical Depression 30W. At that time, the system was located off the northwest coast of Borneo. The PAGASA organization named it "Openg".
Shortly after developing, the depression intensified into a tropical storm, and was named "Linda" by the JTWC. It continued to intensify, reaching winds of 65 mph (105 km/h) as it approached southern Vietnam. At 0900 UTC on November 2, Linda made landfall in the Vietnamese province of Cà Mau. It maintained its strength over land, and the storm quickly reached typhoon status after entering the Gulf of Thailand; a typhoon is a tropical cyclone with winds of at least 75 mph (121 km/h), although Linda did not intensify beyond minimal typhoon status. Turning northwestward, Linda deteriorated to tropical storm strength, and struck Thailand late on November 3 with winds of 65 mph (105 km/h).
Linda weakened further over the mountainous terrain of the Malay Peninsula, and the storm emerged into the Andaman Sea with winds of 50 mph (80 km/h). This made Linda the first tropical cyclone since Tropical Storm Forrest in 1992 to cross from the western Pacific Ocean into the Indian Ocean. Additionally, upon reaching the Indian Ocean, the India Meteorological Department (IMD) classified the storm as Cyclonic Storm BOB 08, with winds of 40 mph (64 km/h). With warm waters, Tropical Storm Linda gradually re-intensified as it slowed down, due to a weakness in the subtropical ridge. On November 6, it again attained typhoon status while located off the southwest coast of Burma (Myanmar). Initially, it was expected to cross the Bay of Bengal and make landfall near the India/Bangladesh border. The cyclone only maintained peak strength for 18 hours, due to an increase in wind shear from a mid-latitude trough. Linda's motion became nearly stationary, and it gradually weakened for several days. On November 9, Linda dissipated about 375 miles (604 km) southwest of Yangon, Burma. That day, the IMD also terminated advisories.
## Impact and aftermath
Prior to the arrival of the storm, officials in Vietnam issued warnings to the residents, although its approach was faster than expected, and the region rarely experiences tropical cyclones. Tropical Storm Linda dropped heavy rainfall across southern Vietnam, peaking at 9.17 inches (23.3 cm) in Cần Thơ. The storm caused heavy damage in the country, particularly in the southernmost province of Cà Mau where it struck, but also in Bạc Liêu, Sóc Trăng, and Kiên Giang. The most severely affected regions were poor fishing communities. Overall, the storm damaged 139,445 houses and wrecked 76,609 more, which left 383,045 people homeless. Thousands of schools were damaged, and 130,815 dykes were breached. Additionally, the storm destroyed at least 3,122 boats. The rainfall also flooded 1,750 square miles (4,500 km<sup>2</sup>) of rice paddy crop, about half of which in Cà Mau. A preliminary damage total was estimated at 7.18 trillion dongs (US\$385 million).
Typhoon Linda caused considerable deaths in Vietnam. Many fishermen and sailors were caught at sea in the path of the storm, unable to escape its path. Within three days, the death toll in Vietnam was set at over 150, with thousands missing, many of them fishermen. By the fourth day after the storm, the toll reached 390, and on November 14, eight days after the storm, the death toll reached 464. Ultimately, the death toll was set at 3,111. Eight days after Linda's passage, a United Nations Department of Humanitarian Affairs (DHA) report indicated 857 people were injured by the storm. The government quickly established search and rescue teams, particularly for missing fishermen, and a total of 3,513 people were rescued after the storm. In the weeks after the storm, hundreds of dead bodies washed ashore in Vietnam and Thailand.
The Vietnamese government identified basic supplies that it needed in response to the storm; those included various foods, clothing, medicine, shelter supplies, and sanitation equipment. The country made a formal request for international assistance, noting that the storm was the worst in 100 years, and officials had limited resources due to the unexpected destruction. Prior to the request, the government of Switzerland sent about 500,000 Swiss francs (US\$360,000) for immediate relief assistance. Subsequently, ten other countries sent cash or relief supplies worth \$2.6 million, including medical shelters from the United States, clothing from the United Kingdom, tents from Russia, and transport goods from Japan. Red Cross workers had to travel by riverboat to bring aid to the most affected communities, due to the poor state of the roads. After two months, the Red Cross distributed 65,401 roofing sheets, 390 metric tons of rice, 11,990 mosquito nets, 6,871 blankets, 3,664 medical kits, and abundant clothing supplies to about 150,000 affected people; the supplies were purchased in Ho Chi Minh City. Eventually, the food supply and health status of the storm victims proved not as bad as originally feared. After the assistance was distributed, the Red Cross shifted focus toward reconstruction. Reconstruction was slow, partly due to a slowdown in economic activity from the Vietnamese New Year. Additionally, the two primary factories responsible for making iron and construction frames were only intermittently open, due to machines failing.
Elsewhere, moderate damage was also reported in Thailand, where at least 12 casualties were reported on land, and at least 152 fishermen were killed at sea. Flash flooding occurred in six districts, which damaged about 88 square miles (230 km<sup>2</sup>) of croplands and destroyed 12 houses. Land transportation was affected, with 184 roads and 14 bridges damaged. The government of Thailand sent 20 medical teams to the most affected areas. Following the storm, about 10,600 people became sick from flood related diseases. Heavy rains fell in Tanintharyi Division in southeastern Burma (Myanmar), although because the winds were not strong, there was little damage. The typhoon increased smog and haze in Indonesia and Malaysia, which had been occurring for weeks. In Indonesia, the typhoon also removed atmospheric moisture, which lowered the chance for rain in areas affected by wildfires. Cambodia was also affected by the outskirts of the storm.
## See also
- Typhoon Durian
- Tropical Depression Wilma (2013)
- Typhoon Muifa (2004)
- Typhoon Tembin (2017)
|
[
"## Meteorological history",
"## Impact and aftermath",
"## See also"
] | 1,824 | 8,784 |
18,834,451 |
Cleveland (30 Rock)
| 1,145,603,834 | null |
[
"2007 American television episodes",
"30 Rock (season 1) episodes",
"Television episodes directed by Paul Feig"
] |
"Cleveland" is the twentieth episode of the first season of 30 Rock. It was written by one of the season's co-executive producers, Jack Burditt, and one of the season's executive producers, Robert Carlock. It was directed by Paul Feig. It first aired on April 19, 2007 on the NBC network in the United States. Guest stars in this episode included Jennifer Bassey, Kevin Brown, Grizz Chapman, Lester Holt, Traci Hovel, Emily Mortimer, Maulik Pancholy, and Jason Sudeikis.
In this episode, Liz Lemon (played by Tina Fey) and Floyd (Jason Sudeikis) visit Cleveland, Ohio when Floyd says he wishes that he could live there. Tracy Jordan (Tracy Morgan) goes on the run from The Black Crusaders. Liz discovers that Jack Donaghy's (Alec Baldwin) fiancée, Phoebe (Emily Mortimer), is keeping some deceiving secrets.
## Plot
When Floyd (Jason Sudeikis) loses out on a possible job promotion to Alan Garkel (Eric Dysart)—an African-American candidate in a wheelchair—he informs Liz Lemon of his aspirations to move back home to Cleveland. After Floyd asks Liz about her own future in New York, she begins to notice all the problems she has with the city and so they plan a visit to Floyd's hometown.
Meanwhile, Jack returns from a weekend in Paris with Phoebe, his new fiancée, and insists that Liz should get to know Phoebe better. He tells her to take Phoebe and Jenna Maroney (Jane Krakowski) on a girls' day out. As their day progresses Liz senses Phoebe is not who she claims to be. Liz's suspicions are confirmed when she covertly follows Phoebe to a restaurant and spies her holding hands with an older gentleman. This is alarming for two reasons: first, Phoebe is already engaged to Jack, and secondly, she has previously claimed to be afflicted by "Avian Bone Syndrome," a result of which is that her purportedly brittle bones would not be able to stand such intense physical contact. Even though Liz tries to remain inconspicuous at the restaurant, Phoebe notices her. Knowing that Liz is on to her deceptions, Phoebe confronts Liz, who is not interested in Phoebe's excuses and tells her that she has a choice: tell Jack about her cheating or Liz will do so herself. Phoebe becomes angry and then shocks Liz when she drops her British accent. Liz tries to tell Jack about her suspicions, but he is immediately offended by her seemingly unfounded and slanderous comments about his fiancée, which puts a heavy strain on their working relationship.
Finally, Tracy has somehow become entangled in a character assassination plot. When Frank Rossitano (Judah Friedlander) tells Tracy that he read in a magazine that Bill Cosby hates him, Tracy realizes that The Black Crusaders, a cabal of powerful African Americans (a reference to the 2006 conspiracy theory hoax regarding a similar group called the Dark Crusaders driving Dave Chappelle off his Comedy Central show), are out to destroy his career. The Black Crusaders have managed to put a stop to all productions featuring Tracy. Fearing for his life, Tracy goes on the run to Cleveland and, from there, into Needmore, Pennsylvania.
## Production
This episode was the fourth episode written by Jack Burditt and also the fourth episode written by Robert Carlock. It was the first episode directed by Paul Feig. The scenes set in Cleveland, Ohio were actually filmed in Battery Park City, Manhattan. Similarly, the scenes in the town of Needmore, Pennsylvania in the following episode, "Hiatus", were filmed in Douglaston, Queens.[^1] Jason Sudeikis and Tina Fey sing the montage when touring Cleveland.
## Reception
"Cleveland" brought in an average of 5.2 million viewers upon its original broadcast in the United States. It also achieved a 2.5/7 in the key 18- to 49-year-old demographic. The 2.5 refers to 2.5% of all people of ages 18–49 years old in the U.S., and the 7 refers to 7% of all people of ages 18–49 years old watching television at the time of the broadcast in the U.S..
Robert Canning of IGN thought that this episode "was by far the funniest, laugh-out-loud, near genius episode of 30 Rock this season." He wrote that "there wasn't a moment wasted in the entire half hour, which not only gave us plenty of laughs, but it continued the ongoing storylines with fantastic pacing and ease." Canning stated that "the best part of this episode by far was Tracy's paranoia over The Black Crusaders" and he rated the episode 9.7 out of 10. Matt Webb Mitovich of TV Guide wrote regarding Emily Mortimer's guest appearance that "she's not the first thought for most sitcoms looking to fill a vacancy. But here, she's obviously relishing (as Isabella Rossellini did) the chance to go a bit bonkers. When she lapsed out of the accent, what fun." Anna Johns of AOL's TV Squad'' wrote that she "didn't find 'Cleveland' nearly as funny as the super-sized 'Fireworks' episode two weeks ago, but it was still pretty good. The best sources of humor in this show are Kenneth the Page and Tracy Jordan, neither of which had a very prominent role this week."
[^1]:
|
[
"## Plot",
"## Production",
"## Reception"
] | 1,163 | 19,350 |
45,351,614 |
Summa de arithmetica
| 1,139,273,362 |
Renaissance mathematics textbook
|
[
"1494 books",
"Accounting books",
"History of accounting",
"History of business",
"History of mathematics",
"Mathematics textbooks",
"Medieval literature"
] |
Summa de arithmetica, geometria, proportioni et proportionalita (Summary of arithmetic, geometry, proportions and proportionality) is a book on mathematics written by Luca Pacioli and first published in 1494. It contains a comprehensive summary of Renaissance mathematics, including practical arithmetic, basic algebra, basic geometry and accounting, written for use as a textbook and reference work.
Written in vernacular Italian, the Summa is the first printed work on algebra, and it contains the first published description of the double-entry bookkeeping system. It set a new standard for writing and argumentation about algebra, and its impact upon the subsequent development and standardization of professional accounting methods was so great that Pacioli is sometimes referred to as the "father of accounting".
## Contents
The Summa de arithmetica as originally printed consists of ten chapters on a series of mathematical topics, collectively covering essentially all of Renaissance mathematics. The first seven chapters form a summary of arithmetic in 222 pages. The eighth chapter explains contemporary algebra in 78 pages. The ninth chapter discusses various topics relevant to business and trade, including barter, bills of exchange, weights and measures and bookkeeping, in 150 pages. The tenth and final chapter describes practical geometry (including basic trigonometry) in 151 pages.
The book's mathematical content draws heavily on the traditions of the abacus schools of contemporary northern Italy, where the children of merchants and the middle class studied arithmetic on the model established by Fibonacci's Liber Abaci. The emphasis of this tradition was on facility with computation, using the Hindu–Arabic numeral system, developed through exposure to numerous example problems and case studies drawn principally from business and trade. Pacioli's work likewise teaches through examples, but it also develops arguments for the validity of its solutions through reference to general principles, axioms and logical proof. In this way the Summa begins to reintegrate the logical methods of classical Greek geometry into the medieval discipline of algebra.
### Bookkeeping and finance
Within the chapter on business, a section entitled Particularis de computis et scripturis (Details of calculation and recording) describes the accounting methods then in use among northern-Italian merchants, including double-entry bookkeeping, trial balances, balance sheets and various other tools still employed by professional accountants. The business chapter also introduces the rule of 72 for predicting an investment's future value, anticipating the development of the logarithm by more than century. These techniques did not originate with Pacioli, who merely recorded and explained the established best practices of contemporary businesspeople in his region.
### Plagiarism controversy
Pacioli explicitly states in the Summa that he contributed no original mathematical content to the work, but he also does not specifically attribute any of the material to other sources. Subsequent scholarship has found that much of the work's coverage of geometry is taken almost exactly from Piero della Francesca’s Trattato d’abaco, one of the algebra sections is based on the Trattato di Fioretti of Antonio de Mazzinghi, and a portion of the business chapter is copied from a manuscript by Giorgio Chiarini. This sort of appropriation has led some historians (notably including sixteenth-century biographer Giorgio Vasari) to accuse Pacioli of plagiarism in the Summa (and other works). Many of the problems and techniques included in the book are quite directly taken from these earlier works, but the Summa generally adds original logical arguments to justify the validity of the methods.
## History
Summa de arithmetica was composed over a period of decades through Pacioli's work as a professor of mathematics, and was probably intended as a textbook and reference work for students of mathematics and business, especially among the mercantile middle class of northern Italy. It was written in vernacular Italian (rather than Latin), reflecting its target audience and its purpose as a teaching text. The work was dedicated to Guidobaldo da Montefeltro, Duke of Urbino, a patron of the arts whom Pacioli had met in Rome some years earlier.
It was originally published in Venice in 1494 by Paganino Paganini, with an identical second edition printed in 1523 in Toscolano. About a thousand copies were originally printed, of which roughly 120 are still extant. In June 2019 an intact first edition sold at auction for .
## Impact and legacy
While the Summa contained little or no original mathematical work by Pacioli, it was the most comprehensive mathematical text ever published at the time. Its thoroughness and clarity (and the lack of any other similar work available in print) generated strong and steady sales to the European merchants who were the text's intended audience. The reputation the Summa earned Pacioli as a mathematician and intellectual inspired Ludovico Sforza, Duke of Milan, to invite him to serve as a mathematical lecturer in the ducal court, where Pacioli befriended and collaborated with Leonardo da Vinci.
The Summa represents the first published description of many accounting techniques, including double-entry bookkeeping. Some of the same methods were described in other manuscripts predating the Summa (such as the 1458 Della mercatura e del mercante perfetto by Benedetto Cotrugli), but none was published before Pacioli's work, and none achieved the same wide influence. The work's role in standardizing and disseminating professional bookkeeping methods has earned Pacioli a reputation as the "father of accounting".
The book also marks the beginning of a movement in sixteenth-century algebra toward the use of logical argumentation and theorems in the study of algebra, following the model of classical Greek geometry established by Euclid. It is thought to be the first printed work on algebra, and it includes the first printed example of a set of plus and minus signs that were to become standard in Italian Renaissance mathematics: 'p' with a tilde above (p̄) for "plus" and 'm' with a tilde (m̄) for minus. Pacioli's (incorrect) assertion in the Summa that there was no general solution to cubic equations helped to popularize the problem among contemporary mathematicians, contributing to its subsequent solution by Niccolò Tartaglia.
### Commemoration
In 1994 Italy issued a 750-lira postage stamp honoring the 500th anniversary of the Summa's publication, depicting Pacioli surrounded by mathematical and geometric implements. The image on the stamp was inspired by the Portrait of Luca Pacioli and contains many of the same elements.
## See also
- De divina proportione, another influential mathematical work by Pacioli
- List of most expensive books and manuscripts
|
[
"## Contents",
"### Bookkeeping and finance",
"### Plagiarism controversy",
"## History",
"## Impact and legacy",
"### Commemoration",
"## See also"
] | 1,384 | 4,186 |
65,859,455 |
Extremely online
| 1,167,784,938 |
Phenomenon of over-engaging with Internet culture
|
[
"Blogging",
"Internet culture",
"Journalism",
"Politics and technology",
"Social media"
] |
Extremely online (often capitalized), also known as terminally online or chronically online, is a phrase referring to someone closely engaged with Internet culture. People said to be extremely online often believe that online posts are very important. Events and phenomena can themselves be extremely online; while often used as a descriptive term, the phenomenon of extreme online usage has been described as "both a reformation of the delivery of ideas – shared through words and videos and memes and GIFs and copypasta – and the ideas themselves". Here "online" is used to describe "a way of doing things, not [simply] the place they are done".
While the term was in use as early as 2014, it gained use over the latter half of the 2010s in conjunction with the increasing prevalence and notability of Internet phenomena in all areas of life. Extremely online people, according to The Daily Dot, are interested in topics "no normal, healthy person could possibly care about", and have been analogized to "pop culture fandoms, just without the pop". Extremely online phenomena such as fan culture and reaction GIFs have been described as "swallowing democracy" by journalists such as Amanda Hess in The New York Times; who claimed that a "great convergence between politics and culture, values and aesthetics, citizenship and commercialism" had become "a dominant mode of experiencing politics". Vulture – formerly the pop culture section of New York magazine, now a stand-alone website – has a section for articles tagged "extremely online".
## Historical background
In the 2010s, many categories and labels came into wide use from media outlets to describe Internet-mediated cultural trends, such as the alt-right, the dirtbag left, and doomerism. These ideological categories are often defined by their close association with online discourse. For example, the term "alt-right" was added to the Associated Press' stylebook in 2016 to describe the "digital presence" of far-right ideologies, the dirtbag left refers to a group of "underemployed and overly online millennials" who "have no time for the pieties of traditional political discourse", and the doomer's "blackpilled despair" is combined with spending "too much time on message boards in high school" to produce an eclectic "anti-socialism".
Extreme onlineness transcends ideological boundaries. For example, right-wing figures like Alex Jones and Laura Loomer have been described as "extremely online", but so have those on the left like Alexandria Ocasio-Cortez and fans of the Chapo Trap House podcast. Extremely online phenomena can range from acts of offline violence (such as the 2019 Christchurch shootings) to "[going] on NPR to explain the anti-capitalist irony inherent in kids eating Tide Pods".
Former United States President Donald Trump has been frequently cited as an example of an extremely online poster, during both his presidency and his 2020 presidential campaign; Vox claimed his approach to re-election veered into being "Too Online", and Reason questioned whether the final presidential debate was "incomprehensible to normies". While individual people are often given the description, being extremely online has also been posited as an overall cultural phenomenon, applying to trends like lifestyle movements suffixed with "-wave" and "-core" based heavily on Internet media, as well as an increasing expectation for digital social researchers to have an "online presence" to advance in their careers.
## Participants and media coverage
One example of a phenomenon considered to be extremely online is the "wife guy" (a guy who posts about his wife); despite being a "stupid online thing" which spent several years as a piece of Internet slang, in 2019 it became the subject of five articles in leading U.S. media outlets.
Like many extremely online phrases and phenomena, the "wife guy" has been attributed in part to the in-character Twitter account @dril. The account frequently parodies how people behave on the Internet, and has been widely cited as influential on online culture. In one tweet, his character refuses to stop using the Internet, even when someone shouts outside his house that he should log off.
Many of dril's other coinages have become ubiquitous parts of Internet slang. Throughout the 2010s, posters such as dril inspired commonly used terms like "corncobbing" (referring to someone losing an argument and failing to admit it); while originally a piece of obscure Internet slang used on sites like Twitter, use of the term (and controversy over its misinterpretation) became a subject of reporting from traditional publications, with some noting that keeping up with the rapid turnover of inside jokes, memes, and quotes online required daily attention to avoid embarrassment.
Twitch has been described as "talk radio for the extremely online". Another example of an event cited as extremely online is No Nut November. Increasingly, researchers are expected to have more of an online presence, to advance in their careers, as networking and portfolios continue to transition to the digital world.
In November 2020, an article in The Washington Post criticized the filter bubble theory of online discourse on the basis that it "overgeneralized" based on a "small subset of extremely online people".
The 2021 storming of the United States Capitol was described as extremely online, with "pro-Trump internet personalities", such as Baked Alaska, and fans livestreaming and taking selfies. People who have been described as extremely online include Chrissy Teigen, Jon Ossoff, and Andrew Yang. In contrast, Joe Biden has been cited as the antithesis of extremely online – The New York Times once wrote that he had "zero meme energy".
## See also
- 4chan
- Da share z0ne
- Kill All Normies
- Netizen
- Owning the libs
- Post-Internet
- Shitposting
- Stan Twitter
|
[
"## Historical background",
"## Participants and media coverage",
"## See also"
] | 1,199 | 18,203 |
1,137,954 |
Sun Salutation
| 1,172,321,393 |
Series of yoga positions performed in a particular order
|
[
"Articles containing video clips",
"Gestures of respect",
"Surya Namaskar",
"Yoga as exercise",
"Yoga series"
] |
Sun Salutation, also called Surya Namaskar(a) or Salute to the Sun (Sanskrit: सूर्यनमस्कार, romanized: Sūryanamaskāra), is a practice in yoga as exercise incorporating a flow sequence of some twelve linked asanas. The asana sequence was first recorded as yoga in the early 20th century, though similar exercises were in use in India before that, for example among wrestlers. The basic sequence involves moving from a standing position into Downward and Upward Dog poses and then back to the standing position, but many variations are possible. The set of 12 asanas is dedicated to the Hindu solar deity, Surya. In some Indian traditions, the positions are each associated with a different mantra.
The precise origins of the Sun Salutation are uncertain, but the sequence was made popular in the early 20th century by Bhawanrao Shriniwasrao Pant Pratinidhi, the Rajah of Aundh, and adopted into yoga by Krishnamacharya in the Mysore Palace, where the Sun Salutation classes, not then considered to be yoga, were held next door to his yogasala. Pioneering yoga teachers taught by Krishnamacharya, including Pattabhi Jois and B. K. S. Iyengar, taught transitions between asanas derived from the Sun Salutation to their pupils worldwide.
## Etymology and origins
The name Surya Namaskar is from the Sanskrit सूर्य Sūrya, "Sun" and नमस्कार Namaskāra, "Greeting" or "Salute". Surya is the Hindu demigod of the sun. This identifies the Sun as the soul and source of all life. Chandra Namaskara is similarly from Sanskrit चन्द्र Chandra, "Moon".
The origins of the Sun Salutation are vague; Indian tradition connects the 17th century saint Samarth Ramdas with Surya Namaskara exercises, without defining what movements were involved. In the 1920s, Bhawanrao Shriniwasrao Pant Pratinidhi, the Rajah of Aundh, popularized and named the practice, describing it in his 1928 book The Ten-Point Way to Health: Surya Namaskars. It has been asserted that Pant Pratinidhi invented it, but Pant stated that it was already a commonplace Marathi tradition.
Ancient but simpler Sun salutations such as Aditya Hridayam, described in the "Yuddha Kaanda" Canto 107 of the Ramayana, are not related to the modern sequence. The anthropologist Joseph Alter states that the Sun Salutation was not recorded in any Haṭha yoga text before the 19th century. At that time, the Sun Salutation was not considered to be yoga, and its postures were not considered asanas; the pioneer of yoga as exercise, Yogendra, wrote criticising the "indiscriminate" mixing of sun salutation with yoga as the "ill-informed" were doing.
The yoga scholar-practitioner Norman Sjoman suggested that Krishnamacharya, "the father of modern yoga", used the traditional and "very old" Indian wrestlers' exercises called dandas (Sanskrit: दण्ड daṇḍa, a staff), described in the 1896 Vyayama Dipika, as the basis for the sequence and for his transitioning vinyasas. Different dandas closely resemble the Sun Salutation asanas Tadasana, Padahastasana, Caturanga Dandasana, and Bhujangasana. Krishnamacharya was aware of the Sun Salutation, since regular classes were held in the hall adjacent to his Yogasala in the Rajah of Mysore's palace. The yoga scholar Mark Singleton states that "Krishnamacharya was to make the flowing movements of sūryanamaskār the basis of his Mysore yoga style". His students, K. Pattabhi Jois, who created modern day Ashtanga Vinyasa Yoga, and B. K. S. Iyengar, who created Iyengar Yoga, both learned Sun Salutation and flowing vinyasa movements between asanas from Krishnamacharya and used them in their styles of yoga.
The historian of modern yoga Elliott Goldberg writes that Vishnudevananda's 1960 book The Complete Illustrated Book of Yoga "proclaimed in print" a "new utilitarian conception of Surya Namaskara" which his guru Sivananda had originally promoted as a health cure through sunlight. Goldberg notes that Vishnudevananda modelled the positions of the Sun Salutation for photographs in the book, and that he recognised the sequence "for what it mainly is: not treatment for a host of diseases but fitness exercise."
## Description
The Sun Salutation is a sequence of around twelve yoga asanas connected by jumping or stretching movements, varying somewhat between schools. In Iyengar Yoga, the basic sequence is Tadasana, Urdhva Hastasana, Uttanasana, Uttanasana with head up, Adho Mukha Svanasana (Downward Dog), Urdhva Mukha Svanasana (Upward Dog), Chaturanga Dandasana, and then reversing the sequence to return to Tadasana; other poses can be inserted into the sequence.
In Ashtanga Vinyasa Yoga, there are two Sun Salutation sequences, types A and B. The type A sequence of asanas is Pranamasana, Urdhva Hastasana, Uttanasana, Phalakasana (high plank), Chaturanga Dandasana, Urdhva Mukha Svanasana, Adho Mukha Svanasana, Uttanasana and back to Pranamasana. The type B sequence of asanas (differences marked in italics) is Pranamasana, Utkatasana, Uttanasana, Ardha Uttanasana, Phalakasana, Chaturanga Dandasana, Urdhva Mukha Svanasana, Adho Mukha Svanasana, Virabhadrasana I, repeat from Phalakasana onwards with Virabhadrasana I on the other side, then repeat Phalakasana through to Adho Mukha Svanasana (a third time), Ardha Uttanasana, Uttanasana, Utkatasana, and back to Pranamasana.
A typical Sun Salutation cycle is:
## Mantras
In some yoga traditions, each step of the sequence is associated with a mantra. In traditions including Sivananda Yoga, the steps are linked with twelve names of the deity Surya, the Sun:
Indian tradition associates the steps with Bījā ("seed" sound) mantras and with five chakras (focal points of the subtle body).
## Variations
### Inserting other asanas
Many variations are possible. For example, in Iyengar Yoga the sequence may intentionally be varied to run Tadasana, Urdhva Hastasana, Uttanasana, Adho Mukha Svanasana, Lolasana, Janusirsasana (one side, then the other), and reversing the sequence from Adho Mukha Svanasana to return to Tadasana. Other asanas that may be inserted into the sequence include Navasana (or Ardha Navasana), Paschimottanasana and its variations, and Marichyasana I.
### Chandra Namaskara
Variant sequences named Chandra Namaskar, the Moon Salutation, are sometimes practised; these were created late in the 20th century. One such sequence consists of the asanas Tadasana, Urdhva Hastasana, Anjaneyasana (sometimes called Half Moon Pose), a kneeling lunge, Adho Mukha Svanasana, Bitilasana, Balasana, kneeling with thighs, body, and arms pointing straight up, Balasana with elbows on ground, hands together in Anjali Mudra behind the head, Urdhva Mukha Svanasana, Adho Mukha Svanasana, Uttanasana, Urdhva Hastasana, Pranamasana, and Tadasana. Other Moon Salutations with different asanas have been published.
## As exercise
The energy cost of exercise is measured in units of metabolic equivalent of task (MET). Less than 3 METs counts as light exercise; 3 to 6 METs is moderate; 6 or over is vigorous. American College of Sports Medicine and American Heart Association guidelines count periods of at least 10 minutes of moderate MET level activity towards their recommended daily amounts of exercise. For healthy adults aged 18 to 65, the guidelines recommend moderate exercise for 30 minutes five days a week, or vigorous aerobic exercise for 20 minutes three days a week.
The Sun Salutation's energy cost ranges widely according to how energetically it is practised, from a light 2.9 to a vigorous 7.4 METs. The higher end of the range requires transition jumps between the poses. Practitioners accustomed to Sun Salutation can find performing the sequence an "exhilarating process".
## Muscle usage
A 2014 study indicated that the muscle groups activated by specific asanas varied with the skill of the practitioners, from beginner to instructor. The eleven asanas in the Sun Salutation sequences A and B of Ashtanga Vinyasa Yoga were performed by beginners, advanced practitioners and instructors. The activation of 14 groups of muscles was measured with electrode on the skin over the muscles. Among the findings, beginners used pectoral muscles more than instructors, whereas instructors used deltoid muscles more than other practitioners, as well as the vastus medialis (which stabilises the knee). The yoga instructor Grace Bullock writes that such patterns of activation suggest that asana practice increases awareness of the body and the patterns in which muscles are engaged, making exercise more beneficial and safer.
## In culture
The founder of Ashtanga Vinyasa Yoga, K. Pattabhi Jois, stated that "There is no Ashtanga yoga without Surya Namaskara, which is the ultimate salutation to the Sun god."
In 2019, a team of mountaineering instructors from Darjeeling climbed to the summit of Mount Elbrus and completed a Sun Salutation there at 18,600 feet (5,700 m), claimed as a world record.
## See also
- Sun worship in Hinduism
- List of solar deities in Hinduism
- List of Hindu Sun temples
- List of Hindu deities
- Burpee (exercise)
|
[
"## Etymology and origins",
"## Description",
"## Mantras",
"## Variations",
"### Inserting other asanas",
"### Chandra Namaskara",
"## As exercise",
"## Muscle usage",
"## In culture",
"## See also"
] | 2,283 | 17,377 |
67,340,266 |
488 Madison Avenue
| 1,172,892,100 |
Office skyscraper in Manhattan, New York
|
[
"1950 establishments in New York City",
"Commercial buildings on the National Register of Historic Places in Manhattan",
"Emery Roth buildings",
"International style architecture in New York City",
"Madison Avenue",
"Midtown Manhattan",
"New York City Designated Landmarks in Manhattan",
"Office buildings completed in 1950",
"Office buildings in Manhattan"
] |
488 Madison Avenue, also known as the Look Building, is a 25-story office building in the Midtown Manhattan neighborhood of New York City. It is along Madison Avenue's western sidewalk between 51st and 52nd Streets, near St. Patrick's Cathedral. 488 Madison Avenue was designed by Emery Roth & Sons in the International Style, and it was constructed and developed by Uris Brothers. The building was originally named for its primary tenant, the American magazine Look.
The building largely contains a facade of white brick, interspersed with horizontal strips of aluminum windows. The lowest two stories contain a main entrance on Madison Avenue as well as several glass-and-metal storefronts. The three sides are connected by curved walls. The exterior includes several setbacks to comply with the 1916 Zoning Resolution. Each of the building's stories contain an average floor area of 19,500 square feet (1,810 m<sup>2</sup>), a feature intended to maximize usable office space.
488 Madison Avenue was constructed from 1948 to 1950 as a speculative real estate development, without a main tenant. By late 1949, the building was completely leased, and it was named after Look magazine, which had signed a lease for several floors. 488 Madison Avenue remained the headquarters of Look until the magazine stopped publishing in 1971, although it continued to be known as the Look Building for several years. The building has been owned by John D. and Catherine T. MacArthur Foundation and The Feil Organization since the 1970s. The Look Building was added to the National Register of Historic Places in 2005, and the New York City Landmarks Preservation Commission designated it as an official landmark in 2010.
## Site
488 Madison Avenue is in the Midtown Manhattan neighborhood of New York City. The "L"-shaped land lot is bounded by Madison Avenue to the east, 52nd Street to the north, and 51st Street to the south. The land lot covers approximately 21,600 square feet (2,010 m<sup>2</sup>), with a frontage of 75 feet (23 m) on 52nd Street, 200 feet (61 m) on Madison Avenue, and 140 feet (43 m) on 51st Street. The Olympic Tower, Cartier Building, and 647 Fifth Avenue are on the same block to the west, and 11 East 51st Street abuts 488 Madison Avenue along 51st Street. Other nearby buildings include St. Patrick's Cathedral to the south, Villard Houses and the Lotte New York Palace Hotel to the southeast, the CBS Studio Building to the northeast, and Omni Berkshire Place and 12 East 53rd Street to the north.
In the 19th century, the site of 488 Madison Avenue was owned by the Roman Catholic Archdiocese of New York, which used the site for the Roman Catholic Asylum. The Archdiocese of New York built a boys' trade school on the site in 1893. The school was housed in a four-story red brick building with turrets, as well as a main entrance with three doors. The asylum sold off much of its land in 1902, and the trade school building became the Cathedral College, which opened the following year. The college moved from the site in 1942. The surrounding stretch of Madison Avenue was largely residential until World War II, when commercial structures were constructed on the avenue.
## Architecture
488 Madison Avenue, originally the Look Building, was designed by Emery Roth & Sons in the International Style and constructed by Uris Brothers between 1948 and 1950. The two firms were extremely closely associated and collaborated on many projects in the mid-20th century, and Emery Roth & Sons were particularly responsible for designing many of the modernist structures on Madison Avenue after World War II. The contractors included steel supplier Harris Structural Steel Corporation and electrical engineer Henry Oehrig. Some elements of the current design date from 1997, when Hardy Holzman Pfeiffer Associates renovated the exterior.
Architectural writer Robert A. M. Stern called the building among Emery Roth & Sons' "best postwar work". Stern wrote that the building was influential in International Style Modernism because of its horizontal strip windows. According to Stern, the Look Building was the first major design to be constructed by Emery Roth & Sons after its namesake, founder Emery Roth, had died.
### Facade
488 Madison Avenue contains 23 stories, with two additional mechanical stories at the top. The building's facade contains setbacks to comply with the 1916 Zoning Resolution. On the southern facade, there are setbacks at the eighth and 11th floors. There are additional setbacks on all three sides at the 13th, 15th, 17th, 19th, 21st, and 23rd stories. 488 Madison Avenue measures 308 feet (94 m) tall from ground level to roof.
The design of the base dates to a renovation in the late 1980s. The base is two stories tall and consists of a wall of glass panels, some of which are tinted black. The main entrance is on Madison Avenue, at the center of that side, which slopes down toward 52nd Street. The main entrance contains a revolving door between two swinging glass doors. These doors are recessed inside a passage paved with granite in light and dark gray shades. Above the entrance is a marquee sign with the number "488". A row of cast stone panels runs above the base on all sides. On either side of the main entrance, and on 51st and 52nd Streets, are aluminum storefronts.
The remainder of the facade is mostly made of white brick with aluminum windows wrapping in a continuous ribbon around each floor. The windows are arranged into three horizontal rows of panes and do not contain any columns behind them. The design was intended to place an emphasis on the horizontal axis, as well as give a "light and cheerful" effect to the occupants by having continuous windows. According to Percy Uris of Uris Brothers, "if a building has good lines, its simplicity will add to its beauty". Curves at the building's corners connect each facade. The curved corners contain a radius of 3.5 feet (1.1 m). Marv Rothenstein, an employee of Uris Brothers, stated that curved motifs were used frequently in the design.
### Features
The average office floor is designed with 19,500 square feet (1,810 m<sup>2</sup>) of office space, more than ninety percent of the lot area. Richard Roth of Emery Roth and Sons believed that, in general, there were relatively few "good tenants" who were willing to occupy smaller floor areas. Accordingly, he sought to maximize usable office space in the company's buildings. Harold Uris of Uris Brothers believed similarly, saying, "We had a policy of creating the greatest amount of space for the lowest cost."
The materials in the lobby have been replaced, but its layout remains largely unchanged from the building's opening. The lobby floor is clad in white and black granite, and the walls are clad in limestone and contain terrazzo decorative elements. The original coved ceiling was replaced with a lower ceiling of a similar style. There are stainless steel doors on the elevators, which date from the original design. Percy Uris sought to arrange the elevators so no patron would have to wait more than 35 seconds for a cab, and he also aimed to reduce pedestrian traffic congestion in the lobby.
## History
### Development
The old Cathedral College at Madison Avenue, between 51st and 52nd Streets, was sold in October 1948 to the Uris Brothers for \$2.6 million. The following month, plans for 488 Madison Avenue were filed with the New York City Department of Buildings. At the time, there was high demand for office space in Midtown Manhattan; the new structure was one of eight ongoing projects in Manhattan that added a collective 3.628 million square feet (337,100 m<sup>2</sup>) of office space. Uris Brothers publicly announced plans for 488 Madison Avenue in February 1949 as Cathedral College was being demolished. When the building was announced, Architectural Forum said of the design, "Advocates of the strip window can chalk up another recruit to their ranks". By that April, before construction had begun, tenants had already leased nine stories.
The first steel arrived at the site on June 1, 1949. The construction of the steelwork was difficult because the facade's corners were curved, which required specially made steel parts. According to The New York Times, the contractor hired three crews of seven riveters to construct the frame. However, Marv Rothenstein stated that the work was completed by seven teams of four riveters each. In any case, by August 7, the steel had been constructed to the nineteenth floor. The steel frame was topped out at the end of that month, exactly twelve weeks after steel construction. The New York Times called it "a post-war record for steel erection". Afterward, the facade was erected at a rate of four windows a week. By November 1949, all of the office space had been rented for long periods. The first tenants moved to the building in early 1950, and Uris Brothers took a mortgage loan of \$7.5 million from the Prudential Life Insurance Company in May 1950.
### Early tenants
Among the largest tenants was Cowles Magazines, the parent company of Look magazine, which initially took the 10th through 12th floors. The magazine, founded in 1937, was rapidly expanding at the time, with a circulation of three million in 1948. The building housed several other tenants in the publishing industry, including Seventeen magazine and Pocket Books. The building was subsequently named after Look magazine in early 1950, even though it had been planned as a speculative development. Esquire magazine, which took the third and fourth floors, sought to prevent the building from being named after Look in June 1950. Esquire argued the building's renaming would make it appear as though Esquire's publications were associated with Look. The lawsuit did not result in any significant action, as 488 Madison retained the "Look Building" name for decades.
The other early tenants included the Schrafft's chain of restaurants, which took up parts of the basement and first floor, as well as a florist, tailor, women's accessories, and fabric sales agency. The airline Linee Aeree Italiane took an office on the ground floor, and the New York Trust Company leased a bank branch on the first floor and basement. On the upper stories, a pair of life-insurance associations took the seventh through ninth floor, the Chemical Construction Company on the 15th and 16th floors, and the Katz Advertising Agency on the 20th floor. Emery Roth & Sons leased some space in their own design, as did Raymond Loewy, who devised designs for the Scenicruiser bus model for Greyhound Lines at the building. The Music Publishers Holding Company, a parent company of labels such as Harms, Inc., New World Music, Remick Music, and Witmark & Sons, also had space in the building. One visitor to the company's fifth-floor music studio was Bob Dylan, who created some demo tracks in the early 1960s.
### Later use
The Look Building was purchased by the Metropolitan Life Insurance Company in April 1953 and leased back to Uris that August. In 1963, Cowles Magazines expanded its space in the building by 78,000 square feet (7,200 m<sup>2</sup>). Prior to the expansion, Cowles was already 488 Madison Avenue's largest tenant, with 125,000 square feet (11,600 m<sup>2</sup>). At one point, the company had six stories in the building. Look magazine ultimately went defunct in October 1971. The leasehold for the building, excluding the land, was conveyed by Charles Benenson to John D. MacArthur in November 1973, although ownership of the land was not affected. Around that time, ownership passed to a joint venture between John D. and Catherine T. MacArthur Foundation and The Feil Organization. By the late 20th century, the Institutional Investor magazine and Abbeville Press had also become tenants of 488 Madison Avenue.
Despite Look magazine's closure, 488 Madison Avenue continued to be referred to as the Look Building. The south side of the penthouse contained letters that spelled "Look Building" until at least 1980. Horowitz Immerman Architects renovated the base in the late 1980s, replacing the original facade with a more modern design of steel and black glass. During the mid-1990s, Feil hired Hardy Holzman Pfeiffer Associates to renovate the building. The owners decided to restore the facade instead of rebuilding it because a facade restoration was cheaper, rather than because of aesthetic considerations. During this restoration, the steel windows were replaced with aluminum-framed panes, the brick was cleaned and partially replaced, and the slate windowsills were replaced. In addition, Fox & Fowle renovated the interior. Following the end of the restoration, in late 1998, the Municipal Art Society hosted an exhibit on the building's restoration.
The building was listed on the National Register of Historic Places on February 24, 2005, and the New York City Landmarks Preservation Commission designated the building as a city landmark on July 27, 2010. The Feil Organization announced a renovation of the lobby in 2012 to designs by Goldstein, Hill & West Architects. The work was completed early the following year. By the mid-2010s, the building's tenants included law firms and advertising agencies. In addition, the Feil Organization leased space to some online menswear shops in 2018. The building's tenants in the early 2020s included clothing stores Bonobos, Indochino, and Untuckit, as well as the Municipal Art Society and Shawmut Design and Construction.
## See also
- List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets
- National Register of Historic Places listings in Manhattan from 14th to 59th Streets
|
[
"## Site",
"## Architecture",
"### Facade",
"### Features",
"## History",
"### Development",
"### Early tenants",
"### Later use",
"## See also"
] | 2,980 | 12,889 |
51,393,478 |
Peter Lombard II
| 1,157,129,128 |
Guamanian cyclist
|
[
"1976 births",
"Cyclists at the 2016 Summer Olympics",
"Guamanian male cyclists",
"Living people",
"Olympic cyclists for Guam"
] |
Peter Lombard II (born May 24, 1976) is a Guamanian cyclist, who currently rides for UCI Continental team . He rode at the cross-country event at the 2016 Summer Olympics. He was pulled from the race after he crashed twice. He is an eye surgeon and owns a clinic, Lombard Health.
## Biography
### Early life and education
Peter Lombard II was born in Guam on May 24, 1976, to Dr. Gabriel and Mrs. Kathleen Lombard. He attended St. John's School in Tumon. Lombard attended the U.S. Naval Academy from 1995 to 1998 and earned a 4.0 GPA. He was the valedictorian. Lombard lettered four times at the academy, and was the captain of the gymnastics team. In 1998, he earned CoSIDA First Team Academic All-American honors.
Afterward, he studied at Johns Hopkins School of Medicine. He is currently an eye surgeon and owns a clinic, Lombard Health Eye Clinic. Lombard has a daughter named Aleia. He started cycling c. 2001, and competed in triathlons. He ramped up his training regimen after returning from medical school.
### Pre-Olympics
In February 2016, Lombard was the 2016 Guam National MTB Champion. Winning the race qualified him for the UCI Oceania Mountain Bike Cross Country Championship the next month in New Zealand. Australia, New Zealand, and Guam qualified athletes at the event.
Lombard was the only Guamanian athlete to qualify for the 2016 Summer Olympics on merit. Lombard rearranged his work schedule to allow for more training. He also took a week's absence from work to train on mountains in Japan.
### 2016 Summer Olympics
Lombard did not place at the Olympics. He had issues with his bike pedal that made it hard to clip in. At one point, the course was so slippery from rain, riders had to dismount. The faulty clip made it difficult for Lombard to re-mount his bike. He crashed on the first and second laps. He was pulled from the race after the second crash. Once the motorcycle pulled him from the race, he was at the top of a mountain and unsure where to go. He decided to cheer on the cyclists still in the race, which drew attention and was well received by the crowd. Lombard was one of five athletes who did not finish the race. About his Olympic experience, he said, "I’m happy to be done, happy to be in one piece".
### Post-Olympics
Lombard also had some crashes leading up to Rio. After the Games, he discovered he had spine issues. He received injections and took some time off, but requires spine fusion surgery in order to improve his quality of life.
|
[
"## Biography",
"### Early life and education",
"### Pre-Olympics",
"### 2016 Summer Olympics",
"### Post-Olympics"
] | 591 | 27,729 |
2,394,033 |
Nemesis (roller coaster)
| 1,173,361,473 |
Inverted coaster at Alton Towers
|
[
"Alton Towers",
"Inverted roller coasters",
"Inverted roller coasters manufactured by Bolliger & Mabillard",
"Rides designed by John Wardley",
"Roller coasters in the United Kingdom",
"Roller coasters introduced in 1994",
"Roller coasters manufactured by Bolliger & Mabillard",
"Roller coasters operated by Merlin Entertainments",
"Steel roller coasters"
] |
Nemesis is an inverted roller coaster located at the Alton Towers theme park in Staffordshire, England. Manufactured by Bolliger & Mabillard (B&M), the ride was designed by Werner Stengel in collaboration with attraction developer John Wardley. It opened in the Forbidden Valley (formerly Thunder Valley) area of the park on 19 March 1994.
The 716-metre-long (2,349 ft) ride stands 13 metres (42.7 ft) tall and features a top speed of 81 km/h (50 mph). The four-inversion roller coaster was one of the first B&M rides to be installed outside of the United States and the first in Europe as an independent company. For the 2023 season, the ride was closed for a major refurbishment and is scheduled to reopen in 2024.
## History
### Development history
In 1990, Alton Towers added the Thunder Looper roller coaster; the addition was only temporary due to planning restrictions imposed on its installation. The park began planning for a new roller coaster on unused land adjacent to Thunder Looper. They desired a roller coaster that was big, different, and exciting. But they were constrained by the tree-level height limit imposed on the park.
Alton Towers approached Arrow Dynamics for the new roller coaster. The Utah-based company was working on a prototype of a pipeline roller coaster, similar to TOGO's Ultratwister design. John Wardley proposed the concept for a ride themed as a secret military weapon, codenamed "Secret Weapon". Due to the design of the ride and the height restriction imposed on the park, the Secret Weapon would only have a track length of 300 metres (980 ft). A year later, a revised layout was drawn up, dubbed "Secret Weapon 2". Rock blasting was used to excavate space for the planned ride. However, the Arrow pipeline project was cancelled when Wardley rode the prototype, describing how it was "very slow (and rather boring), looked cumbersome, and was very energy inefficient". The park began to look for an alternative.
Tussauds became aware of a new roller coaster model being built by Bolliger & Mabillard at Six Flags Great America and entered into discussions with Six Flags, who agreed to privately disclose information about the new ride. Jim Wintrode, the general manager of Six Flags Great America at the time, proposed the concept of an inverted roller coaster that featured inversions and worked with Bolliger & Mabillard to develop Batman: The Ride. Tussauds directors rode Batman: The Ride prior to its May 1992 opening and wanted to add a similar ride to Alton Towers.
The inverted roller coaster, now dubbed "Secret Weapon 3", was planned throughout 1992. Wardley and Nick Varney, marketing director of Alton Towers, came up with the theme for "Nemesis" as an alien creature excavated from the ground. According to Wardley, the ride's name was conceived one evening after himself and Nick Varney drank a bottle of Southern Comfort. Wardley drafted the ride layout, from which the coaster was designed by Werner Stengel. Tussauds collaborated with a landscape architect to design the excavated area and create a ride that could be exciting for both riders and non-riders – the final inversion was built at the eye level of an observer, and the queue winds all the way around the track.
### Operational history
The £10 million Nemesis officially opened to the public on 19 March 1994, following a soft opening three days prior. It opened as one of the first Bolliger & Mabillard rides to be installed outside of the United States, along with Diavlo at Himeji Central Park, Japan, which opened four months later.
In August 2004, Nemesis gained the Guinness World Record for the "Most Naked People on a Rollercoaster". The ride set the record at 32 riders – the number of seats on a single Nemesis train. It took the record from Thorpe Park's Nemesis Inferno roller coaster which set the record at 28 just three months prior. The ride lost the record in 2010 when 40 naked riders boarded Green Scream Rollercoaster at Adventure Island.
In 2009, Alton Towers received several complaints from nearby residents regarding increased noise levels emitted from the ride. New wheels had to be installed on the two trains before the ride returned to normal operation.
### Retracking
In January 2022, Alton Towers submitted a successful application proposing that the majority of the roller coaster be retracked for maintenance reasons, including replacing 89 of the 117 support columns. Nemesis closed for the refurbishment on the 6 November 2022, and is scheduled to reopen in 2024.
On 25 April 2023, Alton Towers released a video showcasing the new Nemesis track. It is black with red veins along the side. The Nemesis Observation Platform opened on 26 April, revealing a view of the retracking. Nemesis went vertical the same day. Another video was released on the 27 April showing the Phalanx-branded vehicles transporting the track to the resort. During the refurbishment, Alton Towers built an observation platform next to Nemesis: Sub-Terra allowing up to 30 park guests at a time to view the construction taking place.
## Characteristics
Nemesis stands 13 metres (42.7 ft) tall, but due to the modified terrain, features a drop height of 31.7 metres (104 ft). Its track length is 716 metres (2,349 ft), and riders reach a maximum speed of 81 km/h (50 mph). The four inversions include two corkscrews, a zero-g roll, and a vertical loop. Riders experience approximately 3.5 times the force of gravity on the 1-minute, 20-second ride. Nemesis operates with two steel and fiberglass trains, each containing eight cars. Each car seats four riders in a single row for a total of 32 riders per train.
## Ride experience
Riders enter the station and choose between the standard queue or front row (which adds significant queuing time). Riders are batched into rows of 4. Once the train is ready for dispatch the floor beneath it is lowered before the train then departs the station making a 45-degree, right-hand turn towards the lift hill. Once at the top of the 13-metre (43 ft) hill, the train makes a small dip and turns around 180 degrees to the left. The train then descends down a small drop into the first inversion, a right-handed corkscrew. The train then navigates a right-handed, 270-degree downward helix that features 90 degree banking and then the train rises up into the second inversion, a zero-g roll, where riders experience the feeling of weightlessness. It then makes a 180-degree right-handed stall turn into the third inversion, a vertical loop. After a left stall turn the train enters the second corkscrew. The train then passes through an underground tunnel, and through one more 180-degree turn, before being stopped by the brake run and returning to the station.
The ride is themed to an unknown creature, possibly ancient and alien, which has been discovered or excavated from the ground. The surrounding area scenery suggests a scrapyard with a possible cult worship presence. The station building is themed as the carcass of the creature.
## Reception
Nemesis received positive reception by park visitors and the attraction industry as a whole since its opening. More than 50 million people have ridden Nemesis since opening. In Amusement Today'''s annual Golden Ticket Awards, Nemesis has consistently ranked highly. It is also one of only seven roller coasters to appear in the top 50 every year since the award's inception in 1998. It debuted at position 10 in 1998, before peaking at position 7 in 2003.
Two further rides with the Nemesis brand were later opened at Merlin Entertainments theme parks. The first was Nemesis Inferno at Thorpe Park, another Bolliger & Mabillard inverted roller coaster. The ride opened in 2003. Alton Towers hosted the second related ride, Nemesis: Sub-Terra. The drop tower opened on the former Dynamo site in 2012. It then closed in 2015 but reopened on 27 May 2023 following an eight year hiatus. The ride depicts the backstory of Nemesis.
Nemesis has ranked favourably in Amusement Today's annual Golden Ticket Awards, being one of only seven roller coasters to appear in the top 50 steel roller coasters for all 15 years. Nemesis Inferno has never made an appearance. In a poll conducted by the Los Angeles Times'', Nemesis received 37.93% of the vote for title of best roller coaster in England, while Nemesis Inferno received 0.32%.
|
[
"## History",
"### Development history",
"### Operational history",
"### Retracking",
"## Characteristics",
"## Ride experience",
"## Reception"
] | 1,852 | 24,180 |
48,748,324 |
Read-Only Memory (publisher)
| 1,169,459,458 |
British publisher of video game art books
|
[
"Kickstarter-funded publications",
"Publishing companies of the United Kingdom",
"Video game companies of the United Kingdom",
"Video gaming in the United Kingdom"
] |
Read-Only Memory is a British publisher of art books on topics of video game history and culture. Following a resurgence of interest in 1980s and '90s British video game development, the company crowdfunded and produced four art books: an oral history of that Britsoft era, two books on British developers Sensible Software and The Bitmap Brothers, and a definitive volume on the Sega Mega Drive/Genesis, for which the publisher became best known. Read-Only Memory's books are archival anthologies, including original design documents juxtaposed with developer interviews and high-quality prints of in-game graphics. Reviewers were particularly impressed with each book's breadth of unreleased concepts.
## History and publications
The 30th anniversary of the ZX Spectrum home computer in 2012 generated renewed interest in Britsofta "golden era" of British video game development, particularly in the 1980s and '90s, little publicised outside Britain. Between games republished on digital platforms like Steam, re-releases for mobile platforms, and related crowdfunding projects through Kickstarter, coverage of British games development was brought closer to parity with the coverage of Japanese and American game developers. Through its Kickstarter projects, Read-Only Memory grew as a British publisher of art books on topics of video game history and culture. Kiyonori Muroga, the editor-in-chief of Japanese graphic design magazine Idea, highlighted Read-Only Memory in 2015 as performing groundbreaking art book design work with exceptional product quality.
In late 2013, graphic designer Darren Wall released an art book about the history of British developer Sensible Software. Funded through the crowdfunding website Kickstarter and written by games journalist Gary Penn of Zzap!64, Sensible Software 1986–1999 is a 340-page anthology of the company's full catalogue, from its popular 16-bit games (e.g. Sensible Soccer, Cannon Fodder, Wizball) to its lesser-known products and features. It also explains the personalities behind the company, mainly its founders Jon Hare and Chris Yates, through long-form interviews. Hare was elated when Wall originally contacted him about the project, but Yates, who has been estranged from Hare since 2003, did not participate. Hare explained the company's issues with scaling and hiring, and how the company was slow to transition to 3D graphics. Other commentators featured in the book include developer and entrepreneur David Darling, television personality Dominik Diamond, musician Martin Galway, and games journalist Gary Whitta.
Wall designed Sensible Software 1986–1999 in the style of an art monograph, with full pages of in-game art, concept art, and other visual assets. Each major game received its own chapter. As part of his design process, Wall personally revisited the company's catalogue to capture screenshots. The project had an immediate response during its 2012 Kickstarter campaign, and met its goal of \$30,000 to begin production. Reviewers were impressed by the details of the company's unreleased concepts. Kotaku praised the volume and its breadth of personnel interviewed, though Metro wrote the absence of Sensible co-founder Yates was conspicuous. Still, the book did not appear to be one-sided. Nintendo Life called the book "an absolutely essential read" for those interested in 1990s Britsoft. The book was made available on the website of Read-Only Memory, Wall's new publishing imprint.
### Sega Mega Drive/Genesis: Collected Works
Read-Only Memory released its next art book in late 2014. Sega Mega Drive/Genesis: Collected Works covers the development, life, and legacy of Sega's 16-bit console. The 352-page book sought to be the "definitive volume" on the console. It was officially licensed by Sega and contains about 30 interviews with former team members and documentary production artwork from both classic and lesser-known games. Its interview subjects include former Sega president Hayao Nakayama, former Sega of America CEO Tom Kalinske, and developers such as Greg Johnson (Toejam & Earl), Yu Suzuki (OutRun), and Yuji Naka (Sonic). Its illustrations and fold-out pages include in-game pixel art, character concepts, storyboards, and other design documents. The publisher was given "unprecedented access" to Sega's archives, where they found new technical drawings, concepts, and alternative designs. The book contains an essay by The Guardian games journalist Keith Stuart, and its foreword was written by games journalist Dave Perry.
The publisher presented Sega with a mock-up of the book and its potential design and content. Sega liked the focus on the 16-bit console, approved the project, and offered access to their developers and archives in Japan. Wall described himself as "a die-hard Mega Drive fan" and was thrilled to see Sega's archival findings. Read-Only Memory ran a Kickstarter crowdfunding campaign in November 2013 to fund the book's publication. Supporters received perks including archival prints from Sonic the Hedgehog character designer Naoto Ohshima. Upon doubling the project's funding goal, Wall and Read-Only Memory announced additional interviews and content to be included. The campaign ultimately raised over three times its goal: . The campaign also propelled Sega management from the period to offer their aid.
A.V. Club called it "a classy, beautiful tome" with new treasures in each read. Kotaku's reviewer echoed those terms and said the book was among the best he had read in the video game genre, from its coffee table book quality to its breadth of archival content. He reserved particular praise for the included design documentation of Streets of Rage and Gunstar Heroes, which included hand-drawn notes and level design sketches. The German Eurogamer wrote that the book had little to criticize apart from its paucity of detail on the console's technical aspects. Nintendo Life found the book flawless, as both accessible and interesting to newcomers as well as "every Sega fan's dream come true". Read-Only Memory editor-in-chief Darren Wall told The Guardian how crowdfunders shared their experiences and opinions of the book on Twitter, which generated significant traffic to the publisher's website.
### Britsoft and Bitmap Brothers
Read-Only Memory published Britsoft: An Oral History in 2015 and The Bitmap Brothers: Universe in 2016, both about a golden age of British game development. Britsoft: An Oral History was designed as a companion to the 2014 film From Bedrooms to Billions, which covers the "Britsoft" era of British game development from the late '70s bedroom developer cottage industry to the present-day billion-pound industry. The book uses developer interviews to tell the era's story so as to supplement rather than reproduce the film's narrative. Interviewed developers include coders and designers David Braben, Geoff Crammond, Mel Croucher, Dino Dini, Jon Hare, Archer Maclean, Jeff Minter, Peter Molyneux and David Perry, businessman David Darling, and writers Chris Anderson, Gary Penn, and Julian Rignall. The book's editor and former Edge editor, Alex Wiltshire, divides the title into eight sections: the developers' initial exposure to video games, the first wave as it attempts to sell its software in the early 1980s, the industry that begins to form, the wealth that comes to the industry, the relationship between these developers and a burgeoning games journalism, the transition from home computers to 16-bit hardware, the coalescing of industry and closure of small businesses, and the late 1990s dispersion as these developers left the industry or moved to less prominent roles in the United States. The book is designed to be read linearly and out of order, based on its presentation as anecdotal snippets rather than long text blocks. It also features linked page numbering such that readers can skip directly to the developer's next page. Reviewers described the 422-page volume by its heft, comprehensiveness, and academicism. Eurogamer and The Verge recommended the book for readers interested in the era as well as readers interested in artistic production. Nintendo Life described the book as lavish, lush, and pleasurable. Reviewers lightly criticised the book's lack of signposted introductions to the many characters, and complained of needing to flip to the appendix for explanatory footnotes and captions for the book's personalities and illustrations. Eurogamer considered the book to come as close to a definitive history of British gaming as is feasible, and praised the book's intimate and fun tone on otherwise dry subject matter.
The second book was published on the subject of The Bitmap Brothers, a prominent British developer known for games such as Speedball, Xenon, and The Chaos Engine. Written by games journalist Duncan Harris, the 360-page book covers the developer's catalogue alongside concept art and interviews with its personnel. It features information about the developer's unfinished games and possible sequels. An interview with Sega's Tetsuya Mizuguchi spoke to the developer's influence, and musicians Tim Simenon and John Foxx discussed the role of music in the developer's games. Patrons who crowdfunded the project on Kickstarter received rewards including signed copies of the book and art prints. Monocle and Kotaku UK praised the book's content and beauty, while Nintendo Life's reviewer praised the book's anecdotes and recommended the title for readers interested in the history of British games.
In late 2017, Read-Only Memory partnered with Polygon to publish the website's oral history of Final Fantasy VII with Kickstarter crowdfunding. The book, 500 Years Later: An Oral History of Final Fantasy 7, adds new illustrations, additional standalone interviews, and a foreword by the creator of the Final Fantasy series.
|
[
"## History and publications",
"### Sega Mega Drive/Genesis: Collected Works",
"### Britsoft and Bitmap Brothers"
] | 1,983 | 11,202 |
60,246,796 |
Elinor Fettiplace
| 1,170,939,123 |
English cookery book writer, c. 1570
|
[
"1570s births",
"1647 deaths",
"17th-century English women writers",
"17th-century English writers",
"17th-century non-fiction writers",
"English food writers",
"English women non-fiction writers",
"History of English cuisine",
"People from Cotswold District",
"People from Vale of White Horse (district)",
"Women cookbook writers",
"Women food writers",
"Writers from Gloucestershire"
] |
Elinor Fettiplace (born Elinor Poole, later Elinor Rogers; 1570 – in or after 1647) was an English cookery book writer. Probably born in Pauntley, Gloucestershire into an upper class land-owning farming family, she married into the well-connected Fettiplace family and moved to a manor house in the Vale of White Horse, in what was then Berkshire.
In common with most ladies of the Elizabethan era, Fettiplace wrote a manuscript book, now known under the title Elinor Fettiplace's Receipt Book, with details of recipes for dishes and meals, medical remedies and tips for running the household. She dated the work 1604, but it is possible that she began writing it several years earlier, when she was still living with her mother. The book was passed down through her family, initially to her niece, until it was handed to the husband of the writer Hilary Spurling. Spurling conducted research on Fettiplace's identity and the contents of the book, and published the work in 1986.
Fettiplace's husband died in 1615; she moved back to Gloucestershire and married a local man, Edward Rogers, who died in 1623. She lived until at least 1647.
## Life
Elinor Poole was born around 1570, probably at Pauntley, Gloucestershire. Her parents were Henry Poole—later Sir Henry, justice of the peace, Member of Parliament and the High Sheriff of Gloucestershire—and Anne, née Wroughton, of Broad Hinton, Wiltshire. Elinor had two sisters—both younger—Francis and Dorothy, and three brothers, Giles, Devereux and Henry. Devereux, who was probably a year or so older than Elinor, was killed when he was 19, fighting alongside his father in France while under the command of Robert Devereux, 2nd Earl of Essex. The Poole family was a large landowner in the area, with farming area down to Wiltshire, through the Cotswolds, into Berkshire and across approaching Herefordshire. Although the properties were extensive, the Poole family had heavily mortgaged much of their land. The family were well-connected within the upper classes, and Elinor's living relatives included her cousins, the brothers Sir Carew and Sir Walter Raleigh.
In early 1589 Elinor Poole married Richard Fettiplace, of the Fettiplace family, in Berkshire. The marriage introduced Elinor to an ancient Norman family that owned large areas of land in the Vale of White Horse. She came to the marriage with a dowry of £400, a bequest of her grandfather, Sir Giles Poole. According to Hilary Spurling, Fettiplace's biographer, the dowry may have come with conditions that her new in-laws put their finances in order by selling some of their land. The couple had five children—three daughters and two sons—and lived in the manor house at Appleton, Oxfordshire, described as "relatively modest" by Spurling. Two of their daughters died as infants and a third aged 16. It is possible there was a fourth daughter, but the point is unclear. Their son Henry was born in c.1602, but nothing more is known about him. Their eldest child John was born in 1590. In 1606 he married his cousin Margaret, and the couple lived at Appleton; they were still resident there the following year when they had a son, Edmund.
On a normal day the manor would provide for between twenty and thirty people, which included the family, but during the seasonal feasts this number could double or triple, with fifty guests needing to be fed twice a day during the Twelve Days of Christmas. Fettiplace had a copy of Charles Estienne's book Countrey Farme, which had been given to her by Sir Henry Danvers; the book provided guidance on garden planning, and advice on growing herbs and vegetables. She spent time in the summer and autumn months preserving food for the winter, with the help of the estate's staff.
Fettiplace's husband died in 1615 and it appears she left Appleton Manor, giving advice to her daughter-in-law, Margaret, on how best to run it. After Fettiplace's father died in 1616, he left £500 in his will for her. He was buried in St Kenelm's Church, Sapperton. His ornate tomb shows his son kneeling next to him, and his three daughters, including Fettiplace, kneeling at the front. It is her only known likeness.
Fettiplace returned to within her own family's orbit at Sapperton, and married a man from Gloucester, Edward Rogers, who died in 1623. He was also buried in Sapperton's church. Details of her death are unclear, but it was in or after 1647.
### Personality
According to Spurling, the little that is known about Fettiplace's character suggests she was forceful, with a "firm view of her own importance". After her husband died, she continued to use the title of "Ladyship", although not entitled to; she continued the practice even after she married a commoner and he had died. His memorial stone in St Kenelm's Church outlines his status from the view of her importance and ancestry.
Spurling concludes Fettiplace was an "efficient and practised manager" in the way she ran her household and, when her husband was absent, the family estate, was interested in modern cookery, and had a "cautious and considerate approach" to dispensing the medicines she prepared.
## Receipt Book
Ladies of the Elizabethan age would often keep manuscript books with details of "receipts" for dishes, meals, medical remedies and tips for running the household. Fettiplace's Receipt Book—bound in leather and written on good quality paper—was signed by Fettiplace and dated 1604. Her manuscript is one of the few such works to survive from that time. The food writer C. Anne Wilson considers it likely that the recipes were collected over several years: the social historian Janet Theophano suggests Fettiplace began writing it under her mother's direction.
In 1647 Fettiplace passed her Receipt Book to her niece and goddaughter, Anne Horner, writing "Thes bock I geve to my deare nees and goddutar Mrs Anne Hornar desyring her to kepe it for my sake: 1647". The work was passed down through the generations until it was given to the husband of Hilary Spurling. She researched the background of the book and Fettiplace, and published the work in 1986. Reviewing the work, the historian A. L. Rowse described it as "a fascinating find" that deserved "to taste of the Victorian Mrs Beeton's success as a best seller".
Elinor Fettiplace's Receipt Book has been organised into twelve chapters by Hilary Spurling, each covering a month. Within the work are recipes for food, remedies for ailments and illnesses and tips for running the household. Appleton estate was largely self-sufficient, and the Receipt Book describes how to make various household products, including perfume, ink, toothpaste, rat poison and weed killer. Fettiplace also describes the methods used to bleach linen or wash delicate fabrics such as gold weave and silks ("To wash gould and coloured silk").
Among her medical remedies, Fettiplace included treatments provided by friends. Sir Walter Raleigh provided a recipe for "Syrup of Tobacco", used to sooth lung trouble, or curing a long-held cough, and "Tobacco Water", and John Hall, a physician and the son-in-law of William Shakespeare, provided a method of stopping nosebleeds. Among the other medicinal entries included in the book, were remedies for a bad back (11), insomnia (7), wound dressing (36), failing eyesight (45), coughs (16), stomach ache (24) and one for the plague. The reference to a plague cure is unsurprising: the disease was rampant in England the early years of the 1600s, including in around Oxfordshire and Berkshire in 1604—the year Fettiplace marked in her book.
In an examination of the recipes in a historical context, Spurling concludes that the recipes were, for the time, modern, and embraced new tastes and styles, rather than the food of the mediaeval past, and which contained elements of a French and English style of cooking that was still running strong 400 years later. Her book contains a recipe for meringues (which she called "White biskit bread"), which pre-dates the appearance in French recipe books in François Massialot's 1692 work Nouvelle instruction pour les confitures.
Most of the recipes for food in the book would have been for produce from Appleton's estate, although there are some imported items for luxury goods. These include in the recipe for "Spanish Marmalad", among the ingredients for which are powdered pearls and gold:
> Take five sponfulls of rose water and seaven sponfulls of suger finely beaten, make yt boyle you must have redy by you two handfulls of almondes blanched and finely grownd, with 15 or 16 dates ye stones and whights taken out, and yor dates cut smale and beaten in a morter, then mixe yor dates and almondes well together, then put yt in your Sirrope stirringe yt well together, then take on sponfull of pouder of sinamond, halfe a sponfull of ye pouder of pearles, three sheetes of Golde, stirr all theise well, but you must take yt first from the fire or else yt will bee to stiff that you can-not mingell yt, before yt bee through cold put yt upp into a marmalad boxe.
Elinor Fettiplace's Receipt Book is an important historical work showing what domestic life was like for part of society in Elizabethan England, and the work has been used as a source in several such published works. Few objects other than Fettiplace's manuscript have survived from the Poole's manor at Sapperton.
## Notes, references and sources
|
[
"## Life",
"### Personality",
"## Receipt Book",
"## Notes, references and sources"
] | 2,169 | 15,383 |
56,440,599 |
Disruptive eye mask
| 1,150,553,470 |
Camouflage to conceal the eye
|
[
"Camouflage"
] |
Disruptive eye masks are camouflage markings that conceal the eyes of an animal from its predators or prey. They are used by prey, to avoid being seen by predators, and by predators to help them approach their prey. The eye has a distinctive shape and dark coloration dictated by its function, and it is housed in the vulnerable head, making it a natural target for predators. It can be camouflaged by a suitable disruptive pattern arranged to run up to or through the eye, sometimes forming a camouflage eyestripe. The illusion is completed in some animals by a false eye or false head somewhere else on the body, in a form of automimicry.
Disruptive eye masks are seen on a variety of animals, both invertebrates such as grasshoppers and vertebrates, including fish, frogs, birds and snakes.
Eye masks were first noticed by the American artist Abbott Handerson Thayer in 1909, and analysed extensively by the zoologist Hugh Cott in 1940. However, in 2005 the evolutionary zoologist Tim Caro could still observe that the assumption that eye masks served as camouflage had not been tested systematically.
## History
The American artist Abbott Handerson Thayer mentioned the "masking" of the eyes of birds and mammals in his 1909 book Concealing-Coloration in the Animal Kingdom, stating that this was found mainly in birds, such as plovers, and predatory mammals. He noted that "it is very effective .. as it completely breaks the eye's otherwise conspicuous circular or oval outline.
The zoologist Hugh Cott identified the value of concealing the eye in his 1940 book Adaptive Coloration in Animals. He notes the "inherent conspicuousness of an eye-spot", which "stands out from everything else, and rivets the attention", making the point with a diagram containing one small eyespot and many larger features: the eyespot immediately attracts the viewer's attention. The image has been used elsewhere, for example in Tim Newark's 2007 book on camouflage, where Newark noted that Cott's image proved the point, as "the eye of a vertebrate, with its dense black pupil, stands out from the most jumbled backgrounds, as Cott's illustration demonstrates." Cott argued that "no scheme of camouflage will be completely effective which does not mask or modify the appearance of the eye". He mentioned, as "beautiful examples" of face patterns that achieve this, the swamp viper and the Gaboon viper. In his words:
> The disruptive value of a pattern lies in its tendency to hide the real form of an animal by suggesting a false form to the eye. So long as the false configuration is recognized in preference to the real one, concealment will be effected.
Cott described disruptive eye masks as a special case of a coincident disruptive pattern, one that provides camouflage by joining together parts of the body to create a new appearance which contradicts the actual structures present. On camouflage eyestripes, he noted that "more or less well-defined ocular bands or stripes" are found in many species of bird, including the nuthatch, snipe, whimbrel, ringed plover, and turnstone, and thought it significant that these patterns were associated with active young that leave the nest early, as in the ringed plover. He recorded that "what appear to be markings of similar significance" are found in mammals such as gemsbok, sable antelope, Grant's gazelle and vizcacha.
In 1989, J. L. Cloudsley-Thompson noted that camouflage eyestripes are also found in many reptiles including slender arboreal vine snakes, numerous tropical fish such as the angelfish and garfish, and a wide variety of amphibians including the common frog.
The evolutionary zoologist Tim Caro observed in 2005 that "the whole topic of disruptive coloration needs systematic analysis". Caro noted that in mammals, "no systematic tests of this idea are available", but that dark patches around the eyes, which would tend to draw attention to the eye instead of camouflaging it, are associated with grassland and terrestrial carnivores as well as riparian animals, suggesting the function of reducing glare, or perhaps of aposematism.
## Pattern
G. W. Barlow, noting Cott's examples, analysed fish "eye-lines" in 1972, finding a relationship between angle of line and both body shape and angle of forehead. He found that fast-swimming species had longitudinal lines and long bodies; deep-bodied fish had vertical bars and the ability to turn abruptly. Many barred patterns were in his opinion "obviously an adaptation for crypsis" (camouflage). He concluded that stripes and bars were both social signals and antipredator adaptations.
In 1981, Leah and Benjamin Gavish tested patterns that conceal birds' eyes using patterns and human observers. They found that patterns which allow the eye to protrude from the dark area concealed the eye best, calling this the "borderline eye effect".
Some animals such as butterflyfish combine the camouflaging of the eye with an eyespot somewhere else on the body, possibly giving the impression that the animal's head is located there. In 2013, Karin Kjernsmo and Sami Merilaita showed using artificial prey and predatory fish (three-spined sticklebacks) that such eyespots diverted predators' attacks from the vulnerable head.
|
[
"## History",
"## Pattern"
] | 1,119 | 27,595 |
62,580,773 |
Chamuel (wrestler)
| 1,137,857,453 |
Mexican professional wrestler
|
[
"1993 births",
"Living people",
"Masked wrestlers",
"Mexican male professional wrestlers",
"Micro-Estrella wrestlers",
"Professional wrestlers from Puebla"
] |
José Francisco García Cruz (born August 12, 1993) is a Mexican luchador, or professional wrestler, who works under the ring name Chamuel. He currently works for the Mexican Consejo Mundial de Lucha Libre (CMLL) promotion where he portrays a heel (known as a rudo in lucha libre, the antagonists of professional wrestling). He is one of the competitors in CMLL's Micro-Estrella ("Micro-Star") division where he competes with and against other wrestlers with dwarfism. His ring name is based on Camael, the archangel of strength, courage, and war from Christian and Jewish mythology.
From his début in 2012 until 2017, he worked primarily on the Mexican independent circuit as a mascota and with occasional tag team partner Henry, portraying an "evil doll" in the style of Chucky. In 2017 he joined CMLL and in 2019, as part of the CMLL 86th Anniversary Show, he lost his mask to Microman. He is the first holder of the CMLL World Micro-Estrella Championship.
## Professional wrestling career
Chamuel made his professional wrestling début in 2010, as the tag team partner of regular-sized wrestler Henry. The two portrayed a masked, monster/doll duo with Chamuel initially wearing a mask that resembling a ventriloquist's dummy, but would later change to an evil clown mask. In his first recorded match, Chamuel and Henry teamed up with Monsther and Chucky to defeat Gran Alebrije, Pequeño Cuije, Don Pollo, and Pollito. By 2012 Chamuel regularly worked for the local promotion in Pachuca, Hidalgo. On February 21 he beat Chucky in a Lucha de Apuestas, mask vs. mask match to win the evil doll mask. Two months later he won the mask of Gallito Feliz on another local show. In July he was one of eight men risking their mask on the outcome of a steel cage match but was not involved in the final portion of the match, having escaped earlier on. In October 2012 Chamuel won the hair of El Loquito in a three-way match that also included Mostruolin. Chamuel ended 2012 by surviving another steel cage match with his mask, watching as The Medic's II was unmasked at the end of the match.
### Consejo Mundial de Lucha Libre (2017–present)
In mid-2017 Chamuel was hired by Consejo Mundial de Lucha Libre (CMLL) to be part of their newly created "Micro-Estrellas" (Micro Stars) division. In his début, Chamuel teamed up with Mije, only to lose to Microman and El Gallito. For the first anniversary of the Micro-Estrellas division, CMLL held an eight-micros torneo cibernetico elimination match, featuring the entire active Micro-Estrella division at the time. Chamuel teamed up with Angelito, El Gallito and Mije to take on Microman, Atomo, Guapito, and Zacarías el Perico. In the end, Microman pinned Chamuel to win the tournament.
Following the anniversary, Microman and Chamuel began a long-running storyline feud, which often saw Chamuel either tear Microman's mask open or steal it during a match. The Micro-Estrellas made their début at a major CMLL show on November 11, 2018, when Microman, Atomo, and Gallito defeated Chamuel, Mije, and Zacarías two falls to one on the Día de Muertos show. The Microman/Chamuel feud led to the first one-on-one match in the Micro division on August 30, 2019, as part of CMLL's International Gran Prix. The match ended in a disqualification as Chamuel was disqualified for throwing his mask to Microman in an attempt to deceive the referee. The feud between the two led to a Lucha de Apuestas, mask vs. mask match, as part of the CMLL 86th Anniversary Show. The match was the first time in 32 years that two "Micros" had a Lucha de Apuestas match. Microman won the third and deciding fall, forcing Chamuel to unmask and reveal his real name per lucha libre traditions. On December 25, 2019 Chamuel outlasted Microman, El Gallito, Guapito, Zacarías, and Átomo in a torneo cibernetico elimination match to win the newly created CMLL World Micro-Estrella Championship, lastly eliminating Microman. He lost the title on October 30, 2022 against Micro Gemelo Diablo I.
### Independent circuit (2017–present)
While working for CMLL, Chamuel, like all CMLL wrestlers, is allowed to take independent circuit bookings on days he is not needed by the company. Chamuel's independent circuit appearances usually sees him team with, and face off against, other CMLL Micro-Estrellas. On September 15, 2018, Microman, and Gallito defeated Chamuel and Zacarías in a match at the Benito Juarez ExpoMuseo in Mexico City. The Micro-Estrellas also made a special appearance for The Crash Lucha Libre, one of Mexico's largest independent promotions, with Microman and Gallito once again defeating Chamuel and Zacarías in their March 2, 2019 match.
## Reception
While the CMLL 86th Anniversary Show, in general, was given mediocre reviews the match between Micro Man and Chamuel was well received. Richard Gallegos of the Voices of Wrestling stated that "Microman and Chamuel saved the night with their fantastic Apuestas Match", and a Cage Side Seats review named it the "match of the night".
## Championships and accomplishments
- Consejo Mundial de Lucha Libre
- CMLL World Micro-Estrella Championship (1 time)
## Luchas de Apuestas record
|
[
"## Professional wrestling career",
"### Consejo Mundial de Lucha Libre (2017–present)",
"### Independent circuit (2017–present)",
"## Reception",
"## Championships and accomplishments",
"## Luchas de Apuestas record"
] | 1,274 | 18,558 |
52,190,587 |
Macon Library
| 1,059,213,185 |
Branch library of Brooklyn Public Library
|
[
"1907 establishments in New York City",
"Bedford–Stuyvesant, Brooklyn",
"Brooklyn Public Library",
"Carnegie libraries in New York City",
"Libraries in Brooklyn",
"Library buildings completed in 1907",
"Neoclassical architecture in New York (state)"
] |
Macon Library is a branch of the Brooklyn Public Library, located in the Bedford–Stuyvesant neighborhood of Brooklyn, New York City. The branch, opened in 1907, was the borough's eleventh Carnegie library. Richard A. Walker designed Macon in the Classical Revival style and the library was built from red brick and limestone trim with a slate roof at a cost of \$93,481 (). In the 1940s, 1970s, and 2000s, the library underwent major renovations and repairs. Despite the changes, design elements present at the library's opening remain, including some bookshelves, guardrails, and wood paneling. Macon Library houses the African American Heritage Center.
## History
Situated in Bedford–Stuyvesant, Brooklyn, Macon Library was the eleventh Carnegie library–libraries built with a donation from businessman and philanthropist Andrew Carnegie–to be constructed as part of the Brooklyn Public Library system. Costing \$93,481 (\$71,481 for the building and its furnishings plus an additional \$22,000 for the site), the library was designed by Richard A. Walker of Walker & Morris and built in 1907 on a corner lot at the intersection of Macon Street and Lewis Avenue. The library's construction was conducted by Daniel Ryan of Manhattan. In 1906, the New York City Board of Estimate designated \$10,000 for the library's collection. The branch library's opening on July 15, 1907, was attended by 2,000 visitors. Upon its opening, Macon held 10,000 books with the space to expand to 25,000.
The library has undergone a number of repairs and renovations. Between 1948 and 1949, Macon was closed for a repainting, the installation of new windows, the addition of a new heater, and the removal of partitions in its reading areas. Efforts to modernize the library's interior space took place from 1973 to 1977 including an HVAC upgrade, the construction of an auditorium, and the installation of fluorescent lighting. Around 1996, the library was being rehabilitated once again, with efforts underway to improve library accessibility and the building's air conditioning system, and to install a new roof designed to mimic the original roof. The latter project was headed by the architect Leslie Defer. Macon was again renovated between 2006 and 2008 by Sen Architects. The project was intended to bring the library closer to its original appearance by making HVAC systems less visible and replacing the hanging fluorescent lights with lamps like those in the space when it opened. The renovation also included the addition of the African American Heritage Center.
The Brooklyn Public Library announced that Macon Library would be one of the first six libraries in its system to receive exterior digital signage, the first upgrade of exterior signage across the Brooklyn system in over two decades. The project, completed in summer 2017, totaled \$35,000.
## Architecture and features
Macon Library stands two stories tall and is slightly raised above street level. It occupies the majority of the 90-by-100-foot (27 by 30 m) lot upon which it is situated. The building was designed in the Classical Revival architectural style and consists of five bays. While the library was mainly built with red brick, its front entrance is highlighted by a stone border adorned above the front door with a cartouche. The doors and windows are surrounded by an Indiana limestone trim. Macon Library is capped with a dentillated cornice, below which its windows rest, high on the building's facade. The Brooklyn Daily Eagle singled out Macon as one of Brooklyn's best-lighted libraries in 1907. Near the front entrance are two pillars that at one time sported lamps. The building is surrounded by an iron fence and topped with a slate roof.
Inside, the library is divided into two main spaces: alcoves and larger reading areas. The building's main desk is located in the center-front of the floor plan, while its stacks are located in the back, on the first and second floors. On the upper level, the original metal guardrail continues to protect patrons, and the bookcases and wood paneling that was present when Macon opened is also still used. The library's small alcoves contain wooden benches and fireplaces present when the library opened. A series of frescoes and panels with phrases such as Living Brave and Patriotic Men Are Better Than Gold and No Gain Without Pains were inlaid on the mantelpieces above the fireplaces, but the panels with their verbiages are no longer present.
## See also
- List of Brooklyn Public Library branches
|
[
"## History",
"## Architecture and features",
"## See also"
] | 962 | 5,574 |
3,574,763 |
Design A-150 battleship
| 1,165,462,617 |
Planned Imperial Japanese class of super battleships
|
[
"Battleship classes",
"Battleships of the Imperial Japanese Navy",
"Cancelled ships",
"Proposed ships"
] |
Design A-150, popularly known as the Super Yamato class, was a planned class of battleships for the Imperial Japanese Navy. In keeping with longstanding Japanese naval strategy, the A-150s would have carried six 51-centimeter (20.1 in) guns to ensure their qualitative superiority over any other battleship they might face. These would have been the largest guns ever carried aboard a capital ship.
Design work on the A-150s began after the preceding Yamato class in 1938–1939 and was mostly finished by early 1941, when the Japanese began focusing on aircraft carriers and other smaller warships in preparation for the coming conflict. No A-150 would ever be laid down, and many details of the class' design were destroyed near the end of the war.
## Background and design
In the 1930s, the Japanese government began a shift towards an ultranationalist militancy. Planners envisioned an empire stretching from Japan to the resource-rich European colonies in Southeast Asia, and defensible islands in the Pacific Ocean (the Greater East Asia Co-Prosperity Sphere). The extensive distances involved, and the likelihood of this expansion leading to a confrontation with the United States, led the Japanese to build and maintain a large fleet that could seize and hold onto these territories. The U.S. posed a particular problem for Japan, as it possessed significantly greater industrial power, and several leading members of the United States Congress had pledged "to outbuild Japan three to one in a naval race".
The Imperial Japanese Navy had recognized since at least 1896 that the country could not outproduce its potential opponents, and therefore insisted that its ships had to be more powerful than foreign equivalents. It established this qualitative lead at various times over the next 40 years, with the Kongo-class battlecruisers just before World War I, the Nagato-class battleships at the end of that war, and the Yamato-class battleships in the 1930s. The A-150s were designed according to that doctrine to continue their qualitative superiority in battleships over their most likely opponents, the United States and Great Britain.
Early conceptions for what would become the A-150 battleships called for eight or nine 51-centimeter guns in double or triple turrets, as the successful construction of a 48-centimeter (18.9 in) gun in 1920–1921 made the Japanese confident that such a large weapon could be built. The designers hoped to give the ships a top speed of 30 knots (56 km/h; 35 mph), which would give them a comfortable margin over the American 27-knot (50 km/h; 31 mph) North Carolina-class battleships. However, these grand specifications were curtailed when tests culminated in a ship that had a displacement of some 91,000 metric tons (90,000 long tons); it was felt that ships of this size would be "too large and too expensive".
Formal design studies began in 1938–1939. They initially focused on a ship closer to the displacement of the preceding Yamato class, on which plans had just been completed, albeit one mounting six 51-centimeter guns. As the Japanese expected that the Americans would ascertain the true characteristics of the Yamato class—especially its primary armament of 46-centimeter (18.1 in) guns, which would become the largest naval weapons in use in the world—they hoped that the 51-centimeter guns would outperform any American response to the Yamato's smaller guns.
## Specifications
Plans for the A-150s were finished in early 1941, for most intents and purposes. However, these were destroyed at the end of the war, along with most of the other documentation relating to the class. The general destruction of records and Japan's extensive efforts (before and during the war) to keep any information about the ships out of the hands of foreign nations severely limited the amount of information on the ships available to historians. For these reasons the A-150's exact specifications are uncertain. The displacement was to be similar to the Yamato class, which was around 70,000 metric tons (69,000 long tons), and the belt armor was probably going to be 45.7 centimeters (18 in) thick. This was so large that steel mills in Japan were incapable of manufacturing it. Instead, two layers of armor plates would have been used, despite its reduced effectiveness as compared to a single plate of the same total thickness. Similarly, the turret-face armor would have been 80 centimeters (31 in) thick in two layers. The roof armor would have consisted of a single plate 29.5 centimeters (11.6 in) thick.
### Armament
The design of the A-150s called for a main battery of six 45-caliber 51-centimeter guns in three twin turrets. These would have been the largest ever fitted to a capital ship, dwarfing the 46-centimeter guns mounted on the Yamato class, and were a key factor in naval historians William H. Garzke and Robert O. Dulin's argument that the A-150s would have been the "most powerful battleships in history". Construction of two of the 51-centimeter guns was ordered in 1941 for trials at the Kure Naval Arsenal and detailed designs of their turrets were drawn up. The turrets would have weighed 2,780 metric tons (2,740 long tons) and each gun would have massed 227 metric tons (223 long tons). They would have had a total length of 23.56 meters (77 ft 4 in) and the bore length was to have been around 22.84 meters (74 ft 11 in). The armor-piercing shells would have weighed 1,950 kg (4,300 lb).
The composition of the A-150's secondary armament is not fully known. Historians Eric Lacroix and Linton Wells have written that Japanese designers were considering mounting a large number of 65-caliber 10-centimeter (3.9 in) Type 98 dual-purpose guns, though this was not final. These guns had a maximum elevation of +90°, which gave them an effective ceiling of 11,000 meters (12,030 yd) and a horizontal range of 14,000 meters (15,311 yd). They fired 13-kilogram (29 lb) projectiles at a muzzle velocity of 1,030 m/s (3,400 ft/s), although resulting wear on the barrels reduced their designed lifespan to only about 350 rounds. They were able to fire 15–19 rounds per minute.
## Construction
As war with the United States became increasingly likely over the Second Sino-Japanese War, and particularly after the Japanese seizure of French Indochina in mid-1940, all design work on battleships was diverted in early 1941—even though the A-150's design was nearly complete—in order to focus on higher-priority warships like aircraft carriers and cruisers. Two A-150s, provisionally designated as Warships Number 798 and 799, were projected in a 1942 building program. Under this plan, 798 would have been built in the same dock as Shinano, while 799 would be built in Kure in the same dock as Yamato after a fourth Yamato-class ship was launched. The ships would then have been finished in 1946–1947, but the war's turn against the Japanese after the Battle of Midway meant that the need for ships other than battleships never abated.
|
[
"## Background and design",
"## Specifications",
"### Armament",
"## Construction"
] | 1,570 | 43,549 |
48,551,035 |
Eckwersheim derailment
| 1,145,443,657 |
Train crash in Alsace, France on 14 November 2015
|
[
"2015 disasters in France",
"2015 in France",
"21st century in Grand Est",
"Accidents and incidents involving SNCF",
"Derailments in France",
"Engineering failures",
"History of Alsace",
"Railway accidents in 2015",
"TGV",
"Transport in Bas-Rhin"
] |
On 14 November 2015, a TGV train derailed in Eckwersheim, Alsace, France, while performing commissioning trials on the second phase of the LGV Est high-speed rail line, which was scheduled to open for commercial service five months later. The derailment resulted in 11 deaths among those aboard, while the 42 others aboard the train were injured. It was the first fatal derailment in the history of the TGV and the third derailment since the TGV entered commercial service in 1981.
The test train was traveling eastbound on the southern track when it entered a curve at 265 km/h (165 mph)—90 km/h (56 mph) over its assigned speed—causing the rear bogie of the lead power car to derail to the left (outside of curve) due to centrifugal forces. The lead power car separated from the rest of the train, and the rear of the lead power car struck the concrete parapet on the abutment to a bridge over the Marne–Rhine Canal. The power car slid along the left parapet of the bridge and overturned, sliding down the embankment and coming to rest 150 m (490 ft) beyond the end of the bridge. Cars 2–7 derailed before the bridge and travelled off the embankment with enough inertia to overshoot the canal, coming to rest 80–130 m (260–430 ft) beyond the beginning of the bridge. Cars 8–9 came to rest on the east bank of the canal and the rear power car ended up partially submerged in the canal. According to investigators, late braking, which led to the train entering the curve at excessive speed, was the immediate cause of the accident. Criminal and technical investigations are ongoing. French national rail operator SNCF suspended test trials at high speeds until the lessons learned from the investigation were integrated into testing process. The scheduled opening of the second phase of the LGV Est for commercial service was delayed three months, from 3 April 2016 to 3 July 2016.
## Background
The LGV Est européenne (often shortened to LGV Est) is a high-speed rail line connecting Paris and Strasbourg. Development has been divided into two phases. The first phase, from Vaires-sur-Marne near Paris, to Baudrecourt opened on 10 June 2007. Construction on the 106km second phase, from Baudrecourt to Vendenheim, near Strasbourg, began in 2010. The final weld of rails on the second phase occurred in March 2015, marking the completion of the line, although some work remained. At the time of the derailment, the line was scheduled to open for commercial service on 3 April 2016, following commissioning trials and training for operators.
The scheduled tests for the line consisted of four phases:
1. Factory testing of components of the line, completed in 2013–14;
2. On-site testing of components and functioning of subsystems, completed in 2013–2014;
3. Static testing of subsystems with slow-moving trains, completed from late 2014 to August 2015;
4. Dynamic testing of the line with trains operating at high speed, began in September 2015 and scheduled to have been completed in November 2015.
A specialized test train, Dasye set 744 in a commemorative livery, arrived to conduct the fourth phase of testing, which began on 28 September 2015. During this phase, more than 200 test runs would be performed on the line. The test runs would test ride smoothness, performance of the catenary, radio communications, and the signalling system. During some runs, the test train would operate at 10% above the planned operational speeds for the line when it enters service. Some automated safety systems were disabled to allow the test train to operate beyond normal operating conditions. Orientation training for operators was scheduled to take place between January and March 2016 prior to the start of commercial service on the line, which was scheduled for 3 April 2016 at the time of the accident. In January 2016, SNCF announced that the opening of the line would be delayed until 3 July 2016.
## Accident
### Departure
Tests scheduled for 11 and 14 November were to traverse each of the two tracks, in both directions of travel and at a test speed 10% above the speed limit when the line is in commercial service. On the afternoon of 14 November, the test train was scheduled to depart Meuse TGV Station at 14:18 and arrive at Strasbourg Station at 15:17. At 14:26, authorization was given to begin the test and the test train left Meuse TGV Station two minutes later. During this test, the test train traveled eastbound on Track 2, the southern track on the east–west oriented LGV Est, in the direction opposite normal operation (Strasbourg towards Paris). The Meuse-Strasbourg run was the last series of tests on the line during the fourth phase of tests.
The train reached a maximum speed of 352 km/h (219 mph) on sections where the speed limit was 320 km/h (200 mph). As the train approached the flying junction in the commune of Vendenheim, it should have slowed from 352 to 176 km/h (219 to 109 mph) before reaching Kilometer Point (KP) 403.809, where the speed limit was 160 km/h (99 mph). As the track begins a long, right-hand curve into the flying junction, it is on a raised embankment 5–8 m (16–26 ft) high and bridges the Marne–Rhine Canal. The flying junction marks the end of the LGV Est line, after which the train was to continue on an existing, non-high-speed rail line leading to Strasbourg Station.
### Derailment
As the train entered the right-hand curve into the flying junction, the rear bogie of the lead power car derailed to the left (outside of the curve) at 15:04:42 at approximately KP 404.003. Violent transverse movements at the rear of the lead power car caused it to separate from the rest of the train. The rear of the lead power car struck a concrete parapet (KP 404.209) on the leading abutment to the bridge over the Marne–Rhine Canal. The impact broke apart the lead power car and caused oil to leak from the lead power car's transformer, which ignited and was spread across the bridge and canal banks. The rear bogie of the lead power car remained where it impacted the concrete parapet. The transformer of the lead power car landed on the east bank of the canal. The remainder of the lead power car slid along the left parapet of the bridge. At the end of the bridge, it overturned, slid down the embankment and came to rest 150 m (490 ft) beyond the end of the bridge.
Cars 2–7 derailed before the bridge and traveled off the embankment with enough speed to overshoot the canal and come to rest 80–130 m (260–430 ft) beyond the beginning of the bridge. Cars 8–9 came to rest on the east bank of the canal and the rear power car ended up partially submerged in the canal.
### Response and casualties
At 15:05, the train disappeared from the approach zone for the Vendenheim junction on the display being monitored by staff at the signalling control center. At 15:10, the control center initiated emergency procedures for the loss of a train and closed the non-high-speed rail lines that pass through the Vendenheim junction. At approximately the same time, one of the companies involved in the construction of the line received a call from an employee aboard the train, who informed them of the derailment. Shortly before 17:45, the local mass casualty plan was enacted. Emergency medical and fire rescue services along with 100 gendarmes responded to the incident. At its height, 104 engines from three départments responded to the incident—65 from Bas-Rhin and 39 from Moselle and Haut-Rhin. Those with minor injuries were treated by responders from the French Red Cross, which operated at the school in Eckwersheim. The French Minister of Ecology, Sustainable Development and Energy, Ségolène Royal, and the Secretary of State for Transport, Alain Vidalies, travelled to the site shortly after the crash. The president of SNCF, Guillaume Pepy, and the president of SNCF Réseau, Jacques Rapoport, also travelled to the site in the hours after the accident.
The train was carrying 53 people, including four children, ages 10–15, who were not officially authorized to be aboard. The derailment resulted in 11 deaths, which included four employees of SNCF, five technicians from Systra, the engineering firm responsible for the tests, and two guests. Ten died at the crash scene, one died the following evening, and one seriously injured person remained in hospital as of February 2016. Among the dead was the director of the LGV Est line for SNCF Réseau, which owns France's railroad infrastructure. Despite breaking in two pieces and the severe impact with the parapet, there were no deaths among the seven people in the front cab. The second-to-last car impacted the canal wall and was the car with the highest death toll. It was the first fatal derailment in the history of the TGV and the third derailment since the TGV entered commercial service in 1981.
## Investigation
Three investigations have been opened. The French Land Transport Accident Investigation Bureau (BEA-TT, Bureau d'Enquêtes sur les Accidents de Transport Terrestre), which is responsible for investigating rail accidents in France, opened a non-judicial technical investigation. The BEA-TT published its final report in March 2017.
A criminal investigation and internal investigation by SNCF have also been opened. Among the subjects which SNCF will investigate is whether there was a dereliction of duties by an SNCF employee that resulted in the unauthorized children riding on the train. The president of SNCF has exclaimed: "This is not a practice that SNCF recognizes. A test train is a test train." The derailment occurred the day after the November 2015 Paris attacks, initially sparking fears that the derailment was the work of terrorists.
On 19 November, SNCF announced the initial findings of their investigation. The train's event recorder indicated that the train entered the curve at 265km/h and was travelling at 243km/h at the moment it derailed, which investigators have determined to be a result of centrifugal forces. The speed at the moment of derailment was 67km/h above the train's assigned operating speed on the curve. According to the SNCF, the "immediate cause" of the accident was "a late braking sequence"; the braking should have begun at least 1km or 12 seconds earlier. The investigation has found no fault for the accident in the infrastructure, train, or member of the technical team. There were seven people in the driving cab at the time of the accident, all of whom survived. Investigators have suggested that this may have been a factor in the late braking. SNCF will begin disciplinary proceedings and take punitive measures against employees responsible for, among other things, the "reckless presence" of children on the test train, presence of seven people in the cab, the lack of rigor in creating lists of those onboard and controlling access to the train, and "without doubt" the human errors in the cab.
## Aftermath
SNCF held a minute of silence for the victims during the course of operations on Monday, 16 November. The following day, a memorial service was held in the church in Mundolsheim, which was attended by SNCF President Guillaume Pepy. SNCF suspended all test trials at high speeds until the lessons learned from the investigation can be integrated into testing processes. A memorial garden and stone marker were dedicated at the site on the first anniversary of the accident.
The scheduled opening of the second phase of the LGV Est for commercial service was delayed by three months, from 3 April to 3 July 2016. Until 11 December 2016, a short segment of the line around the site of the derailment was limited to a single track while repairs on the damaged track were completed.
## See also
- List of TGV accidents
- Salisbury rail crash (1906), a LSWR boat train from Plymouth's Friary railway station to London Waterloo station failed to navigate a sharp curve at the eastern end of Salisbury railway station in Wiltshire, England.
- Amagasaki rail crash (2005), a suburban train crash that occurred on a curve at high speed in Japan.
- Santiago de Compostela derailment (2013), a fatal derailment in Spain of a high-speed train in commercial service which entered a curve at twice the speed limit.
- Ingenheim derailment - TGV derailment in Bas-Rhin
|
[
"## Background",
"## Accident",
"### Departure",
"### Derailment",
"### Response and casualties",
"## Investigation",
"## Aftermath",
"## See also"
] | 2,728 | 9,711 |
1,992,540 |
Busher Jackson
| 1,173,903,471 |
Canadian ice hockey player
|
[
"1911 births",
"1966 deaths",
"Boston Bruins players",
"Canadian expatriate ice hockey players in the United States",
"Canadian ice hockey left wingers",
"Hockey Hall of Fame inductees",
"Ice hockey people from Toronto",
"National Hockey League scoring leaders (prior to 1947–48)",
"New York Americans players",
"Stanley Cup champions",
"Toronto Maple Leafs players",
"Toronto Marlboros players"
] |
Ralph Harvey Jackson (January 17, 1911 – June 25, 1966) was a Canadian professional ice hockey player. Jackson played 15 National Hockey League (NHL) seasons between 1929 and 1944 for the Toronto Maple Leafs, New York Americans, and Boston Bruins. He was a member of the Maple Leafs' famed Kid Line with Joe Primeau and Charlie Conacher, one of the early NHL's dominant scoring trios. Jackson led the league in scoring in 1931–32 and was a member of Toronto's 1932 Stanley Cup championship team. He was named to five NHL All-Star teams and played in three benefit All-Star Games, including the Ace Bailey Benefit Game, the first All-Star contest in NHL history.
Off the ice, Jackson was well-known for his high-spending lifestyle and drinking habit that prompted his trade from Toronto to New York in 1939. He was remembered as one of hockey's tragic figures following his retirement, as he struggled with alcoholism and financial difficulty. In the 1960s, Jackson was a figure of controversy within the Hockey Hall of Fame selection committee, as the Hall used his lifestyle and personal problems to block his induction. He finally earned a place in the Hall of Fame in 1971, five years after his death. Jackson is also an honoured member of Canada's Sports Hall of Fame, which he was inducted into in 1975. He was the brother of fellow NHL player Art Jackson.
## Playing career
### Junior
Jackson grew up in Toronto, playing his youth hockey at "Poverty Pond" in the city's east side before playing at the Ravina Rink where he was discovered by Frank Selke, the assistant general manager of the Toronto Maple Leafs. Selke signed Jackson to a contract and assigned him to the Toronto Marlboros in the Ontario Hockey Association (OHA)'s junior league for the 1927–28 season. Jackson scored four goals in four regular season games that season, and though the Marlboros were considered a favourite to win the Memorial Cup, the team was defeated in the Eastern final by the Ottawa Gunners. He returned to the team for the 1928–29 season, scoring 10 goals and 14 points in 9 regular season games. He then led the OHA playoffs with seven goals and nine points as the Marlboros won the OHA championship. Jackson was a leading offensive player for Toronto in the 1929 Memorial Cup playdowns, scoring 15 goals and 25 points in 13 games. The Marlboros reached the final, defeating the Elmwood Millionaires in a best-of-three series to win the franchise's first Memorial Cup championship.
### Toronto Maple Leafs
Joining the Maple Leafs for the 1929–30 season, the 18-year-old Jackson was the youngest player in the National Hockey League (NHL). In his league debut against the Montreal Canadiens, Jackson knocked over his idol Howie Morenz with a bodycheck. Assessing the youngster's potential following the hit, Morenz offered, "you'll do." Jackson appeared in 31 games for the Leafs, scoring 12 goals and adding 6 assists. He missed some time due to injury, during which he earned his nickname from the team's trainer, Tim Daly. According to Jackson: "Daly asked me to carry sticks for him. I told him I wasn't a stick boy, I was a hockey player. So he said I was nothing but a fresh busher [a term for someone who had just been called up from the minors] and the name stuck."
During his first season, Jackson was placed on a line with two other young players. Charlie Conacher, a teammate of his with the Marlboros, played right wing and Joe Primeau was their centre. The trio formed what became known as the "Kid Line," one of the early NHL's most famous scoring trios. Primeau was the line's playmaker, whose passes set up both Conacher and Jackson's goal-scoring ability.
Following a 31-point season in 1930–31, Jackson led the NHL in scoring with 53 points in 1931–32. At 21 years, 3 months old, he became the youngest scoring champion in NHL history, a record he would hold until 1980–81, when it was broken by Wayne Gretzky. Jackson's 28 goals that season was the most he would score in his career, and he was named to the NHL's First All-Star team for the first time of his career. He added five goals in the 1932 playoffs, including one of Toronto's six in the deciding game of the 1932 Stanley Cup Finals, a 6–4 victory over the New York Rangers that clinched Toronto's first Stanley Cup championship since 1922.
The Kid Line remained Toronto's top offensive threat for several years; Jackson, Conacher and Primeau were the team's top three scorers for four consecutive seasons between 1932 and 1935. Following his league-leading season, Jackson led Toronto offensively in 1932–33 with 44 points. On November 20, 1934, Jackson set an NHL record when he became the first player in NHL history to score four goals in a period, notching four markers in the third period of a 5–2 victory over the St. Louis Eagles. The record has not been surpassed through 2019, though eleven players have matched it. He was named to three additional All-Star teams during this time, placed on the second team in 1932–33 and on the first team in both 1933–34 and 1934–35. Additionally, Jackson played in the Ace Bailey Benefit Game on February 14, 1934. Held in support of injured teammate Ace Bailey, it was the first all-star game in NHL history. Jackson scored two goals for the Maple Leafs in a 7–3 victory over the NHL All-Stars.
Following four consecutive 20-goal seasons, Jackson slipped to 11 goals in 1935–36. The Kid Line was finally broken up. While they remained consistent offensive performers, they lacked defensive ability and opposing teams began to find success playing their own top scoring lines against the trio. Primeau subsequently retired in 1936 in favour of his business interests. Despite the break-up, Jackson scored 21 goals and 40 points in 1936–37 to earn his fourth and final appearance on the first All-Star team.
Prior to the start of the 1937–38 season, Jackson played with the NHL All-Stars in the Howie Morenz Memorial Game, the NHL's second benefit all-star contest. In regular league play, his offence entered a decline as he scored 34 points that season, then 27 in 1938–39. Following the season, the Maple Leafs traded him to the New York Americans along with Jimmy Fowler, Murray Armstrong, Doc Romnes and Buzz Boll in exchange for Sweeney Schriner on May 18, 1939. The five-for-one deal was unprecedented in NHL history at that time.
### New York and Boston
Prior to his first season in New York, Jackson played in his third benefit all-star game, the Babe Siebert Memorial Game, on October 29, 1939. He represented the NHL All-Stars in a 5–2 victory over the Montreal Canadiens. In NHL play, he posted 12 goals and 20 points for the Americans, then improved to 26 points in 1940–41. He was unable to come to terms with team manager Red Dutton on a new contract for the 1941–42 season however, and did not join the team at the start of the season. The impasse lasted for half the season, until Dutton sold Jackson's rights to the Boston Bruins for \$7,500 on January 4, 1942.
Joining the Bruins gave Jackson the opportunity to play alongside his younger brother Art. He played only 26 games that season due to his holdout, just over half of an NHL season of 48 games, scoring 12 points. Though he played the left wing throughout his career, the Bruins switched him part-time to defence when they lost players to injury or the Second world war. He scored 34 points in 1942–43, and his 19 goals was Jackson's highest total in six seasons. The Bruins reached the 1943 Stanley Cup Finals by defeating Montreal, but lost the series to the Detroit Red Wings in four straight games. Jackson's playoff overtime goal on March 25, 1943, at the Forum would turn out to be the last Boston playoff overtime goal in Montreal until 1992. Jackson played a final season in 1943–44, after which he announced his retirement as a player following a 15-year career.
## Personal life
Considered to have the looks of a movie star, Jackson lived the lifestyle of a Hollywood actor during his playing career, spending money freely, driving fast cars, and attending posh parties. Maple Leafs' owner Conn Smythe unsuccessfully tried to convince Jackson to save his money for the future, even offering to match his player's savings dollar for dollar. Jackson's habits, particularly his drinking, ultimately played a role in his trade away from Toronto. Jackson's lifestyle came crashing down following his retirement as a player, as he no longer had the money to fund his pursuits. He unsuccessfully tried to overcome his alcoholism, lost two marriages to divorce, struggled to hold a job, and it was said that he could be found outside Maple Leaf Gardens trying to sell broken sticks of Maple Leaf players to try to make some money. He emerged as one of hockey's tragic figures.
Jackson suffered a series of injuries and ailments in his later years. In 1958, he broke his neck after falling down a flight of stairs. His recovery took 18 months and cost him mobility in his right hand. Two months after his release, Jackson returned to hospital with a bout of jaundice. He was hospitalized again in 1962 following an epileptic seizure.
As Jackson's health failed, he became the focus of a controversy within the Hockey Hall of Fame selection committee. Though he was considered one of hockey's greatest left wingers and was famed for his attacking style of play and backhand shot, Jackson's personal problems led Hall chairman Conn Smythe to blacklist him from entry. Though Primeau and Conacher had gained induction, Jackson died on June 25, 1966, without being given the same honour. It would be another five years until the remainder of the selection committee finally overruled Smythe and posthumously inducted Jackson into the Hall of Fame in 1971. Smythe quit the committee in protest, while Jackson's son Kim accepted the honour on his father's behalf. In 1975, Jackson was inducted into Canada's Sports Hall of Fame, and The Hockey News ranked him 55th in its 1997 book, The Top 100 NHL players of All-Time.
## Career statistics
|
[
"## Playing career",
"### Junior",
"### Toronto Maple Leafs",
"### New York and Boston",
"## Personal life",
"## Career statistics"
] | 2,274 | 26,248 |
70,137,645 |
Magnetic Field: The Marsden Poems
| 1,129,393,199 |
2020 book by Simon Armitage
|
[
"2020 poetry books",
"Faber and Faber books",
"Yorkshire in literature"
] |
Magnetic Field: The Marsden Poems is a 2020 collection of poems by the English poet Simon Armitage. All 50 of the poems, written throughout his career, relate to places in his home village of Marsden, West Yorkshire. The book contains maps of the village, showing where each poem is situated. Armitage is a professor of poetry, and became Poet Laureate in 2019. He states that he found that he had been using Marsden to chart the effects of problems with the British economy and the sense of marginalisation that he felt.
The book has been welcomed by critics, who have noted Armitage's skill and accessibility, and the way he has brought Marsden to life on the page.
## Context
### Author
Simon Armitage is an English poet, playwright and novelist. He was appointed as Poet Laureate of the United Kingdom in 2019. He is professor of poetry at the University of Leeds and became Oxford Professor of Poetry when he was elected to the four-year part-time appointment from 2015 to 2019. He was born and raised in Marsden, West Yorkshire, and still lives nearby.
### Motivation
Armitage explains in the book's introduction that when he returned to Marsden with a geography degree, "I started looking out of [my bedroom] window again, and out of the large picture window in the living room with its wide-angle view of Marsden – and I was ready to write... the village became the drawing board or board game on which I could practise my poetics and play out my perspectives." He considers his motivations at that time, such as fabricating an identity, stating that whatever they were, they were "at a subconscious level". He notes that a different account would be needed to explain why he continued to write Marsden poems "on and off – for another three decades". He writes that he found he had been using Marsden to chart "the effects of the recession [from 2008], and the austerity that followed, and a growing sense of marginalisation in what was supposed to be an age of increased communication and connectedness."
## Book
### Publication history
Magnetic Field: The Marsden Poems was published in hardback on 15 March 2020 by Faber and Faber in London. They brought out a paperback edition in 2021. They wrote that "Magnetic Field ... invites questions about the forging of identity, the precariousness of memory, and our attachment to certain places and the forces they exert."
### Synopsis
The book contains 50 poems about Armitage's home village of Marsden, written at different times throughout his career. The poems are arranged roughly chronologically, not by date of writing but by the date to which each poem applies, something Armitage states could not be precise, as some apply to a range of dates. The endpapers are maps of parts of Marsden at differing scales, keyed to the poems by page numbers in red attached to each poem's location, such as a house, a garden, a reservoir, or a railway bridge.
### Recordings
A BBC producer invited Armitage to read some of the poems in situ in their exact Marsden locations. They made recordings including of "Emergency" in the boarded-up fire station; "Harmonium" in St Bartholomew's Church; "Leaves on the Line" at the railway station; and "On Marsden Moor" on the moor around the village.
## Analysis
The scholar of English literature Marion Thain, writing in Worldviews, calls "The Tyre" the poem which most clearly explores Armitage's thoughts about the borderland between city and countryside, Marsden being in her view just such a place. She notes that the scholar and critic Raymond Williams describes the car as embodying humanity's current relationship with the world, and argues that the tyre symbolises the interface between urban and rural, as well as the division between the two cultures. The poem tells of finding a tyre on the moor "Lashed to the planet with grasses and roots". The narrator and the other children prise it free and make it roll. It bounds on to the road and rushes down to the village; they imagine "a phone-box upended, children erased, police and an ambulance in attendance," but when they arrive, they find no trace of it. The poem ends, she writes, with the children accepting a supernatural explanation for the tyre's disappearance. Thain notes that Armitage's semi-autobiographical 1998 travel book All Points North gives more detail of the tyre: "we must have tripped right over it, because it was sewn to the earth with tuft-grass and rushes, and the stitching had to be unpicked before we could prize it out of the peat and lift it up." The travel book, too, describes the tyre as "the giant vulcanized beast we'd brought to life", and tells how it crossed a main road, the A62, "between two wagons going at sixty miles an hour in opposite directions." Thain comments that the tyre is "ostensibly" back in the urban world of motor traffic, but is from the alarmed drivers' point of view "a beast run wild". The children wonder if they will find it, inanimate, "embedded in a house", or living, "lying in the gutter, playing dead". In her view, Armitage manages to "[marry] innocent and adult viewpoints" in his "allegory turned fairytale", avoiding closure and so connecting the geographic borderland with the natural/supernatural borderland of the poem.
Sarah Crown, writing in The Guardian, comments that "Snow Joke" set up Armitage's style with its opening line "Heard the one about the guy from Heaton Mersey?" Crown describes the poem as playing out a classic Armitage psychodrama, as a hubristic middle-aged married man, complete with mistress in another town, is found dead in his car, having ignored police warnings and driven through the snow. She admires the poem's ending, with its "final, ethereal image of the car buried in snow, its 'horn, moaning / softly like an alarm clock under an eiderdown'". In her view, comparing Armitage to Philip Larkin, this elevates the poem from its humdrum setting "to ethereal heights with a well-placed phrase".
## Reception
The poet Jonathan Humble, in The Yorkshire Times, calls the book "a love letter to a muse that was there for the poet at the beginning and has continued to be a source of inspiration through to the present day." He notes that Armitage calls Marsden "genuinely unique ... as a liminal, transcendent and transgressive location", and agrees it is an interesting place with a thriving cultural scene. He admires the book's production as "a lovely thing to behold", with its "handy maps", should the reader wish to walk what he predicts will become the "Armitage Trail", and the cover photograph of Marsden including the author's terrace house, and a shiny central band "illustrating (I believe) the magnetic attraction he feels towards the village." He writes that "The Marsden Poet" remains as Samuel Laycock, commemorated in stone in the village's park, noting that "this seems to rankle the Poet Laureate (and with some justification", as Laycock left Marsden when he was 11 years old). Humble concludes that Armitage "surely deserves some physical recognition in the village as, with understated skill and marvellous accessibility, [he] continues to put Marsden on the map."
The critic and editor Kate Simpson, in Poetry School, describes Magnetic Field as "a complex and alluring interpretation of our connection to both interior and exterior spaces: the grass is near touchable; the evening breeze tangible; the 'horizon ablaze' ("Emergency"). The fields await our return." In her view, the Marsden poems "are like cardinal directions, pointing back to the landscape and inviting readers to gather in a geographical amphitheatre."
|
[
"## Context",
"### Author",
"### Motivation",
"## Book",
"### Publication history",
"### Synopsis",
"### Recordings",
"## Analysis",
"## Reception"
] | 1,688 | 25,209 |
60,035,639 |
Donatiello I
| 1,141,157,336 |
Dwarf spheroidal galaxy located in the constellation Andromeda
|
[
"Andromeda (constellation)",
"Astronomical objects discovered in 2016",
"Discoveries by amateur astronomers",
"Dwarf spheroidal galaxies"
] |
Donatiello I, also known as Mirach's Goblin, is a dwarf spheroidal galaxy in the constellation Andromeda, located between 8.1 and 11.4 million light-years from Earth. It is a possible satellite galaxy of the dwarf lenticular galaxy NGC 404, "Mirach's Ghost", which is situated 60 arcminutes away. It is otherwise one of the most isolated dwarf spheroidal galaxies known, being separated from NGC 404 by around 211,000 light-years. The galaxy is named after its discoverer, amateur astrophotographer Giuseppe Donatiello, who sighted the galaxy in a 2016 review of his archival long exposures from 2010 and 2013. Follow-up observations with the Roque de los Muchachos Observatory led to a scientific paper on its discovery being published in December 2018.
## Nomenclature
Donatiello I is named after its discoverer, Italian amateur astrophotographer Giuseppe Donatiello, and is abbreviated to "Do I". The galaxy's nickname, "Mirach's Goblin", is a reference to the nearby dwarf lenticular galaxy NGC 404, with which it may be physically associated. NGC 404 is nicknamed "Mirach's Ghost" due to its proximity to the second magnitude star Mirach.
## Characteristics
Donatiello I is a dwarf spheroidal galaxy at an estimated distance from Earth between 2.5 and 3.5 megaparsecs, or 8.1 and 11.4 million light-years, outside the Local Group. Its luminosity is around 200,000 times greater than that of the Sun, with an absolute magnitude of around −8.3 and a surface brightness of 26 magnitudes per negative square arcsecond. Its effective radius is roughly estimated to be 400 parsecs, while its ellipticity is around 0.7. Donatiello I is one of the most isolated dwarf spheroidals known, and is a possible satellite galaxy of its nearest neighbor, NGC 404, which is located around 65 kiloparsecs away from it, or 211,000 light-years. Donatiello I could have either been involved in, or affected by, a possible merger between NGC 404 and an irregular dwarf galaxy around 900 million years ago. Like similar dwarf spheroidal galaxies orbiting the Milky Way Galaxy and Andromeda Galaxy, Donatiello I is populated with metal-poor red dwarfs, with no active star formation occurring.
## Observation
Donatiello I lies in the constellation Andromeda, at a right ascension of and declination of , in the J2000 epoch. In the galactic coordinate system, it is located at a longitude of 127.65° and a latitude of −28.08°. It is situated 60 arcminutes away from Mirach, and 72.4 arcminutes away from NGC 404. Its apparent diameter is roughly 60 arcseconds, while its surface brightness is around 27 magnitudes per square arcsecond. Amateur astrophotographer Giuseppe Donatiello first sighted the galaxy in 2016 while surveying an archived 6000-second exposure of an area around the Andromeda Galaxy taken on 5–7 November 2010 and 5 October 2013 in the Pollino National Park, with a custom-built 12.7 centimeter telescope. Donatiello intended to capture stellar streams and dwarf galaxies around Andromeda that had been reported at the time.
The discovery was corroborated using images from the Sloan Digital Sky Survey's ninth data release, which showed a faint object in the same area, and was announced by Donatiello on 23 September 2016, via a post on Facebook. Donatiello collaborated with a team led by David Martínez-Delgado of Heidelberg University, after Delgado had come across Donatiello's post, to make further observations of the galaxy with the Roque de los Muchachos Observatory's Galileo National Telescope and Gran Telescopio Canarias in La Palma, Spain, on 27 November 2016. The team's scientific paper on the discovery and their follow-up observations was submitted to the journal Astronomy & Astrophysics in April 2018, and was accepted and published in December 2018, with a preprint released on arXiv in October. Further detailed observations with the Hubble Space Telescope have been suggested by the paper's authors as a way to better determine the galaxy's distance from Earth and its relationship with NGC 404, along with Donatiello I's size and mass.
## See also
- List of galaxies named after people
- List of nearest galaxies
|
[
"## Nomenclature",
"## Characteristics",
"## Observation",
"## See also"
] | 981 | 7,488 |
26,018,981 |
Guillaume de Dole
| 1,036,282,092 |
Novel by Jean Renart
|
[
"French poems",
"Medieval French romances"
] |
Guillaume de Dole (also known as (Le) Roman(s) de la Rose, or Guillaume de Dole) is an Old French narrative romance by Jean Renart. Composed in the early 13th century, the poem is 5,656 lines long and is especially notable for the large number of chansons it contains, and for its active female protagonist. The romance incorporates forty-six chansons (or parts thereof); it is the first extant example in French literature of a text that combines narrative and lyric. Its form was quickly imitated, by authors such as Gerbert de Montreuil, and by the end of the 13th century had become canonical.
The poem tells of the adventures of the title character and his sister Liénor. Guillaume is accepted at the court of Emperor Conrad who has fallen in love with Liénor despite his earlier aversion to love and marriage. Guillaume becomes one of the emperor's favorites and marriage negotiations proceed in a positive manner. The emperor's seneschal, however, discovers an intimate detail about Liénor's body and uses it to insinuate to the emperor and his court that she is no longer a virgin; the clever Liénor, with a ruse, proves his accusation false and marries the emperor.
## Manuscript, date, author
### Manuscript
Guillaume de Dole is extant in a single manuscript in the Vatican library, MS Regina 1725. Todd dates it in the 14th century, others in the late 13th century. The manuscript contains:
- Lancelot, the Knight of the Cart, by Chrétien de Troyes (first part missing), 1-34b;
- Yvain, the Knight of the Lion, also by Chrétien, 34c-68b;
- Guillaume de Dole, 68c-98c;
- Meraugis de Portlesguez, by Raoul de Houdenc, 98d-130d.
The manuscript's first known owner was 16th-century French historian Claude Fauchet; it was part of his extensive collection, and it is due to "Fauchet's zeal as a collector" that the manuscript and therefore the poem are preserved. During the French Wars of Religion, Fauchet fled Paris and his collection was dispersed. The next mention of the manuscript is as part of the library of Paul Pétau, and in 1650 it was acquired by Christina, Queen of Sweden. The Vatican library acquired the manuscript after 1689.
### Date and title
The opening lines of the poem contain a dedication to Miles de Nanteuil, an early 13th-century churchman who was elected (but not confirmed) in 1201 as archbishop of Reims, and later became bishop of Beauvais, in northern France; he died circa 1235. According to Todd, the nobleman de Nanteuil may have been too young and wild to be elevated to the archbishopric, but this would have made him a good candidate for Renart's dedication. This, plus evidence based on other names found in the poem, led Todd to conclude that the poem was composed around the year 1200. Later critics and researchers, however, date the poem between 1204 and 1228, and tend toward the earlier date.
In the manuscript, the poem is called Romans de la Rose (l. 11), and hence Le Roman de la Rose, but it is often referred to as Roman de la Rose, or Guillaume de Dole in order to avoid confusion with Guillaume de Lorris and Jean de Meun's Roman de la Rose; Guillaume de Dole is a subtitle added by Fauchet.
### Authorship
It wasn't until the late 19th century that scholars (including Paul Meyer) began entertaining the notion that Jean Renart, until then only known as the presumptive author of the Lai de l'Ombre, might also be responsible for either or both of the two contemporary romances L'Escoufle and Guillaume de Dole. F. M. Warren of Yale University, in a 1908 article, is one of the early proponents of identifying Renart as the author of all three, based on versification, phrasing, and vocabulary, and places the development of his poetic talent between 1195 and 1205. The next-to-last line of the poem contains an anagram on Renart's name: "...qu'il enTRA EN Religion."
## Content
### Plot
The story begins at the court of Emperor Conrad, who for all of his good qualities has one defect: he refuses to get married, especially since, as he says, people no longer are as valiant and as noble as they used to be. His minstrel, Jouglet, tells him of Guillaume de Dole and his sister Liénor, and quickly the emperor falls in love with her, although he does not actually see her until the story's denouement. Guillaume is summoned to the court where he excels in chivalric exploits; the emperor tells him he wishes to marry his sister. Conrad's jealous seneschal interferes and visits Guillaume's family, where he gives his mother a valuable ring and gains her confidence; from her he learns that Liénor has a particular birthmark in the shape of a rose on her thigh. This knowledge is presented as proof that the seneschal has taken her virginity.
As a result of the accusation, both Guillaume and Conrad are distraught, to the point of misogyny. The clever Liénor, however, her reputation slandered, unmasks the seneschal with a ruse. She has a belt and other gifts sent to the seneschal, supposedly from the Chatelaine of Dijon, whom he had courted, with promises that the Chatelaine is ready to grant him his wishes. The messenger convinces the seneschal to wear the belt under his clothes. Liénor then goes to Conrad's court, where everyone is struck by her beauty, and pretends to be a maiden who was raped by the seneschal and has thus acquired intimate knowledge of his body and his clothing; she reveals he has a belt under his clothes. The belt is discovered under his clothes and a trial by ordeal is proposed. The seneschal's innocence is proven in an ordeal by water: he has never had sex with the maiden. When Liénor reveals that she is in fact Guillaume's sister, the seneschal's earlier claim of having deflowered her is proven a lie. The seneschal is shackled and incarcerated, and the wedding is celebrated with great pomp. On the wedding night, Conrad's happiness is greater than that of Tristan or Lanval; the next morning, "no one who asked [Conrad] for a costly gift was refused." As for the seneschal, Liénor implores Conrad to be merciful, and he is sent away as a Templar to join a crusade.
### Themes
The plot of Guillaume revolves around the common theme of the gageure, a young man who, because of a wager (in the case of Guillaume, because of jealousy) needs to find a young woman's favor. He fails in his enterprise but pretends publicly to have succeeded, causing the ruin of a husband (if the gageure had claimed to have succeeded with another man's wife) or, in this case, the despair of a brother. Usually the young man's story is believed at first because he reveals an intimate detail about a young woman, who then has to prove her innocence.
Beginning with Michel Zink, whose influential 1979 monograph Roman rose et rose rouge: Le Roman de la rose ou de Guillaume de Dole ushered in a new era of criticism, critics have recognized Guillaume de Dole as a work of literature about literature, a self-referential poem that comments on the improbability of some of its own plot elements and on its own fictional status, encouraging a trend in studies of Renart and his work.
### Songs
The romance contains some 46 chansons, which can be separated into two groups, according to Hollier and Bloch. The first group contains sixteen "aristocratic" chansons courtoises on the topic of courtly love, attributed to specific trouvères or troubadours (including Gace Brulé, Le Chastelain de Couci, Guillaume de Ferrières (the Vidame de Chartres), Jaufre Rudel, and Bernart de Ventadorn). A second group consists of thirty mostly anonymous songs of a more popular nature, such as three chansons de toile and three other ballads, two pastourelles, and twenty chansons à danser (dance songs). Incorporated also is a laisse of the chanson de geste Gerbert de Metz. Different scholars have slightly different counts; where Holier and Block count three ballads and three chanson de toiles, Maureen Barry McCann Boulton counts six chansons de toile; in her detailed investigation of the chansons she claims the poem contains forty-six chansons in eight different genres.
In its hybrid form, Guillaume de Dole is "the first extant example of the combined use of narrative and lyric in French." The mixed form proved to be popular and was soon found in other works, including Aucassin and Nicolette (early 13th century); Gautier de Coincy's Les Miracles de Nostre-Dame (c. 1218–1233); Gerbert de Montreuil's Le Roman de la Violette (c. 1230), which incorporates some forty songs; and Tibaut's Roman de la Poire (c. 1250), which incorporates a series of refrains. By the end of the century the form had become canonical.
### Female protagonist
The female protagonist, Liénor, is notable because of her active nature: she herself unmasks the seneschal. She found a quick successor in the active female protagonist of Tibaut's Roman de la Poire. At least one recent publication states that Liénor might make a justifiable claim to being the romance's true hero.
## Editorial and critical history
The first mention of Guilllaume de Dole after the Middle Ages is found in the work of Claude Fauchet, who is generally considered to have studied the Vatican Regina manuscript (instead of another, now lost, manuscript). In 1844, Adelbert Keller published extracts of the poem including some of the chansons; the chansons acquired some fame, and in 1850 Darenberg and Renan traveled to Rome to study the manuscript, publishing a larger number of the chansons in 1855. It wasn't until 1870 that all of the chansons had been published. A lengthy analysis, partial edition, and summary in English was published by Henry Alfred Todd of Johns Hopkins University, in 1886. The poem was finally published in its entirety in 1893 by Gustave Servois for the Société des anciens textes français.
The first comprehensive study of the work of Jean Renart was published in 1935 by Rita Lejeune-Dehousse, who published an edition of the poem in 1935. Since then, it has been republished regularly. Translations have been published in modern French (1979), German (1982), and English (1993, 1995).
Between 2001 and 2007, Joshua Tyra adapted the text into a musical. An early version was read at the University of Chicago.
### Modern editions and translations
### Critical studies
|
[
"## Manuscript, date, author",
"### Manuscript",
"### Date and title",
"### Authorship",
"## Content",
"### Plot",
"### Themes",
"### Songs",
"### Female protagonist",
"## Editorial and critical history",
"### Modern editions and translations",
"### Critical studies"
] | 2,445 | 14,401 |
69,644,577 |
Parmelia barrenoae
| 1,143,410,260 |
Species of lichen
|
[
"Lichen species",
"Lichens described in 2005",
"Lichens of Europe",
"Lichens of North Africa",
"Lichens of the Northwestern United States",
"Parmelia",
"Taxa named by Ana Crespo",
"Taxa named by Pradeep Kumar Divakar"
] |
Parmelia barrenoae is a species of foliose lichen in the large family Parmeliaceae. It was formally described as a new species in 2005. Before this, it was lumped together as one of several lichens in the Parmelia sulcata group—a species complex of genetically distinct lookalikes. Parmelia barrenoae is widely distributed, occurring in Europe, western North America, Africa, and Asia.
The greenish grey to whitish grey leafy thallus of Parmelia barrenoae grows up to 10 cm (4 in) in diameter. Features of the thallus surface include tiny pores for gas exchange, and vegetative propagules called soralia. The lichen usually grows on tree bark, but is occasionally found on moss-covered rocks in open and sunny places. The lookalike species Parmelia submontana and Parmelia sulcata can be distinguished from Parmelia barrenoae by small differences in morphology. Studies indicate that Parmelia barrenoae is sensitive to air pollution, and it has been proposed for use as an indicator of well conserved and sustainably managed forests.
## Taxonomy
The lichen was formally described as a new species in 2005 by Pradeep Divakar, Maria del Carmen Molina, and Ana Crespo. The type specimen was collected from Cruz del Gallo (Navalperal de Tormes, Province of Ávila, Spain) at an altitude of 1,300 m (4,300 ft); here it was found growing on Pyrenean oak. The specific epithet barrenoae honours Spanish lichenologist Eva Barreno, "in recognition of her numerous contributions to lichenology and of her important contribution in developing Spanish lichenology".
Parmelia barrenoae is morphologically similar to the common and widespread species Parmelia sulcata. Previous molecular investigations indicated a high genetic variability within specimens assigned this name, suggesting the presence of cryptic species. The 2005 study investigated this species complex and showed that specimens that had been previously designated as Parmelia sulcata could be organized into four distinct clades. One of these clades corresponds to the morphotype that was described as the new species. Other members of the P. sulcata species complex are P. fraudans, P. praesquarrosa, P. encryptata, and P. squarrosa. Parmelia barrenoae is thought to have diverged from its closest relatives (P. encryptata and P. squarrosa) during the late Miocene, about 6.3 million years ago.
## Description
Parmelia barrenoae has a foliose (leafy) thallus with a tight to loose attachment to its substrate. It measures 5–10 cm (2–4 in) in diameter. The lobes are contiguous to overlapping, with short, rounded tips, measuring 2–7 mm wide. The older lobes tend to curve backwards. The upper surface of the thallus is greenish grey to whitish grey, with a texture that is initially finely foveolate (covered with small pits) before becoming reticulate (net-like) and cracked. The thickness of the thallus is somewhat variable; depending on whether the central areas or the margins are measured, ranging from 200 to 375 μm. Of this, the cortex is 25–37.5 μm thick, the photobiont layer about 30–40 μm thick, the medulla 120–200 μm thick, and the underlying darkened cortex 25–40 μm thick. The latter tissue layer, which gives the thallus underside its blackened colour, is paraplectenchyma—a type of tissue in which the fungal hyphae are oriented in all directions. The photobiont layer of mature specimens is a continuous layer, while in younger specimens it is arranged in discrete aggregations of glomerules (clusters of photobiont cells).
Pseudocyphellae are tiny pores in the cortex that allow for gas exchange through the lichen tissue; these formless holes are numerous in the thallus of Parmelia barrenoae, where they occur on both the thallus surface (i.e., laminal) and along its margins (i.e., marginal). The marginal pseudocyphellae are more or less evenly distributed, while the laminal pseudocyphellae are linear to irregularly shaped and occur mainly on ridges. These pseudocyphellae are separate in the centre but form a network near the periphery of the thallus. Soralia (decorticated regions on the thallus surface where soredia are produced) are sparse, laminal, and develop from old cracked pseudocyphellae. They are linear to irregular in shape, and the soredia (microscopic groups of algal cells and loosely woven hyphae) are granular. The medulla is white. Rhizines on the black lower thallus surface are moderately abundant. They are simple to furcately branched (i.e., forked into two), not squarrose (i.e. with multiple right-angled branches), measuring 1–2 mm long. Neither apothecia nor pycnidia occur in this species. The photobiont partner of the lichen is a green alga from the genus Trebouxia (not identified to species).
The expected results for standard chemical spot tests are as follows: cortex K+ (yellow); medulla K+ (yellow turning red), C−, PD+ (red-orange). Atranorin and salazinic acid are two secondary compounds that occur in the lichen.
### Similar species
There are some other Parmelia lichens that are close enough in appearance to P. barrenoae that these species might be confused. For example, the presence of laminal soralia and salazinic acid in P. barrenoae are similar to P. sulcata. However, two major characteristics separate the two species. P. barrenoae has simple, forked rhizines, while P. sulcata has squarrose rhizines that are abundantly branched. Although the differences in rhizine structure is an important distinguishing characteristic, care should be taken when interpreting older specimens (particularly, herbaria specimens), as they may have had squarrose rhizines that degraded over time. Additionally, in P. barrenoae, the pseudocyphellae quickly form marginal and laminar soralia that are less developed than in P. sulcata. The difference in pseudocyphellar structure is a result of differences in the way these structures are formed. In P. barrenoae, the soralia, which originate from linear pseudocyphellae, tend to erode on the margins as they develop, leaving behind patches of lighter-coloured medulla that contrast with the darker cortex. This can contort the thallus, causing the margins to bend. In contrast, the soralia of P. sulcata do not erode and instead accumulate on the margins, and the thallus margin rarely bends.
Parmelia barrenoae could also be confused with P. submontana, since both are sorediate and have simple or furcate rhizines. However, soralia of P. submontana are erect, finger-like and orbicular in shape (isidia-like or pustulated soralia) and its lobes are long, separate and convoluted.
## Habitat and distribution
First described from Ávila, and a few years later from the Castellón mountains and Asturias, the geographical range of Parmelia barrenoae has increased expansively as other researchers have reported its occurrence in other locations. In 2010, the lichen was reported to occur in North America and Africa. The North American distribution includes the western United States, based on specimens collected in the states of California, Idaho, Oregon, and Washington. The African distribution includes the Middle Atlas mountain range of Morocco. In 2016, it was reported from Poland, in 2017 from Macedonia, and in 2018 from Turkey and Asia for the first time. In 2021 it was reported to occur in Hungary, Slovakia and Sweden. In some areas its precise range is not yet well known because of historical confusion with P. sulcata.
In the Mediterranean, Parmelia barrenoae is widely distributed on oak bark and conifers. It is occasionally on moss-covered rocks in open and sunny places. The species occurs in Mediterranean areas at moderate altitudes between 800–1,800 m (2,600–5,900 ft). In this region it often co-occurs with Parmelia serrana and various species of Lobaria. In Hungary and Slovakia, the lichen was found in oak-hornbeam and oak forests at elevations between 260 and 500 m (850 and 1,640 ft). In western North America, it tends to occur in xeric conifer or conifer-oak forests at moderate elevations, about 450–2,200 m (1,480–7,220 ft). In Africa its preference for conifer-oak forests at moderate elevations is similar to its habitat in the Mediterranean. Observational studies in the Mediterranean area suggest that Parmelia barrenoae is sensitive to air pollution, as it only appears in forest stands free from direct impacts of pollutants. For this reason, it has been proposed for use as an indicator of well conserved and sustainably managed forests.
|
[
"## Taxonomy",
"## Description",
"### Similar species",
"## Habitat and distribution"
] | 1,997 | 32,108 |
5,454,055 |
Hoyt–Schermerhorn Streets station
| 1,163,411,978 |
New York City Subway station in Brooklyn
|
[
"1936 establishments in New York City",
"Downtown Brooklyn",
"Film location shooting",
"IND Crosstown Line stations",
"IND Fulton Street Line stations",
"New York City Subway stations in Brooklyn",
"New York City Subway transfer stations",
"Railway stations in the United States opened in 1936"
] |
The Hoyt–Schermerhorn Streets station (shown as "Hoyt-Schermerhorn" on official subway maps) is an express station of the New York City Subway, serving the IND Crosstown Line and the IND Fulton Street Line. Located at the intersection of Hoyt Street and Schermerhorn Street in Downtown Brooklyn, it is served by the A and G trains at all times, as well as the C train except late nights.
Hoyt–Schermerhorn Streets was developed as an interchange station between the Fulton Street and Crosstown lines of the Independent Subway System (IND). Construction began around 1929, and it was opened on April 9, 1936. Hoyt–Schermerhorn Streets has six tracks and four island platforms, with two platforms and three tracks for each direction of service. The innermost tracks in each direction originally served Crosstown Line trains, while the center tracks were supposed to serve Fulton Street express trains and the outermost tracks were supposed to serve Fulton Street local trains to Court Street. However, Court Street was only served by a shuttle train from Hoyt–Schermerhorn Streets, which stopped running in 1946.
Today, all Fulton Street Line trains use the center tracks in each direction, and all Crosstown Line trains use the innermost tracks, while the outermost tracks and platforms are not used for revenue service. Until 1981, the outer platforms were used by special trains to Aqueduct Racetrack, which stopped on the center tracks in each direction. Today, the abandoned tracks and platforms are only used on special occasions, such as for film shoots or moving trains to the New York Transit Museum at the former Court Street station. The mezzanine has also been used for film shoots, most famously for the video of Michael Jackson's single "Bad".
## History
### Construction and opening
Hoyt–Schermerhorn Streets was constructed as a junction between the Fulton Street and Crosstown lines of the Independent Subway System (IND), and part of the section of the Fulton Street subway under Schermerhorn Street between Court Street and Bond Street. Surveying by the New York City Board of Transportation along Schermerhorn Street began in 1928, and construction began around 1929. Property on the south side of Schermerhorn Street between Bond and Nevins Streets was condemned to facilitate the project. Like other stations along the lines, it was constructed via shallow cut-and-cover methods, with the street covered by wooden planks. In September 1929, a portion of the "plank road" above the station site collapsed. In 1935, Sixteen Sycamores Playground was constructed on a portion of the land condemned for subway construction east of the station.
The station was ceremonially opened by Mayor Fiorello LaGuardia on April 9, 1936, with the station serving both Fulton Street Line local and express trains. The station cost about \$3 million to build, including \$131,000 for the tilework. This station began serving Crosstown Line trains on July 1, 1937, when the Crosstown Line was extended from Nassau Avenue. From this station, northbound Fulton local trains were planned to continue to Court Street and terminate there. Express trains would turn north under Jay Street and continue to Manhattan via the Cranberry Street Tunnel. However, initial Fulton Street service ran entirely local at the time, as the line only ran to Rockaway Avenue. Without express service, local trains provided service to Manhattan via the express tracks at this station while the HH shuttle was instituted to serve Court Street and the local tracks/platforms.
### Later usage
On October 9, 1936, a public hearing was held to discuss the construction of a passageway between the station and the Loeser's Department Store on the north side of Livingston Street. In November 1937, the city Board of Transportation approved the construction of a 250-foot (76 m) passageway between the station and the department store. The passageway opened on December 8, 1938. As part of the project, a stairway was constructed from the passageway to the south side of Livingston Street.
Due to low ridership, the Court Street station was closed and the shuttle was discontinued in 1946. All Fulton Street service was routed via the express tracks at this station to Jay Street – Borough Hall. This eliminated any use for the local tracks and they have been out of service since. The outer platforms were also closed until 1959, when the special service to Aqueduct Racetrack began. Service ran from the lower level of the 42nd Street–Port Authority Bus Terminal station to the Aqueduct Racetrack station via the IND Eighth Avenue Line, Fulton Street Line, and IND Rockaway Line. Like the lower level at 42nd Street, the outer platforms at Hoyt–Schermerhorn Streets provided a convenient place to segregate passengers who had paid the extra fare required to board the special trains. Consequently, Hoyt–Schermerhorn Streets was the only stop between 42nd Street and the racetrack.
The Aqueduct service was eliminated in 1981, and the outer platforms have since remained out of revenue service. The abandoned parts of the station are often used for film shoots: for example, scenes for The Warriors and The Taking of Pelham 123 were shot there. They are also used for other special functions, such as a public display of the then-new R160B subway cars in 2005.
After Michael Jackson died in 2009, New York City Council member Letitia James proposed to rename the station after Jackson, who had filmed the video for his song "Bad" there. The Metropolitan Transportation Authority rejected the idea. MTA spokesperson Kevin Ortiz said that the agency was developing guidelines for station naming-rights deals in order to raise money. In addition, naming stations after individuals could confuse riders. The MTA also declined to put a plaque in the station, saying its guidelines banned such an action. In 2018, the owner of a privately owned building above one of the station's entrances agreed to paint a mural dedicated to Jackson.
As part of the construction of building at 209 Schermerhorn Street, developer Rose Associates built an elevator entrance, which opened in September 2018. The MTA announced in 2019 that the Hoyt–Schermerhorn Streets station would become ADA-accessible as part of the agency's 2020–2024 Capital Program.
## Station layout
The station has six tracks and four island platforms. Each platform is 660 feet (200 m) long, and the entire station is approximately 143 feet (44 m) wide from north to south. The centermost pair of tracks (Tracks E1 and E2) belongs to the Crosstown Line, served by the . To the east (railroad north), they run under Lafayette Avenue while to the west (railroad south), they turn south and merge with the IND Sixth Avenue Line to form the IND Culver Line under Smith Street. The next pair of tracks from the center are the express tracks (Tracks A3 and A4) of the Fulton Street Line, served by the . Trains using these tracks open their doors on their left, to the inner island platforms, not on the right, to the outer ones. To the east, the C diverges to the local tracks and all four tracks continue under Fulton Street. To the west, the express tracks curve north under Jay Street and continue as the IND Eighth Avenue Line. There is no track connection between the Fulton and Crosstown lines.
The outermost pair of tracks—the Fulton Street local tracks (Tracks A1 and A2)—and the outer two island platforms are no longer used in revenue service. To the west, the tracks continue under Schermerhorn Street to the decommissioned Court Street station, currently the site of the New York Transit Museum, in Brooklyn Heights. Track A2 is currently out of service for the storage of trains at the New York Transit Museum. Though it may be difficult to see in some of the unlighted portions of the station, a tile band is present on the trackside walls–similar in color to the Crosstown Line stations north to Flushing Avenue, and the Fulton Line stations east to Franklin Avenue–Lime (Nile) Green with a medium Kelly Green border, set in a three-high course consistent with many IND express stations. Captions reading "HOYT" are present in white lettering on a black background, with no mention of "Schermerhorn". On the eastbound (southern) side, some of these captions have been stickered-over with different station names as required for film and TV shoots while others are completely missing, though both sides have been used for filming. Both northern platforms have green-painted steel I-beams, while the beams on both southern platforms are tiled. Much of the ceiling at platform level is peeling due to water damage. A control tower is located at the eastern (railroad south) end of the outer southbound platform, and is staffed at all times except late nights.
Due to its width, the southern half of the station had to be built under private property on the south side of Schermerhorn Street. The station's mezzanine, located over the northern half of the station directly underneath Schermerhorn Street, contains a New York City Transit Police precinct office where the operations of NYPD Transit District 30 are headquartered, and several New York City Transit Authority offices. From the mezzanine, there are three staircases to each active platform, a turnstile bank, and a token booth.
### Exits
There are three exits. One is within a building and goes to the northwestern corner of Bond and Schermerhorn Streets; it connects to fare control via a corridor. Another goes to the middle of the block between Hoyt and Bond Streets and is built inside 225 Schermerhorn Street. The third exit goes close to the northeastern corner of Hoyt and Schermerhorn Streets and is built inside 209 Schermerhorn Street (also known as 45 Hoyt Street, or Hoyt & Horn). The third exit contains an elevator from street level to the mezzanine.
In addition to the open entrances, there are numerous sealed passages and exits; a count indicated eight closed street stairs. One was built into 189 Schermerhorn Street, but may have been demolished when a new building was erected. Another was built into the building occupying 227 to 253 Schermerhorn Street. Two more were built into 33 Bond Street, but one may have been demolished when a new building was made. Another led to the southwestern corner of Hoyt and Schermerhorn Streets, but is sealed on street level. Another led to the southeastern corner of Bond and Schermerhorn Streets, but is also sealed on street level. There is a closed passage next to the open Bond Street exit that leads to a street stair on the southwestern corner of Bond and Livingston Streets, one block north of Schermerhorn Street. This passage to Livingston Street further led to the now-defunct Loeser's Department Store, which eventually became a McCrory's. Part of the mezzanine tilework at this location still features navy blue and gold Art Deco designs, including large plaques bearing the store's logo. These had previously been shop windows.
### Service patterns
## In popular culture
The unused portions of the Hoyt–Schermerhorn Streets station have appeared in several films, TV episodes, and videos. The station was featured in The Wiz (1978) in which the characters find themselves in a strange Emerald city subway with evil monsters such as chomping trashcans and subway columns that move and try to trap the characters. The station was also featured in the Eddie Murphy comedy Coming to America (1988), as well as in Teenage Mutant Ninja Turtles (1990). The Warriors (1979), Nighthawks (1981), Crocodile Dundee (1986) and Crocodile Dundee II (1988), and The Taking of Pelham 123 (2009) have also filmed at Hoyt–Schermerhorn Streets.
The Hoyt–Schermerhorn Streets station's mezzanine was the main setting for the filming of Michael Jackson's music video/short film for his hit 1987 single "Bad", as well as "Weird Al" Yankovic's parody, "Fat". The opening scene of the Law & Order episode "Subterranean Homeboy Blues" (1990) was filmed in this station. The station is referenced in the title of Leikeli47's song "Hoyt and Schermerhorn" from Acrylic.
|
[
"## History",
"### Construction and opening",
"### Later usage",
"## Station layout",
"### Exits",
"### Service patterns",
"## In popular culture"
] | 2,636 | 9,784 |
40,406,914 |
Robert Brode
| 1,169,964,055 |
American physicist (1900–1986)
|
[
"1900 births",
"1986 deaths",
"20th-century American physicists",
"Alumni of Oriel College, Oxford",
"American Rhodes Scholars",
"California Institute of Technology alumni",
"Fellows of the American Physical Society",
"Fulbright alumni",
"Los Alamos National Laboratory personnel",
"Manhattan Project people",
"People from Walla Walla, Washington",
"University of California, Berkeley College of Letters and Science faculty",
"Whitman College alumni"
] |
Robert Bigham Brode (June 12, 1900 – February 19, 1986) was an American physicist, who during World War II led the group at the Manhattan Project's Los Alamos Laboratory that developed the fuses used in the atomic bombing of Hiroshima and Nagasaki.
A graduate of the California Institute of Technology, where he earned his doctorate in 1924, Brode attended Oxford University on a Rhodes Scholarship and the University of Göttingen on a National Research Council Fellowship. During World War II, Brode worked at Applied Physics Laboratory at Johns Hopkins University, where he helped develop the proximity fuse, and then as a group leader at the Los Alamos Laboratory. In 1950 he was one of a dozen prominent scientists who petitioned President Harry S. Truman to declare that the United States would never be the first to use the hydrogen bomb.
After the war, Brode returned to teaching at Berkeley. Between 1930 and 1957 he supervised 37 graduate students. In addition to his research and teaching, he occupied a number of other positions. He was the academic assistant to two presidents of the University of California, and sat on numerous advisory panels and boards.
## Early life and education
Robert Bigham Brode was born in Walla Walla, Washington, on June 12, 1900, the son of Howard S. Brode, a professor of biology at Whitman College, and his wife Martha Catherine née Bigham. He was the second of a set of quadruplets, being born between his brothers Wallace and Malcolm; the fourth child died within weeks of birth. They had an older brother, James Stanley. All four attended Whitman College, and went on to earn doctorates and have distinguished careers as scientists and academics.
Brode graduated from Whitman College with his Bachelor of Science degree in 1921, and then entered the California Institute of Technology. He was awarded his Doctor of Philosophy (Ph.D.) in physics in 1924, the first year in which Caltech awarded this degree, for his thesis on "the absorption coefficient for slow electrons in gases". He showed that molecules with similar arrangements of their external electrons have similar cross sections for collisions with slow electrons. These results could not be readily explained with classical physics, and their importance would not be realised until 1966.
On graduation, Brode became an Associate Physicist at the National Bureau of Standards. He was awarded a Rhodes Scholarship to study at Oriel College, Oxford, in England in 1924 and 1925, and then a National Research Council Fellowship to the University of Göttingen in Germany in 1925 and 1926, and then a research appointment at Princeton University from 1926 to 1927. On returning to the US he married Bernice Hedley Bidwell on September 16, 1926. They had two sons.
Brode became an assistant professor of physics at the University of California, Berkeley, in 1927, and a full professor in 1932. He was awarded a Guggenheim Fellowship, which enabled him to return to England and study at Cambridge University and Birkbeck College, University of London, in 1934 and 1935. While there, he became friends with British physicist P.M.S. Blackett. He was impressed by Blackett's cloud chambers, and set his graduate students to work on projects using them, starting with Dale R. Corson.
## Manhattan Project
In 1941, after the start of World War II, Brode went to work at Applied Physics Laboratory at Johns Hopkins University, where he helped develop the proximity fuse. In 1943, he moved with his family to the Manhattan Project's Los Alamos Laboratory, where he was appointed the leader of the E-3 Fusing Group. His wife Bernice was also hired to work at Los Alamos as a human computer in the T (Theoretical) Division. Brode's group consisted of 14 civilians, 12 military officers and 37 enlisted men of the Special Engineer Detachment. Its task was to develop a fuse that would detonate an atomic bomb at a specified height above the ground.
Normally, bombs are cheap and fuses are relatively expensive, but an atomic bomb is extremely expensive, and any failure of a triggering device is unacceptable. On the other hand, for the same reason, fuses can be employed that would be prohibitively expensive in a conventional bomb. Brode's E-3 group were tasked to develop a fusing mechanism that would have less than one chance in 10,000 of failing to detonate within 200 feet (61 m) of the required height. The required height was not initially known, as it depended on the yield, which was uncertain. The group investigated both radar proximity fuses and barometric altimeter fuses. Testing was carried out at the Naval Proving Ground in Dahlgren, Virginia in August 1943 and Muroc Army Air Field in March 1944 using dummy drops from barrage balloons. In the end, a modified APS-13 Monica tail warning radar known as "Archie" was employed, and the fuses performed flawlessly in the atomic bombing of Hiroshima and Nagasaki.
## Later life
After the war, Brode returned to teaching at Berkeley. In 1950 he was one of a dozen prominent scientists who petitioned President Harry S. Truman to declare that the United States would never be the first to use the hydrogen bomb. In 1951 he returned to England for another year, this time at Manchester University as a Fulbright Scholar. Between 1930 and 1943, 15 graduate students conducted their research under his direction. He supervised another 22 between 1946 and 1957. The 37 students included Corson, who became president of Cornell University, and William B. Fretter, who was vice president of the University of California from 1978 to 1983.
In addition to his research and teaching, Brode occupied a number of other positions. He was the academic assistant to two presidents of the University of California, Clark Kerr from 1960 to 1965, and Charles J. Hitch from 1972 to 1973, and to Angus E. Taylor, the vice-president for academic affairs, from 1967 to 1972. He served on the selection panels for Rhodes, Fulbright and Kennedy scholarships, and for awards from the State Department, the Atomic Energy Commission and the Institute of International Education. He was chairman of the Advisory Board of the Naval Ordnance Test Station from 1948 to 1955, a member of the National Research Council Committee on Data for Science and Technology (CODATA) from 1951 to 1957, and chairman of the American Association of Physics Teachers and the American Institute of Physics' Committee on Physics Faculties in Colleges from 1962 to 1965.
At various times Brode was vice president of the International Union for Pure and Applied Physics and the American Association of University Professors, a member of the Council of the American Physical Society, president of the Pacific Division of the American Association for the Advancement of Science, chairman of the Physics Division of the National Research Council, associate director for research of the National Science Foundation, and the U.S. delegate to the International Council of Scientific Unions. He was acting director of the Berkeley Space Sciences Laboratory from 1964 to 1965 and director of the University of California's Education Abroad Program in the United Kingdom from 1965 to 1967.
Brode became a professor emeritus at Berkeley in 1967. He died at his home in Berkeley on February 19, 1986. He was survived by his wife Bernice and his son John. His papers are in the University of California's Bancroft Library.
|
[
"## Early life and education",
"## Manhattan Project",
"## Later life"
] | 1,613 | 9,068 |
39,551,917 |
Super Rich Kids
| 1,166,129,058 |
2013 single by Frank Ocean featuring Earl Sweatshirt
|
[
"2013 singles",
"2013 songs",
"Def Jam Recordings singles",
"Frank Ocean songs",
"Neo soul songs",
"Songs written by Earl Sweatshirt",
"Songs written by Frank Ocean",
"Songs written by Kirk Robinson",
"Songs written by Malay (record producer)"
] |
"Super Rich Kids" is a song by American singer Frank Ocean featuring rap vocals from Earl Sweatshirt, and the fifth single from Ocean's debut studio album, Channel Orange. It was first performed live by Ocean in 2011 and then on his Channel Orange Tour in 2012. The single was released in March 2013. The song is in the style of R&B and neo soul, and includes references to and samples of the songs "Bennie and the Jets" by Elton John, "Got to Give It Up" by Marvin Gaye, and "Real Love" by Mary J. Blige. It addresses young, wealthy characters' ennui and fears of the financial crisis with dry humor. The song received positive reviews and charted on the Billboard R&B Songs chart and the UK singles and R&B chart. The song also appeared on the TV show Gossip Girl and the film The Bling Ring.
## Background
"Super Rich Kids" was written by Frank Ocean, Malay, Earl Sweatshirt, Kirk Robinson, Nathaniel Robinson Jr., Roy Hammond, Mark Morales and Mark Rooney and produced by Malay. Ocean and Malay came up with "Super Rich Kids" on their first day working together on Ocean's debut album, Channel Orange. According to Ocean, the 2000 film Traffic was an inspiration for the song. Ocean first performed the song during his debut solo tour in 2011, and later performed it on the Channel Orange Tour. The single release was originally announced on January 23, 2013. It was released in the United Kingdom on March 11, and in the United States on the 17th.
## Composition
### Music
"Super Rich Kids" is an R&B and neo soul ballad set in common time and a slow half-time groove tempo of 60 beats per minute. The key the song was composed in is E♭ major, with a chord progression of E♭maj9−A♭13sus4−D♭maj9−B♭9sus4−B♭7#5b9 followed throughout the song. The song includes a piano part that references the thumping piano line of Elton John's 1973 song "Bennie and the Jets", and horns and synth arpeggios are also present. According to The Quietus, "a stomping piano and the steady smack of kickdrum anchors the ghostly crowd noise from a vast débutantes ball, as the synths quiver both nauseously and as subtly as candle-smoke in a floor draft."
### Lyrics
"Super Rich Kids" addresses young, wealthy characters' ennui and fears of the financial crisis with dry humor. The song's chorus takes its lyrics and melody from Mary J. Blige's "Real Love". The track includes a verse from Earl Sweatshirt, which, according to Complex, is a reminder of Ocean as "OFWGKTA at the end of the day." Paste magazine said that "Earl's low verses push Ocean way up into his vocal range."
According to Sound and Motion magazine, the track
> "is exactly as the title suggests; Frank’s view on the children of parents who have inherited massive trust funds without the grasp of what a huge responsibility it is and the good they could do. From expensive cars to a different woman every night, the alleged social elite stumble through a charmed existence where the real world is buffered from them and then they breed a new generation with the same attitude. The track also contains brief glimpses into what he perceives as an alternative view of loneliness and isolation where all the super rich want is a love that’s not about money or anything material."
"Super Rich Kids" is described by Muso's Guide as "a contemporary version of a Jay McInerney novel," and by The Independent as "something Carole King knocked out in the 1970s." HipHopDX.com said that "at no point are the lyrics judgemental. If anything they’re compassionate." The song also takes samples from Marvin Gaye's "Got to Give It Up", and a reference to the 1970s sitcom Good Times (the "Dy-no-mite!" catchphrase of the character J.J. Evans).
## Critical reception
The single received acclaim from critics. Sound and Motion magazine said that it "could easily be listened to repeatedly or just set on in the background for an evening's entertainment." Muso's Guide said the song "could be viewed as one of those tail end singles from a brilliant album that doesn't stand strong on its own (Can anyone remember 'Until The End of Time' from FutureSex/LoveSounds or 'Broken-Hearted Girl' from I am ... Sasha Fierce?). Ocean, proving his talent as a songwriter, and a jaded voice for this frustrated introspective generation is able to find something profound from a superficial world." The song became an Editor's Pick on djbooth.net.
Critical reactions of the song in reviews of Channel Orange were also positive. Time called the track a "stand out, tying together the album’s two themes of class and love." Billboard, in a track-by-track review, said that "the steadiness of the beat is immediately familiar but wholly fresh – it's like Ocean snatched 'Benny and the Jets' and threw the composition down a trap door into another universe." No Ripcord said that "it's so incongruous against the crass commercialism and consuming greed that pervades so much of popular culture that it's astonishing."
Complex listed Earl Sweatshirt's appearance in the song number 15 on their "25 Best Guest Verses of 2012".
## In other media
The song appeared on the Gossip Girl episode "Monstrous Ball", along with four other Frank Ocean tracks: "Lost", "Pyramids", "Sweet Life" and "Thinkin Bout You". The song also appears as the seventeenth track on the soundtrack for the film The Bling Ring and on the HBO miniseries Big Little Lies. The song was also covered by Misha B.
## Lawsuit
In 2014, record label TufAmerica filled a copyright lawsuit against Vivendi and Universal Music Group for the sampling of Mary J. Blige's "Real Love" in "Super Rich Kids". This was because, according to the lawsuit, the sample included a sample of "Impeach the President".
## Charts
### Weekly charts
## Certifications
|
[
"## Background",
"## Composition",
"### Music",
"### Lyrics",
"## Critical reception",
"## In other media",
"## Lawsuit",
"## Charts",
"### Weekly charts",
"## Certifications"
] | 1,319 | 18,891 |
34,397,782 |
True North (Once Upon a Time)
| 1,173,276,406 | null |
[
"2012 American television episodes",
"Once Upon a Time (season 1) episodes",
"Works based on Hansel and Gretel"
] |
"True North" is the ninth episode of the first season of the American fairy tale/drama television series Once Upon a Time. The series takes place in the fictional seaside town of Storybrooke, Maine, in which the residents are actually characters from various fairy tales that were transported to the "real world" town by a powerful curse. In the episode, Sheriff Emma Swan (Jennifer Morrison) helps two children (Karley Scott Collins and Quinn Lord) track down their father before they are placed in a foster care system, in a parallel with the story of Hansel and Gretel. Along the way, they encounter the Evil Queen (Lana Parrilla), and the Blind Witch (Emma Caulfield).
"True North" was co-written by Liz Tigelaar and David H. Goodman, while being directed by Dean White. Co-creators Edward Kitsis and Adam Horowitz chose the story of Hansel and Gretel to help reveal Emma's difficult backstory, as the character lacked a fairytale counterpart. They cast Caulfield because they were fans of her work on the television series Buffy the Vampire Slayer. The Blind Witch's gingerbread house had a computer-generated exterior, while its interior set was based on concept art designed by production designer Michael Joy.
The episode first aired in the United States on ABC on January 15, 2012. An estimated 9.84 million viewers watched the episode on its original broadcast. It earned a Nielsen ratings share of 3.3/8 among adults, meaning that it was seen by 3.3 percent of all 18- to 49-year-olds, and 8 percent of all 18- to 49-year-olds watching television at the time of broadcast. This was a decrease of 11 percent from the previous episode. Critical reception was largely mixed to negative, with critics praising Caulfield's performance but critiquing other elements.
## Plot
### Opening sequence
A gingerbread house is shown in the forest.
### In Storybrooke
In a Storybrooke drugstore, Henry (Jared S. Gilmore) meets a young girl named Ava (Karley Scott Collins). Henry is stopped by the store owner for shoplifting, which reveals Ava and her brother Nicholas (Quinn Lord) were using Henry to smuggle stolen merchandise. Regina (Lana Parrilla) and Sheriff Emma Swan (Jennifer Morrison) arrive to handle the juveniles. Emma discovers the siblings are living without parents and almost no food. In need of help, Emma resolves to find Ava and Nicholas's father (Nicholas Lea) out of a desire to keep them out of the foster system she herself was raised in. Regina calls social services, but the system would have to place the kids in two different homes in Boston. Determined to keep her promise not to separate them, Emma asks them for something that had belonged to their father. Ava provides her with a compass.
Emma asks Mr. Gold (Robert Carlyle) about the compass and he searches his records. He finds a card that supposedly says Michael Tillman purchased the compass, and gives Emma this name. The card is revealed to be blank. Michael is the garage mechanic, and tells Emma he can barely handle the garage let alone twins. Emma has no choice but to take Ava and Nicholas to Boston on Regina's orders, despite Henry's warnings that no one can leave Storybrooke. That evening as the three are leaving, the vehicle breaks down as they reach the city limits, prompting Emma to call for help. Moments later, Ava notices her compass working. Michael arrives in his tow truck, and Emma explains that he at least has to see his children, as she could not leave Henry after seeing the life he had. Seeing Ava and Nicholas face to face changes his mind, and Michael accepts them into his life. Later, Emma shares Henry's theory with Mary Margaret (Ginnifer Goodwin), that she is Snow White's daughter and Mary Margaret is Snow White. Mary finds this laughable, but seeing Emma's blanket triggers some sort of reaction from her. After a minute, however, she is quick to dismiss it as nothing.
In the meantime, Henry asks Emma about his father. Emma tells Henry that his dad was a trainee fireman who used to frequent the diner where she worked. The two of them "hung out" a few times, resulting in Emma being pregnant with Henry before she went to jail. Once there, she tried to tell him about Henry, only to discover that he had died while saving a family from a burning building. However, she later admits to Mary the story she gave Henry was a lie and he should never know the truth about his father. After Emma's reunion of the children with Michael that evening, Henry arrived with pumpkin pie to give Emma in order to thank her for explaining about his birth father. They are interrupted by a stranger (Eion Bailey) on a motorcycle with a unique box. Without giving his name, he asks Emma about finding a place to stay. After referring him to Granny's Bed & Breakfast, she reminds Henry that he said no one else ever comes to or leaves Storybrooke and Henry replies that they don't.
### In the characters' past
In the Enchanted Forest, Hansel (Lord) and Gretel (Collins), are searching for kindling while their father (Lea) chops firewood. He gives Gretel a compass so they won't be separated, but when they return, he is nowhere to be found. As they search they run into The Evil Queen (Parrilla) and are captured. She tells the two that she can help find their father, on the condition that they retrieve an item belonging to her from The Blind Witch (Emma Caulfield). They must enter her gingerbread house when The Blind Witch is asleep and fetch The Evil Queen's leather satchel, but they must not eat a thing. They break in safely, but Hansel gives in to the temptation of taking a bite of a cupcake, causing The Blind Witch to wake up. While she cannot see the children, she can smell their scent. The Blind Witch locks them up and prepares the oven to roast them. The two, working together, are able to push the witch into her own oven as The Evil Queen, who is gleefully watching the events from her mirror, magically sends a bolt of fire through her mirror into the witch's oven, roasting her alive.
When the two return to The Evil Queen's palace, she opens the satchel to reveal a poisoned apple. The Evil Queen offers Hansel and Gretel a home at the palace, but they are adamant about returning to their father. She sends them back into the forest and summons her newest prisoner, Hansel and Gretel's father. The Evil Queen asks why the children turned down the luxurious life of the palace and he answers that they are family, and family finds each other. Frustrated, she sends him away to see if they indeed find each other.
## Production
"True North" was co-written by co-executive producers David H. Goodman and Liz Tigelaar, while being directed by The Shield veteran Dean White. In an interview with Comic Book Resources, co-creator Edward Kitsis noted that it was difficult to pick iconic stories such as Cinderella and Hansel and Gretel because "the challenge becomes revealing a piece you never knew before or putting a fun twist on it." According to actress Jennifer Morrison, they chose this particular story as a way to further reveal Emma's history, as she lacked a fairytale counterpart. Morrison explained, "They’re using Hansel and Gretel as they did Cinderella to reveal some of Emma’s backstory. So what Emma goes through to try to help these children ends up becoming very personal for her, as her own life [as a foster kid] is in a sense revealed."
For the Blind Witch, Kitsis and co-creator Adam Horowitz cast actress Emma Caulfield, as they had been "huge fans" of hers since she had co-starred on Buffy the Vampire Slayer. Kitsis commented, "We couldn’t think of anyone better to trap two children in a house and try to eat them." Caulfield had previously worked with series writer Jane Espenson and producer Liz Tigelaar on Buffy and Life Unexpected. Morrison remarked that while viewers do not see the Blind Witch in Maine, "Everyone who is in fairytale land definitely has a Storybrooke counterpart. Whether or not we see them immediately doesn’t mean they don’t exist."
The exterior of the gingerbread house was based on concept art created by production designer Michael Joy. While this ended up being computer-generated, Joy and set decorator Mark Lane created a physical set for the interior using an "inside-out cake" as inspiration. The two always enjoyed adding in small details for careful viewers to notice, so in "True North" they used the cookies Hansel and Gretel baked in Storybrooke as part of the house's interior design. Joy explained, "We're always trying to find ways to link the two worlds. The audience loves that kind of stuff."
In October 2011, TV Guide reported that Eion Bailey would be joining the series in a multi-episode arc; "True North" featured his first appearance as the Stranger. Other guest stars included Quinn Lord as Nicholas/Hansel, Karley Scott Collins as Ava/Gretel, Nicholas Lea as Michael Tillman/Woodcutter, Gabe Khouth as Mr. Clark/Sneezy, and David Bloom as Mr. "K" Krzyszkowski. Lord and Collins had previously guest starred in two Fringe episodes, as younger versions of Peter Bishop and Olivia Dunham. Collins appeared in "Subject 13" alongside another actor who played Peter.
## Cultural references
Besides the main storyline being a retelling of the Hansel and Gretel fairytale, the episode contained a number of other cultural references. A rack full of Marvel Comics, including Ultimate Wolverine vs. Hulk, are shown in the opening scene, a double reference to both Marvel's parent company, Disney and the comic book's writer, Damon Lindelof, co-creator of Lost. An Apollo Bar was among the stolen items, and the Stranger's motorcycle license plate reads 23, both also references to Lost. Other comic books seen on the convenience store rack include various issues of Dazzler, Power Pack, West Coast Avengers, and Ka-Zar.
## Reception
### Ratings
"True North" first aired on January 15, 2012 in the United States. It earned a Nielsen rating of 3.3/8 among adults between the ages of 18 and 49, meaning that it was seen by 3.3 percent of all 18- to 49-year-olds, and 8 percent of all 18- to 49-year-olds watching television at the time of broadcast. It was viewed by an estimated 9.84 million people, down 11 percent from the previous episode. Once Upon a Time finished fourth in its timeslot among total viewers and third among adults. It aired at the same time as the 69th Golden Globe Awards, which earned 16.8 million viewers. In Canada, the episode finished in thirteenth place for the week with an estimated 1.5 million viewers, an increase from the 1.297 million of the previous episode.
### Reviews
"True North" received mixed to negative reviews from television critics.
Entertainment Weekly writer Hilary Busis wished the episode "had done more to move the show's master plot forward, especially since watching it meant missing the first hour of the Golden Globes." Busis also wished that Caulfield had received more screen time, calling her performance "superbly creepy." IGN columnist Amy Ratcliffe rated the episode 6.5/10, explaining that the tone was "over-the-top" and Emma's actions to hide the children, rather than report them, "out of character." Ratcliffe added on a more positive note that the Hansel and Gretel storyline was a "safe choice, but they made it work." Cassandra Scrimgeour of The Huffington Post found "Parrilla's emotional reaction to the children's rejection [to be] so effective that despite her evil ways, I actually felt sorry for her." Scrimgeour concluded that "the most intriguing thing to happen" in the episode was the arrival of the Stranger.
Oliver Sava of The A.V. Club was more critical of the episode, and gave it a D. He called the visual effects "hilariously bad," likening the CGI to "a '90s computer game." Sava added, "As mediocre as the series has been, it was on a bit of an upswing with the last few episodes, but 'True North' is a big step backwards... The problem isn’t that these kids can’t act (although that might be the problem), it’s that the writing for their characters is horrible... This week’s episode is straight-up children’s television, and not in the way that it can be enjoyed by all ages. You need to be a child to suspend your disbelief long enough to watch 'True North.'" Despite the critique, Sava did enjoy Caulfield's scenes, as well as Emma and Mary Margaret's conversation concerning motherhood. Writing for The Wall Street Journal, Gwen Orel opined that the Hansel and Gretel "parallel is clear and rather sweet, with touches of the ongoing story of Emma and Snow White, too." Orel felt the episode seemed "like a demented episode of Chopped," and called the gingerbread house "just like it should [be], colorful and candylike."
|
[
"## Plot",
"### Opening sequence",
"### In Storybrooke",
"### In the characters' past",
"## Production",
"## Cultural references",
"## Reception",
"### Ratings",
"### Reviews"
] | 2,803 | 32,641 |
15,673,546 |
The Christmas Sessions
| 1,120,837,367 | null |
[
"2005 Christmas albums",
"Christmas albums by American artists",
"Epic Records albums",
"INO Records albums",
"MercyMe albums",
"Pop rock Christmas albums"
] |
The Christmas Sessions is the first Christmas album by American Christian rock band MercyMe. The album, produced by Brown Bannister, was released on September 27, 2005. The band, who greatly enjoy Christmas, had previously recorded Christmas songs and enjoyed the process so much that they wanted to produce a full-length album. After releasing a studio album in early 2004, they decided to take time off; they realized they could record a Christmas album over that period and began work in December 2004. The band, aiming to produce a rock-oriented album, recruited Bannister, a noted rock producer, to produce it. In addition to one original song, "Joseph's Lullaby", the album consists of covers of both modern and traditional Christmas songs that the band members had listened to when growing up.
Upon its release, The Christmas Sessions received positive reviews from critics. Praise was offered for the album's production qualities, as well as the change in direction for MercyMe and the band's take on the traditional songs. Minor criticism was directed at lead vocalist Bart Millard's vocals, as well as at individual songs. The album reached a peak of number three on the Billboard Christian Albums chart, number ten on the Holiday Albums chart, and number sixty-four on the Billboard 200; it has been certified gold by the Recording Industry Association of America (RIAA). Multiple songs from the album appeared on record charts, including "Joseph's Lullaby", which peaked at number one on the Christian Songs chart; "God Rest Ye Merry Gentlemen" and "Little Drummer Boy" also appeared in the top ten on the chart, peaking at numbers nine and ten, respectively, and "Silent Night" reached a peak of number six on the Adult Contemporary chart.
## Background and recording
According to Bart Millard, the lead vocalist for MercyMe, the band enjoys the Christmas season greatly and had recorded songs for compilation albums like WOW Christmas: Green and had liked the process of taking older Christmas songs and altering them; Millard said that the band "had so much fun doing it that we found ourselves wishing we had a Christmas record of our own". After the band released their third studio album Undone in early 2004, they decided to take some time off, and realized they could record a Christmas album over that period. Although MercyMe had started as a rock band, they become associated with the adult contemporary genre after their single "I Can Only Imagine" became successful. In creating The Christmas Sessions, the band incorporated more elements from rock music and other genres; Millard described it as "the most 'rock' album we've done" and noted they did not concern themselves with the album's direction, saying "we didn’t have to worry about which direction we went. We just made the record we wanted to make".
MercyMe began recording the album over Christmas 2004, and put the "finishing touches" on it over the following summer. The band brought in rock producer Brown Bannister, who had previously recorded albums for artists like Amy Grant and Steven Curtis Chapman, to produce both The Christmas Sessions and their next studio album, which would also utilize a rock sound. In selecting songs for The Christmas Sessions the band wanted to cover Christmas songs they had grown up with, but they did write and record one original song, "Joseph's Lullaby". Millard had initially written it as "Mary's Lullaby" but changed the lyrics and key upon suggestion from Bannister's wife, who noted that, being male, it was odd for him to be singing from the perspective of Mary as opposed to Joseph.
## Composition
The Christmas Sessions has been described as a rock and pop rock album; influences from country and jazz were also noted. "It Came Upon a Midnight Clear" has been described as being a stadium rock song incorporating musical elements similar to rock bands U2 and Coldplay; "I Heard the Bells On Christmas Day", a power ballad, was also described as being similar to U2 in sound. "Gloria" is a reinterpretation of "Angels We Have Heard on High", modifying the melody of the song's chorus. "God Rest Ye Merry Gentlemen" utilizes a "multilayered arrangement... that sounds as if it were tailored for a Super Bowl halftime show". The song, along with "Little Drummer Boy", begins with a rock-oriented opening before transitioning into a power ballad form.
"Winter Wonderland/White Christmas" is a medley of the two songs, described as being similar to a mix of a Dixieland band with the Beatles. "Christmas Time Is Here" uses brass instruments in its arrangement, similar to that of Chicago-area bands. "Silent Night", which features Amy Grant singing background vocals, has been described as having a country or country pop arrangement. "Away" is an instrumental piece with a simple arrangement. "Joseph's Lullaby", the album's only original song, has been described as "emo-influenced", portraying both the night of Jesus' birth as well as the night after it. The ballad's arrangement features piano and string instruments.
## Critical reception
The Christmas Sessions received positive reviews from music critics. Rick Anderson of Allmusic gave the album 3.5 out of 5 stars, praising the album's overall rock tone. Anderson offered a small amount of criticism concerning Millard's vocal delivery, saying he "can be a bit mannered", as well as criticizing the country sound of "Silent Night" as "ill-advised", but he praised the band's version of "I Heard the Bells on Christmas Day". Russ Breimeier of Christianity Today, who gave the album 4.5 out of 5 stars, praised the album's diverse sound. Although he described the band's influences on some songs as being "a little too obvious", Breimeier stated that "MercyMe is clearly improving as a band". Daniel Cunningham of Cross Rhythms awarded the album 8 out of 10 squares, stating that the album exceeded his expectations. He described the album as being "fresh-sounding" and felt the album's mix of older and newer Christmas songs would give it a wide appeal. Jesus Freak Hideout's Spencer Priest gave the album 4 out of 5 stars, praising the album as "outstanding" and feeling that the use of instruments like the trombone, trumpet, and mandolin in some songs made them stand out in comparison to other renditions. Kelefa Sanneh of The New York Times praised the album as a whole, calling it "one of the year's most enjoyable holiday CDs". He also felt the band's musical changes to the traditional songs showed their care for them.
## Commercial performance
The Christmas Sessions was released on September 27, 2005. It debuted at number 47 on the Billboard Christian Albums chart and number 175 on the Billboard 200. The album reached a peak of number three on the Christian Albums chart and number 64 on the Billboard 200, and also debuted and peaked at number ten on the Holiday Albums chart. The Christmas Sessions ranked as the twenty-third best-selling Christian album of 2006. It has been certified gold by the Recording Industry Association of America (RIAA), signifying the equivalent of 500,000 albums sold.
The album spawned a number of charting songs. Three songs ("Joseph's Lullaby", "God Rest Ye Merry Gentlemen", and "Little Drummer Boy") charted inside the top ten of the Billboard Christian Songs chart, peaking at number one, nine, and ten, respectively."It Came Upon a Midnight Clear", "Gloria", "O Holy Night", "Silent Night", and "Rockin' Around the Christmas Tree" also appeared on the chart. "Silent Night" peaked at number six on the Adult Contemporary chart, with "Rockin' Around the Christmas Tree", "Joseph's Lullaby", and "God Rest Ye Merry Gentlemen" also charting on that format.
## Track listing
## Personnel
Credits taken from Allmusic
MercyMe
- Bart Millard – lead vocals, backing vocals (1-6, 8, 9, 10, 12)
- Jim Bryson – keyboards (1-10, 12), acoustic piano (11), synthesizer (11), Hammond B3 organ (11)
- Barry Graul – guitars, backing vocals (1-6, 8, 9, 10, 12)
- Mike Scheuchzer – guitars
- Nathan Cochran – bass
- Robby Shaffer – drums
Additional musicians
- Blair Masters – acoustic piano (12), keyboard programming (12)
- Paul Franklin – steel guitar (1-10, 12)
- Eric Darken – percussion (1-10, 12)
- Barry Green – trombone (1-10, 12)
- Mike Haynes – trumpet (1-10, 12)
- Carl Marsh – string arrangements (1-10, 12), choir arrangements (1-6, 8, 9, 10, 12)
- The London Session Orchestra – strings (1-10, 12)
- Philadelphia Boys Choir and Chorale – choir (1-6, 8, 9, 10, 12)
- Drew Cline – backing vocals (1-6, 8, 9, 10, 12)
- Travis Cottrell – backing vocals (1-6, 8, 9, 10, 12)
- Michael Mellett – backing vocals (1-6, 8, 9, 10, 12)
- Mark Nicholas – backing vocals (1-6, 8, 9, 10, 12)
- Amy Grant – backing vocals (7)
Production and Technical
- Brown Bannister – producer (1-10, 12)
- Pete Kipley – producer (11)
- Traci Sterling Bishir - Production assistant
- Steve Bishir – recording (1-10, 12)
- Aaron Sternke – assistant engineer, digital editing
- F. Reid Shippen – mixing at Sound Stage Studios (Nashville, Tennessee).
- Lee Bridges – mix assistant
- Ted Jensen – mastering at Sterling Sound (New York City, New York).
- Traci Sterling Bishir – production assistant
- David Edmonson – photography
- Luke Edmonson – photography
- Shatrine Krake – art direction, design
## Charts
|
[
"## Background and recording",
"## Composition",
"## Critical reception",
"## Commercial performance",
"## Track listing",
"## Personnel",
"## Charts"
] | 2,170 | 26,844 |
40,794,709 |
Stolen Childhood
| 1,119,632,452 |
1995 American history book by Wilma King
|
[
"1995 non-fiction books",
"American history books",
"Books about African-American history",
"English-language books",
"History books about education",
"History books about the United States",
"History of childhood",
"Indiana University Press books",
"Non-fiction books about American slavery"
] |
Stolen Childhood: Slave Youth in Nineteenth-Century America is a 1995 history book about nineteenth century slave children in America by Wilma King. As the first full-length book on the subject, it began the scholarship of slave childhood. The book uses historical documents to argue that enslaved children were deprived of experiences now understood to constitute childhood, due to early work responsibilities, frequent bodily and emotional trauma, and separations from family. The book covers themes of the children's education, leisure, religion, transitions to freedmen, and work expectations. It was published in the Indiana University Press's Blacks in the Diaspora series, and a revised edition was released in 2011.
Critics regarded Stolen Childhood positively for taking the historiography of children, slavery, and education in an unexplored direction. Scholars placed the book in a lineage of studies on slave families and women, with King's book as the first dedicated to slave children. Reviewers generally praised her research contribution but condemned the book's structure and repetitive style. The book won the 1997 Outstanding Book Award from the National College of Black Political Scientists. Choice named King's 2011 revised edition an "outstanding title" for academic libraries.
## Overview
Stolen Childhood: Slave Youth in Nineteenth-Century America broadly documents nineteenth century slave children and their lives. It was the first full-length book on the subject, and at the time of its publishing, the topic of enslaved children was underrepresented in American slavery scholarship. The book is part of Indiana University Press's Blacks in the Diaspora series, and was first published in 1995, with a revised edition in 2011. King taught history at Michigan State University when the first edition was released.
King argues that enslaved children did not have the opportunities for childhood and thus, did not have childhoods. Slave children instead worked as soon as they could, were often separated from caregivers and family, and were subject to punishment of many sorts, sometimes no different than those levied on adults. The children's trauma was compared to that of war—enduring abuses, sexual exploitation, inability to protect themselves—and they aged prematurely through these experiences.
The second edition doubles the book's length. It uses new material and demography, includes northern enslaved children and those in urban centers, details relations between free and enslaved children, tells of child abolitionists, and shows child life under black and Native American slaveowners. Forty percent of the original volume was notes.
## Synopsis
The book's eight chapters address prominent themes affecting slave children, including education, leisure, religion, transitions to freedmen, and work expectations. Due to a lack of historical sources direct from children, the book focuses more on their socialization and stories of survival than their internal perspectives. King's evidence includes slave narratives, ex-slave interviews collected by the Works Progress Administration (WPA), plantation owner diaries, census records, newspapers, autobiographies, missionary reports, and Freedmen's Bureau records. She contrasts Northern and Southern slave life, as well as their ownership by whites, blacks, and Native Americans.
King shows how enslaved children were educated for survival and resistance. This education was usually informal and parental and taught how to deal with slaveowners and their abuse. King also named literacy and religion's role in their education. Kids were taught mutual cooperation as a virtue between slaves. Few slaves had formal education and those who did were artisans. Those educated or given religious training were only by the fortune of their owner's interests. King's stories tell of children in domestic, farm, and industrial work, who spent their free time in celebrations, dances, games, folk rituals, and hunting.
When unoccupied, the children tended to their own needs and played with toy marbles and hobby horses. Some learned to count by playing hide and seek. Play was primarily for inculcating virtuous traits like courage and loyalty, but it also made life more tolerable. Black and white children played together before the age of ten, but separated afterward based on the demands of work. Children often helped the adults, and performed chores (like fetching wood or water) that quickly escalated into full work responsibilities.
The children's degree of freedom depended on the mother's status. Their names were chosen in conjunction with the owners, who often lent their own surnames as slave names while families gave children African "day names". Slaveowner events were used to control the slave population, with a doubling social function for purposes of courtship. King emphasizes the role of the children in motivating families to reunite once free, though many made new families. The dependency of children also urged families to become financially independent. Slave children were generally in bad health with bodies smaller than usual. They frequently died young.
The volume continues briefly through the postwar period, where harsh experiences persisted even after slavery ended. For example, Black Codes apprenticeship laws were a means for former slave owners to own the labor of the formerly enslaved children. Other topics covered in the book include gradual abolition, parental teachings, pregnancy, and the importance of the family.
## Reception
Stolen Childhood was regarded as a critical contribution to the historiography of children, slavery, and education. The book won the 1997 Outstanding Book Award from the National College of Black Political Scientists. Choice marked the second edition as an "outstanding title" for academic libraries.
Stolen Childhood was seen to open the study of slave childhood. Multiple reviewers placed the book in a lineage of studies on slave families and women, alongside works such as Herbert Gutman's The Black Family in Slavery and Freedom, 1750–1925. V. P. Franklin noted that these works mentioned slave childhood, but that King's book delved into the topic. Jane Turner Censer, writing for The American Historical Review, traced the field to Willie Lee Rose's 1970 "Childhood in Bondage" through a half-dozen related historians of slave families. Marie Jenkins Schwartz in The Journal of Southern History expected King's study of childhood to fill a "large gap" in the lineage's literature. Thomas J. Davis summed the work as a "pioneering survey" in Library Journal.
Marie Jenkins Schwartz praised King's use of primary sources, passion for the topic, and photographs, but lamented the original release's lack of child psychological perspective and exactitude of parental involvement in their children's enslavement. She also criticized its "abrupt" postwar ending. James Marten also found the section rushed in The Register of the Kentucky Historical Society. Jane Turner Censer pointed to Brenda Stevenson's connection between slaves' brutal treatment and their force used on children as missing from the volume. As for its originality, she also said the book held "few surprises for historians of slavery". Joshua D. Rothman noted the same in the Journal of the Early Republic. Franklin, writing for History of Education Quarterly, preferred the sections on the unique realities facing these children, such as their relation to puberty and courting, and was not as interested in comparisons between slave children and adults. He bemoaned the original release's organization for only occasionally discussing these practices, and suggested organization by social practices instead of by activity to reduce redundancy. Censer and Marten also complained of this repetition. In The New York Times, Douglas A. Sylva thought the book suffered from weak style and structure, with good research lost in vague topic sentences and conclusions. Franklin additionally noted insufficient citation of relevant secondary literature and recommended a harsher edit, while Loren Schweninger upheld the book's citation quality and accounted for all "important secondary source[s]" on slavery in the back matter.
Ben Neal of the Tennessee Librarian questioned King's heavy use of Works Progress Administration-collected interview material, noting that the interviewees were too old to thoughtfully recall and express the complete spectrum of slave childhood. He then absolved King of fault for the otherwise dearth of data. Neal praised the book's accessibility for casual readers and academics alike. In The Journal of American History's review of the first edition, Loren Schweninger commended King's restrained use of the WPA sources with Neal’s same rationale. Schweninger also sought more comparisons between Southern regions and in interracial relationships. Jane Turner Censer agreed that the book treated the South and century too broadly where it could have noticed specific differences due to migration patterns, regional changes, and time. Richard H. Steckel in The Georgia Historical Quarterly similarly desired comparison between slave and working-class children of the era. Yet Roderick A. McDonald appreciated this broader perspective and emphasis on slave resilience and familial love in foil with two more negative and detailed, or narrower, studies (Them Dark Days by William Dusinberre and Life in Black and White by Brenda Stevenson) in his write-up for American Studies. Steckel added that he wanted to know more about the children's nutrition, and Marten felt several of King's smaller points were not fully substantiated.
Writing for Choice on the second edition, J. D. Smith recalled "rave reviews" for the original release and credited the book with making King "a leading scholar on African American slavery generally and ... an authority on slave youth culture". Smith described the book as "indispensable" and Steckel declared it "essential reading" for specialists in related fields. George M. Fredrickson in The New York Review of Books named the book with Norrece T. Jones' as "a little-noticed countertrend to ... culturalist approaches", and so underscored the sheer brutality of slave life after an age of literature that suggested other methods for understanding the slave-master relationship. Many reviewers recommended the book for scholarly libraries.
## See also
- Incidents in the Life of a Slave Girl, by former slave Harriet Jacobs, 1861
|
[
"## Overview",
"## Synopsis",
"## Reception",
"## See also"
] | 1,995 | 29,623 |
925,882 |
Aššur-etil-ilāni
| 1,133,947,249 |
King of the Neo-Assyrian Empire (r. 631–627 BC)
|
[
"627 BC deaths",
"7th-century BC Assyrian kings",
"Kings of the Universe",
"Sargonid dynasty",
"Year of birth unknown"
] |
Aššur-etil-ilāni, also spelled Ashur-etel-ilani'' and Ashuretillilani (Neo-Assyrian cuneiform: [] Error: : no text (help) Aššur-etil-ilāni, meaning "Ashur is the lord of the Tree"),' was the king of the Neo-Assyrian Empire from the death of his father Ashurbanipal in 631 BC to his own death in 627 BC. Aššur-etil-ilāni is an obscure figure with a brief reign from which few inscriptions survive. Because of this lack of sources, very little concrete information about the king and his reign can be deduced.
It is possible that Aššur-etil-ilāni was a weak ruler as there are no records of the king ever undertaking a military campaign or going on a hunt, activities previous Assyrian kings would famously do very often; this, in turn, may have helped to entice some of Assyria's vassals, such as the Kingdom of Judah, to break free from Assyrian control and begin to act independently. Aššur-etil-ilāni was succeeded by his brother Sîn-šar-iškun under uncertain, though not necessarily violent, circumstances.
## Background and chronology
There is a distinct lack of available sources in regards to the last few years of Ashurbanipal's reign and the reign of Aššur-etil-ilāni. The annals of Ashurbanipal, the primary sources for his reign, go no further than 636 BC.' Although Ashurbanipal's final year is often repeated as 627 BC,' this follows an inscription at Harran made by the mother of the Neo-Babylonian king Nabonidus nearly a century later. The final contemporary evidence for Ashurbanipal being alive and reigning as king is a contract from the city of Nippur made in 631 BC.' To get the attested lengths of the reigns of his successors to match, most scholars agree that Ashurbanipal either died, abdicated or was deposed in 631 BC. Of the three options, a death in 631 BC is the most accepted. If Ashurbanipal's reign would have ended in 627 BC, the inscriptions of his successors Aššur-etil-ilāni and Sîn-šar-iškun in Babylon, covering several years, would have been impossible since the city was seized by the Neo-Babylonian king Nabopolassar in 626 BC to never again fall into Assyrian hands.
Ashurbanipal had named his successor as early as 660 BC, when documents referencing a crown prince were written. He had been the father of at least one son, and probably two, early on in his reign. These early sons were likely Aššur-etil-ilāni and Sîn-šar-iškun. The common assumption that Aššur-etil-ilāni came to the throne at a young age is based on the phrase "my father did not rear me" ("rear" meaning to care for someone until they're fully grown), found in one of his inscriptions. However, the same phrase appears in a prayer by Ashurbanipal and Aššur-etil-ilāni is unlikely to have been very young as he is attested to have had male children during his reign.'
## Reign
Aššur-etil-ilāni ascended the throne after the death of his father Ashurbanipal in 631 BC.' A land grant from Aššur-etil-ilāni to his rab šaqi (a general serving him since he was a young boy) Sîn-šumu-līšir suggests that Ashurbanipal died a natural death.' As in many other successions in Assyrian history, Aššur-etil-ilāni's rise to the Assyrian throne was initially met with opposition and unrest.' The same land grant to Sîn-šumu-līšir references the actions of an Assyrian official called Nabu-riḫtu-uṣur who with the help of another official, Sîn-šar-ibni, attempted to usurp the Assyrian throne. Sin-shum-lishir probably assisted the king with stopping Nabu-riḫtu-uṣur and Sîn-šar-ibni.' As no sources indicate the opposite, the conspiracy appears to have been crushed relatively quickly.' Excavations at Nineveh from the time around Ashurbanipal's death show fire damage, indicating that the plot perhaps resulted in some violence and unrest within the capital itself.'
The spread of inscriptions by Aššur-etil-ilāni in Babylonia suggest that he exercised the same amount of control in the southern provinces as his father Ashurbanipal had, having a vassal king (Kandalanu) but exercising actual political and military power there himself. His inscriptions are known from all the major cities, including Babylon, Dilbat, Sippar and Nippur.' Too few inscriptions of Aššur-etil-ilāni survive to make any certain assumptions about his character. Excavations of his palace at Kalhu, one of the more important cities in the empire and a former capital, may indicate that he was less boastful than his father as it had no reliefs or statues similar to those that his predecessors had used to illustrate their strength and success.' The lack of such depictions may partly be because there are no records of Aššur-etil-ilāni ever conducting a military campaign or going on a hunt. His Kalhu palace was quite small with unusually small rooms by Assyrian royal standards.' It is possible that some of Assyria's vassals used the reign of what they perceived to be a weak ruler to break free of Assyrian control and even attack Assyrian outposts. In c. 628 BC, Josiah, ostensibly an Assyrian vassal and the king of Judah in the Levant, extended his land so that it reached the coast, capturing the city of Ashdod and settling some of his own people there.'
It is frequently assumed, without any supporting evidence, that Aššur-etil-ilāni's brother Sîn-šar-iškun fought with him for the throne.' Although the exact circumstances of Aššur-etil-ilāni's death and the rise of his brother Sîn-šar-iškun to the throne are unknown, there is no evidence to suggest that Aššur-etil-ilāni was deposed and/or killed in a coup.''
## Titles
Very few inscriptions survive from Aššur-etil-ilāni's brief reign. Preserved on bricks of the temple of Nabu at Kalhu, the following titles can be read:
> I am Aššur-etil-ilāni, King of the Universe, King of Assyria, son of Ashurbanipal, King of the Universe, King of Assyria, grandson of Esarhaddon, King of the Universe, King of Assyria.
## See also
- Sargonid dynasty
- List of Assyrian kings
|
[
"## Background and chronology",
"## Reign",
"## Titles",
"## See also"
] | 1,523 | 30,457 |
937,940 |
Derek Webb
| 1,172,235,111 |
American musician (born 1974)
|
[
"1974 births",
"21st-century American guitarists",
"21st-century American male singers",
"21st-century American singers",
"American folk singers",
"American male guitarists",
"American male singer-songwriters",
"American performers of Christian music",
"Calvinist and Reformed writers",
"Fair Trade Services artists",
"Guitarists from Tennessee",
"Guitarists from Texas",
"Living people",
"Performers of contemporary Christian music",
"Singer-songwriters from Tennessee",
"Singer-songwriters from Texas"
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Derek Walsh Webb (born May 27, 1974) is an American singer-songwriter of Christian music who first entered the music industry as a member of the band Caedmon's Call, and later embarked on a successful solo career. As a member of the Houston, Texas-based Caedmon's Call, Webb has seen career sales approaching 1 million records, along with 10 GMA Dove Award nominations and three Dove Award wins and six No. 1 Christian radio hits.
In 2003, Webb left Caedmon's Call to pursue a solo career. Since his departure, he has released seven studio albums (including one instrumental), a live album, two compilation albums, two covers projects, two DVDs, and two EPs (with his then-wife, Sandra McCracken). While these have been less commercially successful than his work with Caedmon's Call, Webb has had more of a free hand to shape his work to his vision.
On April 17, 2014, Webb and his then-wife, singer-songwriter Sandra McCracken, announced that they were divorcing after thirteen years of marriage due to Webb having had an extramarital affair. He later remarried to Abbie Parker of the Christian music band I Am They.
## Early life
Webb's mother, a gifted classically trained pianist, encouraged his musical interests at a very young age. Music came naturally to him, and he began to play the guitar at six years old. Concerning his musical training, Webb explains that he got his ear for music from his mother, but not the ability to read music, and that he "took one [guitar] lesson and then just taught myself out of the book." While in high school, he became known for his skill on the guitar. He toured with a band, though it broke up in his junior year following a serious car accident returning from playing a show at Baylor University. Webb graduated from Klein High School in Klein, Texas in 1992. Before joining Caedmon's Call, he went to community college in Houston for half a semester, and shared an apartment with his older brother who was attending medical school.
## Caedmon's Call
Caedmon's Call was formed in 1993 with four original members (three of whom still remain), Cliff Young, Danielle Glenn, Todd Bragg, and Aaron Tate. Aaron Tate, however, never intended to tour with the band, and was included in a songwriting capacity only, sharing those duties with Derek Webb who also played lead guitar.
Webb's invitation to join Caedmon's Call came from Tate, who at the time was attending Texas Christian University in Fort Worth, Texas. Shortly afterward, Webb made the trip to Fort Worth and met future bandmate Cliff Young. Webb says, "I essentially just joined that band immediately. And as soon as I joined the band, I quit college the same day." As a result, for almost a full school year he pretended to go to class, with his family unaware he was actually pursuing the band in lieu of going to school.
In June 1994, the band released their first album, My Calm // Your Storm, originally a cassette-only demo recording. It was re-printed twice the same year with different cover art each time. In 1996 the band signed with now-defunct Christian label Warner Alliance, producing their self-titled release. Peaking at 110 on the Billboard 200, the album went on to win the GMA 1998 Modern Rock Album of the Year.
After the collapse of Warner Alliance in 1998, Caedmon's Call signed to Essential Records, where they released 40 Acres (1999), Long Line of Leavers (2000), In the Company of Angels: A Call to Worship (2001), Back Home (2003). All of these albums were moderately successful, peaking at 61, 58, 72, and 66 respectively on the Billboard 200. Notably, Webb did not provide any songwriting for In the Company of Angels or Back Home, despite having been a primary songwriter for the band prior to their release. During this time period, Webb also contributed to City on a Hill: Songs of Worship and Praise (2000) and City on a Hill: Sing Alleluia (2002), both as a member of Caedmon's Call and as a solo artist, which respectively garnered the GMA 2001 & 2003 Special Event Album of the Year awards.
In 2001, Webb left the band to pursue his solo career, although he continued to contribute to their next album Back Home. Caedmon's Call then released Chronicles 1992–2004 (2004), a best-of collection of the band's work, which included work by Webb. In 2007, Caedmon's Call signed onto INO Records, and Webb was featured as singer and songwriter on the album, Overdressed. He continued to be involved with the band as producer on the 2011 album Raising Up the Dead.
Webb has considered himself a solo act since 2001, but admits his continued collaboration with the band can make it seem like he never left, saying "Caedmon's Call, as it turns out, is very much like hotel california: you can check out anytime you’d like, but you can never really leave."
On May 22, 2007, it was announced that Webb had again worked with Caedmon's Call, writing and recording for their album, entitled Overdressed, and would be joining the band on their subsequent tour.
## Solo career
His first solo album, She Must and Shall Go Free (2003) caused controversy when some Christian retailers refused to stock the album for its use of "strong" language. One of the songs that was the basis for controversy was "Wedding Dress" where Webb compares Christians who seek fulfillment in things outside of Christ to a person committing adultery. An introspective tune, Webb writes that "I am a whore I do confess / I put you on just like a wedding dress". Another song that generated controversy was "Saint and Sinner" where Webb wrote "I used to be a damned mess but now I look just fine, 'Cause you dressed me up and we drank the finest wine". The word 'damned' was removed from the final version of the album, at the request of two major Christian retailers. Following the release of She Must and Shall Go Free, Webb embarked on a national tour in which he played living room concerts. This provided the opportunity to have greater interaction with his listeners. He went on to release a live album in 2004 from tour: The House Show.
His second solo studio record, I See Things Upside Down (2004), generated mixed reviews. All marketing to the typical Christian music stations used by his first solo album and his albums with Caedmon's Call was stopped, though the album still has explicitly Christian lyrics. In comparison to Webb's previous work, this album has what's been referred to as an "experimental" style to it, and has been compared to the music of Wilco in that respect. Webb has stated that the album "was doing away with people's expectations to free me up to do what I wanted." Following the release of I See Things Upside Down, Webb released a live concert DVD, How to Kill and Be Killed (2005).
His third studio album, Mockingbird, was released on December 26, 2005. The album touches on subjects such as politics, social justice, and war. Webb has stated that he tackled these subjects to stimulate discussion and engage people to bring about changes in what he sees as some of the greatest problems the world is facing today. To broaden this discussion to people less inclined to purchase his album, beginning September 1, 2006, Webb offered Mockingbird for free on the website Free Derek Webb (no longer exists), where it was available for download until December 8, 2006. Over 80,000 free copies of the album were downloaded during this time.
On January 30, 2007, Webb released two EPs, each containing the same ten songs from earlier in his solo career, including pieces from each of his three solo studio albums. One Zero (Acoustic), contains acoustic reinterpretations of the songs, and is available in stores only. One Zero (Remix) makes use of the original recording sessions for each of the songs, but has been remixed by engineer Will Hunt. This more experimental record is available only online.
Webb's next project, The Ringing Bell was released on May 1, 2007. Before the release date, it was available for pre-order at TheRingingBell.com in a deluxe edition which included a 96-page graphic novel inspired by the album. Those who pre-ordered the deluxe edition of the album were also able to immediately download it in its entirety.
On May 12, 2009, Webb sent a message to his email mailing list stating that his next album Stockholm Syndrome was deemed too controversial for his record label to release. "It seems I've finally found the line beyond which my label can support me, and apparently I've crossed it," Webb writes. "[A]t this point we're not sure when the record will come out and in what form. The majority of the controversy is surrounding one song, which I consider to be among the most important songs on the record .... [B]ecause of various legal/publishing issues we're having to be rather careful with how we do what we're going to do next.".
Webb's solo release Stockholm Syndrome was released on his website, derekwebb.com, on July 7, 2009, as a digital release. He has also made physical copies of both the edited and unedited versions of the CD available by September 1, 2009.
In late 2011 Derek Webb collaborated on the soundtrack for the film, Nexus.
On September 3, 2013, Webb released I Was Wrong, I'm Sorry & I Love You.
On September 29, 2017, Webb released Fingers Crossed which was promoted as "a deeply personal tale of two divorces," touching on themes of his marriage ending and his loss of faith.
On February 21, 2020, Webb released Targets with the tagline, "the time for grief is over".
On April 7, 2023, Webb released The Jesus Hypothesis, an atheistic album about finding meaning and beauty and exploring issues of gender identity and sexuality.
Webb is currently married to Abbie Parker of I Am They.
## Business ventures
While on tour, Webb noticed that attendance at his shows had increased dramatically after he had made Mockingbird available for free online. Inspired by that realization, Webb helped form NoiseTrade, a website that allows users to download music for free from independent musicians.
## Discography
### Studio albums
Caedmon's Call
- 1994: My Calm // Your Storm
- 1995: Just Don't Want Coffee
- 1997: Caedmon's Call
- 1999: 40 Acres
- 2000: Long Line of Leavers
- 2001: In the Company of Angels: A Call to Worship
- 2003: Back Home
- 2007: Overdressed
- 2010: Raising Up the Dead
Solo
- 2003: She Must and Shall Go Free
- 2004: I See Things Upside Down
- 2005: Mockingbird
- 2007: The Ringing Bell
- 2009: Stockholm Syndrome
- 2010: Feedback
- 2012: Ctrl
- 2013: I Was Wrong, I'm Sorry & I Love You
- 2017: Fingers Crossed
- 2020: TARGETS
- 2023: The Jesus Hypothesis
### Other albums
Caedmon's Call
- 1997: Limited Edition Tour EP
- 1997: The Guild Collection Vol. 1
- 1997: Intimate Portrait
- 1998: The Guild Collection Vol. 2
- 2000: Songs from the Guild
- 2001: The Guild Collection Vol. 3
- 2004: Chronicles 1992-2004
Solo
- 2004: The House Show
- 2005: How to Kill and Be Killed (DVD)
- 2007: One Zero (Acoustic)
- 2007: One Zero (Remix)
- 2008: Ampersand EP (with Sandra McCracken)
- 2009: Paradise Is a Parking Lot (DVD)
- 2010: Democracy Vol. 1
- 2011: Democracy Vol. 2
- 2011: TN EP (with Sandra McCracken)
- 2012: NEXUS (with SOLA-MI)
|
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"## Discography",
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] | 2,692 | 20,675 |
39,662,864 |
Charlie Murder
| 1,151,954,354 |
2013 video game
|
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"Microsoft games",
"Multiplayer and single-player video games",
"Role-playing video games",
"Side-scrolling role-playing video games",
"Ska Studios games",
"Video games developed in the United States",
"Windows games",
"Xbox 360 Live Arcade games",
"Xbox 360 games"
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Charlie Murder is a beat 'em up video game developed by Ska Studios and published by Microsoft Game Studios for the Xbox 360 and Ska Studios for Microsoft Windows. First revealed in January 2010 for Xbox Live Indie Games, the studio announced in May 2010 that the game would undergo a "complete overhaul" and be published in 2012 through Xbox Live Arcade for the Xbox 360. Charlie Murder was eventually released on 14 August 2013 to positive reviews, with critics praising the game's soundtrack and hand-illustrated visuals. Versions for Microsoft Windows, Linux, and macOS were released on May 12, 2017 via Steam.
The game features five playable characters—all members of the garage punk band Charlie Murder—who fight a demonic army raised by a former band member in an attempt to save the world from the apocalypse. Charlie Murder has both single-player and four-player online and offline cooperative gameplay modes. The game was created using Microsoft XNA tools.
## Gameplay
Similar to Castle Crashers, Charlie Murder is a side-scrolling beat 'em up game with role-playing game elements. Players select one of five band members to play as; the lead vocalist and band namesake Charlie Murder, guitarist Lester Deth, bassist Tommy Homicide, backup vocalist Kelly "Skelekitten" Skitten, or drummer The Rexecutioner. Players can complete the game alone, or can team together with up to three other people, through either offline (with all of the players using the same Xbox 360) or online cooperative gameplay (co-op). With each additional player, the number of enemies that appear on screen at once increases. Players can also fight each other in special areas of the game. The game takes place across several different areas, including a construction site, a graveyard, a pirate ship, and a mall. Players are pitted against a large variety of enemies, including zombies, witches, ninjas, giant rats, yetis, and sharks with dynamite strapped to their heads. Interspersed between the normal combat levels are a number of minigames and special levels, including driving and flying levels.
Players fight using two buttons to string together combinations of light and heavy melee attacks. Players can also use grabs, launch enemies into the air, use character-specific special attacks, and pick up and use weapons. In co-op mode, players can also team up to execute highly damaging group attacks. Scattered throughout the game are bosses, unique and challenging enemies that have more health and are more difficult to fight than normal enemies. There are also "minibosses", enemies that are less challenging than bosses but more challenging than regular enemies. Minibosses have the ability to block and counter players' attacks, which few other enemies in the game do.
Each of the five band members has a unique character class, which vary from one another mainly by the special magical attacks, called Anar-chi, that they can use. Anar-chi attacks include Tommy Homicide's ability to summon acid-coated buzzsaws and The Rexecutioner's ability to summon and use a debris-spitting drum kit. Players are able to use new abilities by visiting an in-game tattoo parlor. Tattoos, and the special abilities that they unlock, are character-specific. Players can also unlock new abilities, including additional combination attacks, group attacks, and the ability to use two weapons at once, by leveling up.
Players use an in-game Windows 8 phone to manage their inventory, level up, read emails that explain game mechanics, and scan QR codes that unlock items and give the character money or followers (the game's experience point equivalent). Players earn money by defeating enemies, and outside of combat, they can purchase weapons and armor (all of which is visible on the character), stat-boosting food and alcohol, and the aforementioned tattoos from shops.
## Plot
The game's protagonist, Charlie Murder, is a member of a garage punk band of the same name. Charlie kicks one of the founding members, Paul, out of the band, and begins to experience chart-topping success creating music in a new genre with new bandmates. Under the name Lord Mortimer, Paul forms his own band, Gore Quaffer, and makes a pact with a demon, raising an army of demons and undead in order to destroy Charlie Murder. Charlie and his band are killed at the beginning of the game, fight out of hell, and are reborn on Earth amidst an apocalypse caused by Lord Mortimer and his army. In order to stop the apocalypse, Charlie Murder must defeat Gore Quaffer in a Battle of the Bands.
During the game, a series of flashbacks detail the game's backstory. As Charlie and his new bandmates experience success without Paul, the latter becomes increasingly upset, eventually vowing revenge. The flashbacks neither paint Charlie Murder in a wholly positive light, nor Paul in a wholly negative light. Charlie Murder has an in-game talk radio station, which plays in enemy-free areas. Additional information about the band and about the game's world is presented in the form of people calling into the radio program.
The game has two endings that depend on whether or not the player has acquired all of the hidden pieces of Smockula by the time of the final battle. If the player has not gathered the pieces, then the game immediately ends upon Lord Mortimer's defeat, and a credits montage reveals that, back when Mortimer was Paul, he was childhood friends with Charlie. This is considered the "Bad Ending".
If the player collects all the pieces of Smockula and has them equipped during the final battle, then Lord Mortimer is incapacitated instead of killed, and Charlie Murder confronts the demon who granted Mortimer his power, a being known as the Angel of Chaos. After the Angel's death, Mortimer turns back into Paul and he and Charlie reconcile. The credits montage shows how each of the surviving band members now live comfortable, happy lives. This is considered the "Good Ending".
## Development
Charlie Murder was first announced in January 2010 in a Ska Studios blog post as an Xbox Live Indie Games title set for release in March 2010. The game's plot was a four-member band's journey to save Skelekitten (Murder's girlfriend) from a rival metal band. A demo of the game was showcased at PAX East 2010. In April, Ska Studios founder James Silva announced that the game was in development for an unidentified platform and would no longer be released through Xbox Live Indie Games. Joystiq noted that the demo ran on Microsoft XNA Game Studio 4.0, which is designed for the Xbox 360, Microsoft Windows computers, and Windows Phone 7. Ska Studios announced in May that the game was to undergo a "complete overhaul", and would be released through Xbox Live Arcade in 2012. The game was eventually released in August 2013 as part of Summer of Arcade, an annual Xbox Live Arcade promotion known for releasing several of the platform's most acclaimed games.
Ska Studios' first games, including the Xbox Live Arcade game The Dishwasher: Dead Samurai (April 2009), were developed entirely by James Silva. Michelle Juett was a tester for The Dishwasher: Dead Samurai, and the two met in person for the first time at the September 2009 Penny Arcade Expo. They began to date a year later, and Juett eventually left ArenaNet to join Ska Studios, becoming its second employee. Charlie Murder was one of the first games that the two worked on together. Silva did all of the game's programming work, while Juett handled its marketing. Silva and Juett worked together to design the art and compose the soundtrack. Charlie Murder's music was produced by Silva and sung by the pair. In an interview with Joystiq, James Silva explained that he used major game conferences, such as PAX East, as public betas. The conferences allowed Silva to expose a large number of people to the game, providing him with the opportunity to solicit feedback and discover issues. The couple also invited friends over for parties in order to test the game while it was in development. Silva proposed to Juett at the Charlie Murder booth at PAX 2011, using an in-game cutscene built in as a secret for the occasion.
Charlie Murder was the third Ska Studios game published by Microsoft Studios. During development, Microsoft Studios provided Ska Studios with usability testing and play testing feedback, handled localization, and found and suggested bug fixes. Microsoft required Ska Studios to create picture packs (Xbox Live account customizations), but was not responsible for the Windows Phone 8 game mechanic. Ska Studios had complete creative control over the game itself. Charlie Murder was promoted as a free Xbox download with Microsoft's Games with Gold program during the month of June 2014.
## Reception
Charlie Murder received "generally favorable" reviews, according to video game review aggregator Metacritic. The game's music was highly praised. The game's hand-illustrated visuals were also praised by reviewers. Critics felt that the music and visual style complemented the game's punk rock theme, and Official Xbox Magazine's Cameron Lewis praised the game for being rich in personality and detail without being over-polished.
Reviewers were less enthused about the game's user interface, and found that many gameplay details went unexplained. IGN's Jose Otero found the inventory management system, which lacks an easy way to sort items, to be problematic. Chris Carter from Destructoid noted that the game's intricacies are described in messages on the in-game phone, which he considered difficult to navigate and read, and that the messages were often insufficiently clear and detailed.
Critics compared the game to Ska Studios' previous side-scrolling beat 'em up games, The Dishwasher: Dead Samurai and The Dishwasher: Vampire Smile. Game Informer noted Charlie Murder's similarity to the Dishwasher series, and Destructoid's Chris Carter believed that Charlie Murder was an improvement over the previous games, in both presentation and in the amount of personality that the characters had. There was a consensus among reviewers that the game was more enjoyable in multiplayer, with Hardcore Gamer saying that the game felt designed for cooperative play.
|
[
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"## Plot",
"## Development",
"## Reception"
] | 2,089 | 35,877 |
1,411,599 |
Won't Get Fooled Again
| 1,173,535,450 |
1971 single by the Who
|
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"Song recordings produced by Glyn Johns",
"Songs written by Pete Townshend",
"Television drama theme songs",
"The Who songs",
"Track Records singles",
"Van Halen songs"
] |
"Won't Get Fooled Again" is a song by the English rock band the Who, written by Pete Townshend. It was released as a single in June 1971, reaching the top 10 in the UK, while the full eight-and-a-half-minute version appears as the final track on the band's 1971 album Who's Next, released that August. In the US, the single entered Billboard on 17 July, reaching No. 15.
Townshend wrote the song as a closing number of the Lifehouse project, and the lyrics criticise revolution and power. The track is known for a staccato keyboard figure, played on a simple home organ with a “rhythm” feature that produced a synth-like effect. The Who tried recording the song in New York in March 1971, but re-recorded a superior take at Stargroves the next month using the organ from Townshend's original demo. Ultimately, Lifehouse as a project was abandoned in favour of Who's Next, a straightforward album, where it also became the closing track. It has been performed as a staple of the band's setlist since 1971, often as the set closer, and was the last song drummer Keith Moon played live with the band.
As well as being a hit, the song has achieved critical praise, appearing as one of Rolling Stone's The 500 Greatest Songs of All Time. It has been covered by several artists, such as Van Halen, who took their version to No. 1 on the Billboard Album Rock Tracks chart. It has been used for several TV shows and films and in some political campaigns.
## Background
The song was originally intended for a rock opera Townshend had been working on, Lifehouse, which was a multi-media exercise based on his followings of the Indian religious avatar Meher Baba, showing how spiritual enlightenment could be obtained via a combination of band and audience. The song was written for the end of the opera, after the main character, Bobby, is killed and the "universal chord" is sounded. The main characters disappear, leaving behind the government and army, who are left to bully each other. Townshend described the song as one "that screams defiance at those who feel any cause is better than no cause". He later said that the song was not strictly anti-revolution despite the lyric "We'll be fighting in the streets", but stressed that revolution could be unpredictable, adding, "Don't expect to see what you expect to see. Expect nothing and you might gain everything." Bassist John Entwistle later said that the song showed Townshend "saying things that really mattered to him, and saying them for the first time."
The song's message is summarized in the last line "Meet the new boss, same as the old boss." Townsend was influenced to write the composition by an incident at Woodstock when he chased Abbie Hoffman off the stage, who had commandeered the microphone during a break in the band's performance. He explained to Creem in 1982, "I wrote 'Won’t Get Fooled Again' as a reaction to all that – ‘Leave me out of it: I don’t think your lot would be any better than the other lot!' All those hippies wandering about thinking the world was going to be different from that day. As a cynical English arsehole, I walked through it all and felt like spitting on the lot of them, and shaking them and trying to make them realise that nothing had changed and nothing was going to change."
Townshend had been reading Universal Sufism founder Inayat Khan's The Mysticism of Sound and Music, which referred to spiritual harmony and the universal chord, which would restore harmony to humanity when sounded. Townshend realised that the newly emerging synthesizers would allow him to communicate these ideas to a mass audience. He had met the BBC Radiophonic Workshop which gave him ideas for capturing human personality within music. Townshend interviewed several people with general practitioner-style questions, and captured their heartbeat, brainwaves and astrological charts, converting the result into a series of audio pulses. For the demo of "Won't Get Fooled Again", he linked a Lowrey organ into an EMS VCS 3 filter that played back the pulse-coded modulations from his experiments. He subsequently upgraded to an ARP 2500. The synthesizer did not play any sounds directly as it was monophonic; instead it modified the block chords on the organ as an input signal. The demo, recorded at a half-time tempo compared to the version by the Who, was completed by Townshend overdubbing drums, bass, electric guitar, vocals and handclaps.
## Recording
The Who's first attempt to record the song was at the Record Plant on W 44 Street, New York City, on 16 March 1971. Manager Kit Lambert had recommended the studio to the group, which led to his producer credit, though the de facto work was done by Felix Pappalardi. This take featured Pappalardi's Mountain bandmate, Leslie West, on lead guitar.
Lambert proved to be unable to mix the track, and a fresh attempt at recording was made at the start of April at Mick Jagger's house, Stargroves, using the Rolling Stones Mobile Studio. Glyn Johns was invited to help with production, and he decided to re-use the synthesized organ track from Townshend's original demo, as the re-recording of the part in New York was felt to be inferior to the original. Keith Moon had to carefully synchronise his drum playing with the synthesizer, while Townshend and Entwistle played electric guitar and bass respectively.
Townshend played a 1959 Gretsch 6120 Chet Atkins hollow body guitar fed through an Edwards volume pedal to a Fender Bandmaster amp, all of which he had been given by Joe Walsh while in New York. This combination became his main electric guitar recording setup for subsequent albums. Although intended as a demo recording, the end result sounded so good to the band and Johns, they decided to use it as the final take. Overdubs, including an acoustic guitar part played by Townshend, were recorded at Olympic Studios at the end of April. The track was mixed at Island Studios by Johns on 28 May. After Lifehouse was abandoned as a project, Johns felt "Won't Get Fooled Again", along with other songs, were so good that they could simply be released as a standalone single album, which became Who's Next. This song is written in the key of A Mixolydian.
## Release
"Won't Get Fooled Again" was first released in the UK as a single A-side on 25 June 1971, edited down to 3:35. It replaced "Behind Blue Eyes", which the group felt did not fit the Who's established musical style, as the choice of single. It was released in July in the US. The B-side, "I Don't Even Know Myself", was recorded at Eel Pie Studios in 1970 for a planned EP that was never released. The single reached No. 9 in the UK charts and No. 15 in the US. Initial publicity material showed an abandoned cover of Who's Next featuring Moon dressed in drag and brandishing a whip.
The full-length version of the song appeared as the closing track of Who's Next, released in August in the US and 27 August in the UK, where it topped the album charts. "Won't Get Fooled Again" drew strong praise from critics, who were impressed that a synthesizer had managed to be integrated so successfully within a rock song. Who author Dave Marsh described singer Roger Daltrey's scream near the end of the track as "the greatest scream of a career filled with screams". Cash Box said of it that the song has "rousing magic with the Who's trademark instrumental and vocal strength" and that "revolutionary lyric matched by the group's performance fervor make this a monster on its way." Record World said that "every element of [the Who's] unmistakable, magnificent sound is in the grooves here." Rock critic Paul Williams in a Rolling Stone issue, published on 17 September 1981, compared the instrumental built-up of the long version to the Doors' "Light My Fire".
In 2012, Paste ranked the song number three on their list of the 20 greatest The Who songs, and in 2022, Rolling Stone ranked the song number one on their list of the 50 greatest The Who songs. In 2021, the song was ranked number 295 on Rolling Stone's The 500 Greatest Songs of All Time. As of March 2018 it was certified Silver for 200,000 sold copies in the UK.
## Live performances
The Who first performed the song live at the opening date of a series of Lifehouse-related concerts in the Young Vic theatre, London on 14 February 1971. It has subsequently been part of every Who concert since, often as the set closer and sometimes extended slightly to allow Townshend to smash his guitar or Moon to kick over his drumkit. The group performed live over the synthesizer part being played on a backing tape, which required Moon to wear headphones to hear a click track, allowing him to play in sync. It was the last track Moon played live in front of a paying audience on 21 October 1976 and the last song he ever played with the Who at Shepperton Studios on 25 May 1978, which was captured on the documentary film The Kids Are Alright. The song was part of the Who's set at Live Aid in 1985, Live 8 in 2005, T4 on the Beach in 2008 and Capital FM's Summertime Ball concert in 2009, 2010 and 2015 and the radio station's Jingle Bell Ball concerts in 2009 and 2015.
In October 2001, The Who performed the song at The Concert for New York City to help raise funds for the families of firemen and police officers killed during the 9/11 attacks. They finished their set with "Won't Get Fooled Again" to a responsive and emotional audience, with close-up aerial video footage of the World Trade Center buildings playing behind them on a huge digital screen. In February 2010, the group closed their set during the halftime show of Super Bowl XLIV with this song. While the Who have continued to play the song live, Townshend has expressed mixed feelings for it, alternating between pride and embarrassment in interviews. Who biographer John Atkins described the track as "the quintessential Who's Next track but not necessarily the best."
Several live and alternative versions of the song have been released on CD or DVD. In 2003, a deluxe version of Who's Next was reissued to include the Record Plant recording of the track from March 1971 and a live version recorded at the Young Vic on 26 April 1971. The song is also included on the album Live at the Royal Albert Hall, from a 2000 show with Noel Gallagher guesting.
Daltrey, Entwistle and Townshend have each performed the song at solo concerts. Townshend has re-arranged the song for solo performance on acoustic guitar. On 30 June 1979, he performed a duet of the song with classical guitarist John Williams for the 1979 Amnesty International benefit The Secret Policeman's Ball.
In May 2019, Daltrey and Townshend performed a version of the song on classroom instruments with Jimmy Fallon and his house band the Roots for the Tonight Show.
## Chart history
### Weekly charts
### Year-end charts
## Personnel
- Roger Daltrey – lead vocals
- Pete Townshend – electric guitar, acoustic guitar, EMS VCS 3, Lowrey organ, vocals
- John Entwistle – bass guitar
- Keith Moon – drums, percussion
## Cover versions
The song was first covered in a distinctive soul style by Labelle on their 1972 album Moon Shadow. Van Halen covered the song in concert in 1992. Eddie Van Halen re-arranged the track so that the synthesizer part was played on the guitar. A live recording was released on Live: Right Here, Right Now, and made it to number one on the Billboard Album Rock Tracks chart.
Both Axel Rudi Pell (on Diamonds Unlocked) and Hayseed Dixie (on Killer Grass) covered the song in their established styles of metal and bluegrass respectively. Richie Havens covered the track on his 2008 album, Nobody Left to Crown, playing the song at a slower tempo than the original.
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1,123,153 |
Borderland (Star Trek: Enterprise)
| 1,171,882,642 | null |
[
"2004 American television episodes",
"Star Trek: Enterprise (season 4) episodes",
"Television episodes about eugenics",
"Television episodes about slavery",
"Television episodes directed by David Livingston"
] |
"Borderland" is the fourth episode of the fourth season of the science fiction television series Star Trek: Enterprise. It originally aired on October 29, 2004, on UPN. The script was written by Ken LaZebnik, and was directed by David Livingston. The episode featured the first appearance of Star Trek: The Next Generation actor Brent Spiner in Enterprise. It also featured guest appearances by Bobbi Sue Luther and WWE wrestler Big Show.
The series follows the adventures of the first Starfleet starship Enterprise, registration NX-01. In this episode, genetically engineered humans called "Augments" capture a Klingon vessel, and the Enterprise is sent to find them. They retrieve the Augments' creator, Doctor Arik Soong (Brent Spiner), and head in pursuit. After being attacked by Orions and rescuing their crew members, the ship is attacked by Augments who retrieve their creator. The episode is the first of a three episode arc, followed by "Cold Station 12" and "The Augments".
The reception from critics was mixed, with Spiner's performance generally praised. The episode was nominated for a Primetime Emmy Award for Outstanding Stunt Coordination.
## Plot
In May 2154, a pair of genetically enhanced humans, referred to as "Augments", leave their home planet and take control of a Klingon Bird-of-Prey warship after killing the crew. Amid threats and protests by the Klingons, Starfleet tasks the newly refurbished Enterprise to stop the culprits. Captain Archer visits disgraced scientist Doctor Arik Soong, imprisoned for stealing augmented embryos, and transfers him from a holding facility. On board, Soong soon recognises his augments are responsible for the actions on board the Klingon vessel, but does not know why. He convinces Archer that he will be able to order his "children" to stand down without a fight.
Enterprise enters an area of space known as the "Borderland" between the territories of the Klingons and Orions. They are attacked by two Orion vessels and several crew members are captured, including T'Pol (newly granted the Starfleet rank of Commander). They are taken to a slave market and Archer is forced to ask for Soong's assistance to rescue his crew. After entering the market, the ship is able to beam most of the crew back, but when they try to release T'Pol's restraints, all of the prisoners in the slave market are released and chaos breaks out. Soong also attempts to escape, but Archer quickly returns him to Enterprise, where he demands that Soong take him immediately to the Augments. Soong refuses.
On board the Klingon vessel, it is clear that the Augments consider Soong to be their "father". In a power-play, the Augment leader, Raakin, is tricked by Persis (who had been pretending to be devoted to him) and killed by his "brother" Malik. The Bird-of-Prey approaches Enterprise, saving them from a second Orion attack. The ships dock, and Malik requests the release of Soong from the brig — Archer refuses, but Malik forces him to comply. With Enterprise disabled, Soong announces that they now need to go and retrieve the remaining thousands of Augment embryos.
## Production
The three episode arc was an attempt to connect the events of Enterprise with The Original Series. It featured the augments, genetically engineered humans from 20th century Earth who had been featured previously in "Space Seed" and Star Trek II: The Wrath of Khan, both featuring Ricardo Montalbán as Khan Noonien Singh. The mini-arc which began with "Borderland" was one of several plots during season four that sought to link the series closer to The Original Series and The Next Generation due to ongoing low ratings.
It was not originally planned to include an ancestor of Noonien Soong in the episode, with executive producer Manny Coto instead planning for the character to be Colonel Phillip Green from The Original Series episode "The Savage Curtain". The character was to be a straightforward villain, but after discussion with The Next Generation actor Spiner, the character was re-written to become Arik Soong, described as a "misunderstood genius". It was Spiner's first Star Trek role since Star Trek: Nemesis in 2002, having previously played Arik Soong's descendant Noonien Soong and his creations Data and Lore in The Next Generation.
"Borderland" was the 80th episode of Enterprise, which was one more episode than the entire run of The Original Series. The episode featured the return of the Orion race, which had been featured in The Original Series episodes "The Cage" and "Whom Gods Destroy". Actors portraying Orions included Bobbi Sue Luther and WWE wrestler Big Show. Luther auditioned for the role despite being only 5'5 when the casting call insisting that actress must be at least 5'10. Luther subsequently explained that she was "familiar with the show but never really watched it", and thanked her makeup artist fiancé Robert Hall for explaining her role as an Orion slave girl to her. She researched the role on the internet after she received the script, in particular the portrayal by Susan Oliver in Star Trek's original pilot, "The Cage". It took four hours of make-up work for Luther to be ready, and she described the costume as slightly skimpier than she was used to as a lingerie and bikini model. Despite the application of isopropyl alcohol, Luther said that it took days for the remnants of the make-up to be removed. Brent Spiner poked fun at her about having to be painted and not him, after his many years of makeup as Data.
Before broadcast, it was rumoured that the character of Vice Admiral Maxwell Forrest (Vaughn Armstrong) would be killed off in the episode. His death came three episodes later in "The Forge". It was the last appearance in the Star Trek franchise by J. G. Hertzler, best known for playing Martok in Deep Space Nine. Appearing once again as a Klingon, he was allowed to choose his own costume from the prop department and decided to re-use the outfit worn by Michael Ansara as Kang in the DS9 episode "Blood Oath". Several items from the episode were sold on eBay as part of the It's A Wrap! sale and auction. These included the Orion costumes worn by Big Show and others, a unique Orion console created for the slave market, and a variety of Orion PADDs.
## Reception
"Borderland" first premiered on UPN in the United States on October 29, 2004. It had ratings of 2.0/4, meaning it was seen by 2.0 percent of all households, and four percent of all those watching television at the time of broadcast.
Robert Bianco highlighted the episode as one to watch in his preview column for USA Today. Maureen Ryan for the Chicago Tribune praised the return of Brent Spiner to Star Trek, saying: "Surprise, fear, elation, self-control; they're all given masterful life by Spiner in the space of a few seconds." IGN gave it a score of three out of five, and said it was a return to the quality of "Broken Bow", and praised the abilities of Spiner. The teaser trailer was compared to that of a Quentin Tarantino film, and concluded saying: "Executive Producer Manny Coto has a long way to go if he has any hope of making up for Enterprise'''s transgressions the past three years but if this three episode story arc lives up to the promise shown in "Borderland", he might just pull it off." IGN reviewed the episode again when it was repeated, saying it held up, but said the rest of the arc failed live up to the promise of this episode. Stephanie Vander Weide of Television Without Pity gave the episode a "C" grade rating. She said that she liked the premise of the episode, but felt that the execution was sub-par, describing the augments as "Khannabees" and expressing her disappointment in the actions of Captain Archer. The mini-arc featuring the episodes "Borderland", "Cold Station 12" and "The Augments" were subsequently ranked the sixth best story of Enterprise by Den of Geek writer James Hunt.
In 2017, Vulture noted "Borderland" as an episode where the show "hit its stride", and praised actor Brent Spiner for his role in the episode as Arik. They also listed this episode as one of the best of the series, in their episode guide for all Star Trek series.
In 2018, Screen Rant praised casting Brent Spiner as the character Arik Soong.
### Awards
Alongside his work on the following episode "Cold Station 12", Vince Deadrick, Jr.'s work on "Borderland" was nominated for a Primetime Emmy Award for Outstanding Stunt Coordination. It was instead awarded to Matt Taylor for his work on 24''.
## Home media release
A home media release of the episode was on DVD; having been released as part of the season four box set on November 1, 2005 in the United States. The Blu-ray edition was released on April 1, 2014.
|
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"## Plot",
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644,055 |
Prayer of Saint Francis
| 1,171,122,375 |
Early 20th-century Catholic prayer mistakenly attributed to Francis of Assisi
|
[
"1967 songs",
"Alcoholics Anonymous",
"Christian pacifism",
"Christian songs",
"Franciscan spirituality",
"Roman Catholic prayers",
"Works originally published in French magazines",
"Works originally published in religious magazines"
] |
The anonymous text that is usually called the Prayer of Saint Francis (or Peace Prayer, or Simple Prayer for Peace, or Make Me an Instrument of Your Peace) is a widely known Christian prayer for peace. Often associated with the Italian Saint Francis of Assisi ( – 1226), but entirely absent from his writings, the prayer in its present form has not been traced back further than 1912. Its first known occurrence was in French, in a small spiritual magazine called La Clochette (The Little Bell), published by a Catholic organization in Paris named La Ligue de la Sainte-Messe (The League of the Holy Mass). The author's name was not given, although it may have been the founder of La Ligue, Father Esther Bouquerel. The prayer was heavily publicized during both World War I and World War II. It has been frequently set to music by notable songwriters and quoted by prominent leaders, and its broadly inclusive language has found appeal with diverse faiths encouraging service to others.
## Text
In most of the published versions of the prayer, the text is abridged, paraphrased or copyrighted. Below is the complete original text from its earliest known publication (1912, in French, copyright expired), alongside a line-by-line English translation.
### Franciscan viewpoints
The Franciscan Order does not include the prayer in its official "Prayers of St. Francis", and a church historian has noted that the phrasing of the first half of the text ("let me...") is atypically self-oriented for Francis:
> The most painful moment usually comes when [students] discover that Saint Francis did not write the "Peace Prayer of Saint Francis"... Noble as its sentiments are, Francis would not have written such a piece, focused as it is on the self, with its constant repetition of the pronouns "I" and "me", the words "God" and "Jesus" never appearing once.
However, the prayer has been recommended by members of the Order, while not attributing it to Saint Francis.
It has been noted that the second half of the prayer has similarities to this saying of Giles of Assisi (c. 1190 – 1262), one of the saint's close companions:
> > Aurea Verba Beati Aegidii Assiensis
> >
> > Beatus ille qui amat, et non desiderat amari: beatus ille qui timet, et non desiderat timeri: beatus ille qui servit, et non desiderat sibi serviri: beatus ille bene se gerit erga alios, et non ut alii se bene gerant erga ipsum: et quia haec magna sunt, ideo stulti ad ea non attingunt.
> > Golden Sayings of Blessed Giles of Assisi
> >
> > Blessed is he who loves and does not therefore desire to be loved; Blessed is he who fears and does not therefore desire to be feared; Blessed is he who serves and does not therefore desire to be served; Blessed is he who behaves well toward others and does not desire that others behave well toward him; And because these are great things, the foolish do not rise to them.
The first half of the prayer has similarities to Veni Sancte Spiritus in both structure and content.
## Musical settings
### Sebastian Temple (1967)
The most-prominent hymn version of the prayer is "Make Me a Channel of Your Peace", or simply "Prayer of St. Francis", adapted and set to a chant-like melody in 1967 by South African songwriter Sebastian Temple (born Johann Sebastian von Tempelhoff, 1928–1997), who had become a Third Order Franciscan. The hymn is an anthem of the Royal British Legion and is usually sung at its annual Festival of Remembrance. In 1997, it was part of the Funeral of Diana, Princess of Wales, and was performed by the Irish singer Sinéad O'Connor on the Princess Diana tribute album. The hymn was also sung for the religious wedding ceremony of Prince Albert II of Monaco to South African Charlene Wittstock in 2011.
### Others
Additional settings of the prayer by notable musicians include those by:
- Arthur Bliss
- Maire Brennan
- The Burns Sisters
- F. R. C. Clarke
- René Clausen
- Bing Crosby – recorded 4 November 1954 for the cause of Father Junípero Serra.
- Donovan
- Dream Theater
- Petr Eben
- John Foley
- Marc Jordan
- Singh Kaur
- Snatam Kaur
- Matt Maher
- Mary McDonald
- Sarah McLachlan
- A Ragamuffin Band
- John Rutter
- Patti Smith
- John Michael Talbot
## History
Christian Renoux, a history professor at the University of Orléans, published in French in 2001 a book-length study of the prayer and its origins, clearing up much of the confusion that had accumulated previously. The Franciscan journal Frate Francesco and the Vatican newspaper L'Osservatore Romano published articles in Italian summarizing the book's findings, and Renoux published an online abstract in English at The Franciscan Archive.
### La Clochette (1912)
The earliest known record of the prayer is its appearance, as a "beautiful prayer to say during Mass", in the December 1912 issue of the small devotional French Catholic publication La Clochette, "the bulletin of the League of the Holy Mass". Although the prayer was published anonymously, Renoux concluded that, with few exceptions, the texts in La Clochette were generally written by its founding editor, Father Esther Bouquerel (1855–1923).
### Mistaken attribution (1916) to 11th-century William the Conqueror
In 1915, Marquis Stanislas de La Rochethulon (1862–1945), founding president of the Anglo-French association Souvenir Normand (Norman Remembrance), which called itself "a work of peace and justice inspired by the testament of William the Conqueror, who is considered to be the ancestor of all the royal families of Europe", sent this prayer to Pope Benedict XV in the midst of World War I. The Pope had an Italian translation published on the front page of L'Osservatore Romano on 20 January 1916. It appeared under the heading, "The prayers of 'Souvenir Normand' for peace", with a jumbled explanation: "'Souvenir Normand' has sent the Holy Father the text of some prayers for peace. We have pleasure in presenting in particular the prayer addressed to the Sacred Heart, inspired by the testament of William the Conqueror." On 28 January 1916, the newspaper La Croix reprinted, in French, the article from L'Osservatore Romano, with exactly the same heading and explanation. La Rochethulon wrote to La Croix to clarify that it was not a prayer of Souvenir Normand; but he failed to mention La Clochette, the first publication in which it had appeared. Because of its appearance in L'Osservatore Romano and La Croix as a simple prayer for peace during World War I, the prayer became widely known.
### Mistaken attribution (c. 1927) to 13th-century Saint Francis
Around 1918, Franciscan Father Étienne Benoît reprinted the "Prayer for Peace" in French, without attribution, on the back of a mass-produced holy card depicting his Order's founder, the inspirational peacemaker from the Crusades era, Saint Francis of Assisi. The prayer was circulating in the United States by January 1927, when its first known English version (slightly abridged from the 1912 French original) appeared in the Quaker magazine Friends' Intelligencer, under the misattributed and misspelled title "A prayer of St. Francis of Assissi". The saint's namesake American archbishop and military vicar Francis Spellman distributed millions of copies of the "Prayer of St. Francis" during World War II, and the next year it was read into the Congressional Record by Senator Albert W. Hawkes. As a friar later summarized the relationship between the prayer and St. Francis: "One can safely say that although he is not the author, it resembles him and would not have displeased him."
## Other notable invocations
The Prayer of St. Francis has often been cited with national or international significance, in the spirit of service to others.
### By religious leaders
In 1986, Pope John Paul II recited the prayer in bidding farewell to the global religious leaders he hosted for the first "World Day of Prayer for Peace", in Assisi at the Basilica of St. Francis. Indeed, the prayer "over the years has gained a worldwide popularity with people of all faiths".
Mother Teresa of Calcutta (Kolkata, India) made it part of the morning prayers of the Roman Catholic religious institute she founded, the Missionaries of Charity. She attributed importance to the prayer when receiving the Nobel Peace Prize in Oslo in 1979 and asked that it be recited. It became the anthem of many Christian schools in Kolkata. South Africa's Anglican archbishop Desmond Tutu, winner of the 1984 Nobel Peace Prize for his non-violent leadership against apartheid, declared that the prayer was "an integral part" of his devotions.
### By political leaders
Margaret Thatcher, after winning the 1979 general election, paraphrased the prayer on the doorstep of 10 Downing Street, surrounded by a throng of reporters, having "kissed hands" with Queen Elizabeth II and become Prime Minister.
In 1995, US President Bill Clinton quoted it in his welcoming remarks to John Paul II, starting the papal visit to address the United Nations in New York City. Nancy Pelosi quoted the prayer when she became Speaker of the US House of Representatives in 2007, as did her successor John Boehner when he resigned in 2015. Pelosi invoked it again at the opening of the evening House session following the January 6, 2021, insurrection and storming of the Capitol. At the 2012 Democratic Convention, Jena Nardella invoked the prayer during the closing Benediction. President-elect Joe Biden quoted the prayer during his speech following his victory in the Electoral College on December 14, 2020.
### By others
The prayer is referenced in the Alcoholics Anonymous book Twelve Steps and Twelve Traditions (1953), and is often known to AA members as the "Step Eleven Prayer". An abbreviated version of the prayer was sung in Franco Zeffirelli's 1972 film about St. Francis, Brother Sun, Sister Moon. In Band Of Brothers (2001), episode six “Bastogne”, Eugene ‘Doc’ Roe recites “Lord, grant that I shall never seek so much to be consoled as to console, to be understood as to understand, or to be loved as to love with all my heart. With all my heart.” while praying in a foxhole in the Bois Jacques. A modified segment of the prayer is recited in one of the early trailers for the Sylvester Stallone 2008 film Rambo. A modified version of the prayer appears in the song Prayer in the musical Come From Away. Beanie Feldstein sings the prayer in the 2017 movie Lady Bird, set at a Catholic girls' school. A shortened version appears in the HBO show Deadwood, episode 11, season one. And also appears in the CBC TV Series Anne with an E, episode 3, season three.
Sinéad O'Connor recorded a version for the 1987 Diana, Princess of Wales: Tribute album.
According to singer and guitarist Trey Anastasio from the American rock band Phish, recital of the Saint Francis prayer is an integral part of his pre-concert ritual.
|
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"### Mistaken attribution (1916) to 11th-century William the Conqueror",
"### Mistaken attribution (c. 1927) to 13th-century Saint Francis",
"## Other notable invocations",
"### By religious leaders",
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37,535,309 |
Jump (Rihanna song)
| 1,122,321,022 |
2014 single by Rihanna
|
[
"2012 songs",
"2014 singles",
"Dubstep songs",
"Rihanna songs",
"Song recordings produced by Chase & Status",
"Song recordings produced by Kuk Harrell",
"Song recordings produced by Stargate (record producers)",
"Songs written by Ginuwine",
"Songs written by Kevin Cossom",
"Songs written by Mikkel Storleer Eriksen",
"Songs written by Saul Milton",
"Songs written by Static Major",
"Songs written by Tor Erik Hermansen",
"Songs written by Will Kennard"
] |
"Jump" is a song recorded by Barbadian singer Rihanna for her seventh studio album, Unapologetic (2012). It was written by Kevin Cossom, M. B. Williams, Stargate and Chase & Status, with production done by the latter two and Kuk Harrell. It samples the lyrics of the 1996 single "Pony", performed by Ginuwine. Its composition and structure received comparisons to not only Justin Timberlake's song "Cry Me a River" and Magnetic Man's "I Need Air", but also to some of Rihanna's previous songs, including "Rude Boy" and "Red Lipstick". A remix of the song called "Jump (Club Cheval Rap Remix)" by rapper Theophilus London was leaked onto the internet. "Jump" was serviced to Australian radio on January 24, 2014 as the album's sixth single.
The song received generally positive reviews from music critics. Many reviewers thought that "Jump" stood out as one of a couple of highlights on Unapologetic, while a few others singled it out as the sole highlight. However, it prompted a mixed reaction from James Montgomery for MTV, who thought that the dubstep bass line produced a "mixed result". Genevieve Koski for The A.V. Club, who wrote that the track should not have been included on the album as it is a poor song choice, commented that songs like "Jump" are responsible for simply furthering her career in the music industry. Following the release of Unapologetic, "Jump" debuted on the French Singles Chart at number 153 and the UK Singles Chart at number 150 due to strong digital download sales.
## Background and production
Rihanna began developing a "new sound" for her seventh studio album in March 2012, even though she had not yet begun recording. On September 12, 2012, Def Jam France announced via Twitter that Rihanna would release a new single the upcoming week while her seventh studio album was scheduled to be released in November 2012. However, the tweet was shortly deleted and replaced with another clarifying that more information will available the next day (September 13). Via her official Twitter account, Rihanna posted series of "teasing" tweets announcing her seventh studio album. On October 11, 2012, in one of her tweets revealed that the title of her new album is Unapologetic along with its cover.
"Jump" is the overall sixth and final single off Unapologetic. It was written by Kevin Cossom and M. B. Williams together with its producers Stargate (Mikkel S. Eriksen and Tor Erik Hermansen) and Chase & Status (Saul Milton and Will Kennard). The song samples elements of "Pony" (1996), as performed by Ginuwine and written by Elgin "Ginuwine" Lumpkin, Stephen Garrett and Timothy "Timbaland" Mosley. In an interview with MTV News Ginuwine stated: "You know what? My management told me she wanted to use it, and Rihanna, I'm a fan of hers and I love what she's doing. You got to embrace it! You can't be a stickler... especially when an artist like Rihanna wants to use it". He further said that he is anxious to hear what the singer has done with the sample and hopes that it will do a good job for her, just as it did for him.
Eriksen and Miles Walker recorded "Jump" at Roc the Mic Studio in New York, while Aamir Yaqub served as the assistant vocal engineer. Kuk Harrell provided the vocal production of the song and also recorded Rihanna's vocals together with Marcos Tovar at R Studios in Los Angeles. It was mixed by Phil Than at Ninja Club Studios in Atlanta with Daniela Rivera serving as assistant mixing engineer. Cossom sang additional vocals, while all the instruments and programming were provided by Eriksen, Hermansen, Mikey Mike and Chase & Status.
## Composition and lyrical interpretation
"Jump" is a song that runs four minutes and twenty-four seconds, and "utilizes dubstep's distinctive bass sound to approximate the belching chorus of the original song". According to Brad Stern of MTV Buzzworthy, "Jump" features "sexy, slow burning" chorus and resembles Rihanna's 2010 single "Rude Boy" (Rated R, 2009). Daily Mirror'''s Priya Elan also compared "Jump" to the singer's song "Red Lipstick" (Talk That Talk, 2011), while James Bien of The Daily Northwestern found it similar to the 2010 single by Magnetic Man, "I Need Air". Melissa Maerz of Entertainment Weekly labeled the song a "dubstep-warped banger".
Eric Henderson for Slant Magazine disapproved of "Jump", writing that it is an "ice-cold" and "echoey dubstep torture chamber" whereby Rihanna interpolates Ginuwine's "Pony" sample void of emotion. Rihanna's vocals on the song sound similar to the vocals by Justin Timberlake on his 2002 single "Cry Me a River" (Justified, 2002). Lyrically, in "Jump" Rihanna preaches to her former partner that she won't be chasing him. Jude Rodgers of The Guardian described it as a "see sex wriggling everywhere". In the song, the singer sings "Skrillex-worthy" lines, "You think I give a damn/ but you know who I am/ I don't go around chasing no dude". The chorus features Rihanna singing, "If you want it, let's do it/ Ridin' my pony/ My saddle is waitin'/ Come and jump on it."
## Remix
Rapper Theophilus London remixed the song, a remix which leaked under the title "Jump (Club Cheval Rap Remix)". Additional production to the song was added by Club Cheval. Several new lines were added, such as "I don't follow the trend/ the trend follow me, bruh" and "I'm in Nice getting nice with some freaks/ Hermes, bubble bath, so I'm feelin' freeesh." He also quotes lyrics from Rihanna's 2012 single "Diamonds" in the line, "Versace, chrome, we're shinin'/Shine bright like a Neil Diamond." Michael Depland of MTV Buzzworthy praised the remix and wrote that it makes the song sound even better.
## Critical reception
Allison Stewart for The Washington Post thought that "Jump" stood out as one of the highlights of Unapologetic, describing it as a "monster in the making". Along with "Stay", Stewart listed "Jump" as her top two songs on the album. Alike Stewart, Melissa Maerz for Entertainment Weekly wrote that "Jump" was one of her top recommendations to listen to along with "Diamonds". Stacey-Ann Ellis for Vibe thought that "Jump" could be "mosh-inducing" if played in a nightclub. Michael Gallucci for PopCrush also agreed that "Jump" is one of Unapologetic's best songs, writing that "It's an unofficial rule in pop music that any song titled 'Jump' is going to be great (see Pointer Sisters, Van Halen, Kriss Kross, etc.). Rihanna's is no exception". Chris Younie for 4Music echoed Gallucci's sentiments, writing that it is one of the best songs on the album. He further wrote that he felt as though the album peaked after the second track, "Diamonds", had finished, but stated that "Jump" filled void between that and the former.
James Montgomery for MTV News thought that the dubstep bass line produced a "mixed result", but he praised the sample of Ginuwine's "Pony". Genevieve Koski for The A.V. Club criticised "Jump", writing that it is the "perfect example" of poor decision making with regard to song choices for the album, which her opinion, have "elevated" Rihanna's career. She brandished the song as "trashy decadence without shame". Robery Copsey for Digital Spy felt that the song embodied "a sense of last-minute record label box-ticking", with particular emphasis on Chase & Status' presence and the "wobble" of the chorus. He continued it described "Jump" as a "safe option" to include on the album.
## Credits and personnel
Recording
- Recorded at Roc the Mic Studios, New York City, New York
- Vocals recorded at R Studios, Los Angeles, California.
- Mixed at Ninja Club Studios, Atlanta, Georgia.
Sample
- Contains samples of "Pony" performed by Ginuwine and written by Elgin Lumpkin, Stephen Garrett and Timothy Mosley.
Personnel
- Songwriting – Kevin Cossom, M. B. Williams, Mikkel S. Eriksen, Tor Erik Hermansen, Saul Milton, Will Kennard
- Production – Stargate, Chase & Status
- Recording engineers – Mikkel S. Eriksen, Miles Walker
- Assistant vocal engineer – Aamir Yaqub
- Vocal recording – Kuk Harrell, Marcos Tovar
- Vocal production – Kuk Harrell
- Mixing – Phil Than
- Additional/assistant engineering – Daniela Rivera
- Additional vocals – Kevin "KC" Cossom
- Instruments and programming – Mikkel S. Eriksen, Tor Erik Hermansen, Mikey Mike, Chase & Status
Credits adapted from the liner notes of Unapologetic, Def Jam Recordings, SRP Records.
## Chart performance
Following the release of Unapologetic'', "Jump" debuted on two national single charts due to strong digital download sales. In France, it debuted at number 153 for the week dated December 1, 2012, and fell to number 191 the following week; it spent a total of two weeks on the chart. In the United Kingdom, it debuted at number 150 on December 2, 2012. It peaked at number 34 on the R&B/Hip-hop Digital Songs chart on December 3, 2012. In Oceania, it attained commercial success after being released as a single. It peaked at number 10 in New-Zealand and at number 5 in Australia, where it was certified Platinum for shipments over 75,000 copies.
## Charts
### Weekly charts
### Year-end charts
## Certifications
|
[
"## Background and production",
"## Composition and lyrical interpretation",
"## Remix",
"## Critical reception",
"## Credits and personnel",
"## Chart performance",
"## Charts",
"### Weekly charts",
"### Year-end charts",
"## Certifications"
] | 2,181 | 24,206 |
7,800,136 |
Hurricane Erin (2001)
| 1,167,035,628 |
Category 3 Atlantic hurricane
|
[
"2001 Atlantic hurricane season",
"Cape Verde hurricanes",
"Category 3 Atlantic hurricanes",
"Hurricanes in Bermuda",
"Hurricanes in Canada",
"Tropical cyclones in 2001"
] |
Hurricane Erin was the longest-lived hurricane in the 2001 Atlantic hurricane season. The sixth tropical depression, fifth tropical storm, and first hurricane of the season, Erin developed from a tropical wave on September 1. After strengthening to a 60 mph (97 km/h) tropical storm as it moved to the west-northwest, wind shear weakened Erin and caused it to degenerate into a remnant low on September 5. The remnants re-organized into a tropical depression the next day, and Erin strengthened into a hurricane on September 9 while moving northwestward. This was the latest date for the first hurricane of the season since Hurricane Diana on September 10, 1984. Erin quickly intensified and reached peak winds of 120 mph (190 km/h) later on September 9. At its closest approach, Erin passed 105 miles (169 km) east-northeast of Bermuda near peak intensity, and subsequently weakened as it turned to the east. A trough turned Erin to the northeast, and after passing just east of Cape Race, Newfoundland it became extratropical on September 15. The extratropical remnant continued northeastward and was absorbed into another extratropical storm near Greenland on September 17.
Though it passed 105 miles (169 km) east of Bermuda, Hurricane Erin caused little damage or effects on the island. Large swells from the hurricane produced rough surf and rip currents along the East Coast of the United States. In Newfoundland, Erin dropped moderate amounts of rain and gusty winds, though no damage was reported. Throughout its path, Erin caused no casualties, no injuries, and minor damage.
## Meteorological history
A tropical wave moved off the coast of Africa on August 30. It almost immediately displayed signs of tropical cyclone formation with the development of deep convection and curved rainbands. Organization continued, and late on August 30 Dvorak classifications began on the system. On August 31, after passing well south of the Cape Verde islands, the system stopped its organization trend. Convection became sporadic, and the system became poorly organized as it moved westward at 20 mph (32 km). However, environmental conditions remained favorable. On September 1, the cloud pattern became better organized, and a low-level circulation quickly developed. Following an increase in convection and conformation of a low-level circulation by a buoy, it is estimated the system developed into Tropical Depression Six late on September 1, while located 1,600 miles (2,600 km) east of the Lesser Antilles.
Located to the south of a mid-level ridge, the depression moved to the west-northwest. With weak to moderate upper-level wind shear over the system, the depression gradually organized and intensified into Tropical Storm Erin on September 2. Though Erin had favorable upper-level outflow and developing convection, the inner core of the storm remained disorganized. The storm slowly strengthened, and attained an initial peak intensity of 60 mph (97 km/h) while located about 1,150 miles (1,850 km) east of the Lesser Antilles. Favorable conditions were expected to allow Erin to continue to strengthen to reach winds of 85 mph (137 km/h). However, an upper-level low to the northwest of Erin produced strong vertical shear over the storm, and Erin quickly weakened as the storm's low-level circulation center became exposed to the southwest of the deep convection. The shear slightly abated on September 4, allowing Erin to briefly re-strengthen. However, the storm remained disorganized, and following an increase in southwesterly wind shear, Erin began another weakening trend. On September 5, Erin weakened to a tropical depression, and hours later, the storm's low-level circulation dissipated.
The remnant low-pressure area continued to the west-northwest, and on September 6, the system gradually produced deep convection. A surface circulation redeveloped in the northern portion of the remnants of Erin, and the system developed into a tropical depression again late on September 6, while located 365 miles (587 km) north-northwest of where it previously dissipated. The depression moved to the north-northeast, then turned to the north-northwest, and regained tropical storm status on September 7. Erin steadily intensified, and its convection and cloud pattern became much better organized on September 8. On September 9, Erin intensified into a hurricane while located 104 miles (167 km) east-northeast of Bermuda, and a 40-mile (64 km) wide eye developed. Erin quickly strengthened later that day to reach a peak intensity of 120 mph (190 km/h) and a minimum central pressure of 968 mbar (28.6 inHg).
Shortly after reaching its peak intensity, Erin passed 105 miles (169 km) east-northeast of Bermuda, its closest approach to the island. The hurricane maintained peak strength for 18 hours before slowly weakening. Its weakening trend was slower than usual due to warmer than usual water temperatures, and by late on September 10 Erin weakened to a Category 2 hurricane. Multiple short-wave troughs weakened the western portion of the subtropical ridge, and on September 11, Erin decelerated as it turned to the east. A strengthening mid- to upper-level trough over eastern Canada turned the hurricane to the northeast. It gradually accelerated its forward motion, and on September 15, after weakening to a strong tropical storm, Erin passed just east of Cape Race, Newfoundland. Convection gradually diminished as it moved through the north Atlantic Ocean, and later on September 15, Erin transitioned into an extratropical storm. The extratropical storm continued northeastward, and after crossing over southern Greenland, Erin's remnant merged with a high-latitude cyclonic flow to the east of Greenland on September 17.
## Impact and preparations
When the hurricane appeared to pose a threat to Bermuda, its government issued a hurricane watch. Around 24 hours before Erin made its closest approach, the watch was upgraded to a hurricane warning. Initial forecasts indicated Erin would pass within 15 miles (24 km) of the island. As a result, ferry and bus transport were suspended. Officials prepared a school to be used as an emergency shelter, though few people used it. The threat of the hurricane cancelled several flights in and out of the Bermuda International Airport, stranding hundreds of travellers. Cruise ships and cargo ships also cancelled or delayed their arrivals. The strongest winds of Erin remained to the east of the island. As a result, the highest winds on the island peaked at 41 mph (66 km/h). Moderate winds downed several trees onto power lines, leaving dozens of homes without power for several hours. Prolonged durations of strong waves resulted in coastal beach erosion. Large waves broke a boat from its moorings, though two men swam through the rough seas to prevent the yacht from running aground. The storm produced rainfall on the island, yet no flooding was reported. Little structural damage occurred on Bermuda, and there were no reported injuries or casualties.
Swells from Erin produced rip currents along the North Carolina coastline. Waves were expected to reach over 6 feet (1.8 m) in height. Officials at the National Hurricane Center cautioned authorities and residents to monitor the rough seas.
Erin produced moderate winds across Newfoundland, including a maximum sustained wind report of 53 mph (85 km/h) with a gust of 67 mph (108 km/h) at Cape Race. The storm also produced moderate amounts of precipitation, peaking at 5.1 inches (130 mm) at Sagona Island. Along the coast, the passage of the storm led to wave heights of up to 30 feet (9.1 m), while offshore a buoy recorded a wave height of 47 feet (14 m). No damage was reported in Canada.
## See also
- Other storms of the same name
- List of Bermuda hurricanes
- Timeline of the 2001 Atlantic hurricane season
|
[
"## Meteorological history",
"## Impact and preparations",
"## See also"
] | 1,634 | 12,193 |
36,596,721 |
Episode 1 (Twin Peaks)
| 1,150,999,945 | null |
[
"1990 American television episodes",
"Television episodes written by David Lynch",
"Television episodes written by Mark Frost",
"Twin Peaks (season 1) episodes"
] |
"Episode 1", also known as "Traces to Nowhere", is the second episode of the first season of the American mystery television series Twin Peaks. The episode was written by series creators David Lynch and Mark Frost, and directed by Duwayne Dunham. "Episode 1" features series regulars Kyle MacLachlan, Michael Ontkean, and Richard Beymer.
Dunham was offered the role of directing the episode by Lynch, who wanted Dunham to edit his next film project, Wild at Heart (1990). Dunham continued to use several stylistic elements in his direction that he had observed in Lynch's work on "Pilot", including largely static camera work and the use of reddish color tints. The episode also marks the first appearance of Killer Bob, who was played by set decorator Frank Silva after Silva had been accidentally caught on camera.
"Episode 1" continued the investigation of the series' main plotline, the murder of schoolgirl Laura Palmer (Sheryl Lee), with Federal Bureau of Investigation agent Dale Cooper (MacLachlan) interviewing several suspects connected to the victim. The episode was viewed by approximately 14.9 million households upon its initial airing, which represented over a quarter of the available audience. Since its broadcast, the episode has earned positive reviews from critics.
## Plot
### Background
The small town of Twin Peaks, Washington, has been shocked by the murder of schoolgirl Laura Palmer (Sheryl Lee) and the attempted murder of her classmate Ronette Pulaski (Phoebe Augustine). Federal Bureau of Investigation special agent Dale Cooper (Kyle MacLachlan) has come to the town to investigate, and initial suspicion has fallen upon Palmer's boyfriend Bobby Briggs (Dana Ashbrook) and the man with whom she was cheating on Briggs, James Hurley (James Marshall).
### Events
Cooper takes breakfast at the Great Northern Hotel, enjoying a "damn fine cup of coffee" as Audrey Horne (Sherilyn Fenn) introduces herself and begins flirting with him. He makes his way to the sheriff's department, where he and Sheriff Truman (Michael Ontkean) discuss the day's plans. They interview Dr Hayward (Warren Frost) who has had an autopsy conducted on Palmer's body. They learn that Laura had had sex with at least three men the night she died.
Waitress Shelley Johnson (Mädchen Amick) is about to leave for work when her abusive husband Leo (Eric Da Re) demands she do more laundry. She finds a bloodstained shirt among Leo's clothes and hides it before he notices. However, he later realizes that it has gone missing. When she returns home that night, he questions her about its whereabouts, and savagely beats her with a bar of soap in a sock.
Cooper interviews Hurley about a video of Laura and Donna Hayward (Lara Flynn Boyle); Hurley had denied him being present the day it was taken but Cooper notices a reflection of his motorcycle in the video. Cooper confronts Hurley about the affair he was having with Palmer, and about her cocaine habit. Hurley admits seeing Palmer the night she died but denies killing her. James' uncle Ed Hurley (Everett McGill) comes to the sheriff's department to pick his nephew up. Ed tells Truman that he was drugged the previous night at The Roadhouse, the town's bar; he suspects bartender Jacques Renault (Walter Olkewicz) was responsible. Cooper takes a telephone call from his colleague Albert Rosenfield, who is on his way to aid the investigation. Meanwhile, Briggs and his friend Mike Nelson (Gary Hershberger) are in a jail cell, discussing money they owe to Leo. The \$10,000 they were meant to pay him is in a safe deposit box owned by Palmer, which they can now no longer access. They are later released by Cooper, who warns them not to approach James Hurley. The scene fade cuts into a short clip from the VHS tape of Palmer dancing outdoors, and pauses on a close up of her face. The words "Help Me" can be heard.
Josie Packard (Joan Chen) and Pete Martell (Jack Nance) discuss Packard's trouble with her sister-in-law Catherine Martell (Piper Laurie). Truman and Cooper arrive to speak with Packard, who had employed Palmer as an English tutor. Packard admits to sensing that Palmer was troubled but cannot help further; Cooper picks up on the fact that Truman has been having a relationship with Packard. Catherine calls Packard to tell her that the latter's sawmill lost \$87,000 the day before; Catherine is having an affair with Benjamin Horne (Richard Beymer), with whom she is conspiring a hostile takeover of the mill. That same day, Hayward visits Palmer's mother Sarah (Grace Zabriskie), attempting to console her. However, Sarah has a vision of a sinister man (Frank Silva) crouching in the corner of the room, and panics. Meanwhile, Lawrence Jacoby (Russ Tamblyn), Laura's psychiatrist, listens to an audio tape she had made for him, and sobs as he toys with half of a golden heart necklace, the other half of which was found at the scene of the crime.
## Production
"Episode 1" was written by the series creators David Lynch and Mark Frost. The pair had co-written "Pilot", and would also write "Episode 2" together. Frost would pen a further eight scripts for the series after that, while Lynch would write just one episode—the second season opening installment, "Episode 8". The episode was the first in the series to be directed by Duwayne Dunham, who would return to helm two further installments in the series' second season. The episode features the first appearance of Frank Silva as Killer Bob, though the character is not yet identified at this point. Silva was the art director for the series, and had accidentally been caught on camera during a shot. Lynch was pleased with the result and decided to include Silva in the cast from then on.
Dunham had first met Lynch when he worked as the film editor for Lynch's 1986 film Blue Velvet. Dunham then edited "Pilot", and was about to look for another editing job elsewhere when he asked Lynch if the director had another film planned; a week later Lynch decided to film Wild at Heart and asked Dunham to edit that as well. However, Dunham had committed to another project and felt uncomfortable leaving one editing job for another; Lynch then offered him a directing position on Twin Peaks in the interim to justify cancelling his other project. Dunham finished principal photography on "Episode 1" the same day that Lynch finished filming "Wild at Heart".
The introduction of a sexual rapport between the characters of Audrey Horne and Dale Cooper was a suggestion of Dunham's, who felt it would benefit both characters. Dunham felt that the central mystery in the series—the murder of schoolgirl Laura Palmer—was simply a "MacGuffin" to compel what he saw as the real focus, the interaction of the large ensemble cast. As such, he took care to introduce meaningful interactions between characters wherever possible. Dunham also spent time with each of the cast to help them develop their characters, having studied the scripts involved and basing his take on the characters on his experience with "Pilot".
Dunham retained the frequent use of static cameras seen in "Pilot", something he saw as a hallmark of Lynch's directing style; describing the result as "like framed pictures". He also continued the use of a "warm" reddish tint to the footage, using soft coral filters and carefully selected props and costumes to obtain this coloring. This tint was considered important enough that Lynch sent a representative to the network to ensure they understood it was deliberate and not a mistake, for fear that they might correct the saturation to be more "realistic" before broadcasting it.
## Broadcast and reception
"Episode 1" was first broadcast on American Broadcasting Company (ABC) on April 12, 1990. Upon its initial airing, it was seen by 14.9 million households, or 27 percent of the available audience. It placed second in its timeslot after Cheers. This marked a decline from "Pilot", which attracted 33 percent of the available audience. The following episode would be viewed by 21 percent of the available audience, representing a further drop in numbers.
Writing for The A.V. Club, Keith Phipps awarded the episode an "A−" rating. He felt that the scene showing Leo Johnson domestically abusing his wife was "among the show's most disturbing moments", comparing it to a scene from the 1990 film The Grifters. Phipps also felt the sound design in the episode was impressive, commenting positively on the blurred distinction between diegetic and non-diegetic music. Writing for Allrovi, Andrea LeVasseur rated the episode four stars out of five. Television Without Pity's Daniel J. Blau felt that the episode showed series composer Angelo Badalamenti to have limited range, repeating several similar musical cues throughout. He also considered Eric Da Re's performance as Leo Johnson to be unconvincing, finding it difficult to believe that the character was as feared and menacing as was implied. However, Blau described the introduction of Killer Bob as still seeming powerful and frightening even several years after first being seen, considering it a potent and disturbing scene.
|
[
"## Plot",
"### Background",
"### Events",
"## Production",
"## Broadcast and reception"
] | 1,939 | 7,462 |
54,088,033 |
Angel Gomes
| 1,173,761,387 |
English footballer (born 2000)
|
[
"2000 births",
"Black British sportsmen",
"Boavista F.C. players",
"England men's under-21 international footballers",
"England men's youth international footballers",
"English expatriate men's footballers",
"English expatriate sportspeople in France",
"English expatriate sportspeople in Portugal",
"English men's footballers",
"English people of Angolan descent",
"English people of Portuguese descent",
"Expatriate men's footballers in France",
"Expatriate men's footballers in Portugal",
"Footballers from Edmonton, London",
"Ligue 1 players",
"Lille OSC players",
"Living people",
"Manchester United F.C. players",
"Men's association football midfielders",
"Premier League players",
"Primeira Liga players"
] |
Adilson Angel Abreu de Almeida Gomes (born 31 August 2000) is an English professional footballer who plays as a midfielder for Ligue 1 club Lille. A versatile player, he has been deployed as an attacking midfielder, central midfielder and wide midfielder in his career.
Joining Manchester United at the age of six, Gomes made his first-team debut for the English club in May 2017 and became the first player born in the 2000s to appear in the Premier League. After 10 appearances for the team, he was released at the end of his contract in 2020. He then signed for Lille in August and was immediately loaned out to Boavista for a season. Upon his return to France in 2021, he was included in the squad which won the Trophée des Champions, before making his Ligue 1 debut in August and his UEFA Champions League debut in September.
Gomes is eligible to represent England, Angola or Portugal at international level. He made more than 50 appearances for England's youth national teams, from under-16 to under-21 level. He was the captain of the England under-17 team that won the 2017 FIFA World Cup, and was a member of the under-21 squad that won the 2023 UEFA European Championship.
## Early life
Adilson Angel Abreu de Almeida Gomes was born on (2000-08-31)31 August 2000 in Edmonton, London, England to former Portugal under-21 international Gil Gomes during his father's time at Hendon. The Gomes family then moved to the Manchester area when Gil joined Middlewich Town, and settled in Salford, where Gomes grew up.
Former Portugal international and Manchester United winger Nani is Gomes' godfather, and he has said that Nani's influence was "massive" as he was somebody he idolised as a youngster.
## Club career
### Manchester United
#### 2006–17: Early years
Gomes started training with the Manchester United youth system at the age of six, in 2006, and made his debut for the club's U18 team when he was 14. He captained the Manchester United U15 team in 2015 at the Manchester United Premier Cup and was named MVP, despite United finishing in 12th place at the tournament.
After signing as an academy first-year scholar ahead of the 2016–17 season, Gomes scored three goals against Everton on 27 August 2016, and became the third youngest Manchester United academy player to achieve the feat in the club's history at the age of 15 years and 362 days. He then sustained an injury in April 2017 towards the conclusion of the season. Despite this, he finished as the club's top goalscorer and was named Jimmy Murphy Young Player of the Year as the youngest recipient for the award. His form led him to train with the first-team ahead of the final game in the 2016–17 season of the Premier League.
#### 2017–20: First-team appearances and departure
Gomes made his first-team debut on 21 May 2017, replacing Wayne Rooney in the 88th minute of a 2–0 home victory over Crystal Palace. At old, he became the youngest player to represent Manchester United since Duncan Edwards in 1953, as well as the first player born in the 2000s to appear in the Premier League.
On 13 December 2017, Gomes signed his first professional contract with Manchester United, and on 26 January 2018, he made his FA Cup debut, coming on as an 88th-minute substitute for Marcus Rashford in a 4–0 victory against Yeovil Town in the Fourth Round.
Two years and two months after his senior debut, on 25 July 2019, Gomes scored his first senior goal in a 2–1 pre-season friendly win against Tottenham Hotspur. However, he found first-team opportunities hard to come by during the 2019–20 season, playing just six times in all competitions. Despite protracted negotiations, Manchester United were unable to sign Gomes to a contract extension, and he was released on 30 June 2020.
### Lille
#### 2020–21 season: Loan to Boavista
On 4 August 2020, Gomes signed a five-year contract with French club Lille, and was immediately loaned out to Portuguese club Boavista for the 2020–21 campaign. In 2021, he revisited the signing in an interview with English media and explained his choice to leave his boyhood club in order to get more game time. Gomes stated: "There was a contract there that was on the table for me to sign. Everyone always says I left for money which, for me, makes no sense [...]. It was more to do with the pathway and the opportunity that Lille were bringing [...]. It was a big step, and I knew it was going to be one."
On his league debut for Boavista, he registered a hat-trick of assists and was awarded man of the match in a 3–3 draw against Nacional on 19 September. Two weeks later, Gomes scored his first goal for the club and as a professional with a wonder strike from the halfway line in a match against Moreirense. On 2 November, Gomes won a penalty and then converted the spot-kick in a 3–0 win against Benfica. He ended his Portugal stint with 32 appearances including two starts in the Taça de Portugal. Scoring 6 goals and providing 6 assists in the 2020–21 Primeira Liga, his first complete professional season as a starter, he helped the historic Porto side to avoid relegation.
#### 2021–22 season: French Ligue 1 and European debuts
After a successful loan spell in the Primeira Liga with Boavista, Gomes returned to Lille on 1 July 2021. He was included in the squad for the club's Trophée des Champions win over Paris Saint-Germain at Bloomfield Stadium in Tel Aviv, Israel on 1 August. Despite not coming on the pitch, he earned his first trophy as a professional and the first French super cup in the history of the club. Three weeks later, he made his Lille debut in the 2021–22 Ligue 1 season 3rd round at Saint-Étienne on 21 August, coming on as a substitute for Jonathan David and playing the final minutes of the match.
The next month, on 14 September, he played his very first UEFA Champions League match against Wolfsburg in the group stage, starting as a left midfielder. In December, Gomes then scored his first Champions League goal also against the German team, in the last round of the group stage, besides delivering an assist in the game after coming on in the 68th minute. For the remainder of the Lille season, he was then primarily used as a back-up attacking midfielder or forward and ended up playing an average of around 40 minutes per match.
#### 2022–23 season: Fonseca's arrival, repositioning and breakthrough
Following Paulo Fonseca's arrival as Lille head coach, Gomes started the 2022–23 season as a central midfielder alongside French and Ligue 1 veteran Benjamin André, behind playmaker and attacking midfielder Rémy Cabella, in a 4–1 home win over Auxerre. He ended the match with 8 ball recoveries and a 90% pass completion rate. After other good performances in August, he was praised by reporters for his importance in the Lille attacking system – appearing in L'Équipe and Prime Video Teams of the Week – and was named Lille Player of the Month. After a 4–3 home victory against Monaco on 23 October, where he played alongside André Gomes, he was again named in L'Équipe Team of the Week. He gradually became a steady and consistent player in the Lille midfield, within the rotation alongside Benjamin André and André Gomes, and eventually started as the playmaker in some matches in the second part of the season. Delivering a total of 6 assists in the Ligue 1 season and having one of the best pass completion rate in the league (87.89%), he helped Lille to secure the 5th place with a UEFA Europa Conference League qualification.
## International career
In addition to his native England, Gomes is also eligible to represent Angola and Portugal. He eventually chose to represent his country of birth at youth international level and played for every England youth team.
In August 2015, Gomes began his international career when he made two appearances for England at under-16 level, both against the United States, and then captained the U16 team, making seven appearances in total at this level. The following year, he was called up to the England under-17 team in August 2016, and scored four minutes into his debut while captaining his nation to a 3–1 victory over Belgium. A year later, he played in the 2017 UEFA European Under-17 Championship qualification but missed out on the tournament in May due to injury. Five months later, he played and scored in the England's opening game of the FIFA U-17 World Cup and ultimately led the team to their first title, being one of the team captains. Gomes made a total of 13 appearances and scored six goals at U17 level with his country. A few weeks earlier, he made his debut at under-18 level when he captained England in a 0–0 draw with Brazil on 1 September 2017. He then quickly moved to the next level and scored one goal in six appearances for the England under-19 team.
Gomes made his England under-20 debut during a 0–0 draw against the Netherlands on 5 September 2019. He made six appearances in total for the under-20 team and scored two goals. In 2021, he received his first call up for the England under-21 squad and made his debut as a substitute during a 1–0 2023 UEFA European Under-21 Championship qualification win away to Andorra on 11 October. Two years later, Gomes was included in the England squad for the 2023 UEFA European Under-21 Championship, being the only member of the team to play outside the Premier League and the EFL Championship. Starting as a central midfielder in five of the six England fixtures, he won the tournament on 8 July after the Young Lions beat Spain 1–0 in the final and was one of the best players on his team for his last matches with the side, making a total of 18 appearances at U21 level.
## Style of play
A footballer described as versatile, Gomes is capable of playing in all midfield positions whereas he prefers to be deployed as an attacking midfielder behind the forwards. His playing style has been compared to that of Ronaldinho due to his creativity, composure and dribbling. In January 2015, Nani described Gomes as Manchester United's next star. Manchester United graduate Danny Webber said: "Gomes is still very small, but he sees the game seconds before others. Angel is like Paul Scholes; he can dictate a game with his intelligence." After having mostly played as a left midfielder and even as a centre-forward for his first season in France, his Lille manager Paulo Fonseca started to deploy him as a central midfielder in a position where he is in charge of recovering the ball and directing the play.
In a interview for Lille OSC website in September 2022, Gomes cited Spanish midfielders Andrés Iniesta and Xavi along with Bernardo Silva and Marco Verratti as inspirations, and emphasised their vision and skill despite a lack of height and strength, features they have in common (he is tall). He confided: "When I was a child, I watched Barcelona a lot. I loved Andrés Iniesta, Xavi, I was inspired by their way of playing." On 9 March 2023, Gomes cited in L'Équipe Silva's ability to switch positions as an inspiration: "I feel comfortable playing in midfield or more attacking positions, I don't really have a preference [...]. The best in this role is Bernardo Silva. I first look at his presence, he looks a bit like me in size [...]. He's everywhere on the pitch, he's brave, he doesn't hide and always makes himself available to his team."
## Personal life
Gomes is good friends with Jonathan David and Timothy Weah, as well as Edon Zhegrova, all three he met playing for Lille. One of his favourite rappers is J. Cole.
Besides his native English and Portuguese (the language he speaks with his parents), he says that he can understand French well, and is learning to speak it, on account of living in Lille.
He is Christian, and stated in 2020: "I’m religious, I’m a Christian, so I’ll pray before games and coming on to the pitch I’ll always pray."
## Career statistics
## Honours
Lille
- Trophée des Champions: 2021
England U17
- FIFA U-17 World Cup: 2017
England U21
- UEFA European Under-21 Championship: 2023
Individual
- Manchester United Premier Cup Most Valuable Player: 2015
- Jimmy Murphy Young Player of the Year: 2016–17
|
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"## Club career",
"### Manchester United",
"#### 2006–17: Early years",
"#### 2017–20: First-team appearances and departure",
"### Lille",
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"#### 2021–22 season: French Ligue 1 and European debuts",
"#### 2022–23 season: Fonseca's arrival, repositioning and breakthrough",
"## International career",
"## Style of play",
"## Personal life",
"## Career statistics",
"## Honours"
] | 2,834 | 28,994 |
35,801,379 |
Artist's Studio—Look Mickey
| 1,163,450,569 |
Painting by Roy Lichtenstein
|
[
"1973 paintings",
"Donald Duck",
"Ducks in art",
"Paintings by Roy Lichtenstein"
] |
Artist's Studio—Look Mickey (sometimes Artist's Studio, Look Mickey, Artist's Studio – Look Mickey or Artist's Studio No. 1 (Look Mickey)) is a 1973 painting by Roy Lichtenstein. It is one of five large-scale studio interior paintings in a series. The series is either referred to as the Artist's Studio series or more colloquially as the Studios and sometimes is described as excluding the other 1973 painting, reducing the series to four.
The series refers to a set of works by Henri Matisse, with this work specifically referring to L'Atelier Rouge. The work incorporates several other Lichtenstein works and gets its name from the large portion of Lichtenstein's Look Mickey that is included. Lichtenstein used a much more realistic representation of his own works than is standard for most artists. Elements of the work also refer to works from both Fernand Léger and Matisse.
## Background
Lichtenstein's studios reference what are known as Matisse's four Symphonic Interiors of 1911 (The Pink Studio, The Painter's Family, Interior with Eggplants, The Red Studio) and an earlier Matisse The Dance. Artist's Studio—Look Mickey was part of a series that included The Artist's Studio – with Model, 1974, Artist's Studio, Foot Medication, 1974, Artist's Studio, the "Dance", 1974, Artist's Studio/A Still Life, 1973. Artist's Studio—Look Mickey was the only one of the five to include a corner of the room, like The Red Studio. Many sources, including Lichtenstein himself only include four works in the series (excluding Artist's Studio/A Still Life, 1973). In a 1995 lecture in conjunction with the Kyoto Prize, he said "I did a series of four large, about 8' x10', paintings of interiors of artists' studios. They were inspired by Matisse's paintings..." Artist's Studio—Look Mickey is regarded as the first of the four Artist's Studio works. From among the Artist's Studio series works, this depicts "the deepest, most plainly articulated interior space."
## Description
The work, which is in part a retrospective, "conflated early modernism with emergent postmodernism". Lichtenstein refers to some of his paintings, including Look Mickey in this work, which depicts his own studio as the ideal studio and implies that the public consensus ratifies his choice of popular culture subject matter. The series depicts individual Lichtenstein works as well as groups of works in closed room that is devoid of paint brushes or easels. The series served as a review of Lichtenstein's post 1961 work, with objects of his prior works decorating the room as furnishings. In Artist's Studio—Look Mickey, the couch, door, wall frieze, telephone and fruit all are drawn from earlier works and serve this setting as interior decoration, while Look Mickey is almost presented undisturbed in its entirety. Less notable works include the mirror and the Trompe-l'œil painting of the rear side of the canvas. Two other paintings were works in progress at the time of this work and one became a painting within a year after the completion of this work: the gull and the dune landscape. The speech balloon was never produced as a separate work. However, its juxtaposition to the speech balloon from Donald Duck is intriguing. He references his Entablatures works as ceiling molding.
Lichtenstein's approach to presenting his own works within his works was non-traditional. The works were revisited as exact duplicates rather than the more standard distanced revisitation. This choice of exact duplication contrary to popular practice intrigued Lichtenstein. Lichtenstein liked this quality of his paintings within his paintings, saying "I like the combination of a very separate quality that each of my paintings has within the painting, and the fact that everything works as one painting too." In fact, Lichtenstein commented on this as an attempt to eliminate any modulation:
> A couple of years ago I started some paintings that had my own paintings in them, and which were similar to the Matisse studios. There was one difference that I think shows up mostly in the Look Mickey: When I reproduce one of my own paintings in my painting, it's different from Matisse reproducing one of his paintings in his painting, because even though in both paintings the depicted painting is submerged for the good of the whole work, it's much more so in Matisse. I wanted my paintings to read as individual paintings with the work, so that there would be some confusion. There’s no remove in my work, no modulation or subtlety of line, so the painting-of-a-painting looks exactly like the painting it's of. This is not true, of course, of many early—including Renaissance— depictions of paintings on walls, where there’s always a remove indicated through modulation, or some other way of showing that the depicted painting is not pasted on the picture or something like that.
The Studio series was inspired by Matisse paintings, and Diane Waldman claims that this particular effort was modelled upon Matisse's L'Atelier Rouge (The Red Studio), although the Lichtenstein Foundation website credits two other Matisse works as inspiration as well as Fernand Léger's The Baluster, 1925, which is represented in the far right corner. Léger was one of Lichtenstein's closest friends. By incorporating Matisse in his own studio setting, Lichtenstein is perceived as presenting himself as Matisse's peer and in so doing repositions pop art as a historical style rather than a contemporary one.
A sketch for this work demonstrates Lichtenstein's original intent to incorporate a "plant-in-vessel arrangement" as well as fruit on the table, but these Matisse references were instead depicted on the floor of the studio. The table instead includes the telephone from Lichtenstein's own R-R-R-R-Ring!! with differences from the original that amount to puns. In the original, Lichtenstein depicted sound with motion lines that present a pronounced movement of the object. This contrasts with the same phone in the studio setting in "perfect stasis", which contributes to the pacific still life setting.
## Reception
According to Janis Hendrickson, "For someone familiar with the artist's oeuvre, the Studios could become mental playgrounds." Waldman notes that "Perhaps the most significant aspect of the work is its retrospective nature and the decision by the artist to reflect on his life, past and present." The small portion of the original that was cropped out was the majority of Mickey Mouse, emphasizing Donald Duck, who Graham Bader sees as Lichtenstein's metaphorical representation.
## See also
- 1973 in art
|
[
"## Background",
"## Description",
"## Reception",
"## See also"
] | 1,410 | 15,657 |
26,960,387 |
UA 8699
| 1,159,641,850 |
Fossil mammalian tooth from Madagascar
|
[
"Cretaceous mammals",
"Tribosphenida",
"Undescribed vertebrate species"
] |
UA 8699 (University of Antananarivo specimen 8699) is a fossil mammalian tooth from the Cretaceous of Madagascar. A broken lower molar about 3.5 mm (0.14 in) long, it is from the Maastrichtian of the Maevarano Formation in northwestern Madagascar. Details of its crown morphology indicate that it is a boreosphenidan, a member of the group that includes living marsupials and placental mammals. David W. Krause, who first described the tooth in 2001, interpreted it as a marsupial on the basis of five shared characters, but in 2003 Averianov and others noted that all those are shared by zhelestid placentals and favored a close relationship between UA 8699 and the Spanish zhelestid Lainodon. Krause used the tooth as evidence that marsupials were present on the southern continents (Gondwana) as early as the late Cretaceous and Averianov and colleagues proposed that the tooth represented another example of faunal exchange between Africa and Europe at the time.
## Discovery and context
UA 8699 was discovered in a joint study by Stony Brook University and the University of Antananarivo (UA) and placed in the collections of the latter as specimen 8699. It was found at a locality named MAD93-95 in the Anembalemba Member of the Maevarano Formation, which is Maastrichtian (latest Cretaceous) in age. The locality is in the Mahajanga Basin of northwestern Madagascar. Several other mammals have been recovered from similarly aged Madagascar deposits, but most are also known from very limited material. These include the gondwanathere Lavanify, an indeterminate multituberculate, and a few other indeterminate teeth, as well as a nearly complete skeleton representing an otherwise unknown mammalian lineage. In a 2001 Nature paper, David Krause announced the discovery of UA 8699 and argued for marsupial affinities of the specimen. Because the specimen is so fragmentary, he refrained from assigning a new scientific name to the tooth. Two years later, Alexander Averianov, David Archibald, and Thomas Martin favored a placental interpretation in a paper in Acta Palaeontologica Polonica, noting that the specimen was essentially similar to the zhelestid Lainodon. In a 2006 review of some of the Cretaceous vertebrates of Madagascar, Krause and colleagues continued to consider the specimen as a marsupial and announced that an upcoming paper by Case would make the case for marsupial affinities more fully.
## Description
UA 8699 is a worn and broken left lower molar. Part of the trigonid (the front group of cusps), at the mesiolingual (inner front) corner of the tooth is missing. Krause estimated that the complete tooth would have been 3.5 mm (0.14 in) long and 2.2 mm (0.09 in) wide. The tooth is tribosphenic, like that of modern mammals, as indicated by a number of features, including the broad basin of the talonid (the back group of cusps), and the acute angle (48°) between the cusps of the trigonid. UA 8699 lacks a cingulid (ridge) resembling a shelf on the lingual (inner) side, indicating that is not a member of Australosphenida (the proposed clade uniting monotremes and some ancient Gondwanan mammals, including the Jurassic Madagascan Ambondro); thus, it can be identified as representing Boreosphenida, which includes marsupials, placentals, and their extinct relatives.
Krause listed five features that indicate that UA 8699 is a marsupial, not a placental or primitive therian. There is a well-developed cingulid at the outer back margin (distobuccally), between the hypoconid (one of the main cusps) and the hypoconulid (a smaller cuspule). The hypoconulid itself is located far lingually, relatively far from the hypoconid. The trigonid and talonid are about as broad, the trigonid is low-crowned, and wear is mainly horizontal, resulting in broad, flat exposed wear facets. Averianov and colleagues noted that zhelestids, a placental group, share all those traits, though to varying degrees, and that the hypoconulid in similarly aged marsupials is even more lingually located, "twinned" to the entoconid (the cusp on the back lingual corner of the tooth). They wrote that the specimen is on the whole more similar to zhelestids than to marsupials.
## Interpretations
Krause wrote that UA 8699 was the first marsupial to be identified from Madagascar and the first from the Mesozoic of any part of Gondwana. Marsupials date back to the Eocene in Australia and Africa and to the Paleocene in South America; although Cretaceous marsupials have been recorded there, none of the records are unambiguous. Marsupials were certainly present in the Northern Hemisphere during the late Cretaceous. He interpreted UA 8699 as evidence that marsupials must already have colonized the southern continents by the late Cretaceous, presumably having reached Madagascar through South America and Antarctica. By the late Cretaceous, boreosphenidans must already have been in the process of replacing archaic mammals like gondwanatheres on the southern continents, as suggested by the presence of Deccanolestes, a placental, in the Cretaceous of India.
Averianov, Archibald, and Martin instead placed UA 8699 in the context of faunal similarity and exchange between the late Cretaceous faunas of Europe and Africa, noting the presence of similar animals, such as snakes (Madtsoia) and sauropods (Lirainosaurus and Rapetosaurus), in the Cretaceous faunas of Madagascar and the Spanish locality Laño. They proposed the relationship between Lainodon, which is from Laño, and UA 8699 as another example of this relationship and cited a previous prediction by Gheerbrant and Astibia that zhelestids similar to Lainodon would be found in Africa.
|
[
"## Discovery and context",
"## Description",
"## Interpretations"
] | 1,361 | 12,020 |
6,747,536 |
Blackwyche
| 1,125,988,029 |
1985 video game
|
[
"1985 video games",
"Action-adventure games",
"Commodore 64 games",
"Commodore 64-only games",
"Europe-exclusive video games",
"Rare (company) games",
"Single-player video games",
"Video games developed in the United Kingdom",
"Video games set in Hampshire",
"Video games set in Portsmouth"
] |
Blackwyche is an action-adventure video game published by Ultimate Play the Game for the Commodore 64 in 1985. The game is the third instalment of the Pendragon series and sequel to Entombed. In the game, aristocrat adventurer Sir Arthur Pendragon is trapped on board a haunted galleon and must free the soul of its captain. The game is presented in a 3D isometric format.
The Pendragon series was created and designed by brothers Dave and Bob Thomas, with Ultimate founders Tim and Chris Stamper otherwise being uninvolved in development. The game's setting and graphics were heavily inspired by HMS Victory and the surrounding city of Portsmouth. The game was met with mixed reviews upon release. Critics were divided over the game's graphics and re-usage of sprites, but criticised the game for its vast similarities to its predecessors. It was followed by a final instalment to the series, Dragon Skulle, which was released later in 1985.
## Gameplay
The game is presented in an isometric format and is set on board a haunted galleon named the Blackwyche. Sir Arthur Pendragon's main objective is to free the soul of its former captain, Richard Cavendish. Pendragon can utilise various weapons such as knives, daggers and a magic sword to defend himself from enemy skeletons. The player begins the game with full energy and it will slightly deplete every time the player is hit by an enemy. If Pendragon completely runs out of energy, a large skeletal hand will drag the player off-screen, thus killing him.
Various segments of maps are scattered around the galleon, which will form a complete view of the game's overworld once all the segments are picked up. Other scattered items in the game include keys for locked doors, gunpowder to fire cannons and pieces of jewellery, the latter having no additional use other than adding to the player's score.
## Development
The Pendragon series was created by brothers Dave and Robert (Bob) Thomas, rather than Ultimate founders Tim and Chris Stamper. Dave Thomas began his career in 1983 when he started producing multiple games for the Atari 400, including moderate-sellers such as Warlok, which later won him in a competition from Calisto Software. Although he began working for the company in producing video games, he later quit due to the strain of his daily, 68 mi (109 km) commute. Shortly after quitting Calisto Software, Dave Thomas started work on The Staff of Karnath, the first instalment of what would become the Pendragon series. Bob Thomas was a trained technical illustrator for the Ministry of Defence and had experience with designing interiors for the Royal Navy. According to Dave Thomas, the setting of Blackwyche was heavily inspired by HMS Victory and the surrounding naval city of Portsmouth. The name of "Sir Arthur Pendragon" was copied from the character of the Black Prince Pendragon from Jack the Giant Killer.
The graphics of the game were designed by Bob Thomas, whereas the code was written by Dave Thomas. The Thomas brothers decided to show their progress of the game to Tim and Chris Stamper for evaluation, despite feeling embarrassed due to their workspace being inside their parents' attic. Impressed by the game, the Stamper brothers commissioned an entire series to be released for the Commodore 64. Dave Thomas recalled that every game they produced was met with little interference from Ultimate; once a game was complete, it would be sent to quality assessment and subsequently published for release.
## Reception
The game received mixed reviews upon release. A reviewer of CVG thought the graphics were identical to its predecessor, Entombed, and criticised the low detail of the player-character, Sir Arthur Pendragon. Eugene Lacey of Commodore User praised the graphics, stating that they were smoother and slightly more detailed, despite acknowledging that they appeared similar to its predecessor. Stuart Cooke of Your Commodore thought the graphics were too "repetitive" and stated that he had trouble determining which section of the game he was on due to the similarities of all the colours. Reviewers of Zzap!64 criticised the graphics, stating the sprites to be "awful", and animation as "crummy" with little or no range of colouring. The sprite of Sir Arthur Pendragon was frequently criticised by reviewers of Zzap!64, with one reviewer expressing frustration on why Ultimate continued to re-use the same sprites in their games. Another reviewer condemned the 3D animation, stating that it appeared out of proportion and "frustrating". Tony Hetherington of Computer Gamer similarly criticised the graphics, owing to the "duplicated landscapes" and identical usage of colours, concluding that it was a disappointing game.
Lacey heralded the gameplay to be "purely addicting" and considered Blackwyche to the best of the series. Harding opinionated the game to be "miles better" than its predecessor, whereas Cooke thought the gameplay was repetitive, owing to its number of locations. Reviewers of Zzap!64 criticised the overall gameplay, stating that the puzzles were poor, unchallenging and often gave them the sense of "deja-vu" with its similarities to its predecessors. One reviewer of the same magazine considered the game to be a poor attempt at an arcade-adventure game, stating that the ideas were poorly implemented. Hetherington concluded that Blackwyche was a disappointment for an Ultimate game, considering previous titles such as Atic Atac and Knight Lore.
## Legacy
Sir Arthur Pendragon and the Blackwyche itself make an appearance in Rare's Sea of Thieves. The Blackwyche can be found wrecked on a beach on Shipwreck Bay, and contains a portrait of Arthur. A nearby book starts a Tall Tale called The Seabound Soul that leads to the summoning of Arthur's ghost, which ultimately leads to him accidentally releasing Captain Flameheart upon the Sea of Thieves. Arthur again makes an appearance in The Heart of Fire, another Tall Tale, where he needs assistance releasing his crew from Captain Flameheart's curse. One of his crew members is referred to as "Cavendish", and is the daughter of Richard Cavendish from the original game. As of late, Arthur seemingly met his fate upon the completion of the Sea of Thieves Adventure: Return of the Damned, in which the community majority of pirates worked to resurrect Captain Flameheart, in turn, banishing Arthur to the Sea of the Damned.
|
[
"## Gameplay",
"## Development",
"## Reception",
"## Legacy"
] | 1,316 | 15,979 |
1,357,413 |
Boom Box (No Doubt album)
| 1,138,712,811 | null |
[
"2003 compilation albums",
"Interscope Records compilation albums",
"No Doubt compilation albums",
"Polydor Records compilation albums"
] |
Boom Box is a limited-edition box set album by the American rock band No Doubt, released on November 25, 2003 through Interscope Records. It compiled The Singles 1992–2003, The Videos 1992–2003, Everything in Time, and Live in the Tragic Kingdom. The Singles 1992–2003 was also released on a separate CD on the same date. Everything in Time was released as a separate CD later on October 12, 2004. The Videos 1992–2003 was released as a separate DVD on May 4, 2004. At the time of Boom Box's release, Live in the Tragic Kingdom had already been released on VHS and it was re-released on DVD on June 13, 2006.
The Singles 1992–2003 and The Videos 1992–2003 are compiled from the singles released from four of the band's five studio albums, No Doubt, Tragic Kingdom, Return of Saturn and Rock Steady, with tracks from the last three heavily represented. Everything in Time is an album of B-sides, rare songs and remixes, taken mainly from the recording sessions of Return of Saturn. Live in the Tragic Kingdom is a recording of a concert filmed during the band's tour for Tragic Kingdom.
The release of Boom Box received very little coverage from music critics because it was not a studio album. The few reviews it received were positive. However, in its separate release, The Singles 1992–2003 was reviewed widely and positively, and it charted highly across North America and Europe, peaking at number 2 in the US and number 5 in the UK. Everything in Time, in its separate release, charted on the US Billboard 200 at number 182.
## Background
No Doubt released five studio albums throughout its career before going into hiatus. Their debut album, No Doubt, was released on March 17, 1992. It sold only 30,000 copies on its initial release, and the band's record company, Interscope Records, refused to fund the release of a single from it. No Doubt therefore financed the production of a music video for the song "Trapped in a Box", which was received local airplay in Orange County, California but did not attract mainstream attention. No Doubt recorded their second album, The Beacon Street Collection, in March 1995. It was released independently, because No Doubt had recorded many songs that they knew would not make it onto Tragic Kingdom and were frustrated by a lack of attention from their label. They released two singles from it: "Squeal" and "Doghouse". The Beacon Street Collection sold 100,000 copies. No Doubt's independence shocked their company representative and ensured that the label would finance a third album.
The band's third album, Tragic Kingdom, was released shortly after The Beacon Street Collection, on October 10, 1995 under Interscope Records. Work began on the album in 1993 but Interscope rejected most of the material, leading to the release of Beacon Street. The band was introduced to Paul Palmer, who had his own label Trauma Records, which was already associated with Interscope. Palmer mixed the record and was allowed to release Tragic Kingdom under Trauma Records. The album produced seven singles: "Just a Girl", "Spiderwebs", "Don't Speak", "Excuse Me Mr.", "Happy Now?", "Sunday Morning", and "Hey You!". In total, Tragic Kingdom sold over 16 million copies worldwide, and was certified diamond in the United States and Canada, and platinum in the United Kingdom.
No Doubt's fourth studio album was Return of Saturn, released on April 11, 2000 after two and a half years of touring to promote Tragic Kingdom. The album spawned four singles—"New", a song from the soundtrack to the movie Go, "Ex-Girlfriend", "Simple Kind of Life", and "Bathwater". Return of Saturn sold 1.4 million copies upon its release. No Doubt released its fifth studio album, Rock Steady, in December 2001. Four singles were released from it—"Hey Baby", "Hella Good", "Underneath It All", and "Running"—between 2001 and 2003. The album sold 3 million copies upon its release and was certified platinum by the Recording Industry Association of America.
Later, in April 2003, No Doubt went into hiatus to take a break to spend time with their families before starting to compile Everything in Time; The Singles 1992–2003; The Videos 1992–2003; and Boom Box, containing all of the above and Live in the Tragic Kingdom, which was originally recorded in 1997. They would all be released on the same date. The main reason to go into hiatus was that, in early 2003, lead singer Gwen Stefani started work on her 1980s-inspired new wave/dance-pop music side project, under which she released two solo albums: Love. Angel. Music. Baby. on November 22, 2004 and The Sweet Escape on December 4, 2006.
Live in the Tragic Kingdom had previous been released on VHS on November 11, 1997 and was later released as a separate DVD on June 13, 2006. Everything in Time was later released as a separate CD on October 12, 2004. The Videos 1992–2003 was released on a separate DVD on May 4, 2004.
## Music
Boom Box compiles four albums: Everything in Time, The Singles 1992–2003, The Videos 1992–2003, and Live in the Tragic Kingdom. The Singles 1992–2003 is a greatest hits collection of No Doubt's singles, containing tracks from four of their five studio albums: No Doubt, Tragic Kingdom, Return of Saturn, and Rock Steady. Tracks from No Doubt's second album, The Beacon Street Collection, were not included because the album was produced and released independently by the band. The Videos 1992–2003 is a DVD containing No Doubt's music videos, including those of all the tracks on The Singles 1992–2003 as well as a video of the band's cover of "Oi to the World!", a song originally by Californian punk rock band The Vandals from their album of the same name. Everything in Time is a CD collection of B-sides, rare songs, and remixes. Live in the Tragic Kingdom is a DVD filmed at one of the concerts in No Doubt's Tragic Kingdom tour and contains performances of the seven songs released as singles from Tragic Kingdom, along with other tracks from the album and cover versions of songs by other bands.
Boom Box spans mostly No Doubt's later musical style. The two greatest hits discs, The Singles 1992–2003 and The Videos 1992–2003, take 13 of their 15 or 16 tracks from Tragic Kingdom, Return of Saturn and Rock Steady. Their earlier musical style, in which the songs were written by keyboard player Eric Stefani, who left the band before Tragic Kingdom was recorded, is represented by only one song—"Trapped in a Box" from No Doubt. The band's musical style changed later when Gwen Stefani started writing the songs; the tracks on Tragic Kingdom, which are heavily represented on Boom Box, are built on the themes of Gwen Stefani's femininity and the breakup of her relationship with fellow band member Tony Kanal. The B-sides and rare songs on Everything in Time were mainly recorded in the sessions for the band's fourth album, Return of Saturn, but two of the three remixes were of the song "Rock Steady", from No Doubt's album, Rock Steady. Boom Box was given a Parental Advisory: Explicit Content sticker in the United States because of the content in Live in the Tragic Kingdom, which also received the sticker upon its release.
## Critical reception
Because Boom Box was not one of No Doubt's official studio albums, it lacked much attention from music critics. Stephen Thomas Erlewine of Allmusic gave the album four stars out of five, although criticizing the mix of songs, saying that only "hardcore No Doubt fans ... would want any of this material." He called the set's appearance of being "a generous gift to [No Doubt's] fans" "deceiving" and the album not as "carefully assembled" as the standalone The Singles 1992–2003. He said that the packaging "feels as if it was done on the cheap" and criticized the lack of special features on the DVDs. However, he praised The Singles 1992–2003 and Everything in Time, calling them "very good" and that they displayed what a "dynamic singles band No Doubt was", summarizing the album as "something worthwhile for the fans".
However, The Singles 1992–2003 and Everything in Time from Boom Box were released separately and were reviewed as separate albums. The Singles 1992–2003 was well received by critics and was described as "a real joy" and a "stellar collection". Its mixture of styles was both praised as "sheer diversity" and criticised as having a "hotch-potch feel". The album charted well across Europe, Oceania and North America. In the United States, it sold 2.2 million copies, peaked at number 2 on the US Billboard 200 and was certified gold, platinum and 2× platinum. It peaked in the top ten of the album charts of Canada, New Zealand, the United Kingdom, Denmark, the Netherlands, Finland, Norway, Sweden and Switzerland; and in the top forty of the album charts of Germany, Australia, Belgium and Portugal. Everything in Time peaked at number 182 on the Billboard 200.
## Track listing
### Disc one
### Disc two
### Disc three
### Disc four
## Credits
### Band
- Gwen Stefani - vocals
- Tony Kanal - bass guitar, keyboards, saxophone
- Tom Dumont - guitar, keyboards
- Adrian Young - percussion, drums
- Eric Stefani - piano, keyboards
### Additional personnel
- Robbie Shakespeare - bass
- Melissa "Missy" Hasin - cello
- Stephen Perkins - steel drums
- Matthew Wilder - keyboards
- Simon Hale - keyboards, string arrangements
- Luís Jardim - percussion
- Eric Carpenter - saxophone
- Andy Potts - saxophone
- Django Stewart - saxophone
- Gabriel McNair - synthesizer, piano, trombone, chimes, keyboards, organ, tabla, clavinet, mellotron, Farfisa organ, horn arrangements
- Alex Henderson - trombone
- Stephen Bradley - trumpet
- Don Hammerstedt - trumpet
- Phil Jordan - trumpet
### Production
- A&R: Tony Ferguson, Mark Anthony Williams
- Art director: Jolie Clemens
- Assistant engineers: Anthony Kilhoffer, Kevin Mills, Ian Rossiter, Clint Roth
- Directors: Sophie Muller, Chris Hafner, Mark Kohr, Dave Meyers, Marcus Nispel, Mark Romanek, Jake Scott, Hype Williams, Mark Zykoff
- Engineers: Jared Anderson, Rory Baker, Scott Campbell, Michael Carnevale, Bryan Carrigan, Daniel Chase, Greg Collins, The Count, Karl Derfler, Simon Gogerly, Matt Hyde, Phil Kaffel, Jacquire King, George Landress, Take Mendez, Thom Panunzio, Chuck Reed, Glenn Spinner
- Executive producers: Brian Jobson, Wayne Jobson
- Liner notes: Tom Lanham, Paris Montoya, Sophie Muller
- Mastering: Brian Gardner
- Mixing assistants: Matt Fields, David Treahearn, Keith Uddin
- Mixing: Roy Thomas Baker, John Gould, Tom Lord-Alge, Phil Palmer, Jack Joseph Puig, Wayne Wilkins, Keith Uddin
- Producer: Matthew Wilder, Keith Uddin
|
[
"## Background",
"## Music",
"## Critical reception",
"## Track listing",
"### Disc one",
"### Disc two",
"### Disc three",
"### Disc four",
"## Credits",
"### Band",
"### Additional personnel",
"### Production"
] | 2,538 | 31,144 |
31,530,315 |
Attack on USNS Card
| 1,162,068,597 |
1964 Viet Cong covert operation in Saigon during the Vietnam War
|
[
"Acts of sabotage",
"Battles and operations of the Vietnam War in 1964",
"Battles involving Vietnam",
"Battles of the Vietnam War involving the United States",
"Conflicts in 1964",
"History of Ho Chi Minh City",
"May 1964 events in Asia",
"Ship bombings"
] |
The attack on USNS Card was a Viet Cong (VC) operation during the Vietnam War. It took place in the port of Saigon in the early hours of 2 May 1964, and was mounted by commandos from the 65th Special Operations Group (Vietnamese: Đội Biệt động 65).
Card was first commissioned into the United States Navy during World War II. Decommissioned in 1946, Card was reactivated in 1958 and reentered service with the Military Sea Transport Service, transporting military equipment to South Vietnam as part of the United States military commitment to that country.
As a regular visitor to the port, Card became a target for local VC commando units. Shortly after midnight on 2 May 1964, two Viet Cong commandos climbed out of the sewer tunnel near the area where Card was anchored, and they attached two loads of explosives to the ship's hull. The attack was a success and Card sank 48 feet (15 m), and five civilian crew members were killed by the explosions. The ship was refloated 17 days later, and was towed to the Philippines for repairs.
## Background
USNS Card was a Bogue-class escort carrier that had served in the United States Navy. In 1946 Card was decommissioned and was transferred to the Atlantic Reserve Fleet. On 16 May 1958, Card re-entered service with the Military Sea Transport Service, under the control of the United States Navy. The ship was manned by a civilian crew and was prefixed "USNS" (United States Naval Ship) instead of "USS" (United States Ship) as it was in service but not commissioned.
With the escalation of the Vietnam War, the United States government stepped up military support for South Vietnam's fight against the Viet Cong. On 15 December 1961, USNS Card left Quonset Point, Rhode Island, with a cargo of H-21 Shawnee helicopters and U.S. soldiers from Fort Devens, Massachusetts, bound for Vietnam. At Subic Bay in the Philippines, the cargo and troops were transferred to USS Princeton, which arrived and unloaded off the coast of Đà Nẵng the following month.
From 1961 onwards, Card and USNS Core regularly docked in Saigon to unload heavy artillery, M113 armored personnel carriers, aircraft, helicopters and ammunition for the South Vietnamese government. The Port of Saigon was situated between the Tẻ and Bến Nghé Canals, and was about 700 meters (2,300 ft) wide from one side to the other. To facilitate the arrival of Card and other American ships which pulled into Saigon, the South Vietnamese military often deployed navy vessels to conduct patrols around the port, while the surrounding shores were protected by an elite Army of the Republic of Vietnam (ARVN) Airborne battalion.
The port itself was guarded round the clock by Republic of Vietnam National Police, as undercover South Vietnamese agents operated across the river in the Thủ Thiêm area to disrupt VC activities there. Undeterred by the level of protection which the South Vietnamese government normally afforded to American ships, Trần Hải Phụng—commander of the Viet Cong's Saigon-Gia Dinh Military District [vi]—ordered the 65th Special Operations Group to attack USNS Card.
## Sinking of USNS Card
### Failed attempt on USNS Core
Despite their best efforts to control VC activities across the river in the Thủ Thiêm area, the South Vietnamese military and police could not stop VC agents from operating there. So VC members of the 65th Special Operations Group were able to watch US and South Vietnamese military activities at the port, while they were preparing to attack American targets. Lâm Sơn Náo, a commando of the 65th Special Operations Group, was also an electrician at the port facility.
As his unit was assigned with the mission to attack the carrier, Náo took advantage of his position as an employee at the port facility, to reconnoitre Card to design the best strategy to sabotage the ship and all the military hardware on board. Náo's father had previously worked at the port facility as a tradesman, so he memorized all the tunnels and sewage systems at the facility. He advised Náo that the best way to enter the area where American ships normally anchored was through the sewer tunnel opposite Thủ Thiêm.
While bathing in the Saigon River, Náo inspected the sewer tunnel, which his father had advised him to use. Náo concluded that the tunnel would provide the best access to the American area, but it also presented challenges. The sewage tunnel contained waste and toxic oils which could cause blindness, so Náo and his men would have to close their eyes as they moved through it to avoid blindness.
Náo and his men had to bathe to purge deadly odours to avoid detection, and probably arrest, by South Vietnamese authorities. After Náo had surveyed the tunnels leading to the port, he presented his plan to the Saigon-Gia Dinh Military District Headquarters. Nao decided to utilise high explosives, enough to sink a ship, and to detonate them using a timer so that his men could get away safely. Náo's superiors approved the plan and they ordered him to launch the attack before sunrise to avoid killing local Vietnamese civilians.
Náo returned to Saigon and began assembling the equipment required for the attack, which included C4 plastic explosives, TNT, wire, mine detonators and batteries. Náo trained new commandos, namely Nguyễn Phú Hùng (an electrician) and Nguyễn Văn Cậy (a mason), to support his operation. To ensure success, Náo measured the height, length and width of the sewer tunnel to assemble the bomb devices to the right size, to be carried through the tunnel unhindered.
Towards the end of 1963, Náo received news that Card had arrived in Saigon with another load of armored personnel carriers, artillery and aircraft. But the carrier turned out to be her sister ship, USNS Core. On the evening of 29 December 1963, Náo and Cậy carried their bomb devices, which had about 80 kilograms (180 lb) of explosives, through the sewer tunnel. They attached the explosives to Core's hull, set the timer and retreated into the sewer to await the outcome.
The bombs failed to explode because the battery had expired due to protracted storage. Determined the operation would remain a secret, the commandos snuck back to Core and retrieved the explosive devices. Soon, Core and its crew sailed from Saigon without any damage. Náo reported the mission failure to the Saigon-Gia Dinh Military District Headquarters. His superiors did not express disappointment in the failure, but they encouraged Náo and his men to destroy Card at all costs.
On 1 May 1964, Viet Cong reconnaissance teams spotted USNS Card as it sailed through Gành Rái Bay and entered Lòng Tàu River. They reported this information to the 65th Special Operations Group in Saigon. As usual, Card docked at the commercial port to unload a shipment of cargo and military helicopters, and pick up helicopters to be returned to the US.
### Successful attack
When Náo received news Card had arrived in Saigon, he inspected the equipment which included a new battery and a redesigned bomb. Náo decided to set off the bombs during the early hours of 2 May, so that he and his fellow operative could escape safely and avoid inflicting casualties on the local population. Due to illness, Cậy declined to take part in the operation, so Hùng had to replace him.
At around 09:00 on 1 May, Náo went to Hùng's home, where the latter was given a hand grenade and was notified of an upcoming operation without much detail. At 18:00, after Náo had finished loading the bombs onto one canoe, he and Hùng traveled down the Saigon River in two separate canoes, toward the commercial port district. They pulled over in the Thủ Thiêm area.
To avoid detection by South Vietnamese authorities they mingled with the local workers. While awaiting the right time, Náo briefed Hùng on the objectives of the operation, which was to sink the largest American ship at the Saigon Port, and report the results to headquarters.
Shortly after 18:30 as both men headed toward Warehouse Number 0 at the commercial port, a police patrol boat spotted them and gave chase. Náo ordered Hùng to throw away the hand grenade and both men would retreat toward the local village if their bombs were discovered by police. The police patrol stopped about 20 meters (66 ft) away from Náo's canoe, and the patrol boat commander questioned both men about their activities during that evening.
Náo claimed that he and Hùng intended to go to the other side of the river to buy new clothes at the market. To avoid delaying the operation, Náo bribed the patrol boat commander 1000 Vietnamese dong. When the patrol boat commander received the bribe, he gave both Náo and Hùng permission to move on but demanded another bribe when they return. When the commandos arrived at the sewer tunnel, they assembled the bomb device with each man carrying 40 kilograms (88 lb) of explosives through the tunnel.
When the commandos emerged from the tunnel, they swam toward the broadside of Card which anchored near the sewer opening. Náo and Hùng attached two bombs to the ship, with one near the bilge and one at the engine compartment, just above the waterline. Náo then inspected both bombs to ensure proper assembly. Náo then stuck the battery onto a pole and connected it to the bombs with wires, then set the timer.
At 01.10, the bombs were completed and both commandos retreated to the sewer tunnel, boarded their canoes on the other side and rowed back to Thủ Thiêm. Again, the police patrol boat was waiting for Náo and Hùng to arrive, because the commander wanted another bribe. As Náo and Hùng approached the patrol boat, an explosion was heard and a bright light could be seen in the commercial port area. The South Vietnamese police patrol boat then started its engine and raced towards Card, instead of extracting another bribe.
## Aftermath
For the VC commandos of the 65th Special Operations Group, the explosion on Card signalled a successful mission. By sunrise, Card had settled 48 feet (15 m) into the river with its engine compartment completely flooded. Five American civilians who worked on the ship died as a result of the attack. Due to rapid response from the ship's crew and local authorities, flooding inside the ship was quickly stopped and it was stabilized. An inspection revealed that the explosion had torn a hole 12 feet (3.7 m) long and 3 feet (0.91 m) high, on the starboard side of the ship.
In the days that followed, five US Navy divers were deployed to Saigon from the Philippines, in addition to several salvage teams from US bases in Japan and the Military Sea Transport Service Command. Amongst the divers was founding US Navy Seals member Roy Boehm, who claimed to have recovered the remains of a Hagerson Demolition Pack, a specialised explosive charge used by US navy frogmen. Boehm speculated that the explosives used in the attack had been stolen from his own South Vietnamese Navy unit by a group of deserters who had been mistreated by a South Vietnamese officer.
USS Reclaimer, a rescue and salvage ship, bound for the Philippines, was ordered to change course and sail for Saigon. The tugboat USS Tawakoni based at Subic Bay in the Philippines was placed on standby, and later received orders to sail to South Vietnam. Upon arrival in Saigon, US Navy divers and salvage teams tried to pump water from Card's flooded compartments.
Their initial attempts were hindered by malfunctions in the pumping equipment, and poor diving conditions in the river. It took salvors 17 days to refloat Card. They then began the process of moving the ship by installing a 6-inch pump and generators in Card to pump bilge water. Reclaimer and Tawakoni then towed Card to Subic Bay where it underwent further repairs.
After Card was sunk, North Vietnam made use of the incident for propaganda purposes. On 20 October 1964, the North Vietnamese government issued a postage stamp which proclaimed an "Aircraft Carrier of America sunk in the Harbor of Saigon", to praise the Viet Cong commandos who carried out the attack. The US Navy refused to admit Card had been sunk even for a brief period of time, instead stating Card was damaged and quickly repaired.
For the remainder of 1964, the VC launched further attacks on US targets such as the Brinks Hotel and Bien Hoa Air Base, but there were no significant responses from the US military. Card returned to service on 11 December 1964 and remained in service until 1970, when it was placed in the Reserve Fleet.
|
[
"## Background",
"## Sinking of USNS Card",
"### Failed attempt on USNS Core",
"### Successful attack",
"## Aftermath"
] | 2,706 | 20,884 |
42,534,240 |
The Red Throne
| 1,151,200,490 | null |
[
"2014 American television episodes",
"Adventure Time (season 5) episodes"
] |
"The Red Throne" is the forty-seventh episode of the fifth season of the American animated television series Adventure Time. The episode was storyboarded by Seo Kim and Somvilay Xayaphone, from a story by Kent Osborne, Pendleton Ward, Jack Pendarvis, and Adam Muto. It originally aired on Cartoon Network on February 10, 2014.
The series follows the adventures of Finn (voiced by Jeremy Shada), a human boy, and his best friend and adoptive brother Jake (voiced by John DiMaggio), a dog with magical powers to change shape and grow and shrink at will. In this episode, Flame Princess (voiced by Jessica DiCicco), with the help of Cinnamon Bun (Dee Bradley Baker) and Finn, tries to escape from an arranged marriage between her and Don John the Flame Lord (Roddy Piper), as set up by her father the Flame King (Keith David). Seo Kim and Somvilay Xayaphone wrote the episode from a synopsis devised by several other writers, including show creator Pendleton Ward.
Piper and David, stars of They Live (1987), a John Carpenter film, lent their voices to two of the aforementioned characters. As an homage, the episode contains a parody from a popular combat sequence in the film, in which the actors box for close to six minutes. Meanwhile, background art was created by Derek Ballard, whose experience growing up in Utah inspired one of his pieces for the episode. Upon its airing "The Red Throne" was seen by 2.11 million viewers. Writers of entertainment- and education-related websites praised the episode for its writing and themes, as well as the performances by Piper and David. Despite this praise, the Adventure Time crew perceived its online response from fans to be largely negative.
## Plot
In the Fire Kingdom, Don John the Flame Lord shows up to tell Flame Princess she is not brutish enough to rule over the Flame subjects. Her father, the Flame King, appears as his daughter is deprived of her body temperature and crown. He tells Flame Princess he has arranged her marriage with Don John. When she tries to escape their palace, its inhabitants – put under a mind-control spell by Don John – try to seize her. Cinnamon Bun, riding his wolf, punctures the palace walls. He rescues Flame Princess, and the two escape. They enlist the aid of Finn, the ex of Flame Princess.
Still uneasy over their split, Finn tries to show off to Flame Princess, though she informs him that they should only remain friends. They return to the kingdom, its entrance now guarded by the inhabitants. Finn goes directly for the guards, but he and Flame Princess are quickly captured after she reveals to him that the people are being controlled through Don John's spell. Don John visits the imprisoned duo, where Flame Princess vows never to marry him. Don John complains to the Flame King that he is failing to deliver on his promise. The lord and king box, with the latter authority knocking out Don John, which frees the Flame people from his spell. Cinnamon Bun delivers a speech to the palace convincing the people to detain the Flame King and Don John while earning the affections of Flame Princess.
## Production
"The Red Throne" was written by Seo Kim and Somvilay Xayaphone. A separate group of writers – Kent Osborne, Pendleton Ward, Jack Pendarvis, and Adam Muto – came up with the idea for the episode, which Kim and Xayaphone then adapted into a storyboard. Employing other crew members, background artist Derek Ballard depicted a derelict van, a wrecked truck, and ruined musical instruments in one piece for the episode. This was inspired by his growing up in the desert of Utah. Since he himself was in a band, he would often let other bands temporarily stay at his house during their tours, often taking them to auto shops due to their vans and campers breaking down.
The voice of Don John the Flame Lord was supplied by "Rowdy" Roddy Piper, in unison with Keith David, who provided the voice of the Flame King. A distinguished wrestler and actor, Piper had appeared in numerous films. One of his most famous roles is that of the unnamed man (dubbed Nada) in They Live, directed by John Carpenter and released in 1988. A well-known scene in the film – lasting for nearly six minutes – features the man fighting with his friend (played by David), whom Nada wants to share his glasses with. This episode of Adventure Time includes a parody of this iconic scene, featuring Don John and the Flame King engaging in combat. The scene in They Live was previously the subject of spoofs in South Park and Saints Row IV, though the parody featured in Adventure Time was called exemplar for reuniting both Piper and David. WWE applauded one of Don John's lines (i.e. "My gym is magic, and my protein shake is rage!"), musing that it had likely been written with Piper's wrestling persona in mind.
## Release and reception
Cartoon Network originally aired "The Red Throne" on February 10, 2014. 2.11 million people saw the episode live on broadcast; according to TV by the Numbers, 0.4 percent of all 18- to 49-year-old residents of households with television sets watched the episode, as indicated by its Nielsen rating. The network released the episode on DVD, first in the year of that broadcast, as part of the Finn the Human box set, and later in 2015, as part of a box set for the complete fifth season.
The Adventure Time crew was satisfied with the episode on its completion. In spite of that, Muto described the reaction from fans on the Internet as largely negative, much to their surprise. It earned an A− grade from Oliver Sava of The A.V. Club, who compared Cinnamon Bun's evolution from a simple-minded character to one of complexity with the progression of the show itself. Sava opined that the theme of life following a broken romance benefits from this complexity. Sava saw the physical cooling of Flame Princess as a crafty metaphor for the personal changes an individual from a former relationship might experience, as well as the nostalgia felt over such a relationship. Separate from romance, Sava interpreted the battle between the Flame Lord and the Flame King as to demonstrate Flame Princess is a more sensible ruler.
The Huffington Post writer Cat Blake cited Cinnamon Bun gaining the affection of Flame Princess as a reason for secondary schoolers not to underestimate people. Staff writers of TV.com called this character progression for "seemingly one-note characters" a strength of the show, as similarly applied to the Ice King. Writing in DVD Talk, Adam Tyner described the episode as showing Finn at his most embarrassing. In memoriam of Piper, who died in July 2015, Brandon Stroud of Uproxx called Don Jon one of his best roles in pop culture. In the Official Tribute Commemorative Magazine for Piper, editor Jeff Ashworth and staff supposed that fans of the series were likely foreign to the "grizzly tones" of Piper's voice. The commemoration saw his guest role as showing his mastery of pop culture while calling Don Jon's bizarre fate normal in the show's universe.
## Explanatory notes
|
[
"## Plot",
"## Production",
"## Release and reception",
"## Explanatory notes"
] | 1,499 | 8,873 |
39,070,326 |
Khaplu Palace
| 1,170,804,044 |
Fort and palace in Gilgit−Baltistan, Pakistan
|
[
"Aga Khan Trust for Culture projects",
"Forts in Gilgit-Baltistan",
"Ghanche District",
"History of Baltistan",
"Hotels in Gilgit-Baltistan",
"Hotels in Pakistan",
"Museums in Pakistan",
"Palaces in Pakistan",
"Restoration of historic architecture in Pakistan",
"Royal residences in Pakistan",
"Tourist attractions in Gilgit-Baltistan",
"UNESCO Asia-Pacific Heritage Awards winners"
] |
Khaplu Palace, locally known as Yabgo Khar, is an old fort and palace located in Khaplu, a city in Gilgit−Baltistan, Pakistan. The palace, considered an architectural heritage site and a significant tourist attraction, was built in the mid-19th century to replace an earlier-dated fort located nearby. It served as a royal residence for the Raja of Khaplu.
From 2005 to 2011, Khaplu Palace underwent a restoration project carried out by the Aga Khan Trust for Culture under the Aga Khan Historic Cities Programme. The palace now houses a hotel operated by Serena Hotels and a museum depicting the history and culture of Baltistan.
## Location
The town of Khaplu is located in the eastern part of Baltistan, at an altitude of 2,600 metres (8,500 ft) above sea level and is the administrative capital of the Ghanche District. River Shyok a tributary of River Indus, passes through the town, along which is the ancient trade route to Ladakh. Khaplu Palace is located north of the Khaplu town and south of the Shyok river in front of the high mountains of Karakoram range. A trek behind the palace in a ravine leads to the village of Pari in Skardu District.
## History
Khaplu Palace was built in 1840 by the Yabgo Raja Daulat Ali Khan of Khaplu after the Dogra of Kashmir who captured the region decided to move the seat of government from the old fort. The site of the palace was chosen by rolling a large stone down from a nearby cliff; it stopped at the Doqsai village, and the palace was built there. The earlier fort was located near the location of the present-day palace. Khaplu Palace replaced the former fort as the royal residence after its completion. According to Jane E. Duncan, the people of Khaplu used to live inside this fort and were not allowed to build their homes outside its premises. After the Maharaja of Kashmir assumed control of the region, this custom was changed, which led to an end to hostilities between the local kings.
The former fort was captured by Murad Khan of Maqpon Dynasty, the ruler of Baltistan, in the Conquest of Khaplu in the 1590s by cutting off the water and other supplies to the fort. The troops of Murad besieged the fort for three months, resulting in the surrender of Rahim Khan, the 62nd Yabgo dynasty ruler of Khaplu. The fort again fell to invaders in the 1660s and 1674.
The Yabgo descendants continued to live there even after their kingdom was abolished in 1972. The last Raja of Khaplu who lived in the house was Raja Fatah Ali Khan, who died in 1983. His son Raja Zakria died in 2020.
## Architecture
The palace was constructed with the help of Kashmiri and Balti craftsmen. Being on the border of multiple regions, the structure of the palace has Tibetan, Kashmiri, Ladakhi, Balti, and Central Asian influences.
The palace building consists of four floors built with timber, mud bricks, clay, and soil mortar. A carved wooden gate that Yabgo Raja Hatim Khan took from a fort in Skardu after conquering most of the Baltistan was erected at the entrance of the palace. The passage beyond the main gate, which formerly housed a stable, leads to the front lawn of the palace, which was used by the musical band during festivities in the reign of Yabgo Rajas. The wooden ceiling of the palace is crafted with designs using chisel and paint, without the use of nail. A hall at the top floor that was used as a leisure room overlooks the Karakoram mountain range and the lawns around the palace. Other notable rooms of the palace include the Royal meeting room (Chogoraftal), Royal balcony (Chogojarokh), Princess dressing room (Lainakhang), and Queen room.
Following the renovation of the palace, a section of residential area is being used as a hotel, operated by Serena Hotels and employing people from 35 local households. The hotel has 21 rooms, six of which are located inside the palace building and utilise its 70 percent of income for the development of the Khaplu region, while another area serves as a museum.
## Renovation
Khaplu Palace is the second fort in Baltistan to be renovated by the Aga Khan Trust for Culture. Renovation started in 2005 and was completed in 2011. The project was funded by the Norwegian Ministry of Foreign Affairs via its embassy in Islamabad. USAID helped fund an exhibition centre for Balti culture inside the fort. The exhibition centre takes up two-thirds of the site. The renovation work was carried out with the help of people from 400 local families employed as an initiative towards community building. The survey encompassing the topographical features of the renovation site. begun in 2005, used Electronic Distance Measurement (EDM) devices. The survey helped in finding the original state of a number of decrepit portions of the palace. The renovation project was carried out following the Venice Charter's standards for restoration. The material procured for the restoration amounted to thirty million rupees (Rs 30 m), while the wages of the labourers aggregated to about twenty five million rupees (Rs 25 m).
## Awards
The rescue and renovation work of the palace was commended by Virgin Holidays for having social and economic effects on the locals of the area. The palace won the Virgin Holidays Responsible Tourism Award as the best project in the "Poverty Reduction" category in 2012. In 2013 the palace was awarded the Award for Distinction by UNESCO Asia Pacific Heritage Awards, along with Lal Chimney Compound in India and The Great Serai in Afghanistan.
The famous drama serial Dayar-e-Dil was shot at Khaplu fort.
## See also
- Altit Fort
- Shigar Fort
- Baltit Fort
- List of forts in Pakistan
- List of museums in Pakistan
|
[
"## Location",
"## History",
"## Architecture",
"## Renovation",
"## Awards",
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] | 1,279 | 27,925 |
47,956,925 |
Hurricane Marty (2015)
| 1,171,666,464 |
Pacific tropical cyclone in 2015
|
[
"2015 Pacific hurricane season",
"Category 1 Pacific hurricanes",
"Pacific hurricanes in Mexico",
"Tropical cyclones in 2015"
] |
Hurricane Marty was a tropical cyclone that produced heavy rains and flooding in several states in Southwestern and Western Mexico. The twentieth named storm and twelfth hurricane of the annual hurricane season, Marty developed from a tropical wave on September 26, 2015, to the southwest of Acapulco, Guerrero, in Mexico. Initially a tropical depression, the system strengthened into a tropical storm early on the following day. Due to favorable atmospheric conditions, Marty continued to intensify, but wind shear sharply increased as the storm approached a large mid- to upper-level trough. Despite this, the cyclone deepened further, becoming a hurricane on September 28 and peaking with sustained winds of 80 mph (130 km/h) shortly thereafter. Wind shear quickly took its toll on the hurricane, weakening it to a tropical storm early on September 29. About 24 hours later, Marty degenerated into a post-tropical low-pressure area offshore Guerrero. The low further degenerated into a trough later on September 30, and eventually dissipated on October 4.
In anticipation of the storm, tropical cyclone warnings and watches were issued in the states of Guerrero and Michoacán. Flooding occurred, particularly in Guerrero, where areas near Acapulco observed 5 to 6 in (130 to 150 mm) of rainfall. There were several landslides and over 300 homes in the municipality of Coyuca de Benitez were flooded. The remnants also caused severe flooding in Sonora. About 800 homes and 400 vehicles were damaged in the city of Guaymas alone. Total damage in the state reached MXN\$500 million (US\$30 million).
## Meteorological history
A tropical wave emerged into the Atlantic Ocean from the west coast of Africa on September 10. Tracking westward, the wave split into two portions, with the slower-moving northern portion ultimately developing into Atlantic Tropical Depression Nine on September 16. The southern portion crossed Venezuela and Colombia and emerged into the Pacific, where a large area of deep convection began to form. A well-defined low-pressure area developed on September 26, and organized into a tropical depression by 18:00 UTC (1 p.m. CDT) the same day while situated about 335 mi (539 km) southwest of Acapulco, Guerrero. Six hours later, after banding features became more defined and intensity estimates using the Dvorak technique showed a slight increase in intensity, the depression was classified as a tropical storm and was accordingly named Marty by the National Hurricane Center (NHC). At the time, the storm was moving slowly northward due to the influence of a large mid- to upper-level trough.
Located in a favorable environment of sea surface temperatures around 86 °F (30 °C) and low vertical wind shear, Marty strengthened steadily. Early on September 27, the NHC noted that rapid intensification was possible. However, as Marty neared the base of the trough, westerly vertical wind shear increased rapidly, causing the low-level circulation center to be partially exposed. Despite the hostile wind shear, the cyclone reformed a central dense overcast and intensified into a hurricane by 12:00 UTC (7 a.m. CDT) on September 28, as a mid-level eye feature was seen in microwave satellite imagery. Operationally, the NHC upgraded Marty to a hurricane nine hours later, after a reconnaissance aircraft flight observed hurricane-force winds. At 18:00 UTC, Marty attained its peak intensity, with maximum sustained winds of 80 mph (130 km/h) and a minimum barometric pressure of 987 mbar (987 hPa; 29.1 inHg). Computer forecast models indicated that the storm would pass within just 25 mi (40 km) of the Southwestern Mexican coast on September 29 or September 30.
Turning north and northeast while under the influence of the aforementioned trough, Marty began to weaken soon after peak intensity as deep convection was displaced to the east due to the strong westerly shear; the low-level circulation center became fully exposed in a span of three hours late on September 28. Upwelling of cooler waters further decayed the deep convection, prompting the NHC to downgrade Marty to a tropical storm at 06:00 UTC (1 a.m. CDT) on September 29. Continuing to steadily weaken, Marty degenerated into a post-tropical low a day later about 140 mi (230 km) west-southwest of Acapulco, while still producing gale-force winds. The shallow system turned westward in the low-level flow and eventually opened up into a trough twelve hours later about 195 mi (314 km) west of Acapulco. The low became closed once again on October 1; however, it failed to produce sufficient organized deep convection to re-qualify as a tropical cyclone. It turned north-northeastwards towards the southern Gulf of California; however, it dissipated before reaching the coast of Western Mexico. The remnant moisture continued into Northwestern Mexico and caused flooding in Sonora.
## Preparations and impact
In preparation for the arrival of Marty, classes were suspended in Acapulco and the Costa Grande region. The Mexican Navy was put on standby to deal with incidents occurring within the zones of Chiapas, Guerrero, Michoacan and Jalisco. The Government of Mexico issued multiple watches and warnings for coastal communities across Guerrero; by 21:00 UTC (4 p.m. CDT) on September 28, a tropical storm watch was in effect for west of Lázaro Cárdenas to Punta San Telmo, a tropical storm warning for Acapulco to east of Tecpán de Galeana, and a hurricane warning for Tecpán de Galeana to Lázaro Cárdenas. These were discontinued as Marty weakened and moved away from the region; all had been cancelled by early on September 30.
Stalling south of Mexico, Marty produced heavy rains, mainly in the state of Guerrero. Many areas reported at least 2 in (51 mm) of rain between September 26 and October 1; coastal areas near and west of Acapulco received up to 6 in (150 mm). As river levels rose, a state of emergency was declared for eight municipalities, which was only concluded on September 30. Two landslides occurred in Chilpancingo; several others occurred in Coyuca de Benitez and Sierra de Atoyac. More than 300 homes were flooded with up to 6 in (15 cm) of water in Coyuca de Benitez. Three temporary shelters were opened in Barra de Coyuca; however, they were closed as no one moved in.
As the remnants of Marty moved into northwestern Mexico, heavy rains and flooding rendered 35,000 people homeless in Sonora. A state of emergency was declared in 16 municipalities. Flooding in Guaymas, which was hit hardest, damaged 800 homes and 400 vehicles; three people sustained injuries when a wall collapsed. The Mexico-Nogales Highway between Guaymas and Ciudad Obregón had to be closed due to the floods. Total estimated damage in the state amounted to MXN\$500 million (US\$30 million).
## See also
- Weather of 2015
- Tropical cyclones in 2015
- List of Category 1 Pacific hurricanes
- Other storms of the same name
- Hurricane Manuel (2013)
- Hurricane Carlos (2015)
- Hurricane Agatha (2022)
|
[
"## Meteorological history",
"## Preparations and impact",
"## See also"
] | 1,557 | 12,118 |
40,585,827 |
People v. Aguilar
| 1,094,625,805 |
Illinois Supreme Court case
|
[
"2013 in United States case law",
"Illinois state case law",
"United States Second Amendment case law"
] |
People v. Aguilar, 2 N.E.3d 321 (Ill. 2013), was an Illinois Supreme Court case in which the Court held that the Aggravated Unlawful Use of a Weapon (AUUF) statute violated the right to keep and bear arms as guaranteed by the Second Amendment. The Court stated that this was because the statute amounted to a wholesale statutory ban on the exercise of a personal right that was specifically named in and guaranteed by the United States Constitution, as construed by the United States Supreme Court. A conviction for Unlawful Possession of a Firearm (UPF) was proper because the possession of handguns by minors was conduct that fell outside the scope of the Second Amendment's protection.
In 2008, Alberto Aguilar, then 17, was arrested and charged with AUUF and UPF. After being convicted and sentenced to probation by the trial court, he appealed, arguing that both statutes were unconstitutional infringements of his Second Amendment rights. The Illinois Court of Appeals affirmed his conviction, and he appealed that ruling to the Illinois Supreme Court. While Aguilar's appeal was pending, the Federal Seventh Circuit Court of Appeals had ruled that the AUUF statute was unconstitutional.
When the matter was decided by the Illinois Supreme Court, they agreed with the Seventh Circuit and declared the AUUF law unconstitutional, but upheld the constitutionality of the UPF law.
## Background
### Legal background
Illinois was the last state in the nation to allow concealed carry of a handgun. Prior to 2013, Illinois prohibited the carry of a firearm in a loaded condition, other than at one's own property. If the firearm was loaded and not in a locked case, or if it was otherwise available for immediate use, it was a felony offense called Aggravated Unlawful Use of a Weapon (AUUF). Illinois courts had uniformly upheld the constitutionally of the statute prior to 2008. The state also had a law called Unlawful Possession of a Firearm (UPF), which prohibited anyone under the age of 18 from possessing a firearm. Additionally, the City of Chicago had enacted strict gun control laws prohibiting the possession of any handgun that had not been registered prior to 1982, when the law took effect.
On June 26, 2008, exactly two weeks after Aguilar's arrest, the U.S. Supreme Court decided District of Columbia v. Heller. In Heller, the Court ruled that a law of the District of Columbia which had the effect of banning handguns in the city violated the Second Amendment and was unconstitutional. The Court said that the fundamental right protected by the Second Amendment was the right to self-defense; however since the District of Columbia was a federal jurisdiction, it was not clear that this applied to the individual states.
### Factual background
On June 12, 2008, Chicago Police Officer Thomas Harris was in a surveillance position in the Little Village neighborhood of Chicago and observed a group of male teenagers creating a disturbance and throwing bottles at cars. Harris observed one of the teenagers, later identified as Alberto Aguilar, holding the right side of his waist, and Harris notified other officers. The other officers made contact with the teens and Officer John Dolan saw Aguilar drop a gun onto the ground. Aguilar, then 17, was arrested. The officers noted that the handgun had three rounds loaded in it and that the serial number was filed off.
### Lower courts
#### Circuit Court
Aguilar was tried for AUUF and UPF at the Circuit Court for Cook County. The officers testified that Aguilar had the gun and had dropped it, while Aguilar claimed that he never had a gun, but was waiting for his mother to pick him up when officers came running into the back yard and tackled him. Aguilar's testimony was corroborated by Romero Diaz, who stated that Aguilar did not have a gun. Judge Charles P. Burns determined that the officers were more credible and found Aguilar guilty on both counts, sentencing him to 24 months probation on the AUUF charge; he did not pass sentence on the UPF charge.
#### Illinois Court of Appeals
Aguilar then appealed his conviction, arguing that the AUUF statute violated the Second Amendment and was unconstitutional. The Court of Appeals, evaluating Heller, found that Heller only protected the right to possess a handgun in the home. The court also evaluated McDonald and found that while it applied the Second Amendment to the states, it also only applied to handguns possessed in the home. The court, using an intermediate scrutiny test, determined that the Illinois statute was substantially related to an important governmental objective to protect the public from gun violence. The court affirmed the conviction.
### Other relevant events
#### McDonald v. City of Chicago
In 2008, shortly after the Heller decision, three lawsuits were filed in Illinois, challenging the constitutionally of handgun bans in Chicago and Oak Park. All three cases were consolidated and heard in the United States District Court for the Northern District of Illinois, and were dismissed based on earlier U.S. Supreme Court rulings that the Second Amendment did not apply to the states. The cases were appealed to the Seventh Circuit, which affirmed based on the same reasoning. The U.S. Supreme Court reversed that decision, holding that the Second Amendment was applicable to the states through the Fourteenth Amendment, and clarified that "self-defense was 'the central component of the right itself.'"
#### Moore v. Madigan
In 2011, two federal lawsuits were filed in the Southern District of Illinois and the Central District of Illinois. In both cases, the plaintiffs claimed that AUUF statute violated the Second Amendment in that it did not allow any method for a citizen to bear arms outside the home. Mary Shepard argued that the statutes were facially unconstitutional, while Michael Moore argued that the statutes were unconstitutional as applied. In both cases, the judges granted the state's motion to dismiss for failure to state a claim, holding that the Second Amendment only protected the right to possess arms in the home. Both Moore and Shepard appealed their cases to the Seventh Circuit, where the cases were consolidated.
The Seventh Circuit found that Illinois law did violate the Constitution in that there was no method for a person to carry a weapon for self-defense outside of the home. The court stated that the district courts had read Heller and McDonald too narrowly—that the right protected was self-defense, and there was as great if not greater need outside the home. The court rejected the state's argument that strict gun regulation lowered crime, noting that the evidence did not support that. The decisions of the district courts were reversed and the cases remanded to those courts with instructions to declare the Illinois law unconstitutional, issuing a permanent injunction against the law's enforcement. The court then stayed the order for 180 days to give the Illinois legislature an opportunity to amend the law to make it constitutional.
#### Legislative actions
In January 2013 the Illinois Legislature began to look at enacting legislation to address the Moore decision. Lt. Governor Sheila Simon formed a working group of thirteen Democrats and two Republicans to look into the issue. During hearings on the matter, debate centered on concealed carry permits, with gun rights groups preferring shall-issue permits while gun control groups favored may-issue permits. On May 31, 2013, the state house passed a shall-issue bill by a vote of 89–28, after state senate passed it by a vote of 45–12. Both had veto-proof margins. On July 9, 2013, the Illinois legislature overrode Governor Pat Quinn's veto, and concealed carry was authorized for the state once the Illinois State Police issued permits.
## Supreme Court of Illinois
### Arguments
On appeal, Aguilar again argued that the AUUF statute was unconstitutional on its face. Aguilar also made the argument that the UPF statute was unconstitutional, since at the time the Second Amendment was adopted, 16- and 17-year-olds could lawfully bear arms.
The state argued that Aguilar lacked standing to contest the constitutionality of the statute. The state claimed that since Aguilar denied having committing the act that the statute prohibited, he could not contest the constitutionality of it.
### Opinion of the court
Justice Robert R. Thomas delivered the opinion of a unanimous court. Thomas first disposed of the standing argument by the state, noting that Aguilar was not challenging the statute as applied, but was arguing that the statute was facially unconstitutional since it did not provide for any person to legally bear arms. Since anyone could challenge the constitutionality of a statute when they were charged with violating it, even without admitting the underlying conduct, the state's argument was without merit.
Thomas then evaluated the constitutionality of the AUUF statute, noting that the Heller court had "concluded that the second amendment 'guarantee[s] the individual right to possess and carry weapons in case of confrontation . . . .'" He noted that McDonald reiterated that self-defense was at the core of the right. He analyzed what other courts in Illinois had done, noting that they had all focused on the ruling in Heller that the right existed in the home, and that they had held the AUUF statute constitutional since it affected conduct outside of the home. Thomas then compared this to the ruling by the Seventh Circuit in Moore and concluded that their ruling was correct, that the AUUF statute did in fact infringe on the rights guaranteed by the Second Amendment. Since the statute was unconstitutional, Aguilar's conviction must be reversed.
Thomas rejected the argument on the unconstitutionality of the UPF statute, noting that all courts that had addressed this issue had found that persons under 21 could be barred from possessing firearms. The conviction for UPF was affirmed, and the case was remanded.
## Subsequent developments
Following the decision, Cook County prosecutors stated that they would drop charges against some of the pending cases for AUUF, but that only those with valid Illinois Firearms Owner Identification cards would have the charges dropped. By September 16, 2013, the first case had been dismissed in Cook County. A number of law enforcement agences, such as the Springfield Police and the Sangamon Sheriff's Office, made a plea to the public to not immediately begin to carry concealed handguns. Some prosecutors have already announced that they do not intend to prosecute these cases.
|
[
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"### Legal background",
"### Factual background",
"### Lower courts",
"#### Circuit Court",
"#### Illinois Court of Appeals",
"### Other relevant events",
"#### McDonald v. City of Chicago",
"#### Moore v. Madigan",
"#### Legislative actions",
"## Supreme Court of Illinois",
"### Arguments",
"### Opinion of the court",
"## Subsequent developments"
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42,357,360 |
No Mistakes
| 1,080,912,378 | null |
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"Songs written by Cyhi the Prynce",
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"Songs written by Slick Rick"
] |
"No Mistakes" is a song by American rapper Kanye West from his eighth studio album, Ye (2018). The song features vocals from Kid Cudi, Charlie Wilson and Caroline Shaw. It was produced by West, while co-produced by Che Pope and Shaw, with additional production from Mike Dean and Eric Danchick. The producers of the song, with the exception of Danchick, wrote it alongside Cyhi the Prynce, Malik Yusef, Kenneth Pershon and Bump J. Songwriting credit was added for Slick Rick due to the song sampling his work and as it samples music by the Edwin Hawkins Singers, Edwin Hawkins was credited as a songwriter. The song contains samples of "Children Get Together", performed by the Edwin Hawkins Singers, as well as "Hey Young World", performed by Slick Rick.
In the lyrics of the song, various self-righteous outbursts are delivered by West. "No Mistakes" received generally positive reviews from music critics, who often appreciated Wilson's vocals. Some praised the song's Slick Rick sample, while critical assessment of West's verse was less positive. It charted in the top 50 of the charts for Australia, Canada, Ireland, Slovakia, and the United States in 2018. The song has since been certified gold in the US by the Recording Industry Association of America (RIAA). In June 2018, Kanye shared a video of North West singing its chorus. A version of the song with different lyrics was performed by the Sunday Service Choir during rehearsal in January of the following year.
## Background
Kanye West and fellow rapper Kid Cudi first collaborated on the track "Welcome to Heartbreak", which features the latter and is from West's fourth studio album 808s & Heartbreak (2008). The two later experienced a troubled relationship at times, including Kid Cudi branding West as a "hater" in September 2016. In March 2018, he was spotted with West in Wyoming; Ye was recorded that year at West Lake Ranch in the state's valley Jackson Hole. Kid Cudi was one of the first attendees to arrive at the album's listening party in the valley on May 31, 2018, and contributed vocals to the track "Ghost Town" as well as "No Mistakes". American singer Charlie Wilson was previously featured on West's tracks "Good Friday" (2010) and "Bound 2" (2013), and the song includes vocals from him. In 2015, West released a remix of 808s & Heartbreak track "Say You Will" (2008), featuring American violinist and singer Caroline Shaw. The credits for Ye were updated on June 13, 2018, crediting Shaw for having contributed vocals and production to "No Mistakes". The song was produced by West and co-produced by Che Pope alongside Shaw, while additional production was handled by Mike Dean and Eric Danchick.
American rapper Slick Rick received songwriting credit because he wrote "Hey Young World" (1989), which the song samples. Due to having wrote "Children Get Together" (1971) by American gospel group the Edwin Hawkins Singers, the work that "No Mistakes" samples, the group's leader Edwin Hawkins was posthumously credited as a songwriter on the song. It was also written by West, Dean, Pope, Cyhi the Prynce, Malik Yusef, Kenneth Pershon, and Bump J. "Hey Young World" had previously been sampled by frequent West collaborator Jay-Z on the track "All Around the World", produced by No I.D., from his seventh studio album The Blueprint 2: The Gift & The Curse (2002).
## Composition and lyrics
"No Mistakes" features a sample from "Children Get Together", written by Hawkins and performed by the Edwin Hawkins Singers, which is used for the main piano portion that is played throughout. It also samples the "believe it or not" vocals from "Hey Young World", as written and performed by Slick Rick. At multiple points within the track, the vocals from the recording are looped. The recording is a hip hop sample, and the track was noted for including a tender tone.
Wilson and Kid Cudi perform the chorus of the track, featuring the two of them singing, "Make no mistake, girl, I still love you." The lyric is repeated throughout the chorus and has been interpreted as a reference to West's love for his wife Kim Kardashian despite the issues during their relationship at times. From his position as a multi-millionaire, West delivers a series of self-righteous outbursts within the track. Certain lyrics are used by West to reference the issues with money that he faced after hospitalisation in 2016.
## Release and promotion
On June 1, 2018, "No Mistakes" was released as the fifth track on West's eighth studio album Ye. Wilson shared a link to the song on his official website, alongside an image featuring lyrics from it. Kardashian shared a rehearsal video of West's gospel group the Sunday Service Choir to Instagram on January 13, 2019. The clip featured the group performing a reworked version of the song, with them using alternate lyrics for the chorus.
## Critical reception
The track was met with generally positive reviews from music critics, several of whom praised Wilson's vocals. Michelle Kim and Sheldon Pearce from Pitchfork pointed out the Slick Rick sample in praise, citing it as an example of when the album's "signature chops prove that Kanye remains among rap's most savvy samplers," and the lines "Truth told, I like you/Too bold to type you/Too rich to fight you/Calm down, you light skin!" were listed by Kim and Pearce as being among the notable "Kanye-isms" on Ye. "No Mistakes" was viewed alongside fellow album track "Yikes" by Andrew Barker of Variety as "West operating in vintage mode," with him directing praise towards the sample loops. In The Observer, Kitty Empire noted the track for featuring a "buttery first verse and chorus." One of the "moments of true, transporting beauty on Ye" was listed by Tom Breihan of Stereogum as being "Wilson's voice surging skyward on [the track], soaring above those pianos like a phoenix in flight." Writing for the Los Angeles Times, Mikael Wood called West and Wilson's singing "just astounding." Alexis Petridis of The Guardian praised West's lyricism and the track's "crashing drums," as well as its Slick Rick sample. Greg Kot from the Chicago Tribune noted "a hint of tenderness" in Wilson and Kid Cudi's "melodic refrain." Exclaim! writer Kyle Mullin commented that the track's "soaring backing vocals and strategically spliced" Slick Rick sample both "harken back to Yeezy's more soulful" era of his second studio album Late Registration (2005). AllMusic's Neil Z. Yeung stated that the song features "uplifting, old-school production," which he viewed as "recalling early-2000s Kanye."
A number of reviewers were more critical. Craig Jenkins, for Vulture, praised the song's composition, especially the "booming" chorus from Wilson, "spectral" bass and diced Slick Rick lines, but characterized it as an offbeat love song and slammed the message of West's verse. Billboard's Michael Saponara picked it as the second worst track on Ye, though praised Wilson's "soothing" chorus. Christopher Hooton of The Independent panned it as "barely even a song", characterizing its chorus as "lacklustre" and West's verse as "half-assed." In The Boston Globe, Julian Benbow branded the song "bafflingly underwhelming."
## Commercial performance
Following the release of Ye, "No Mistakes" debuted at number 36 on the US Billboard Hot 100. The song also entered the US Streaming Songs chart, peaking at number 17, with streams of 21.2 million. Simultaneously, it reached number 21 on the US Hot R&B/Hip-Hop Songs chart. On March 1, 2021, the song was certified gold by the Recording Industry Association of America (RIAA) for pushing 500,000 certified units in the United States.
"No Mistakes" has its best chart performance in Canada, peaking at number 27 on the Canadian Hot 100. On the Irish Singles Chart, the song reached number 38. It debuted at numbers 46 and 50 on the ARIA Singles Chart and Slovakia Singles Digitál Top 100, respectively. The song charted at number 65 on both the Greece International Digital Singles chart and Portuguese Singles Chart.
## Appearances in media
On the evening of June 3, 2018, Kanye tweeted out a video of his daughter North West singing the chorus of "No Mistakes". The clip features West holding a box of Yoo-hoo and wearing a night gown, and she looks directly into the camera while singing. Accompanying the video, Kanye West captioned it with a trio of heart-eyed emojis. The video gathered positive reactions from fans of West on Twitter, surpassing over a million views. Prior to sharing it, West had been joined by his family for the album's listening party in Wyoming. Users of Twitter believed that Drake was dissed in the song, which had been echoed in some reviews.
## Credits and personnel
Recording
- Recorded at West Lake Ranch, Jackson Hole, Wyoming
Personnel
- Kanye West – production, songwriter
- Che Pope – co-production, songwriter
- Caroline Shaw – co-production, vocals
- Mike Dean – additional production, songwriter, engineering, mixing
- Eric Danchick – additional production
- Cydel Young – songwriter
- Edwin Hawkins – songwriter
- Kenneth Pershon – songwriter
- Malik Yusef – songwriter
- Ricky Walters – songwriter
- Terrence Boykin – songwriter
- Mike Malchicoff – engineering
- Zack Djurich – engineering
- Sean Solymar – assistant recording engineering
- Jess Jackson – mixing
- Charlie Wilson – vocals
- Kid Cudi – vocals
Credits adapted from Tidal.
## Charts
## Certifications
|
[
"## Background",
"## Composition and lyrics",
"## Release and promotion",
"## Critical reception",
"## Commercial performance",
"## Appearances in media",
"## Credits and personnel",
"## Charts",
"## Certifications"
] | 2,143 | 32,216 |
62,851,413 |
Rällinge statuette
| 1,158,662,717 |
Viking era ithyphallic figure
|
[
"1904 archaeological discoveries",
"Archaeological discoveries in Sweden",
"Bronze sculptures in Sweden",
"Freyr",
"Sculptures of Norse mythology",
"Viking Age in Sweden",
"Viking art"
] |
The Rällinge statuette is a seated figure in bronze, discovered in Södermanland, Sweden in 1904 and dated to the Viking Age. The seven-centimetre-high figure, who wears a conical headdress, clasps his pointed beard and has an erect penis, has often been assumed to be the god Freyr. This is due to an 11th-century description of a phallic Freyr statue in the Temple at Uppsala, but the identification is uncertain.
It has also been suggested that the figure is a gaming piece, a flute player, and the god Thor blowing his beard to create wind. If it is the image of a god, it could be a small, devotional statuette of a type mentioned in Old Norse sagas. The object is in the collection of the Swedish History Museum.
## Discovery and description
The object was discovered in the spring of 1904 at the farm Rällinge in Lunda parish, Södermanland, Sweden. According to the original report, it was found by Edvard Holmgren in the farm's garden under "a vast morass of stones, earth and several large trees and bushes". In 1990, the archivist Thomas Skalm presented documents which instead say that it had been found by the 12-year-old boy Gustav Karlsson in the farm's potato field; Karlsson had sold it to Holmgren for 25 öre, and Holmgren had gone to the Swedish History Museum in Stockholm where he received 20 kronor for it. The museum still has it in its possession.
The statuette is made of bronze and has been dated to the late Viking Age, around the year 1000. It is 6.9 centimetres (2.7 in) high and weighs 141.3 grams (4.98 oz). Based on the design, and how it differs from contemporary artworks from continental Europe, it is assumed to have been made by a Scandinavian sculptor. The figure sits cross-legged and clasps his beard with his right hand while his left hand rests on his knee, with a part of the left arm missing. He wears a bracelet on each wrist and a conical helmet or pointed cap on his head. The beard is pointed and long and is accompanied by a large, upturned moustache. The figure is ithyphallic, which means he is depicted with an erect penis. The back of his shoulders and his buttocks are decorated with spiral patterns.
## Identity
### Freyr
The earliest suggestion for the figure's identity was that it is the god Freyr. This position was taken by the archaeologist Bernhard Salin in the earliest scholarly article about the object, published in 1913. The identification with Freyr remains the most accepted and is repeated in many works about Old Norse religion and the Viking Age. It is however uncertain, and is supported only by the phallus, which is associated with Freyr through the 11th-century chronicler Adam of Bremen, who made a single, possibly unreliable mention of a phallic statue of Freyr supposed to have stood in the Temple at Uppsala. The Rällinge figure does not display any of the known attributes of Freyr from his myths, such as his sword, ship or boar.
According to the historian of religions Olof Sundqvist, the statuette could be connected to Freyr's association with royalty and his function as a model for kings. Freyr was associated with battle and fertility, and Sundqvist writes that the statuette's helmet could represent the god's warrior aspect and the phallus his fertility aspect. This would correspond to a human king's responsibility to provide the military protection needed to keep the land of a kingdom fertile.
### Other theories
The archaeologist Kristján Eldjárn wrote that the Rällinge statuette might not be an image of a mythological figure but a gaming piece. Because of similarities in age and design, Eldjárn wrote that it "seems doubtless" that it belongs to the same artistic tradition as the Eyrarland statue from Iceland. The latter is often assumed to be a representation of the god Thor, but also resembles a smaller Icelandic whalebone figure, found in a grave in Baldursheimur together with black and white gaming pieces and a die. Eldjárn suggested that the statuettes are king pieces from hnefatafl game sets. Another suggestion came from the philologist Lotte Motz, who wrote that the statuettes from Eyrarland, Baldursheimur and Rällinge could represent musicians. She wrote that the Rällinge statuette probably depicts a flute player, and compared it to images of "phallic flutists" from other regions.
The Norse studies scholar Richard Perkins writes that the statuette could be a depiction of Thor who blows in his beard to create wind. Even if the figure is Freyr, which Perkins does regard as the most likely identity, some tradition could have attributed Freyr rather than Thor with the ability to control the wind with his beard. Perkins further suggests that the figure has adopted features from the Buddha, inspired by depictions such as the 6th-century Buddha statuette [sv] found on the island of Helgö, not far from Rällinge. Not only could the position of the legs be inspired by the Buddha, writes Perkins, but the conical headdress could be a stylised version of the ushnisha. The archaeologist Neil Price writes that if the identification is based solely on the phallus, a symbol for a sexually active man, there is no lack of candidates from Norse myth, legend and history: in addition to Freyr, it is not possible to rule out other gods such as Odin, other beings like dwarfs, jötunns and elves, and human kings and earls such as Hakon Jarl.
## Parallels in sagas and archaeology
Although nothing is known for certain about the Rällinge statuette's original purpose, there are attestations of small devotional statuettes in the Old Norse saga literature. The Hallfreðar saga tells how Hallfreðr, the favourite poet of the Christian king Olaf Tryggvason, secretly carried a small ivory statuette of Thor which he worshipped, and Ingimundur Þorsteinsson is said in the Vatnsdæla saga to have kept an item ("hlutr") with a silver engraving of Freyr. The philologist E. O. G. Turville-Petre wrote that the Rällinge and Eyrarland statuettes, like the statuettes in the sagas, may have been for personal devotional purposes.
In 2002, three small phallic figurines from the Iron Age were uncovered at the farm Lunda in Strängnäs parish, also in Södermanland. Although they differ in design from the Rällinge statuette—two of them instead show similarities to the Kymbo figurine [sv] found in Västergötland—that makes for a total of four phallic statuettes found in Södermanland. According to an article in Fornvännen, it might be of significance that all four were found in the vicinity of places named Lunda ("the grove" in Swedish).
## See also
- Odin from Lejre
- Priapus
- Satyr
- Viking art
|
[
"## Discovery and description",
"## Identity",
"### Freyr",
"### Other theories",
"## Parallels in sagas and archaeology",
"## See also"
] | 1,562 | 22,385 |
18,346,103 |
American Palestine Line
| 1,169,388,614 |
Former American steamship company
|
[
"1924 establishments in New York (state)",
"1926 disestablishments in New York (state)",
"American companies disestablished in 1926",
"American companies established in 1924",
"Defunct shipping companies of the United States",
"History of Zionism",
"Transport companies disestablished in 1926",
"Transport companies established in 1924"
] |
The American Palestine Line was a steamship company, formed in 1924 in the U.S., for the purpose of providing direct passenger service from New York to Palestine. It was reportedly the first steamship company owned and operated by Jewish people. The company negotiated to purchase three ocean liners from the United States Shipping Board, but it was only able to purchase one, SS President Arthur, a former North German Lloyd steamer that operated as Princess Alice before being seized by the United States during World War I. After refurbishing the liner, the company inaugurated service between New York and Palestine in March 1925, when President Arthur sailed on her maiden voyage. A crowd of 15,000 witnessed ceremonies that included songs, prayers, and speeches in English and Yiddish. The company claimed that President Arthur was the first ocean liner to fly the Zionist flag at sea and the first ocean liner ever to have female officers.
The line had labor difficulties and financial difficulties throughout its existence. On President Arthur's first trip in 1925, rumors of a mutiny were reported in The New York Times, and several crew members got into an altercation with members of the Blackshirts, the Italian fascist paramilitary group, when the liner made an intermediary stop in Naples. On her second voyage, the ship's master-at-arms was killed by a fellow crew member. Financial difficulties included unpaid bills and resultant court actions as well as accusations of fraud against company officers that were leveled in the press. In late 1925 the company was placed in the hands of a receiver; President Arthur—after a two-alarm fire in her forward cargo hold—ended up back in the hands of the United States Shipping Board (USSB), and the company's office furniture and fixtures were sold at auction in early 1926.
## Background
The newly formed American Palestine Line, reportedly the first ever steamship company owned and operated by Jews, began working to institute direct passenger service from New York to Palestine. To that end, the company began negotiations with the United States Shipping Board (USSB) to purchase three former German ocean liners, sister ships President Fillmore and President Arthur and the smaller Mount Clay. On October 9, 1924, the American Palestine Line's president—Jacob S. Strahl, a New York Supreme Court justice—announced the purchase of President Arthur from the USSB, with plans to begin the Palestine service the following March. Strahl also publicly announced American Palestine's intent to acquire President Fillmore at the same time; plans for that acquisition and that of Mount Clay, however, never materialized.
## The ship
SS President Arthur was formerly Kiautschou, a Barbarossa-class ocean liner launched in September 1900 for the Hamburg America Line's Far East passenger and mail service. When Hamburg America withdrew from the service, the liner was traded to North German Lloyd, and regularly used—under the new name of Princess Alice—on both North Atlantic and Far East passenger routes. The liner was interned in the U.S.-controlled Philippines at the outset of World War I and was seized upon the American entry to the conflict. The ship was used as a transport ship for both the U.S. Navy and U.S. Army under the name Princess Matoika. After some post-war use as a passenger liner and yet another name change—this one in honor of the 21st U.S. President, Chester A. Arthur—she was taken out of service when changes in U.S. laws severely curtailed the number of immigrants that could enter the country in the early 1920s. At the time of the purchase by American Palestine, the ship had been laid up in Baltimore since late 1923.
News reports the following month fixed the purchase price of President Arthur at \$60,000 cash, plus assurances that the liner would be reconditioned within six months. Announced plans for reconditioning included reducing passenger capacity to 675 and increasing the cargo capacity to 4,000 long tons (4,100 t). Also on tap were swimming pools, a game room, a gymnasium, a lecture hall, a social hall, and a moving picture theater. The line had originally planned to change the name of the liner to White Palace, but that was never brought about.
After undergoing reconditioning at Morse Dry Dock & Repair in Brooklyn, President Arthur was taken out for a 100-nautical-mile (190 km) shakedown cruise on March 7, 1925. Steaming off the New Jersey coast, President Arthur, expected by American Palestine officials to top out at 16 knots (30 km/h), reached a reported maximum cruising speed of 19.7 knots (36.5 km/h), which company officials claimed would reduce her travel time to Palestine by two or three days. At the end of the shakedown, the liner was docked at the foot of West Houston Street in preparation for her maiden voyage five days later.
The acquisition of President Arthur by American Palestine inspired Jewish lyricist Solomon Small to pen the song "President Arthur's Zion Ship" which contained these lines in its refrain:
> President Arthur, sail
> Blazing for my children a trail.
> I have waited ages long
> With a mother's yearning strong.
## Palestine service begins
On the morning of March 12, 1925, crowds started gathering at President Arthur 's pier at 7:00 a.m. By the time the ceremonies—broadcast by New York's municipal radio station, WNYC—opened with the singing of both "The Star-Spangled Banner" and "Hatikvah", the crowd had swelled to 15,000 in number. The festivities included speeches and prayers from Orthodox Rabbi Moses S. Margolies; David Yellin, Vice Mayor of Jerusalem, who addressed the crowd in Yiddish; Rabbi David de Sola Pool; and Rabbi Stephen S. Wise. Cantor Josef Rosenblatt sang to the crowd and a telegram from New York merchant Nathan Straus, unable to attend the event, was read aloud. American Palestine Line president Jacob S. Strahl, in his remarks, made the claim that the sailing of President Arthur marked the first appearance "in more than 2,000 years of the flag of Judea on the high seas".
The ship, with Stars of David painted on her funnels, pulled away from the dock at eight minutes before noon, nearly an hour later than her planned departure time, and headed to Haifa, with an intermediate stop in Naples. On board were some 400 passengers from all over the United States and Canada, most of whom were tourists wanting to see the Holy Land. Many of the passengers, including a contingent from the University of Manitoba in Winnipeg, were also sailing in order to attend the dedication of the Hebrew University at Mount Scopus by former British Foreign Secretary Lord Balfour. President Arthur also carried agricultural equipment and trucks to be used for farm development in Palestine. In addition, the liner featured Bernice P. Schmitt and Rebecca Adelman, who, according to contemporary news reports, were the first ever female officers on an ocean liner.
Herman Hirsch, a Jewish male from Chicago on a pilgrimage to the Holy Land, kept an account of President Arthur's maiden voyage. On Friday, March 13, one day into the voyage, Hirsch reported that the torah was dedicated and a procession to songs and music accompanied a march over all parts of the ship. Afterwards, Rabbi Aaron Ashinsky of Pittsburgh, Pennsylvania, officiated at a service held in a chapel provided for the passengers.
Newspapers published radio dispatches emanating from President Arthur throughout her maiden voyage, thanks to a powerful new radio set installed aboard the liner. On March 14 the liner was able to avoid the worst of a gale that slowed Leviathan of the United States Lines, and on March 26 President Arthur was able to avoid a waterspout 50 nautical miles (93 km) east of Gibraltar. At Gibraltar, the local Jewish community chartered a ship to escort President Arthur through the Mediterranean. The ship docked at Naples on March 27, four days later than her planned arrival there, and departed the same day.
The liner arrived at Haifa on March 31, nearly a week late. Herman Hirsch reported that a passenger from Chicago, Jacob Drapekin, 72, had died aboard the ship on March 24. The man's dying wish was to be buried in the Holy Land, and the crew of President Arthur helped fulfill his wishes. After arrival in Haifa, his flag-draped coffin was placed on deck and services were conducted in English and Hebrew by Rabbi Ashinsky before the body was taken ashore for interment. A sizable crowd, comprising delegations from Jerusalem, Jaffa, and Tel Aviv, greeted the arriving ship. Most of the passengers on President Arthur were hurried to Jerusalem for the Hebrew University dedication ceremony the next day.
President Arthur departed Haifa on April 4 for a ten-day excursion in the Mediterranean, calling at Jaffa, Beirut, Alexandria, and Naples, among others, before sailing for the United States from Haifa on April 17. While docked at Naples on April 23, crewmen from President Arthur got into a confrontation with members of the Blackshirts, the Italian fascist paramilitary group. Five of the Blackshirts had broken noses and black eyes; five American seamen were arrested and a further 15 Americans swam out to their steamer to avoid arrest. After calling at Halifax, the liner docked at Pier 86 in New York on March 8, carrying among its cargo 75,000 bags of onions from Alexandria, 16,000 cases of lemons from Palermo, and two cases of Jaffa oranges for philanthropist Nathan Straus. Only 500 well-wishers greeted the ship, arriving as it did on the Jewish sabbath, but President Arthur was greeted by the largest police detail in many years because of rumors of a mutiny on board the ship. Sources are unclear as to what actually happened aboard the ship, but it is known that virtually the entire crew, including the captain, was replaced before the next voyage.
On May 12 President Arthur sailed on her second voyage to Palestine, counting Hemda Ben-Yahuda, the widow of Hebrew linguist Eliezer Ben-Yehuda, among her passengers. During the trip, an altercation between a Steward and the ship's master-at-arms resulted in the death of the latter while the ship was in Naples. Though the steward was arrested by Italian authorities, he was acquitted of murder by the Assize Court at Naples. After a return to New York, President Arthur sailed for Haifa on July 19 for what would be her last voyage for American Palestine.
## The demise of American Palestine
By this time, the company, perpetually undercapitalized by its own admission, faced mounting financial troubles. On July 10, the company had to post an indemnity bond to avoid the impoundment of President Arthur for a disputed bill owed to Morse Dry Dock for the ship's 1924 refit. The following month, President Arthur was used as collateral for \$100,000 loan from a Bronx bank, but it was too little, too late. American Palestine Line was placed in receivership on September 11 by federal judge Thomas D. Thacher of the U.S. District Court after suit was brought by a creditor. Eight days later, President Arthur, docked at the foot of West 34th Street, experienced a two-alarm fire in her forward cargo hold that brought out both land-based firefighters and the New York City Fire Department fireboat James Duane . In December, the line was accused of fraud in some of its prior financial dealings, charges the company denied. By the time all the legal wrangling was finished, President Arthur was back in the hands of the USSB, and the furniture and fixtures of the American Palestine offices were sold at public auction by the company's receiver in early March 1926.
|
[
"## Background",
"## The ship",
"## Palestine service begins",
"## The demise of American Palestine"
] | 2,472 | 30,490 |
28,787,764 |
Gubazes II of Lazica
| 1,159,455,563 |
King of Lazica
|
[
"555 deaths",
"6th-century births",
"6th-century monarchs in Europe",
"6th-century murdered monarchs",
"Deaths by stabbing in Georgia (country)",
"Kings of Lazica",
"Lazic War",
"People of the Roman–Sasanian Wars"
] |
Gubazes II (Georgian: გუბაზ II, Greek: Γουβάζης) was king of Lazica (modern western Georgia) from circa 541 until his assassination in 555. He was one of the central personalities of the Lazic War (541–562). He originally ascended the throne as a vassal of the Byzantine Empire, but the heavy-handed actions of the Byzantine authorities led him to seek the assistance of Byzantium's main rival, Sassanid Persia. The Byzantines were evicted from Lazica with the aid of a Persian army in 541, but the Persian occupation of the country turned out to be worse, and by 548, Gubazes was requesting assistance from Byzantium. Gubazes remained a Byzantine ally during the next few years, as the two empires fought for control of Lazica, with the fortress of Petra as the focal point of the struggle. Gubazes eventually quarrelled with the Byzantine generals over the fruitless continuation of the war, and was assassinated by them.
## Biography
### Early life
Gubazes was of Byzantine descent through his mother, Valeriana. Tzathius' marriage to Valeriana seems to be the earliest recorded marriage between the Lazic and Byzantine elites. The custom of marrying Byzantine women, usually from the senatorial aristocracy, was common among the Lazic royalty: his uncle, the "king" Opsites (it is unknown when exactly he reigned), was married to a Byzantine noblewoman named Theodora. It is known that Gubazes had a younger brother, Tzath, who succeeded him on the throne, and an unnamed sister. Gubazes was married and had children, but neither the name of his wife nor of his offspring is known. The name of Gubazes's father is not known from the ancient annals. Professor Cyril Toumanoff, a specialist in Caucasian history and genealogy, has hypothesized that Gubazes was a son and direct successor of the king Tzath I, and that Opsites, his uncle, never actually ruled as a king.
The exact date of Gubazes's accession is unknown, but it must not have been much earlier than 541, when he is first attested as king of the Lazi. It is very likely that before his accession he had lived for several years at the Byzantine capital, Constantinople, for he is recorded to have been a silentiarius, an influential position at the imperial palace; alternatively, but less probably, he may have been given the title as an honorary appointment after his accession.
### Defection to Persia
Lazica had been a Byzantine client state since 522, when its king, Tzath I, had rejected Persian hegemony. However, during the rule of Emperor Justinian I (reigned 527–565), a series of heavy-handed Byzantine measures made them unpopular. In particular, the establishment of a trade monopoly by the magister militum (general) John Tzibus, which was regulated from the newly constructed fortress of Petra, drove Gubazes to seek once again the protection of the Persian shah, Khosrau I (r. 531–579).
In 540, Khosrau broke the "Eternal Peace" of 532 and invaded the Byzantine province of Mesopotamia. In spring 541, Khosrau and his troops, led by Lazi guides, marched over the mountain passes into Lazica, where Gubazes submitted to him. The Byzantines under John Tzibus resisted valiantly from Petra, but Tzibus was killed, and the fortress fell soon after. Khosrau left a Persian garrison at Petra and departed the country, but soon, the Lazi grew discontented: as Christians, they resented the Persians' Zoroastrianism, and they were greatly affected by the cessation of the Black Sea trade with Byzantium. The contemporary Byzantine historian Procopius of Caesarea reports that Khosrau, who was aware of Lazica's strategic importance, intended to resettle the entire Lazi people and replace them with Persians. As a first step, the Persian ruler planned to assassinate Gubazes. Forewarned of Khosrau's intentions, Gubazes switched his allegiance back to Byzantium.
### Return to Byzantine allegiance
In 548, Emperor Justinian dispatched 8,000 men under Dagisthaeus, who together with a Lazic force set siege to the Persian garrison at Petra. As the Persians were well provisioned, the siege dragged on. Dagisthaeus had neglected to keep watch over the mountain passes that led into Lazica, and a far larger Persian relief force under Mihr-Mihroe arrived and raised the siege. Yet, the Persians lacked sufficient supplies, and so, after strengthening the garrison at Petra and leaving a further 5,000 men under Phabrizus to secure its supply routes, Mihr-Mihroe left. In the spring of the next year, Gubazes and Dagisthaeus combined their forces, destroyed Phabrizus's army in a surprise attack, and pursued the survivors into Caucasian Iberia. In the same summer, they won another victory against a new Persian army led by Khorianes. The allies failed, however, to prevent another Persian army from reinforcing Petra, and Dagisthaeus was recalled and replaced by Bessas.
In 550, a pro-Persian revolt broke out among the Abasgians, a people that neighboured Lazica to the north. This provided an opportunity for a high-ranking Lazic noble named Terdetes, who had quarreled with Gubazes, to betray to the Persians Tzibile, an important fort in the land of the Apsili, a tribe under Lazic suzerainty. The Apsili retook the fort, but refused to accept Lazic rule until persuaded to do so by the Byzantine general John Guzes. In 551, the Byzantines finally took and razed Petra, but a new army under Mihr-Mihroe was able to establish Persian control over the eastern part of Lazica. The Byzantine forces in Lazica withdrew west to the mouth of the Phasis, while the Lazi, including Gubazes and his family, sought refuge in the mountains. Despite enduring harsh conditions in the winter of 551/552, Gubazes rejected the peace offers conveyed by envoys from Mihr-Mihroe. In 552, the Persians received substantial reinforcements, but their attacks on the fortresses held by the Byzantines and the Lazi were repulsed.
### Death
Over the next two years, the Byzantines increased their forces in Lazica, but failed to achieve decisive success; Gubazes quarreled with their generals, and wrote to Emperor Justinian accusing them of incompetence following a defeat by the Persians. Bessas was recalled, but the other two, Martin and the sacellarius Rusticus, resolved to get rid of Gubazes. They sent a message to Constantinople accusing Gubazes of dealings with the Persians. Emperor Justinian, intending to question Gubazes himself, authorized the two generals to arrest him, using force if necessary. The two Byzantine generals then (September/October 555) invited Gubazes to observe the siege of a Persian-held fort, but when they met, John, Rusticus's brother, stabbed the king with his dagger. Gubazes fell from his horse, and one of Rusticus's servants gave him the finishing blow.
After Gubazes's murder, the Lazi stopped participating in operations against the Persians for a time, leading to the failure of a Byzantine attack against the fort of Onoguris. An assembly of the Lazic people informed Emperor Justinian of the events, requested that an investigation be launched, and asked that Gubazes's younger brother Tzath, at the time residing in Constantinople, be confirmed as their new ruler. The Byzantine emperor complied with their requests: a "leading senator" named Athanasius (perhaps the former praetorian prefect of the same name) was dispatched to investigate Gubazes's murder, and Tzath was sent to assume the Lazic throne. Athanasius's investigation cleared Gubazes of any suspicion of treachery; Rusticus and his brother John were found guilty and executed in autumn 556, but Martin was simply deposed from his post.
|
[
"## Biography",
"### Early life",
"### Defection to Persia",
"### Return to Byzantine allegiance",
"### Death"
] | 1,797 | 16,909 |
4,803,331 |
Sitric Cáech
| 1,146,951,941 |
Norse King of Dublin and King of York
|
[
"10th-century English monarchs",
"10th-century Irish monarchs",
"10th-century Vikings",
"10th-century rulers of the Kingdom of the Isles",
"927 deaths",
"Monarchs of Dublin",
"Monarchs of Jorvik",
"Norse monarchs",
"People from County Dublin",
"Uí Ímair",
"Year of birth unknown"
] |
Sitric Cáech or Sihtric Cáech or Sigtrygg Gále, (Old Norse: Sigtryggr , Old English: Sihtric, died 927) was a Hiberno-Scandinavian Viking leader who ruled Dublin and then Viking Northumbria in the early 10th century. He was a grandson of Ímar and a member of the Uí Ímair. Sitric was most probably among those Vikings expelled from Dublin in 902, whereafter he may have ruled territory in the eastern Danelaw in England. In 917, he and his kinsman Ragnall ua Ímair sailed separate fleets to Ireland where they won several battles against local kings. Sitric successfully recaptured Dublin and established himself as king, while Ragnall returned to England to become King of Northumbria. In 919, Sitric won a victory at the Battle of Islandbridge over a coalition of local Irish kings who aimed to expel the Uí Ímair from Ireland. Six Irish kings were killed in the battle, including Niall Glúndub, overking of the Northern Uí Néill and High King of Ireland.
In 920 Sitric left Dublin for Northumbria, with his kinsman Gofraid ua Ímair succeeding him as king in Dublin. That same year Sitric led a raid on Davenport, Cheshire, perhaps as an act of defiance against Edward the Elder, King of the Anglo-Saxons. In 921 Ragnall ua Ímair died, with Sitric succeeding him as King of Northumbria. Though there are no written accounts of conflict, numismatic evidence suggests there was a Viking reconquest of a large part of Mercia in the following few years. An agreement of some sort between the Vikings of Northumbria and the Anglo-Saxons was achieved in 926 when Sitric married a sister of Æthelstan, perhaps Edith of Polesworth. Sitric also converted to Christianity, though this did not last long and he soon reverted to paganism. He died in 927 and was succeeded by his kinsman Gofraid ua Ímair. Sitric's son Gofraid later reigned as king of Dublin, his son Aralt (Harald) as king of Limerick, and his son Amlaíb Cuarán as king of both Dublin and Northumbria.
## Background
The ruling Vikings of Dublin were expelled from the city in 902 by a joint force led by Máel Finnia mac Flannacán, overking of Brega and Cerball mac Muirecáin, overking of Leinster. Those Vikings that survived the capture of the city split into different groups; some went to France, some to England, and some to Wales. Archaeological evidence suggests Dublin remained occupied in the years immediately following this expulsion, perhaps indicating only the ruling elite were forced to leave. However, Viking raids on Irish settlements continued, and in 914, a large Viking fleet travelled to Waterford. The arrival of this fleet marked the re-establishment of Viking rule over parts of Ireland, and was followed by more Vikings settling in Limerick the following year.
The main historical sources for this period are the Norse sagas and the Irish annals. Some of the annals, such as the Annals of Ulster, are believed to be contemporary accounts, whereas the sagas were written down at dates much later than the events they describe and are considered far less reliable. A few of the annals such as the Fragmentary Annals of Ireland and the Annals of the Four Masters were also compiled at later dates, in part from more contemporary material and in part from fragments of sagas. According to Downham, "apart from these additions [of saga fragments], Irish chronicles are considered by scholars to be largely accurate records, albeit partisan in their presentation of events".
## Biography
Sitric is presumed to have left Dublin with the rest of the ruling Vikings in 902. Coins dating from the period bearing the legend "Sitric Comes" (Earl Sitric), and the mintmark "Sceldfor" (Shelford), have been found as part of the Cuerdale Hoard, perhaps indicating that he ruled territory in the eastern Danelaw during his exile from Ireland. The Anglo-Saxons conquered all of the Danelaw south of the Humber by 918, but there is no mention of Earl Sitric in English sources, suggesting he was no longer ruling there at the time.
The earliest mention of Sitric in the Irish Annals is in 917 when he and Ragnall, another grandson of Ímar, are described as leading their fleets to Ireland. Sitric sailed his fleet to Cenn Fuait in Leinster, and Ragnall sailed his fleet to Waterford. Niall Glúndub, overking of the Northern Uí Néill, saw these Vikings as a threat, and he marched an army south to repel them. The Vikings fought against the men of the Uí Néill at Mag Femen in County Tipperary and claimed victory, though only through timely reinforcement by Ragnall and his army. This was followed by another at the Battle of Confey (also known as the Battle of Cenn Fuait), against Augaire mac Ailella, overking of Leinster, who died in the battle. Augaire's death marked the end of effective opposition to the Vikings' return to Ireland. Sitric led his men on a triumphant return to Dublin, where he established himself as king, while Ragnall returned to England and soon became King of Northumbria.
According to Downham, the departure of Ragnall and his contingent of warriors may have emboldened Niall Glúndub to try to expel the Uí Ímair from Ireland once again. In 919 Niall led a coalition of northern Irish kings south to Dublin. The forces of Sitric and Niall met near Islandbridge in modern-day County Dublin (dated 14 September by the Annals of Ulster). The resulting Battle of Islandbridge was an overwhelming victory for Sitric and his forces, with Niall falling in battle alongside one of his kinsmen. Five other kings, and a kinsman of the ruler of the Southern Uí Néill, also died fighting against Sitric's army.
In 920 the Annals of Ulster report that Sitric left Dublin "through the power of God". Sitric travelled to Northumbria where he assumed the kingship of Northumbria, succeeding his kinsman Ragnall who died the following year. Sitric was followed as King of Dublin by his brother or cousin Gofraid ua Ímair. In 920 Ragnall had submitted to Edward the Elder, King of the Anglo-Saxons. That same year, following his departure from Dublin, Sitric led a raid in Davenport, Cheshire, in violation of the terms of submission agreed between Ragnall and Edward. Smyth has suggested that this was an act of defiance by Sitric, indicating to Edward that he would not submit to him like Ragnall.
Neither the Anglo-Saxon Chronicle nor Æthelweard's Chronicon makes mention of Sitric in the years 921–924, between his installation as King of Northumbria and the death of Edward the Elder. However, there are coins in existence which were minted at Lincoln during the period that bear Sitric's name. These are an important piece of evidence since they suggest Sitric ruled a large area south of the Humber, a claim contradicted by the Anglo-Saxon Chronicle which says that all the 'Danes' in Mercia (i.e., south of the Humber) submitted to Edward in 918. These coins might indicate Viking reconquest of a large area in the years 921–924, which if it did happen went unremarked upon by the Chronicle. Edward's control of Mercia likely stretched the kingdom's resources to breaking point, allowing Sitric to exploit the ill-will towards Edward that existed among the populace there, with Edward being unable to effectively oppose Sitric. Downham suggests that the silence of the Chronicle might be due to Edward's failing power in the latter years of his reign, and its tendency to only record successes and not failures. His death in 924 is not recorded by a number of important Frankish, Welsh and Irish annals, suggesting a fall in importance and standing from the zenith of his power in 920.
Edward the Elder's successor, Æthelstan, met with Sitric at Tamworth in 926. The Chronicle does not mention the reason for the meeting, but it reports that an unnamed sister of Æthelstan was married to Sitric. Several years previously, in 918, Æthelstan's predecessor had used a royal marriage to bring Mercia under Wessex control. According to Smyth, the fact the marriage between Sitric and Æthelstan's sister occurred at the old Mercian royal centre at Tamworth reinforces the suggestion that this marriage was supposed to perform a function similar to the one in 918. The agreement reached at Tamworth seems to have necessitated Sitric's conversion to Christianity, though he soon reverted to paganism. Sitric died the following year and was succeeded by his kinsman Gofraid ua Ímair. The Annals of Ulster describe his death:
> Sitric, grandson of Ímar, king of the dark foreigners and the fair foreigners, died at an immature age.
## Family
In the annals Sitric is sometimes identified by the use of one of his epithets, or by the use of "ua Ímair", meaning "grandson of Ímar", but never with a patronymic. As such, it is not possible to identify which of the three known sons of Ímar (Bárid, Sichfrith or Sitriuc) – if any – was the father of Sitric. One possible reason for the lack of a patronym might be that Sitric was the child of a son of Ímar who never ruled Dublin, or who spent most of his time outside Ireland, thus making Sitric's legitimacy to rule Dublin dependent on the identity of his grandfather, not his father. Another possibility is that Sitric was a grandson of Ímar through a daughter, again with his right to rule dependent on his grandfather. Sitric's kinsmen Ímar, Ragnall, Amlaíb and Gofraid are the other known grandsons of Ímar identified by the use of "ua Ímair". All except for Amlaíb ruled as either King of Dublin or King of Northumbria at one time or another.
The Annals of Clonmacnoise mention two sons of Sitric, Auisle and Sichfrith, falling at the Battle of Brunanburh in 937. Another son, Aralt, ruled as King of Limerick for an unknown length of time until his death in battle in 940. Sitric's son Amlaíb Cuarán (d. 981) reigned twice each as King of Dublin and King of Northumbria, and may have been the basis of the Middle English romance character Havelok the Dane. Gofraid (d. 951) may have been another son though his father is only named as "Sitric", leaving his relationship to Sitric ua Ímair unclear. Orkneyinga saga tells that a daughter of Sitric named Gytha was married to Olaf Tryggvason, King of Norway. According to Hudson, this is unlikely to be correct, since the marriage is said to have occurred sixty-three years after Sitric's death. It is much more likely that Gytha was actually a granddaughter of Sitric through his son Amlaíb Cuarán.
Sitric married an unnamed sister of Æthelstan in 926. Historians generally describe her as Æthelstan's only full sister, but Maggie Bailey points out that this rests on the late testimony of William of Malmesbury, and the Anglo-Saxon Chronicle makes no such distinction when recording her marriage to Sitric. William did not know her name, but traditions first recorded at Bury St Edmunds in the early twelfth century identify her as Saint Edith of Polesworth. The truth of his identification is debated, but regardless of her name it is likely that she entered a nunnery in widowhood. According to some late sources, such as the chronicler John of Wallingford, Amlaíb Cuarán was the son of Sitric and this West Saxon princess.
### Family tree
## In popular culture
Sigtrygg appears as a character in The Saxon Stories, a series of historical novels by Bernard Cornwell. In the books he is portrayed as the brother of Ragnall ua Ímair, and he marries Stiorra, the daughter of the book's protagonist, Uhtred of Bebbanburg.
|
[
"## Background",
"## Biography",
"## Family",
"### Family tree",
"## In popular culture"
] | 2,749 | 1,632 |
26,985,621 |
Cambridge Water Co Ltd v Eastern Counties Leather plc
| 1,148,932,306 |
Case in English tort law
|
[
"1993 in United Kingdom case law",
"English tort case law",
"House of Lords cases"
] |
Cambridge Water Co Ltd v Eastern Counties Leather plc [1994] 1 All ER 53 is a case in English tort law that established the principle that claims under nuisance and Rylands v Fletcher must include a requirement that the damage be foreseeable; it also suggested that Rylands was a sub-set of nuisance rather than an independent tort, a debate eventually laid to rest in Transco plc v Stockport Metropolitan Borough Council.
The Cambridge Water Company were a company responsible for providing potable water to the inhabitants of Cambridge and the surrounding areas. In 1976, they purchased a borehole outside Sawston to deal with rising demand. In 1980, a European Directive was issued requiring nations of the European Community to establish standards on the presence of perchloroethene (PCE) in water, which the United Kingdom did in 1982. It was found that the Sawston borehole was contaminated with PCE that had originated in a tannery owned by Eastern Counties Leather. Prior to 1980, there was no knowledge that PCE should be avoided or that it could cause harm, but the Cambridge Water Company brought a case against Eastern Counties Leather anyway.
The case first went to the High Court of Justice, where Kennedy J dismissed claims under nuisance, negligence and Rylands v Fletcher because the harm was not foreseeable. His decision was reversed by the Court of Appeal of England and Wales, who cited an "obscure decision" to justify doing so. The case then went to the House of Lords, where a decision was read by Lord Goff on 9 December 1993. Goff first countered the Court of Appeal decision, restoring Kennedy's dismissal of the case, before moving on to the deeper legal points. Based on the original decision in Rylands, Goff argued that it had always been intended for foreseeability of harm to be a factor, something not previously put into law by the English judiciary. He then stated that Rylands was arguably a sub-set of nuisance, not an independent tort, and as such the factors which led him to including a test of foreseeability of harm in Rylands cases also imposed such a test on all nuisance cases.
The decision in Cambridge Water Co made an immediate change to the law, for the first time requiring foreseeability of harm to be considered in cases brought under Rylands v Fletcher and the general tort of nuisance. It was also significant in implying that Rylands was not an independent tort, something later concluded in the Transco case. Goff's judgment has been criticised on several points by academics, who highlight flaws in wording which leave parts of the judgment ambiguous and a selective assessment of Rylands that ignores outside influences.
## Facts
The Cambridge Water Company Ltd was established by a private Act of Parliament in 1853 to provide water to the residents of Cambridge and the surrounding area; by 1976, the population served had risen to approximately 275,000. With the rising demand, the company purchased a borehole outside Sawston, constructing pumping equipment and integrating the water from that borehole into their system in 1979. Tests undertaken both before the purchase, and in 1979, had demonstrated that the water was safe for public consumption. During the late 1970s, concerns were expressed about the presence of perchloroethene (PCE) in water, and as a result a European Directive was issued in 1980 requiring nations of the European Community to establish maximum acceptable levels of PCE in water; the United Kingdom did this in 1982. PCE was discovered in the borehole; it was not tested for earlier because there was no need to regulate the levels. As a result, the Cambridge Water Company was forced to cease pumping the water, and instead find a new borehole elsewhere.
An investigation immediately ensued. The investigators concluded that the PCE had come from Eastern Counties Leather plc, a leather tannery in Sawston. The tannery used PCE as a degreasing agent, beginning in the 1960s; by 1976, 100,000 US gallons (380,000 L) of this chemical were used by the tannery each year, with up to 25,000 US gallons (95,000 L) on the premises at any one time. PCE was leaking out of the drums it was carried in, first by being spilt when it was tipped into the degreasing machines and second by leaking from near-empty drums. Although these spills were individually small, it was estimated around 3,200 US gallons (12,000 L) of PCE were spilled each year. These spills collected in the chalk underlying Sawston until groundwater swept them into the Cambridge Water Company's borehole.
## Judgment
### High Court and Court of Appeal
The Cambridge Water Company brought a case against Eastern Counties Leather in the High Court of Justice, wanting £1 million in damages for the cost of finding a new borehole and an unsuccessful attempt to decontaminate the original one, and an injunction to prevent any more use of PCE. They argued that Eastern Counties Leather were liable in three ways; first, in negligence, second, in nuisance, and third, under the rule developed in Rylands v Fletcher. The case came before Kennedy J, who dismissed all three of the Company's claims. On the matter of negligence, he held that the damage had to be reasonably foreseeable, as was required under Overseas Tankship (UK) Ltd v Morts Dock and Engineering Co Ltd; he applied this same test to the claim under nuisance. Applying the case of Hughes v Lord Advocate, Kennedy found that the harm was not reasonably foreseeable, and both actions under nuisance and negligence must fail.
Rylands v Fletcher contained the principle that "the person who for his own purposes brings on his lands and collects and keeps there anything likely to do mischief if it escapes, must keep it at his peril, and, if he does not do so, is prima facie answerable for all the damage which is the natural consequence of its escape", with a requirement that this use of land be "non-natural". On the Cambridge Water Company's third claim, Kennedy was forced to consider the meaning of "non-natural" in this setting. He held that the use of industrial chemicals was not "non-natural", given that it was on an industrial site, and that for a claim to succeed under Rylands the use must be "some special use bringing increased danger to others, and must not merely be the ordinary use of the land or such a use as is proper for the general benefit of the community"; Eastern Counties Leather created jobs in Sawston, and was thus providing a benefit for the community. As such, the Company's claim under Rylands was not valid. Kennedy also chose to consider foreseeability of harm a factor in cases brought under Rylands, and stated the fact that harm was not foreseeable was a factor in his decision.
The Cambridge Water Company then appealed to the Court of Appeal of England and Wales, but only on the claim under Rylands v Fletcher. The court, composed of Nolan LJ, Mann LJ and Sir Stephen Brown, reversed Kennedy's decision. Despite a lack of comment by the appellants on the claim under nuisance, the court addressed this ground, relying on the "obscure decision" found in Ballard v Tomlinson, concluding that "where the nuisance is an interference with a natural right incident to ownership then the liability is a strict one". As such, Kennedy should have applied Ballard, and it was unnecessary to consider Rylands because the claim under nuisance was valid.
### House of Lords
The case was again appealed, this time to the House of Lords, where it was heard by Lord Templeman, Lord Goff, Lord Jauncey, Lord Lowry and Lord Woolf. The judgment was given by Lord Goff on 9 December 1993, and reinstated the decision of Kennedy J in the High Court of Justice; unlike the Court of Appeal decision, it directly addressed the issue of Rylands v Fletcher. Goff first addressed the Court of Appeal's use of Ballard v Tomlinson, stating that the decision there as based on the facts of the case, and did not establish either a rule that there was a right to clear water, nor that there was strict liability attached to that right.
Goff looked at the relationship between nuisance and Rylands v Fletcher, particularly how they treat strict liability. In nuisance, liability is strict in that the defendant can be liable even if he has taken reasonable care, but this is kept "under control" by the principle that a defendant is not liable for actions a reasonable user takes on his land. He took into consideration an article published by F.H. Newark in 1949, in which Newark called the decision in Rylands "a simple case of nuisance" rather than a revolutionary doctrine that established strict liability outside nuisance. Goff also found similarities between the principle of "non-natural use" under Rylands and that of the "reasonable user" requirement in nuisance, concluding that "[I]t would lead to a more coherent body of common law principles if the rule [in Rylands] were to be regarded essentially as an extension of the law of nuisance".
Lord Goff's judgment was primarily based on whether or not foreseeability of damage should be a factor in Rylands cases, and was that the matter was "open for consideration", saying that the need for foreseeability of damage to be a criterion was "a matter of principle". He considered the case of Overseas Tankship (UK) Ltd v The Miller Steamship Co, in which the Privy Council concluded that foreseeability of damage was an essential part of determining liability in nuisance. The Council stated that "It could not be right to discriminate between different cases of nuisance so as to make foreseeability a necessary element in determining damages in those cases where it is a necessary element in determining liability, but not in others". If, as Goff was stating, Rylands was an element of nuisance, this decision should apply to it. In the original judgment in Rylands, the judge had stated that it covered "anything likely to do mischief if it escapes", and that liability should be to "answer for the natural and anticipated consequences"; this wording implies that he intended for "knowledge to be a prerequisite for liability".
## Significance
Goff's judgment made several significant and immediate changes to the law. First, it was the first decision which imposed a requirement of foreseeability of harm to cases brought under Rylands v Fletcher; "it must be shown that the defendant has done something which he recognised, or judged by the standards appropriate at the relevant place or time, or ought reasonably to have recognised, as giving rise to an exceptionally high risk of danger or mischief if there should be an escape, however unlikely an escape may have been thought to be". Secondly, it was the first decision to state that Rylands may be a sub-set of nuisance, and as such applied the same requirement of foreseeability of harm to nuisance, where previously such a requirement had not existed.
Academic Tom Clearwater criticises some of the language Lord Goff picked out of Rylands v Fletcher for his judgment. In particular, Goff's use of "anything likely to do mischief if it escapes" and "answer for the natural and anticipated consequences" to justify his argument that Rylands had always intended foreseeability to be a factor suggests Goff "[overstepped] an appropriate reach of interpretation in drawing his conclusion...most cases gloss silently over the [wording]... three cases imply that foreseeability of damage is not a relevant consideration at all". The reliance on Newark's article was also criticised, since "Neither he nor Goff attempted to justify their opinion with reference to anything external to [the Rylands] judgment". Clearwater points out that the original judgment in Rylands required modification "the price paid for which was legal uncertainty" to make it socially acceptable, which he sees as evidence that Rylands was, despite what Newark says, a significant change to the law.
Peter Kutner, a professor of law at the University of Oklahoma, argues that there is a significant ambiguity in Goff's judgment. Cases brought under Rylands v Fletcher now have a requirement that the harm was foreseeable, but it was not defined whether or not it was sufficient that it be foreseeable that harm could occur, or that it be foreseeable that the use of land is "non-natural", that the substance be capable of doing "mischief", and all the other requirements of Rylands. He also states that the decision did not explain precisely whether Rylands should be treated as a development within the law of nuisance, or something which sprung from nuisance and retains a separate existence. He interpreted the Cambridge Water Company decision as not being sufficient to completely write out Rylands as a distinct doctrine; this was later done by the House of Lords in Transco plc v Stockport Metropolitan Borough Council.
|
[
"## Facts",
"## Judgment",
"### High Court and Court of Appeal",
"### House of Lords",
"## Significance"
] | 2,636 | 18,244 |
7,210,138 |
Æthelwold of East Anglia
| 1,157,759,260 |
King of East Anglia
|
[
"664 deaths",
"7th-century English monarchs",
"East Anglian monarchs",
"House of Wuffingas",
"Year of birth uncertain"
] |
Æthelwold, also known as Æthelwald or Æþelwald (Old English: Æþelwald "noble ruler"; reigned c. 654 – 664), was a 7th-century king of East Anglia, the long-lived Anglo-Saxon kingdom which today includes the English counties of Norfolk and Suffolk. He was a member of the Wuffingas dynasty, which ruled East Anglia from their regio (centre of royal authority) at Rendlesham. The two Anglo-Saxon cemeteries at Sutton Hoo, the monastery at Iken, the East Anglian see at Dommoc and the emerging port of Ipswich were all in the vicinity of Rendlesham.
Æthelwold lived during a time of political and religious upheaval in East Anglia, whose Christian kings in the decades prior to his succession all died violent deaths, having proved unequal to the task of defending the newly converted kingdom against attacks from its neighbouring kingdom, Mercia, led by its pagan king, Penda. Æthelwold was the last of the nephews of Rædwald to rule East Anglia. He died in 664 and was succeeded by Ealdwulf, the son of his brother Æthelric.
Few records relating to East Anglia have survived and almost nothing is known of Æthelwold's life or reign. He succeeded his elder brother Æthelhere, after Æthelhere was killed with Penda of Mercia at the Battle of the Winwæd in about 655. During his rule he witnessed a setback in the aspirations of Mercia to dominate its neighbours, following the Battle of the Winwæd and the murder of Penda's son, Peada.
He was king during the last decade of the co-existence in England of the Christian Roman rite, centred at Canterbury, and the Celtic rite based in Northumbria. At the Synod of Whitby, in 664, the Roman cause prevailed and the division of ecclesiastical authorities ceased. In 662, Swithelm of Essex was persuaded to adopt Christianity and was baptised at Rendlesham, with Æthelwold present as his sponsor. East Anglia became more closely allied to Northumbria, Kent and lands in the Fens by means of royal marriages such as that between the Northumbrian Hereswitha and the East Anglian Æthilric.
## Historical context
### The emergence of the Kingdom of the East Angles
The history of East Anglia and its kings is known from The Ecclesiastical History of the English People, compiled by the Northumbrian monk Bede in 731, and a genealogical list from the Anglian collection, dating from the 790s, in which the ancestry of Ælfwald of East Anglia was traced back through fourteen generations to Wōden.
East Anglia was a long-lived Anglo-Saxon kingdom in which a duality of a northern and a southern part existed, corresponding with the modern English counties of Norfolk and Suffolk. It was formed during the 5th century, following the ending of Roman power in Britain in 410. The east of Britain became settled at an early date by Saxons and Angles from the continent. During the 5th century, groups of settlers of mixed stock migrated into the Fens and up the major rivers inland. From Bede it is known that the people who settled in what became East Anglia were Angles, originally from what is now part of Denmark. By the 6th century, new settlements had also appeared along the river systems of the east coast of East Anglia, including the Deben, the Alde and the Orwell. The settlers were unaffected by Roman urban civilisation and had their own religion and language. As more of the region fell under their control, new kingdoms were formed, replacing the function of the Roman territoria. Surrounded by sea, fenland, large defensive earthworks such as the Devil's Dyke and wide rivers, all of which acted to disconnect it from the rest of Britain, the land of the East Angles eventually became united by a single ruling dynasty, the Wuffingas.
### Rædwald and his successors
The first king of the East Angles of whom more than a name is known was Rædwald, described by Bede as 'the son of Tytil, whose father was Wuffa', who reigned from about 599 until approximately 624. According to Bede, he was converted to Christianity at the court of his overlord Æthelberht of Kent in about 604. Later in his reign he was powerful enough to hold imperium over several Anglo-Saxon kingdoms. In 616, he defeated Æthelfrith of Northumbria and installed the exiled Edwin as the new king. He is thought to have been given a ship burial and interred amongst a magnificent array of personal treasures and symbols of regal power that were discovered under Mound 1 at Sutton Hoo, in Suffolk. His son Eorpwald succeeded him and reigned briefly before he was killed soon after his baptism, by a heathen named Ricberht, after which the East Angles reverted to paganism. Ricberht was replaced by Sigeberht, whose Christian education ensured that Christianity was reestablished. During Sigeberht's joint reign with Ecgric, the East Anglian see at Dommoc was established.
During 632 or 633, Edwin of Northumbria was overthrown and slain and his kingdom was ravaged by Cadwallon ap Cadfan, supported by Penda of Mercia. The Mercians then turned on the East Angles and their king, Ecgric. In 640 or 641, they routed the East Anglian army in a battle in which Ecgric and his predecessor Sigeberht both perished.
Ecgric's successor, Æthelwold's brother Anna, who was renowned for his devout Christianity and the saintliness of his children, proved ineffective in preventing East Anglia from being invaded by the Mercians. Following a Mercian attack in 651 on the monastery at Cnobheresburg, Anna was exiled by Penda, possibly to the kingdom of the Magonsæte. After his return, East Anglia was attacked again by Penda, Anna's forces were defeated and he was killed. During the reign of his successor, Æthelhere (another brother of Æthelwold), East Anglia was eclipsed by Mercia. In 655, after the Battle of the Winwæd, near Leeds, in which Æthelhere was slain fighting beside Penda, a new political situation arose. Penda's son Peada, who had ruled the Mercian province of the Middle Angles as a Christian king from 653, now succeeded Penda as king of Mercia, but he was murdered a year later. Peada's death dealt a severe blow to Mercian aspirations of dominion over the other kingdoms of England.
### The sphere of Rendlesham
The royal seat of Rendlesham, specified by Bede, seals the evident importance of the Deben estuary headwaters as a centre of royal power, demonstrated for an earlier period by the royal cemetery of Sutton Hoo. Rendlesham, a short distance from Iken, the site of Botolph's monastery, stands at a strategic point between the rivers Deben and Alde at the headwaters of the Butley estuary, which intersects the peninsula between the two major rivers. The dedication of Rendlesham's church to St Gregory suggests its early, perhaps primary connection with the royal dwelling mentioned by Bede. If the Dommoc bishopric was at Walton, as the monks of Rochester Cathedral claimed in the thirteenth century, then this was also immediately within the sphere of Rendlesham. Archaeologists have revealed that the quay of Gipeswic (now modern Ipswich), at a ford of the River Orwell estuary, was then growing in importance as a centre of seaborne trade to the continent, under direct royal patronage.
## Descent, family and accession
Æthelwold (Old English 'noble ruler') was a member of the Wuffingas dynasty, the youngest son of Eni and a nephew of Rædwald of East Anglia. Two of his brothers, Anna and Æthelhere, ruled in succession before him.
His accession is mentioned by the 12th-century historian William of Malmesbury, in Gesta Regum Anglorum:
"To Anna succeeded his brother Ethelhere, who was justly slain by Oswy king of the Northumbrians, together with Penda, because he was an auxiliary to him, and was actually supporting his brother and his kinsman. His brother Ethelwald, in due succession, left the kingdom to Adulf and Elwold, the sons of Ethelhere."
Dynastic alliances bound Æthelwold's kingdom strongly to the Christian kingdom of Kent, where Seaxburh, the eldest daughter of Æthelwold's elder brother Anna, was Eorcenberht of Kent's queen. East Anglia's western stronghold in the Fens was held by Seaxburh's sister Æthelthryth and, like Kent, it was devoutly attached to the Roman Church. There was also an important Northumbrian connection: in 657, Hilda established the monastery of Streoneshalh (identified with Whitby), which later became the burial-place of Edwin and other Northumbrian kings. Hilda's sister Hereswitha married Æthelwold's youngest brother Æthelric in around 627–629.
## Reign
### Christianity in East Anglia under Æthelwold
The influence of the Celtic rite in East Anglia had been strong whilst the monastery of Saint Fursey and Saint Foillan at Cnobheresburg had existed. The authority of East Anglian Christianity still resided in the East Anglian see at Dommoc, obedient to Canterbury. Saint Botolph began to build his monastery at Iken, on a tidal island site in the River Alde, in about 653, the year that Anna was killed at the Battle of Bulcamp.
Oswiu successfully persuaded Sigeberht II of the East Saxons to receive baptism and Cedd, a Northumbrian disciple of Aidan's, was diverted from the Northumbrian mission to the Middle Angles under Peada to become Bishop of the East Saxons and re-convert the people. Cedd built monasteries at Tilbury in the south and at Ythancæster, where there was an old Roman fort, at what is now Bradwell-on-Sea, in north-east Essex. Sigebert was assassinated by his own thegns and was succeeded by the pagan Swithelm of Essex. Cedd persuaded him to accept the faith and, according to Bede, his baptism by Cedd took place at Rendlesham, in the presence of King Æthelwold:
> "Sigebert was succeeded in the kingdom by Suidhelm, the son of Sexbald, who was baptized by the same Cedd, in the province of the East Angles, at the king's countryseat, called Rendelsham, that is, Rendil's Mansion; and Ethelwald, king of the East Angles, brother to Anna, king of the same people, was his godfather."
### East Anglian marriage alliances
In the early 660s, two important marriages took place. Ecgfrith of Northumbria, the fifteen-year-old son of Oswiu, married Æthelthryth of Ely, the daughter of Anna of East Anglia (who was about fourteen years older than him), and moved to live with him at his Northumbrian court. She had remained a virgin for Christ during her first marriage; she continued in this resolve as Ecgfrityh's bride, with the result that he could not expect to father an heir. Æthelthryth retained Ely as her own possession during this marriage.
Meanwhile, Wulfhere of Mercia, a brother of Peada, emerged from safe retreat and was proclaimed king. He was not Christian, but was soon converted and subsequently married Eormenhilda, daughter of Eorcenberht of Kent and Seaxburh. Soon afterwards he founded the monastery of Medeshamstede, which later became known as Peterborough, under abbot Seaxwulf.
## Synod of Whitby
Following the death of Finan, bishop of Lindisfarne, Alhfrith of Deira, in collusion with Wilfred of York, Agilbert of Wessex and others, were determined to persuade Oswiu to rule in favour of the Roman rite of Christianity within the kingdoms over which he had imperium. The case was debated in Oswiu's presence at the Synod of Whitby in 664, with Colmán, Hild and Cedd defending the Celtic rite and the tradition inherited from Aidan, and Wilifred speaking for the Roman position. The Roman cause prevailed and the former division of ecclesiastical authorities was set aside. Those who could not accept it, including Colmán, departed elsewhere.
At that time plague swept through Europe and Anglo-Saxon England. Amongst its victims was Bishop Cedd, Archbishop Deusdedit of Canterbury, and Eorconbehrt of Kent. Æthelwold also died in 664.
## Quotations
|
[
"## Historical context",
"### The emergence of the Kingdom of the East Angles",
"### Rædwald and his successors",
"### The sphere of Rendlesham",
"## Descent, family and accession",
"## Reign",
"### Christianity in East Anglia under Æthelwold",
"### East Anglian marriage alliances",
"## Synod of Whitby",
"## Quotations"
] | 2,876 | 32,546 |
13,430,926 |
U.S. Route 40 in New Jersey
| 1,165,034,487 |
Section of U.S. Highway in New Jersey, United States
|
[
"Transportation in Atlantic County, New Jersey",
"Transportation in Gloucester County, New Jersey",
"Transportation in Salem County, New Jersey",
"U.S. Highways in New Jersey",
"U.S. Route 40"
] |
U.S. Route 40 (US 40) is a U.S. highway running from Silver Summit, Utah east to Atlantic City, New Jersey. The easternmost segment of the route runs 64.32 miles (103.51 km) through the southern part of New Jersey between the Delaware Memorial Bridge over the Delaware River in Pennsville Township, Salem County, where it continues into Delaware along with Interstate 295 (I-295), east to Atlantic Avenue and Pacific Avenue in Atlantic City, Atlantic County. The route passes through Salem, Gloucester, and Atlantic counties as well as the boroughs of Woodstown, Elmer, Newfield, and Buena. The route encounters a mix of rural, suburban, and urban environs throughout its journey across South Jersey.
In 1923, pre-1927 Route 18S was to run from Penns Grove to Atlantic City along much of present-day US 40 in New Jersey. US 40 was signed along Route 18S in 1926, running from a ferry in Penns Grove that crossed the Delaware River to Wilmington, Delaware. In 1927, Route 18S was renumbered to Route 48. The portion of US 40 in Atlantic City was legislated as Route 55 in 1938, around the same time the route was moved to a ferry across the Delaware River between Pennsville and New Castle, Delaware. After the Delaware Memorial Bridge and the New Jersey Turnpike were both completed in 1951, US 40 was moved to its current alignment in the area. In 1953, the Route 48 and Route 55 designations along US 40 were removed. A toll freeway was once planned along the US 40 corridor in the 1980s to alleviate traffic, but it was never built after it was deemed the traffic volume was not high enough for it to be constructed.
## Route description
### Salem County
US 40 enters New Jersey along with I-295 from Delaware on the Delaware Memorial Bridge over the Delaware River. The road heads southeast into Salem County as an eight-lane freeway maintained by the Delaware River and Bay Authority that passes through industrial areas. I-295/US 40 interchanges with the southern terminus of US 130 and the western terminus of Route 49, where I-295 splits from US 40 by turning northeast on a freeway that soon overlaps CR 551 briefly while US 40 follows the four-lane New Jersey Turnpike and continues east on it for a short distance, entering Carneys Point Township. US 40 splits from the New Jersey Turnpike at the last exit before the toll barrier, the same point where Route 140 heads west and CR 540 heads to the east. From this point, US 40 becomes an at-grade, four-lane divided highway maintained by the New Jersey Department of Transportation called Wiley Road that runs a short distance south of the New Jersey Turnpike, containing a wide median. It continues into rural areas consisting of woods, farms, and residences, heading farther to the south of the New Jersey Turnpike.
Upon meeting the eastern terminus of Route 48, US 40 turns to the southeast and becomes the Harding Highway, a two-lane undivided road that passes through more agricultural areas. Upon crossing CR 646, the road enters Pilesgrove Township and continues past the Cowtown Rodeo. The route passes through the residential community of Sharptown before coming to an intersection with Route 45. At this point, US 40 turns to the northeast to run concurrent on Route 45 and enters Woodstown, where it becomes West Avenue and passes residences before reaching the downtown area. Here, Route 45 splits from US 40 by heading north on Main Street and US 40 continues to the east as East Avenue. The route passes through more developed areas, crossing the SMS Rail Lines' Salem Branch line and heading north of Woodstown High School. The route crosses from Woodstown into Pilesgrove Township again, where it turns east-southeast as Harding Highway and heads back into a mix of fields and woods amid homes. About 0.17 mi (0.27 km) after entering Upper Pittsgrove Township, the road crosses CR 581. In the community of Pole Tavern further to the east, US 40 encounters Route 77, CR 604, and CR 635 at the Pole Tavern Circle. Past Pole Tavern, the road passes more farm fields before coming to Elmer, where it becomes Chestnut Street. In Elmer, the route passes homes and makes a turn to the northeast onto Front Street. Upon leaving Elmer, US 40 becomes Harding Highway again and forms the border of Upper Pittsgrove Township to the north and Pittsgrove Township to the south, passing through forested areas among development. The route crosses CR 553 before passing through the community of Porchtown.
### Gloucester and Atlantic counties
After Porchtown, US 40 crosses into Franklin Township in Gloucester County, turning southeast and running through more woods. It comes to a cloverleaf interchange with Route 55, where US 40 is briefly a four-lane divided highway. Past Route 55, the route continues past Malaga Lake and comes to the community of Malaga. In Malaga, the route heads into a business district and intersects Route 47, turning to the northeast to run concurrent on a three-lane road with a center left-turn lane through inhabited areas. After passing over Conrail Shared Assets Operations' (CSAO) Vineland Secondary railroad line, US 40 and Route 47 split. Route 47 heads north and US 40 turns south and continues parallel to the railroad tracks. The road makes a turn to the east-southeast, leaving Malaga and returning to areas of farmland and trees. The road briefly runs along the northern border of Newfield before coming to a crossroads with CR 555. After passing near the Vineland-Downstown Airport, US 40 intersects CR 557 and forms a concurrency with that route.
Immediately after CR 557 joins US 40, the road enters Buena, Atlantic County and continues southeast into inhabited areas. After running through the commercial center of town, where it crosses the Southern Railroad of New Jersey's Southern Running Track line, the road comes to the southern terminus of Route 54 and the eastern end of CR 619 in a business area located on the outskirts. At this point, it enters Buena Vista Township, and CR 557 splits form US 40 by heading to the southeast on Buena-Tuckahoe Road. From this point, US 40 becomes concurrent with CR 557 Truck and enters dense woodland containing homes and businesses as well as occasional farms. The road reaches the residential community of Richland, where it encounters the eastern terminus of CR 540 and CR 622 and crosses the Beesleys Point Secondary railroad line operated by the Cape May Seashore Lines railroad. Upon leaving Richland, the route crosses into Hamilton Township, where it runs through Mizpah before heading back into forested areas and a few residential sectors. US 40 intersects the eastern terminus of CR 552, briefly becoming a divided highway before turning east into denser inhabited areas. The highway intersects CR 559 Truck/CR 606, at which point it becomes concurrent with CR 559 Truck. The route meets Route 50, where CR 557 Truck splits to the south. Route 50 joins US 40 before the road crosses the Great Egg Harbor River. Upon crossing the river, the road enters Mays Landing and turns north into the downtown area. CR 559 Truck splits southbound to follow CR 617 to the east. A short distance later, the road meets CR 559 and US 40 splits from Route 50 by turning east onto that route. This intersection marks the beginning of CR 559 Truck northbound. The road passes more development before CR 559 splits from the road by heading southeast. US 40 heads east out of Mays Landing, where it continues through woodland and increasing residential development. The road widens into four lanes as it comes to US 322 (Black Horse Pike) near the Hamilton Mall. At this point, US 40 forms a concurrency with US 322, which lasts for the remainder of the route.
The two routes continue to the southeast through business areas, meeting CR 575 and a ramp to the Atlantic City Expressway. CR 575 turns east to follow US 40/US 322. The road enters Egg Harbor Township, and CR 575 splits from US 40/US 322 by turning to the south. The route passes more wooded residential and commercial areas, as well as the Storybook Land amusement park, before intersecting CR 563. US 40/US 322 forms a concurrency with that route and passes through a business district that includes the Harbor Square shopping center. CR 563 splits from the road by continuing southeast and the Black Horse Pike heads east interchange with the Garden State Parkway. The only direct ramp present is between the Black Horse Pike westbound and the Garden State Parkway northbound; all other movements are provided by CR 563. Past here, US 40/US 322 continues east past more businesses, crossing CR 651 before entering Pleasantville. In Pleasantville, the road crosses US 9. Past this intersection, the roadway passes under the Somers Point Bike Path. Upon crossing CR 585, the Black Horse Pike continues past residences as an undivided road, crossing back into Egg Harbor Township. The road passes more businesses, closely paralleling the Atlantic City Expressway before entering Atlantic City. Here, the name becomes Albany Avenue and it comes to a pair of ramps that provide access to and from the Black Horse Pike eastbound and the Atlantic City Expressway westbound. US 40/US 322 enters marshland, crossing the Great Thorofare onto Great Island, where it has an interchange providing access to Atlantic City High School that also has U-turn ramps, before passing over the Beach Thorofare. Past this bridge, the road passes between businesses to the west and the closed Bader Field airport and Surf Stadium to the east. US 40/US 322 crosses the Inside Thorofare on a drawbridge and continues as a county maintained road to its end at Atlantic Avenue and Pacific Avenue, one block from the boardwalk. Through New Jersey, US 40 serves as a main road connecting Atlantic City with points south along Interstate 95, such as Baltimore and Washington, D.C.
## History
The portion of US 40 that overlaps US 322 follows the Black Horse Pike, a turnpike established in 1855 that was to run from Camden to Atlantic City via Blackwoodtown. In 1902, the Atlantic County Board of Freeholders authorized the construction of a toll-free highway from Pleasantville to Albany Avenue in Atlantic City, which was completed in 1905. The entire route of modern US 40 was signed as the Powder Way, running from the ferry at Penn's Grove to Atlantic City.
In 1923, pre-1927 Route 18S was created along the current alignment of US 40 east of the Route 48 intersection, running from Penns Grove to Atlantic City. When the U.S. Highway System was established in 1926, the alignment of US 40 in New Jersey ran from Penns Grove, where a ferry carried the route across the Delaware River to Wilmington, Delaware, east to Atlantic City along pre-1927 Route 18S. In the 1927 New Jersey state highway renumbering that occurred a year later, pre-1927 Route 18S was replaced by Route 48. In 1936, US 322 was also signed concurrent with US 40 on the Black Horse Pike. The portion of US 40/US 322 that existed in Atlantic City was legislated as Route 55 in 1938. Also by 1938, US 40 was moved to a ferry that ran across the Delaware River between Pennsville and New Castle, Delaware, following current Route 49, local roads, and CR 551 to travel between the ferry and Route 48. Following the completion of the Delaware Memorial Bridge and the New Jersey Turnpike in 1951, US 40 was moved to the new bridge and routed to follow a small portion of the New Jersey Turnpike and Wiley Road to the current eastern terminus of Route 48. In the 1953 New Jersey state highway renumbering, which eliminated concurrencies between U.S. highways and state routes, Route 48 was removed from the portion of US 40 east of its current eastern terminus and the Route 55 designation was dropped entirely.
In the 1980s, Congressman William J. Hughes proposed a freeway along the US 40 corridor in order to alleviate increased traffic along that route following the legalization of gambling in Atlantic City. This freeway, which was to be maintained by the New Jersey Expressway Authority, was to run from the Delaware Memorial Bridge east to Atlantic City. The NJDOT determined that the traffic volume on US 40 did not justify the construction of a freeway along the corridor. The Cardiff Circle along US 40/US 322 at CR 563 and CR 608 in Egg Harbor Township was eliminated in a \$3.7 million project completed in 2002.
In 2013, the road was one of three that tied for the \#1 ranking on the Tri-State Transportation Campaign's list of the top ten most dangerous roads for pedestrians in New Jersey, New York and Connecticut. The route, along with US 130 (Burlington Pike) in Burlington County and US 1 in Middlesex County, were so ranked due to the nine pedestrian deaths that occurred on each of those roads from 2009 to 2011.
Due to frequent flooding in Atlantic County, NJDOT announced in 2019 a plan to reconstruct and raise a one-mile portion of the roadway from Naples Avenue to Bayport Drive in Egg Harbor Township by 2.5 ft (0.76 m). The \$27.5 million project is scheduled to begin in 2022 and completed in 2025.
## Major intersections
## See also
|
[
"## Route description",
"### Salem County",
"### Gloucester and Atlantic counties",
"## History",
"## Major intersections",
"## See also"
] | 2,919 | 10,499 |
12,156,711 |
AIL Storm
| 1,155,054,776 |
Israeli manufactured off-road vehicle
|
[
"1990s cars",
"2000s cars",
"All-wheel-drive vehicles",
"Compact sport utility vehicles",
"Jeep platforms",
"Military trucks",
"Military vehicles of Israel",
"Off-road vehicles",
"Pickup trucks"
] |
The AIL Storm (Hebrew: סופה, Sufa) is an Israeli manufactured off-road vehicle and the workhorse of the Israeli Security Forces. The series of Jeep Wrangler based vehicles have been produced by Automotive Industries Ltd. in Upper Nazareth under license from Chrysler since 1990. The vehicles fill a number of military roles, including that of armoured Infantry Mobility Vehicle, and certain models are available for export as well as for the civilian market.
Production of an updated four-door second generation model commenced in 2006 despite some mixed messages from the Storm's primary customer, the Israel Defense Forces. Development of a third generation vehicle based on the new Jeep Wrangler JK has been completed and significant production for both Israeli and foreign customers is under way.
## Storm I
The M-240 Storm MultiMission Vehicle is the first of three Storm generations. A variant of the 1991 Jeep Wrangler YJ and the older CJ-6 / CJ-8 wheelbase, it is entirely produced in Israel by Automotive Industries Ltd. with the exception of the engines, as their manufacture is not economically viable on the Storm's market scale.
The Storm was primarily meant to satisfy Israeli military needs, but capable long and short versions are produced for the local civilian market. Like the Jeep, it has a conventional front-engine design with a driver and passenger seated behind the engine, and room for cargo or passengers behind them. It is powered by an AMC 3.983 litre 6-cylinder in-line petrol with fuel injection developing 180 hp (130 kW) at 4,700 rpm, fitted with Vortox 2-stage air cleaner or a Volkswagen 2.5 litre 4-cylinder turbocharged diesel developing 88 kilowatts (118 hp) at 4,200 rpm. The front axle is fully floating and the rear axle is semi-floating, while a reinforced frame and body as well as good angles of approach and departure (40° and 37° for short frame, 40° and 26.5° for long frame) add to the Storm's off-roading capability.
The two production frame lengths, 4.15 (13.6) and 4.5 metres (14.8 ft), the latter of which was among the few such Jeep-derivatives in production in recent years, were both available in civilian and military models. Aside from the Israeli market, Storms have long been exported to countries in South America, Asia, and Africa. A Jeep-managed production line in Egypt, whose vehicles are used by the Egyptian armed forces, was absorbed into the AIL Storm production after it closed in 1995.
### Security versions
Like its parent Jeep Wrangler, the Storm is first and foremost an airmobile, capable offroad and utility vehicle meant to tackle extreme terrain in a general reconnaissance role, and can be outfitted with a machine gun or other weapons systems. When armed with a 105 mm (4.1 in) M40 recoilless rifle, the vehicle is uniquely capable of firing directly over its blast guard equipped hood rather than in the perpendicular position required by most other vehicles.
A variant of the extended version used in desert border patrol makes use of a high-ceilinged canopy to allow a swivelling rear-facing heavy machine-gun mount, while the canopy can be extended to provide a mobile command post. An air conditioned hardtop version of the extended model is often used by officers, and a version developed for riot control has clear polycarbonate shielding along the rear sides and roof, as well as gunports for less-lethal weapons. The shielding allows for a wide field of view while at the same time protecting against firebombs and rock-throwing.
### Armoured version
As with several analogous light military vehicles, despite being originally designed to fill a light reconnaissance role, the rise of urban warfare and close quarters combat meant that the Israel Defense Forces had to recast the Storm in new roles.
When the need for a light armoured vehicle became apparent to the Israeli security forces, AIL's engineering department designed a vehicle protection system from the bottom up, integrating it into the existing vehicle in a manner that did not compromise its off-road and other capabilities, and that did not create the mechanical strain and increase in maintenance often associated with up-armouring, in part due to its computerized 180 horsepower (130 kW) injected engine.
The armour protects against 7.62×39mm (0.3 in) armour-piercing ammunition, and maintains a high protection-to-weight and cost ratio by employing IDF approved advanced materials. The protected Israeli configuration's gross vehicle weight is 3,000 kilograms (6,614 lb), though several varying protection levels are in use with individual units.
Another important asset are the Storm's narrow dimensions, which allow it to traverse the narrow alleyways common to the casbahs of many Middle Eastern cities, places that armoured Humvees can only enter with great difficulty and minimal manoeuvrability, if at all. Full-height rear doors which allow for the quick deployment of fully equipped troops into combat are touted as another advantage over similar vehicles.
### Civilian use
First generation Storms were made available to the general public in Israel from 1992 to 2001. A small number were purchased directly by private consumers, while larger numbers were acquired second-hand from Israeli government-owned firms like the Israel Electric Company and Mekorot water company, as well as National Parks Authority and Israel Police. Modified Storms are popular with off-roading enthusiasts in Israel.
## Storm II
Beginning in 2006, AIL began delivery of an improved model to the IDF, the M-242 Storm Mark II, known in the field as the "Storm Commander". A number of significant changes have been incorporated into the new Jeep Wrangler (TJ)-based Storms stemming from soldiers' feedback, updated operational requirements, and testing by GOC Army Headquarters and Logistics, Medical, and the Centers Directorate. Perhaps the most obvious change is the addition of dual passenger doors, making the Storm II the first five-door Jeep Wrangler derivative.
Other improvements include the change to a manual transmission with six forward speeds (instead of the previous four), and increased stability resulting from wider track axles than its predecessor. Leaf springs were replaced with modern coil spring suspension front and rear, and the Storm II features rear Dana 44 axles and front TJ Dana 30s, factory designed slip yoke eliminators, and the added safety of standard airbags. Soldiers' comfort was addressed as well with the addition of standard rear air conditioning and a compact disc player.
Storm II is also produced in an armoured version, and is offered with an optional 2.8 litre VM Motori turbodiesel, automatic transmission, right hand drive, and run-flat tyres. AIL is capable of completing ten vehicles daily. Due to recently passed tax laws, a civilian version is not yet available in the local market.
### MDT David controversy
Developed in the 2000s at an investment of US\$2 million after IDF commitments for 1,200 units, some AIL jobs were believed to be in jeopardy following a mid-2005 announcement that the IDF would purchase 100 US sold Land Rover Defender-based MDT David. The announcement provoked threats of protests from AIL's management and labourers, who had recently faced the blow of local Humvee assembly ceasing due to budget considerations. The MDT David was chosen over the armoured version of the Storm because the heavy Storm was said to suffer from handling and reliability problems, safety hazards and limited mission operability. However the IDF said that the purchase of the David was to fill a temporary gap in production until the Storm II's testing was completed, and has since begun filling its commitment.
## Storm III
A Storm Mark III was set to be produced for the Israeli defense forces starting in June 2008, when the IDF was to purchase around 600 vehicles beginning in early 2011. Based on the then new four-door Jeep Wrangler JK design, the Mark III is meant to address some of the shortfalls of the earlier Mark II. Whereas the previous vehicle was an update of the original TK Storm, the Storm III was designed from the outset with a five-door configuration. Unlike the TJ-L, the new JK Storm has a much higher maximum load capacity in part due to heavier-duty shock absorbers, springs and axles, necessary for an armored version. It includes a standard 2.8L Italian VM Motori turbodiesel and automatic transmission.
Like the Storm II, the Mark III was initially available only to the military with versions set to be delivered to the Israel Police in 2009. A civilian version would only be released if the local tax code was modified to allow it to compete with foreign imports of the same class. AIL states that if such a thing would happen, a petrol engine version could be offered. Regarding Export markets, the Storm 3 has already seen use in several countries, especially in its armored version.
A pair of production J8's was tested by Israeli web magazine Jeepolog.com journalists in April 2009. It was dubbed "probably, the best Jeep ever".
### Commander version
The commander version incorporates a 5-door hard top cab allowing for the quick and convenient entrance and exit of the driver and all passengers or troops. A large rear compartment enables the storage of both cargo and communications equipment.
This version comes equipped with an air conditioning system providing maximum comfort in hot climatic conditions. A roll over protection structure (ROPS) maximizes safety conditions for passengers.
### Armored version
The armored version of the Storm 3, designed for protection against light weapon threats, incorporates a heavy duty transfer case and a specially designed suspension system which includes heavy duty springs (front - coil, rear - leaf) and shock absorbers, together with rigid heavy duty axles allowing for a smooth and safe ride on both rough terrain as well as regular highways.
### Reconnaissance and patrol version
The Storm 3 reconnaissance and patrol model allows for extra storage of fuel, water and equipment. This version is especially suited to be fitted with various machine gun or special equipment mountings.
## See also
- Jeep J8
|
[
"## Storm I",
"### Security versions",
"### Armoured version",
"### Civilian use",
"## Storm II",
"### MDT David controversy",
"## Storm III",
"### Commander version",
"### Armored version",
"### Reconnaissance and patrol version",
"## See also"
] | 2,091 | 12,402 |
64,258,050 |
Milkman Conspiracy
| 1,164,727,822 |
Level from 2005 video game Psychonauts
|
[
"Psychonauts",
"Video game levels"
] |
"Milkman Conspiracy" is a level in the 2005 video game Psychonauts. It is a world that takes place in the mind of Boyd Cooper, a paranoid security guard of an asylum, which the protagonist Raz explores. The area has unusual gravity, causing Raz to be pulled towards different roads when he is near and walking at unusual angles. Multiple games have been compared to this level, including Jazzpunk, We Happy Few, and Super Mario Galaxy.
The game's director, Tim Schafer, was responsible for the level concept and its dialogue. He decided to create a conspiracy-based level around "I am the milkman, my milk is delicious," a phrase made up by a staff member at Double Fine. Schafer found fascination with conspiracy theorists, trying to create comedy with mental illness without punching down at those with mental illnesses. Art director Scott Campbell wanted to emphasize the paranoia Boyd experiences, accomplishing this by adding G-Men and the feeling of being watched to the level. Concept artist Peter Chan depicted roads twisting in the sky, wanting to reflect how Boyd's logic and reason were twisted. Erik Robson, who handled game design, designed the level to resemble a traditional adventure game, having players collect items to solve puzzles.
"Milkman Conspiracy" has been generally well-received, becoming a Psychonauts fan favorite. Game Revolution and The Escapist writers praised it as one of the best platform levels in gaming, while author Daniel Hardcastle called it one of the best areas in video games. Its world design was praised by Eurogamer staff, which felt it is what made the level stand out so much. It has received attention for its depiction of mental health, with author Alice Brumby discussing how Boyd's mind is the most "disordered" among Psychonauts' cast.
## Summary
"Milkman Conspiracy," like certain other areas in Psychonauts, takes place in the mind of a person, that of paranoid security guard Boyd Cooper. Boyd is tasked with guarding an asylum and makes frequent references to "the Milkman." The area in his mind is depicted as a suburban neighborhood where the roads are impossibly twisted and cameras can be found everywhere. As players control Raz through this world, the gravity may pull them to different paths and angles. The world is populated by G-Men, who watch protagonist Raz suspiciously while using tools incorrectly in an attempt to blend in while looking for someone called the Milkman. Players collect various tools to try to blend in with G-Men holding the same tools in order to gain access to more parts of the level. In addition to the G-Men, there is also the Rainbow Squirts, a group of children led by a woman called the Den Mother. Raz discovers that the G-Men wish to remove the Milkman from Boyd's mind, while the Rainbow Squirts were trying to keep him contained. The Milkman escapes, saying "I am the milkman. My milk is delicious." and Raz is ejected from Boyd's mind. Boyd assumes the persona of the Milkman in reality before burning down the asylum with a Molotov cocktail. The world has various objects called Figments scattered throughout the area, representing different images such as lawn chairs and children.
## Concept and design
The concept for "Milkman Conspiracy" first emerged when a staff member at the game's developer Double Fine came up with the phrase "I am the milkman, my milk is delicious." This line caused various ideas to converge for the game's director, Tim Schafer, leading him to create a conspiracy-focused level. Schafer held a fascination with conspiracy theorists, wanting to know "what was going on inside their heads." He found conspiracy theorists funny, though he also felt sad that people could be so easily misled by people on the Internet. He created a chart of conspiracies centered around the level's central character, Boyd Cooper, using various theories that Schafer had heard. These included famous real-life conspiracy theories, ones from movies, ones inspired by discussions at their office, and a homeless man who they paid to sweep the driveway. He cited the man and the conspiracies he believed as a particular inspiration for the level. While the level addressed mental illness in a comedic way, Schafer noted that he was not trying to mock people with mental illnesses, and wanted players to empathize with characters like Boyd.
Schafer went into it imagining the world as a giant spider-web surrounding Boyd's house, designed to evoke a "retro, [19]50s spy vibe" in a suburban neighborhood where things were not as they seemed. Art director Scott Campbell wanted paranoia to be a more prominent aspect of the level, which he accomplished by having eyes and binoculars come out of various objects and landmarks whenever players are looking away from them, to create the feeling of being watched. He was also responsible for the G-Men that are found throughout the level, basing them on "G-Man detectives" from the 1950s, as well as the Spy vs. Spy comics. Campbell specifically reminisced about the amusement he found with how conspicuous the Spy vs. Spy characters were with their outfits and behavior, giving the G-Men in "Milkman Conspiracy" a single object as a disguise, and making them use it in a blatantly incorrect fashion. Concept artist Peter Chan visualized the world as suburbia being "vaulted up against the sky," while the roads twisted in the air. He compared it to Boyd's logic and reason, which he described as twisted.
Schafer recruited Erik Robson as lead gameplay designer. Robson was determined to implement adventure-style gameplay, requiring players to utilize different objects to solve puzzles and blend in with the G-Men. The level grew larger than expected, due in part to the designers' use of gravity tech in the game. Robson felt that the level was too open, feeling that there should be fewer "ambient houses." He also wished that Boyd's "inner turmoil" was better expressed through the level. In discussing the themes of the level, he described its antagonists as "an immune system" responding to the presence of the Milkman in Boyd's mind, and that the Milkman can be "buried" but not eliminated, causing Boyd to feel paranoid about something bad happening because of it. He found the open-air maze and the sense of confusion well done, but wished that more was done to "drive that emotional point better." He felt it was not a standout level, but appreciated the writing and humor. After the designers and programmers finished with the level, Schafer began writing dialogue around what had been created. He originally wanted Erik Wolpaw to write the dialogue, but because Wolpaw was too busy, he did it himself. He wrote the G-Men's dialogue to be flat and nonsensical while having some thread of truth, and cited the line "rhubarb is a controversial pie flavor" as an example. He explained that this was based on rhubarb pie being poisonous if prepared incorrectly.
## Reception
"Milkman Conspiracy" has received generally positive reception, identified by multiple critics as a fan favorite of Psychonauts. It is regarded as the best level in the game by multiple critics, including author Daniel Hardcastle, PCGamer's Samuel Horti, Digital Spy staff, and Bitmob staff. Hardcastle specifically revered it as one of the medium's best. Horti praised the jokes in the level as its most memorable part, while Bitmob staff praised its dialogue as among the best written in video games. Game Revolution writer Ben Silverman regarded it as one of the best platforming levels and praised it for its creativity. GamesRadar+ staff called it brilliant, while GamesRadar+ writer Lucas Sullivan felt that it was unlike any other level in any video game. GamesRadar+ staff also included it on their list of 59 video game levels people should play, calling it a standout among standout levels in the game. They compared the design of the world to a combination of graphic artist M. C. Escher and filmmaker Tim Burton and praised the gameplay concepts employed. The Escapist writer Marty Sliva called it the "perfect platforming game level" and "one of the most unforgettable levels in video game history." Eurogamer writer Christian Donlan felt the level's "magic" came from its presentation and arrangement rather than the gameplay.
It has received discussion for its exploration of mental health. The Escapist writer Lara Crigger discussed it in their analysis of Psychonaut's exploration of insanity. Crigger talked about how the world's architecture and occupants reflect how Boyd is feeling as though he is being watched by people who wish to do him harm. Marty Sliva discussed how the nature of the level's world made players empathize with Boyd, as well as how the G-Men reflected Boyd's distrust in all of the people around him. Sliva also discussed how the game gives players the opportunity to empathize with Boyd and what he is going through, adding that the "tragic events" that lead Boyd to be the way he is makes it "even more heartbreaking." Author Alice Brumby described the world of Boyd's mind as the "most disordered" in Psychonauts. They discussed the central area, where Boyd is present, as the sanest place in his mind, and suggested that it represents Boyd's "ego" due to his presence there. They pointed out the twisted nature of the roads, which Brumby stated contrasted with the world of another Psychonauts character, Sasha Nein's level; where that level has no risk of falling, this level does. According to Brumby, this was due to the "disorientingly inconsistent gravity," which they described as representing a "formerly normal, healthy mind, and the difficulty and dangers of exploring it." The Gameological Society writer Joe Keiser called it the "first great example of game environment as characterization." They discussed how the cameras and G-Men reflect Boyd's feeling of being watched and how figments in Boyd's world represented people and objects which Boyd likely saw, but took no heed to due to his job. He discussed how they are used effectively to convey the "vestiges of sanity on the fringes of delusion."
Multiple games have been compared to "Milkman Conspiracy," including Jazzpunk, Hello Neighbor, and Super Mario Galaxy.
|
[
"## Summary",
"## Concept and design",
"## Reception"
] | 2,097 | 8,482 |
3,886,662 |
Florida Cracker Horse
| 1,170,391,970 |
American horse breed
|
[
"Conservation Priority Breeds of the Livestock Conservancy",
"Florida cracker culture",
"Horse breeds",
"Horse breeds originating from Indigenous Americans",
"Horse breeds originating in the United States",
"Symbols of Florida"
] |
The Florida Cracker Horse is a critically endangered horse breed from the state of Florida in the United States. It is genetically and physically similar to many other Spanish-style horses, especially those from the Spanish Colonial horse group, including the Banker horse of North Carolina, and the Carolina Marsh Tacky of South Carolina.
The Florida Cracker is a gaited breed known for its agility and speed. The Spanish first brought horses to Florida with their expeditions in the early 16th century; as colonial settlement progressed, they used the horses for herding cattle. These horses developed into the Florida Cracker type seen today, and continued to be used by Florida cowboys (known as "crackers") until the 1930s.
By this point, Florida Cracker Horses were superseded by American Quarter Horses, the latter of which were needed to work the larger cattle breeds brought to Florida during the Dust Bowl. As a result, the population numbers of the Florida Cracker Horse declined precipitously. Through the efforts of several private families and the Florida government, the breed was saved from extinction, but there is still concern about its low numbers. Both The Livestock Conservancy and the Equus Survival Trust consider breed endangered.
On July 1, 2008, the Florida House of Representatives declared the Florida Cracker Horse the official state horse. The Florida Cracker is also associated with the Seminole Tribe of Florida, a prominent group of Native Americans in the state, as well as the Chickasaw Nation, a Native American tribe that originally lived in Alabama and Mississippi in the Southern United States.
## Characteristics
The Florida Cracker Horse is also known by a variety of other names and descriptions, including "Chickasaw pony", "Seminole pony", "Prairie pony", "Florida horse", "Florida cow pony", and "grass-gut". The modern breed retains the size of its Spanish ancestors, standing high and weighing 750 to 1,000 pounds (340 to 450 kg). They are found mainly in bay, black, and gray, although grullo, dun, and chestnut are also seen. Roan and pinto colors are occasionally found.
Florida Crackers have straight or slightly concave profiles, strong backs and sloping croups. They are known for their speed and agility and excel at trail and endurance riding, and are also used extensively as stock horses. They are sometimes seen in Western riding sports such as working cow horse, team roping, and team penning. The Florida Cracker is a gaited horse, with the breed association recognizing two gaits, the running walk and amble, in addition to the regular walk, trot, canter and gallop. The single-footed ambling gait is known as the "coon rack" by some breed enthusiasts.
The foundation genetics of the horse breed are the same as many others developed from Spanish stock in North America and South America, including the Paso Fino, the Peruvian Paso, and the Criollo. The Cracker horse is very similar in type and genetics to the Carolina Marsh Tacky of South Carolina and the Banker horse of North Carolina, both Spanish-style breeds from the eastern United States, but DNA testing has proven that these are separate breeds.
## History
Horses first arrived on the southeast North American mainland in 1521, brought by Ponce de León on his second trip to the region, where they were used by officers, scouts, and livestock herders. Later expeditions brought more horses and cattle to Spanish Florida. By the late 16th century, horses were used extensively in the local cattle business, and by the late 17th century the industry was flourishing, especially in what is now northern Florida and southern Georgia. The horses brought to North America by the Spanish and subsequently bred there included Barbs, Garranos, Spanish Jennets, Sorraias, Andalusians, and other Iberian breeds. Overall, they were relatively small and had physical traits distinctive of Spanish breeds, including short backs, sloping shoulders, low set tails, and wide foreheads.
The early cattle drivers, nicknamed Florida crackers and Georgia crackers, used these Spanish-ancestry horses to drive cattle (eventually known as Florida Cracker cattle). The cowboys were said to have received their nickname from the distinctive cracking of their whips, though modern etymology actually traces the term to a mostly obsolete word for 'braggart' or 'loudmouth'. The name was transferred to both the horses they rode and the cattle they herded. Through their primary use as stock horses, the type developed into the Florida Cracker horse, known for its speed, endurance and agility. From the mid-16th century to the 1930s, this type was the predominant horse in the southeastern United States.
During the American Civil War (1861–1865), both belligerents purchased large amounts of beef from Florida, and the Spanish horses bred there were highly desired as riding horses. During this time, there was also a continual introduction of new Spanish blood from Cuba, as horses were traded between the two areas. During the Dust Bowl (1930–1940), large western cattle were moved into Florida, bringing with them the parasitic screwworm. Cattle with this parasite needed to be treated frequently, being roped and held while the rider was on horseback. The cowboys found that the Florida Cracker horses, bred for working smaller cattle, were not able to hold the western cattle. They replaced the smaller horses with American Quarter Horses. This resulted in the Florida breed almost becoming extinct.
### 20th century
The breed's survival during the 20th century is owed to a few families who continued to breed the Cracker horse and kept distinct bloodlines alive. John Law Ayers was one such breeder; in 1984, he donated his herd of pure-bred Cracker horses to the state of Florida. With them, the state started three small herds in Tallahassee, Withlacoochee State Forest, and Paynes Prairie State Preserve. By 1989, however, these three herds and around 100 other horses owned by private families were all that remained of the breed. In 1989 the Florida Cracker Horse Association was founded and in 1991 a registry was established. After the registry was created, 75 horses designated as "foundation horses" and 14 of their offspring were immediately registered. These horses came mainly from four lines of Cracker bloodstock and were designated as purebreds by breed experts – partbred horses were denied entry to the registry. As of 2009, around 900 horses had been registered since the foundation of the registry.
Effective July 1, 2008, the Florida House of Representatives declared the Florida Cracker Horse the official state horse. As of 2009 there are three main bloodlines of Cracker stock, as well as a few smaller lines. The state of Florida still maintains two groups of Ayers-line horses in Tallahassee and Withlacoochee for breeding purposes and a display group in the Paynes Prairie Preserve. The state annually sells excess horses from all three herds, and individual breeders also send horses to the sale. The Livestock Conservancy considers the breed to be at "critical" status, as part of the Colonial Spanish horse family, meaning that the estimated global population of the breed is fewer than 2,000 and there are fewer than 200 registrations annually in the United States. The Equus Survival Trust also considers the population to be "critical," meaning that there are between 100 and 300 active breeding mares in existence today. However, breed numbers are slowly on the rise.
### Chickasaw horse
The original Chickasaw horse, bred by the Chickasaw Nation using horses captured from Hernando de Soto's expedition, became extinct after being used to create the Florida Cracker Horse, and having some influence on the American Quarter Horse. Some sources still use the Chickasaw name to describe the Florida Crackers of today.
The Chickasaw horse was originally bred for speed over short distances, traits found in its Florida Cracker Horse and American Quarter Horse descendants. The typical Chickasaw horse stood at about 13 hands high, described as "short and chunky, quick to action, but not distance runners...the best utility and all-rounder horses of their time".
They influenced the Banker horse of North Carolina; Carolina Marsh Tacky of South Carolina; and the Chincoteague Pony of Virginia.
In the 1970s, there was interest in re-creating the Chickasaw horse, using horses bearing strong resemblances to the original breed, but the breed association no longer exists. The Chickasaw Horse Association Inc. listed the conformation of the Chickasaw horse as "a short head, short fine ears, wide between the eyes, short back, square blocky hips, dock set low, short neck, wide chest, high deep shoulders, strong short pasterns, and a slight bend in the hock".
|
[
"## Characteristics",
"## History",
"### 20th century",
"### Chickasaw horse"
] | 1,864 | 13,597 |
59,498,145 |
Soviet destroyer Smely (1939)
| 1,140,280,503 |
Soviet Storozhevoy-class destroyer
|
[
"1939 ships",
"Ships built at Severnaya Verf",
"Storozhevoy-class destroyers"
] |
Smely (Russian: Смелый, lit. 'Valiant') was one of 18 Storozhevoy-class destroyers (officially known as Project 7U) built for the Soviet Navy during the late 1930s. Although she began construction as a Project 7 Gnevny-class destroyer, Smely was completed in 1941 to the modified Project 7U design.
Serving with the Baltic Fleet, she served as an escort after the start of the German invasion of the Soviet Union (Operation Barbarossa) in June 1941. While covering minelaying operations in the Irbe Strait, she was mined on 27 July. After the failure of attempts to save her, Smely was sunk by a torpedo from an accompanying motor torpedo boat.
## Design
Originally built as a Gnevny-class ship, Smely and her sister ships were completed to the modified Project 7U design after Joseph Stalin, General Secretary of the Communist Party of the Soviet Union, ordered that the latter be built with their boilers arranged en echelon, instead of linked as in the Gnevnys, so that a ship could still move with one or two boilers disabled.
Like the Gnevnys, the Project 7U destroyers had an overall length of 112.5 meters (369 ft 1 in) and a beam of 10.2 meters (33 ft 6 in), but they had a reduced draft of 3.98 meters (13 ft 1 in) at deep load. The ships were slightly overweight, displacing 1,727 metric tons (1,700 long tons) at standard load and 2,279 metric tons (2,243 long tons) at deep load. The crew complement of the Storozhevoy class numbered 207 in peacetime, but this increased to 271 in wartime, as more personnel were needed to operate additional equipment. Each ship had a pair of geared steam turbines, each driving one propeller, rated to produce 54,000 shaft horsepower (40,000 kW) using steam from four water-tube boilers, which the designers expected would exceed the 37-knot (69 km/h; 43 mph) speed of the Project 7s because there was additional steam available. Some fell short of it, although specific figures for most individual ships have not survived. Variations in fuel oil capacity meant that the range of the Project 7Us varied from 1,380 to 2,700 nautical miles (2,560 to 5,000 km; 1,590 to 3,110 mi) at 19 knots (35 km/h; 22 mph).
The ships mounted four 130-millimeter (5.1 in) B-13 guns in two pairs of superfiring single mounts fore and aft of the superstructure. Anti-aircraft defense was provided by a pair of 76.2-millimeter (3 in) 34-K AA guns in single mounts and three 45-millimeter (1.8 in) 21-K AA guns, as well as four 12.7-millimeter (0.50 in) DK or DShK machine guns. They carried six 533 mm (21.0 in) torpedo tubes in two rotating triple mounts amidships. The ships could also carry a maximum of 58 to 96 mines and 30 depth charges. They were fitted with a set of Mars hydrophones for anti-submarine work, although these were useless at speeds over 3 knots (5.6 km/h; 3.5 mph).
## Construction and World War II
Smely was laid down in Shipyard No. 190 (Zhdanov) in Leningrad with the yard number 521 on 26 October 1936 as a Gnevny-class destroyer. She was relaid down as a Project 7U destroyer in March 1938, and launched on 30 April 1939. Completed on 31 May 1941, she did not officially join the Baltic Fleet until 18 June, when the Soviet naval jack was raised aboard her. With her sister Surovy she joined the 5th Destroyer Division of the fleet.
With the 22 June beginning of Operation Barbarossa, the German invasion of the Soviet Union, Smely moved to Hanko, under Finnish attack, to escort the passenger liner Iosif Stalin back to Tallinn. On the next day, while approaching Suurupi Strait, she was lightly damaged by the explosion of a mine caught by her paravanes. After a week of repairs, she escorted the battleship Oktyabrskaya Revolutsiya from Tallinn to Kronstadt with her sisters Svirepy and Strashny between 1 and 2 July, before returning to Tallinn. From 13 July, again with Svirepy and Strashny, she operated in Moonsund and the Gulf of Riga, fighting off repeated German air attacks. On 23 July, while dodging another air attack, her screws contacted a shoal in Kassar Bay, which knocked the left shaft out of alignment, reducing her speed to 14 knots.
On the night of 26–27 July, she covered the minelayer Surop, guard ship Buran, and minesweeper Fugas in minelaying operations in the southern part of the Irbe Strait. At 02:49 on 27 July Smely struck a mine on her starboard side. The explosion cracked the keel beneath her forward superstructure, heavily damaged her bow, blew off the forecastle and caused extensive flooding in the bow. 20 crewmembers were killed by the explosion and 30 injured. Within fifteen minutes most of the survivors were taken off by Fugas, leaving a party of seven officers and ten sailors to attach a tow. Buran unsuccessfully attempted to tow her for more than an hour and a half, but was thwarted when the bow collapsed and grounded on the seabed. The attempts to save the ship were abandoned when periscopes and a German reconnaissance aircraft were sighted, and the chief of staff of the Light Forces Detachment, aboard Buran, ordered the ship to be abandoned. The destroyer was struck by a torpedo launched by the motor torpedo boat TKA-73, and sank within twenty minutes. As no mines had been laid at the site of the sinking, it was thought to have been a result of a torpedoing by a German submarine, although none of the latter were in the vicinity at the time. Recent Russian sources consider the mine to have come from those dropped by her sisters Silny and Serdity during their engagement of 6 July.
Her captain was subsequently demoted and sent to the land front for not "taking energetic action" to save the ship. The destroyer was officially removed from the Soviet Navy on 31 August.
|
[
"## Design",
"## Construction and World War II"
] | 1,414 | 18,094 |
17,413,974 |
John Benjamin Murphy
| 1,136,186,004 |
American surgeon
|
[
"1857 births",
"1916 deaths",
"19th-century American physicians",
"20th-century American physicians",
"20th-century surgeons",
"American people of Irish descent",
"American surgeons",
"Burials at Calvary Cemetery (Evanston, Illinois)",
"Laetare Medal recipients",
"Northwestern University faculty",
"People from Appleton, Wisconsin",
"Physicians from Chicago",
"Physicians from Wisconsin",
"Presidents of the American Medical Association",
"Rush Medical College alumni",
"University of Illinois faculty"
] |
John Benjamin Murphy, born John Murphy (December 21, 1857 – August 11, 1916) was an American physician and abdominal surgeon noted for advocating early surgical intervention in appendicitis appendectomy, and several eponyms: Murphy’s button, Murphy drip, Murphy’s punch, Murphy’s test, and Murphy-Lane bone skid. He is best remembered for the eponymous clinical sign that is used in evaluating patients with acute cholecystitis. His career spanned general surgery, orthopedics, neurosurgery, and cardiothoracic surgery, which helped him to gain international prominence in the surgical profession. Mayo Clinic co-founder William James Mayo called him "the surgical genius of our generation".
Over the course of his career he was renowned as a surgeon, a clinician, a teacher, an innovator, and an author. In addition to general surgical operations, such as appendectomy, cholecystostomy, bowel resection for intestinal obstruction, and mastectomy, he performed and described innovative procedures in neurosurgery, orthopedics, gynecology, urology, plastic surgery, thoracic surgery, and vascular surgery. He also ventured into techniques such as neurorrhaphy, arthroplasty, prostatectomy, nephrectomy, hysterectomy, bone grafting, and thoracoplasty.
## Life and death
Murphy was born in a log cabin in Appleton, Wisconsin. His parents, Michael Murphy and Ann Grimes Murphy, were Irish immigrants who escaped from the Great Famine and who later raised him on their own farm. He was tall and strong with a red beard and mustache.
Murphy died of heart disease in Mackinac Island, Michigan after having been ill for six months. He was staying at the Grand Hotel and was attended by his wife and Drs. L. L. MacArthur and James Keefe. After he suffered from angina pectoris for several years, his death was attributed to aortitis. Two days prior to his death he correctly predicted the findings of his own autopsy: "I think the necropsy will show plaques in my aorta."
## Education and training
Murphy attended public school in Appleton and graduated from Appleton High School in 1876. He obtained a doctorate from Rush Medical College in 1879 and entered an eighteen-month internship at Cook County Hospital. He then practiced there briefly. From 1882–1884 he performed practical work at universities and hospitals in Vienna, Munich, Berlin and Heidelberg. Most of this time was spent working in Vienna with Theodor Billroth, who introduced gastrectomy techniques that are still in use today.
## Academic career
After his sojourn in Europe, he returned to Chicago to start a general practice. He was quickly recognized as a leader in abdominal surgery and was appointed lecturer in surgery at Rush Medical College at the end of 1884. In 1890 he was elected Professor of Surgery. In 1892, he was named Professor of Clinical Surgery at the College of Physicians and Surgeons (currently University of Illinois College of Medicine). By 1899, he had become acclaimed for bone surgery. From 1901–1905 he held a position at the Northwestern University Medical School. From 1905–1908, he worked at Rush Medical College, and from 1908–1916 he returned to Northwestern University Medical School. Meanwhile, he also taught at the Graduate Medical School of Chicago, and from 1895 until his death in 1916, he was the surgeon-in-chief at the Mercy Hospital. From 1908 on he also held a commission in the Army Reserve Medical Corps.
While at Mercy, he developed a following for his "wet clinics", in which he operated and lectured to an audience. Physicians from around the world attended these sessions. The only method for wider dissemination of these lectures and demonstrations was print publication. A secretary transcribed his words, and they were printed as "The Surgical Clinics of John B. Murphy, M.D., at Mercy Hospital, Chicago". This became 'The Surgical Clinics of Chicago", and, subsequently, the "Surgical Clinics of North America", which continue as of 2019.
## Experiences
Early in his career, on May 4, 1886, he was one of the doctors summoned to the scene of the Haymarket Affair in the Near West Side community area of Chicago. He dressed approximately 30 men while working until 3:30 AM. A bomb had been thrown at the Chicago Police officers leading to several deaths and a high-profile trial, in which Murphy was called to testify. The labor unrest leading up to and surrounding the events led to the tradition of May Day labor rallies.
After an October 14, 1912 assassination attempt on former United States President Theodore Roosevelt in Milwaukee, Wisconsin, Roosevelt was brought to Chicago's Mercy Hospital. When he asked Roosevelt about any fears he might have about his bullet wound he said that Roosevelt responded, "I've hunted long enough, Doctor, to know that you can't kill a Bull Moose with a short gun."
## Legacy
Although his surgical prowess was not questioned, his approach to practice was considered pretentious by a segment of his professional colleagues in the U.S., and his work was more highly regarded by his contemporaries in Europe than in Chicago. He was an early advocate of intervention via the removal of the appendix in all cases of appendicitis. His thoughts were controversial in a time of conservative management of appendicitis. Having been met with skepticism after his first presentation of appendectomy, he gathered evidence from 250 cases and presented his opinions again as an authority on the subject.
A number of procedures and devices were named after Murphy, including Murphy’s button (a mechanical device used for intestinal anastomosis), Murphy’s punch (a punch tenderness at the costo-vertebral angle in cases of perinephric abscess), Murphy's sign (a sign of inflammation of the gallbladder), Murphy’s test (a test for deep-seated tenderness and muscular rigidity in cases of perinephric abscess), Murphy drip for administration of fluids by proctoclysis in patients with peritonitis, and Murphy-Lane bone skid (a common commercial steel instrument used for femoral head procedures).
Murphy developed his eponymous anastomotic button for a sutureless anastomosis of the gallbladder to the duodenum (his preferred treatment for acute cholecystitis), but it was equally suitable for intestinal anastomoses. He developed it in the experimental animal laboratory in a barn behind his house and first used it less than a week after developing it on a dog. The Murphy button can be credited as the forerunner of the modern end-to-end stapling instrument after having become the method of choice for operations at the Mayo Clinic and elsewhere in the United States for over twenty years.
In 1896, Murphy was the first person to successfully unite a femoral artery severed by a gunshot wound. In 1898, Murphy was first in the United States to induce artificial immobilization and collapse of the lung (pneumothorax) in treatment of pulmonary tuberculosis. He pioneered bone grafting techniques and made inroads in the management of ankylosis, especially with reconstruction. He was also considered an innovator for surgical intervention for prostate cancer, performance of end-to-end anastomosis of hollow viscera.
In 1912, he performed what was arguably the first biliary tract endoscopy.
He was a founding member of the American College of Surgeons.
## Honors
He was knighted with the Order of St. Gregory the Great at the direction of Pope Benedict XV by Archbishop George Mundelein on June 16, 1916. He was awarded Laetare Medal by the University of Notre Dame in 1902, and a Doctor of Science by University of Sheffield, England in 1908.
Although Murphy's flamboyant demeanour and consequent unpopularity among his colleagues kept him from early membership in several professional associations, he was eventually elected President of both the Chicago Medical Society and the American Medical Association (AMA).The American Surgical Association realized their mistake and belatedly granted Murphy membership.
The John B. Murphy Public School in the Irving Park community on the northwest side of Chicago, which opened in 1924, was named in his honor.
|
[
"## Life and death",
"## Education and training",
"## Academic career",
"## Experiences",
"## Legacy",
"## Honors"
] | 1,737 | 10,536 |
7,598,504 |
Hurricane Fern
| 1,167,975,874 |
Category 1 Atlantic hurricane in 1971
|
[
"1971 Atlantic hurricane season",
"1971 in Mexico",
"1971 natural disasters in the United States",
"Category 1 Atlantic hurricanes",
"Hurricanes in Texas"
] |
Hurricane Fern was the sixth named storm and fourth hurricane of the 1971 Atlantic hurricane season. It formed from a tropical wave which interacted with a large trough of low pressure to form Fern, as well as Hurricane Ginger, Tropical Storm Heidi, and a system later designated as Tropical Depression Sixteen, which moved into South Carolina. Fern crossed southeastern Louisiana as a tropical depression on September 4 before swinging back out over the Gulf of Mexico. Fern reached hurricane status on September 8, reaching a peak intensity of 90 mph (140 km/h) before making landfall near Freeport, Texas, two days later.
Fern's path was erratic, as it made three sharp turns during its duration, making it difficult for forecasters to track. The second Atlantic tropical cyclone to make U.S. landfall that year, Fern produced heavy rainfall across Louisiana and Texas, causing flash flooding that left 2 indirect fatalities and damage totaling over \$30 million (1971 USD\$, 2023 USD).
## Meteorological history
A northwestward moving tropical wave moved out the Caribbean Sea on September 1 and became a tropical depression on September 2 after crossing southern Florida. Still moving northwestward, the tropical depression made landfall in southeastern Louisiana on September 4. A building high pressure system over the Central United States forced the tropical depression to move southwest over the Gulf of Mexico. The warm waters then caused the depression to reach tropical storm strength and the storm was given the name Fern by the National Hurricane Center on September 7.
The following day, Fern reached hurricane status as it neared the Texas coastline. The hurricane reached a peak intensity of 90 mph (140 km/h) and its barometric pressure dropped to 979 millibars. An incoming mid-latitude trough caused Fern to stall east of Texas for twelve hours. After the trough moved by, Fern turned southwest, paralleling the Texas coastline before making landfall on September 10 between Freeport and Matagorda.
At landfall, Fern had weakened to a strong tropical storm as it moved further inland. Because the center of Fern was elongated, it was still able to receive moisture from the Gulf of Mexico and as a result, weakening was slow. Between September 10 and September 11, Fern bypassed Corpus Christi, Texas, before dissipating as a tropical depression after crossing the Rio Grande into northern Mexico.
## Preparations
At the time of its formation, forecasters determined that Fern might loop around in the Gulf of Mexico and it was more threatening to land than Hurricane Edith which was also projected to hit the Gulf Coast. On September 9, as Fern was becoming organized, forecasters issued a hurricane watch along the Texas coast, anticipating that Fern might strengthen into a hurricane. In addition, small boats were warned to stay in port and residents were advised to be aware of storm conditions brought by Fern. The next day, the hurricane watches were changed to warnings, forcing residents living on the Texas coast to board up and evacuate. In preparation for the storm's impact, Civil Defense workers and the American Red Cross were put on alert. In Galveston, eight emergency shelters were planned to open but five were closed when officials learned that they were not needed as most residents chose to ride out the storm in their homes. When Fern moved inland, the National Weather Service issued 21 tornado warnings and numerous flood warnings. In North Beach, city buses were used to transport evacuees inland and local officials were concerned about what to do with the relief trailers used to house survivors of Hurricane Celia a year earlier.
## Impact
The precursor disturbance which later became Fern dropped rainfall up to 5 inches (130 mm) of rainfall across South Florida. Central and Northern Florida received 1 to 3 inches (25 to 76 mm) of rain. In Louisiana, after making landfall as a tropical depression, Fern produced rainfall up to 10 inches (250 mm) across the southeastern part of the state, including up to 7 inches (180 mm) in New Orleans. The outer bands of the tropical depression brought 3 to 5 inches (76 to 127 mm) of rain across the coastal sections of Mississippi and Alabama. There were no reports of damage or fatalities in either Florida or the eastern U.S. Gulf Coast.
As Fern made its final landfall, a weather station in Port O'Connor, Texas recorded a sustained wind speed of 86 miles per hour (138 km/h). In Corpus Christi, winds up to 66 miles per hour (106 km/h) were reported. In coastal Texas, storm tides of 5 to 6 feet (1.5 to 1.8 m) above normal were reported from Galveston to Freeport. One spotter reported seeing a flock of swallows in the eye of the storm during landfall. Heavy rainfall from the hurricane fell across eastern and central Texas. A total of 10 to 26 inches (250 to 660 mm) of rain was measured in a stripe from Bee to San Patricio County. Other locations in Texas reported rainfall of 10 to 15 inches (250 to 380 mm), while areas from Galveston to Rockport received 5 to 12 inches (130 to 300 mm) of rain. The heavy rainfall caused severe flash flooding that isolated numerous small towns in eastern and central Texas. An outbreak of five tornadoes was reported during Fern's landfall, two of which caused minor tree and roof damage in Texas City. In addition, lightning from the hurricane caused six reported house fires on Galveston Island while 7,500 homes and business were damaged (mainly by flooding) near Corpus Christi. Two indirect fatalities were reported, both from drowning incidents, while on Mustang Island, the hurricane caused four Cuban fishing boats to run aground. In all, the storm left \$30.2 million (1971 USD, \$ 2023 USD) in damage and two deaths.
## See also
- Tropical cyclone
- List of wettest tropical cyclones in Texas
|
[
"## Meteorological history",
"## Preparations",
"## Impact",
"## See also"
] | 1,232 | 25,551 |
25,792,799 |
Post-Britpop
| 1,157,202,873 |
Alternative rock subgenre
|
[
"1990s in British music",
"2000s in British music",
"2010s in British music",
"Alternative rock genres",
"British rock music genres",
"British styles of music",
"Britpop"
] |
Post-Britpop is an alternative rock subgenre and is the period in the late 1990s and early 2000s, following Britpop, when the media were identifying a "new generation" or "second wave" of guitar bands influenced by acts like Oasis and Blur, but with less overt British concerns in their lyrics and making more use of American rock and indie influences, as well as experimental music. Bands in the post-Britpop era that had been established acts, but gained greater prominence after the decline of Britpop, such as Radiohead and the Verve, and new acts such as Travis, Keane, Snow Patrol, Stereophonics, Feeder, and particularly Coldplay, achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s.
## Characteristics
Many bands in the post-Britpop era avoided the Britpop label while still producing music derived from it. The music of most bands was guitar based, often mixing elements of British traditional rock, particularly the Beatles, the Rolling Stones and the Small Faces, with American influences. Bands from the era utilized specific elements from 1970s British rock and pop music. Drawn from across the United Kingdom, the themes of their music tended to be less parochially centred on British, English and London life, and more introspective than had been the case with Britpop at its height. This, beside a greater willingness to woo the American press and fans, may have helped a number of them in achieving international success. They have been seen as presenting the image of the rock star as an ordinary person, or "boy-next-door" and their increasingly melodic music was criticised for being bland or derivative.
## History
### Origins
From about 1997, as dissatisfaction grew with the concept of Cool Britannia and Britpop as a movement began to dissolve, emerging bands began to avoid the Britpop label while still producing music derived from it. Bands that had enjoyed some success during the mid-1990s, but did not find major commercial success until the late 1990s included the Verve and Radiohead. After the decline of Britpop they began to gain more critical and popular attention. The Verve's album Urban Hymns (1997) was a worldwide hit and their commercial peak before they broke up in 1999, while Radiohead – although having achieved moderate recognition with The Bends in 1995 – achieved near-universal critical acclaim with their experimental third album OK Computer (1997), and its follow-ups Kid A (2000) and Amnesiac (2001).
### Developing scenes
The cultural and musical scene in Scotland, dubbed "Cool Caledonia" by some elements of the press, produced a number of successful alternative acts, including the Supernaturals from Glasgow, whose re-released single "Smile" (1997) reached number 25 in the UK charts, and whose album It Doesn't Matter Anymore (1997) entered the top ten, but who failed to sustain their success or achieve the anticipated international breakthrough. Travis, also from Glasgow, were one of the first major rock bands to emerge in the post-Britpop era. Utilising the hooks and guitar rock favoured by Oasis in a song-based format, they moved from the personal on Good Feeling (1997), through the general on their breakthrough The Man Who (1999), to the socially conscious and political on 12 Memories (2003) and have been credited with a major role in disseminating a new Britpop. From Edinburgh Idlewild, more influenced by post-grunge, just failed to break into the British top 50 with their second album Hope Is Important (1998), but subsequently produced 3 top 20 albums, peaking with The Remote Part (2002), and the single "You Held the World in Your Arms", reaching numbers 3 and 9 in the respective UK charts. Although garnering some international attention, they did not break through in the US.
The first major band to breakthrough from the post-Britpop Welsh rock scene, dubbed "Cool Cymru", were Catatonia, whose single "Mulder and Scully" (1998) reached the top ten in the UK, and whose album International Velvet (1998) reached number one, but they were unable to make much impact in the US and, after personal problems, broke up at the end of the century. Stereophonics, also from Wales, used elements of a post-grunge and hardcore on their breakthrough albums Word Gets Around (1997) and Performance and Cocktails (1999), before moving into more melodic territory with Just Enough Education to Perform (2001) and subsequent albums. Also from Wales were Feeder, who were initially more influenced by American post-grunge, producing a hard rock sound that led to their breakthrough single "Buck Rogers" and the album Echo Park (2001). After the death of their drummer Jon Lee, they moved to a more reflective and introspective mode on Comfort in Sound (2002), their most commercially successful album to that point, which spawned a series of hit singles.
There was also a number of British bands getting more 'progressive' in their music style. Radiohead released OK Computer in May 1997, a few months before Oasis released Be Here Now (known as 'the album that killed Britpop' in some parts of the press), with Radiohead's album being followed by Mansun's Six album the next year (released on Parlophone at the time, but now available on progressive rock label Kscope). At the end of the 1990s, Devon band Muse would emerge from Teignmouth and sign to (Australian record company) Mushroom Records' new British arm via independent company Taste Media. Initially dismissed in certain sections of the press as 'Radiohead wannabes', the band would go on to top the UK albums chart six times, with every studio album reaching the top from 2003 to 2018.
### Commercial peak
These acts were followed by a number of bands who shared aspects of their music, including Snow Patrol from Northern Ireland, and Athlete, Elbow, Embrace, Starsailor, Doves, Gomez and Keane from England. The most commercially successful band in the millennium were Coldplay, whose first two albums Parachutes (2000) and A Rush of Blood to the Head (2002) went multi-platinum, establishing them as one of the most popular acts in the world by the time of their third album X&Y (2005). Snow Patrol's "Chasing Cars" (from their 2006 album Eyes Open) is the most widely played song of the 21st century on UK radio.
### Fragmentation
Bands like Coldplay, Starsailor and Elbow, with introspective lyrics and even tempos, began to be criticised at the beginning of the new millennium as bland and sterile, and the wave of garage rock or post punk revival bands, like The Hives, The Vines, The Strokes, and The White Stripes, that sprang up in that period were welcomed by the musical press as "the saviours of rock and roll". However, a number of the bands of this era, particularly Travis, Stereophonics and Coldplay, continued to record and enjoy commercial success into the new millennium. The notion of a "second wave" of Britpop has also been applied to bands originating in the new millennium, including Razorlight, Kaiser Chiefs, Arctic Monkeys and Bloc Party, These bands have been seen as looking less to music of the 1960s and more to 1970s punk and post-punk, while still being influenced by Britpop.
## Significance
Bands in the post-Britpop era have been credited with revitalising the British rock music scene in the late 1990s and 2000s, and of reaping the commercial benefits opened up by Britpop. They have also been criticised for providing a "homogenised and conformist" version of Britpop that serves as music for TV soundtracks, shopping malls, bars and nightclubs.
|
[
"## Characteristics",
"## History",
"### Origins",
"### Developing scenes",
"### Commercial peak",
"### Fragmentation",
"## Significance"
] | 1,695 | 23,494 |
24,108,375 |
Hurricane Babe
| 1,167,159,517 |
Category 1 Atlantic hurricane in 1977
|
[
"1977 Atlantic hurricane season",
"1977 natural disasters in the United States",
"Category 1 Atlantic hurricanes",
"Hurricanes in Alabama",
"Hurricanes in Georgia (U.S. state)",
"Hurricanes in Louisiana",
"Hurricanes in Mississippi",
"Hurricanes in North Carolina",
"Hurricanes in South Carolina",
"Hurricanes in Tennessee",
"September 1977 events in the United States"
] |
Hurricane Babe was the second named storm and the first to impact the United States during the inactive 1977 Atlantic hurricane season. Forming out of a tropical wave on September 3, Babe began as a subtropical cyclone in the eastern Gulf of Mexico. The storm gradually intensified as it tracked westward. On September 5, the storm turned north and acquired tropical characteristics. Later that day, Babe intensified into a hurricane and attained its peak strength with winds of 75 mph (120 km/h) and a barometric pressure of 995 mbar (hPa; 29.38 inHg). Several hours later, the hurricane made landfall in Louisiana and quickly weakened. By September 6, Babe had weakened to a tropical depression and later dissipated early on September 9 over North Carolina.
Hurricane Babe produced minimal impact throughout its path in the United States. The most significant impact occurred in Louisiana where the storm caused \$10 million (1977 USD; \$ 2023 USD) in damage, mainly from crop losses. An additional \$3 million (1977 USD; \$ 2023 USD) in losses resulted from tornadoes spawned by Babe. Heavy rainfall in North Carolina, peaking at 8.99 in (228 mm) triggered flash flooding but little damage. No fatalities resulted from the hurricane. Coincidentally, a typhoon, also named Babe, existed at exactly the same time as Hurricane Babe.
## Meteorological history
Hurricane Babe originated from a tropical wave that exited the western coast of Africa on August 23. Tracking westward, the wave eventually entered the Gulf of Mexico on September 2. Upon entering the gulf, a surface circulation developed; however, convection associated with the system was not concentrated around the center. The newly formed system then interacted with an upper tropospheric cyclonic vortex situated near the Florida coastline. The following day, Convective banding features around the cyclone led to the National Hurricane Center (NHC) upgrading the system to Tropical Storm Babe. Although classified a tropical storm, Babe was not fully tropical, it was later classified as a subtropical cyclone. The forward motion of Babe had slowed significantly from when it was a wave but maintained the westward direction.
By September 4, the maximum winds were found closer to the center of circulation and the cyclone developed a warmer core, a main feature in tropical cyclones. An anticyclone also developed over Babe and later that day, the storm transitioned into a tropical cyclone. By this time, Babe had turned nearly due north and was near hurricane-status. Around this time, reconnaissance missions into the storm found a closed eyewall with an eye measuring roughly 23 mi (37 km) in diameter. Another reconnaissance flight that day found sustained winds of 80 mph (130 km/h); however, these winds were located roughly 65 mi (100 km) from the center and considered to be unrepresentative of the storm's actual intensity.
Early on September 5, reconnaissance found a central barometric pressure of 995 mbar (hPa; 29.38 inHg), the lowest recorded in relation to the storm. Around this time, Babe also intensified into a hurricane, attaining maximum winds of 75 mph (120 km/h). Later that day, Hurricane Babe made landfall near Cocodrie, Louisiana and quickly weakened to a tropical storm. By landfall, the eye of Babe had contracted to roughly 14 mi (23 km). On September 6, the storm had weakened to a tropical depression and was moving northeast into Mississippi. The system continued this movement for the following two days. While crossing South Carolina, forecasters thought that the system would emerge into the Atlantic Ocean and regenerate into a tropical depression. However, the remnants of Babe dissipated shortly before crossing into North Carolina early on September 9.
## Preparations
Upon the storm's formation on September 3, gale warnings were issued for areas along the north-central coast of the Gulf of Mexico. By September 5, hurricane warnings were posted for areas between Vermilion Bay to the mouth of the Mississippi River in Louisiana. These warnings were later discontinued as the system moved over land. Ahead of the storm, up to 30,000 residents in low-lying parts of the state moved inland. However, press reports indicate that upwards of 45,000 residents had evacuated from coastal regions prior to the storm. In Grand Isle, roughly 200 civil defense workers stayed behind in the town hall after the cities 2,300 residents evacuated. In Cameron Parish, roughly 8,000 residents evacuated inland. Emergency shelters were set up throughout Louisiana to house evacuees during the storm. As Hurricane Babe began to weaken over Louisiana, forecasters anticipated the formation of tornadoes and issued tornado watches for parts of Louisiana, Alabama, Mississippi, Georgia and Florida.
## Impact
Prior to becoming a subtropical depression, Babe produced scattered rainfall in Florida, with peak amounts near 3 in (76 mm) falling around Lake Okeechobee. Widespread rain fell in relation to Babe throughout the Southern United States. In Louisiana, rain was confined to eastern parts of the state, with up to 10 in (250 mm) being measured near the Mississippi border. The remnants of the hurricane continued to produce heavy rain through its dissipation over North Carolina. A storm peak of 10.99 in (279 mm) fell in Lafayette, Georgia. Most of North Carolina received between 3 and 5 in (76 and 127 mm) of rain with isolated areas exceeding 7 in (180 mm). A state maximum of 8.99 in (228 mm) fell in Lake Toxaway, North Carolina, 7.05 in (179 mm) in Caesars Head, South Carolina and 6.62 in (168 mm) in Chattanooga, Tennessee.
Upon making landfall, Babe produced a storm surge of 5 ft (1.5 m), leading to minor coastal flooding. Due to the storm's quick deterioration after moving inland, the NHC presumed that hurricane-force winds did not impact land. The highest wind gust was recorded in Grand Isle, Louisiana at 50 mph (85 km/h) and the highest sustained wind was recorded in Boothville, Louisiana at 45 mph (75 km/h). In Jean Lafitte, Louisiana, overflow from the Fleming Canal produced flooding throughout the area. The most significant damage was to croplands inundated by flood waters. Flash flooding occurred throughout the path of the former hurricane in the eastern United States, particularly in North Carolina.
Hurricane Babe produced 14 tornadoes between September 5 and 7 along its track in several states. Louisiana recorded the most, with six touchdowns, including one F2 that injured one person and caused \$2.5 million (1977 USD; \$ 2023 USD) in damages near Hammond in Tangipahoa Parish. A country store sustained severe damage from the tornado, with most of the back of the store destroyed. Six wood-frame homes were also knocked off their cinder block supports. Another F2 touched down in Tuscaloosa County, Alabama; however, minimal damage was recorded along its 8 mi (13 km) track. Another F2 briefly touched down in Harrison County, Mississippi on September 6. It struck an unoccupied elementary school, wrecking six classrooms and leaving \$500,000 (1977 USD; \$ 2023 USD) in damages. Throughout the storm's path, damages amounted to \$10 million (1977 USD; \$ 2023 USD) with an additional \$3 million (1977 USD; \$ 2023 USD) from tornadoes. There was no loss of life due to Babe.
## See also
- 1977 Atlantic hurricane season
- Hurricane Bob (1979)
- Hurricane Danny (1997)
|
[
"## Meteorological history",
"## Preparations",
"## Impact",
"## See also"
] | 1,604 | 2,327 |
470,886 |
Object permanence
| 1,160,391,565 |
Understanding that objects exist when unobserved
|
[
"Child development",
"Cognition",
"Developmental psychology"
] |
Object permanence is the understanding that whether an object can be sensed has no effect on whether it continues to exist. This is a fundamental concept studied in the field of developmental psychology, the subfield of psychology that addresses the development of young children's social and mental capacities. There is not yet scientific consensus on when the understanding of object permanence emerges in human development.
Jean Piaget, the Swiss psychologist who first studied object permanence in infants, argued that it is one of an infant's most important accomplishments, as, without this concept, objects would have no separate, permanent existence. In Piaget's theory of cognitive development, infants develop this understanding by the end of the "sensorimotor stage", which lasts from birth to about two years of age. Piaget thought that an infant's perception and understanding of the world depended on their motor development, which was required for the infant to link visual, tactile and motor representations of objects. According to this view, it is through touching and handling objects that infants develop object permanence.
## Early research
Developmental psychologist Jean Piaget conducted experiments that collected behavioral tests on infants. Piaget studied object permanence by observing infants' reactions when a favorite object or toy was presented and then was covered with a blanket or removed from sight. Object permanence is considered to be one of the earliest methods for evaluating working memory. An infant that has started to develop object permanence might reach for the toy or try to grab the blanket off the toy. Infants that have not yet developed this might appear confused. Piaget interpreted these behavioral signs as evidence of a belief that the object had ceased to exist. Reactions of most infants that had already started developing object permanence were of frustration because they knew it existed, but did not know where it was. However, the reaction of infants that had not yet started developing object permanence was more oblivious. If an infant searched for the object, it was assumed that they believed it continued to exist.
Piaget concluded that some infants are too young to understand object permanence. A lack of object permanence can lead to A-not-B errors, where children reach for a thing at a place where it should not be. Older infants are less likely to make the A-not-B error because they are able to understand the concept of object permanence more than younger infants. However, researchers have found that A-not-B errors do not always show up consistently. They concluded that this type of error might be due to a failure in memory or the fact that infants usually tend to repeat a previous motor behavior.
## Stages
In Piaget's formulation, there are six stages of object permanence. These are:
1. 0–1 months: Reflex schema stage – Babies learn how the body can move and work. Vision is blurred and attention spans remain short through infancy. They are not particularly aware of objects to know they have disappeared from sight. However, babies as young as seven minutes old prefer to look at faces. The three primary achievements of this stage are sucking, visual tracking, and hand closure.
2. 1–4 months: Primary circular reactions – Babies notice objects and start following their movements. They continue to look where an object was, but for only a few moments. They 'discover' their eyes, arms, hands and feet in the course of acting on objects. This stage is marked by responses to familiar images and sounds (including parent's face) and anticipatory responses to familiar events (such as opening the mouth for a spoon). The infant's actions become less reflexive and intentionality emerges.
3. 4–8 months: Secondary circular reactions – Babies will reach for an object that is partially hidden, indicating knowledge that the whole object is still there. If an object is completely hidden, however, the baby makes no attempt to retrieve it. The infant learns to coordinate vision and comprehension. Actions are intentional, but the child tends to repeat similar actions on the same object. Novel behaviors are not yet imitated.
4. 8–12 months: Coordination of secondary circular reactions – This is deemed the most important for the cognitive development of the child. At this stage the child understands causality and is goal-directed. The very earliest understanding of object permanence emerges, as the child is now able to retrieve an object when its concealment is observed. This stage is associated with the classic A-not-B error. After successfully retrieving a hidden object at one location (A), the child fails to retrieve it at a second location (B).
5. 12–18 months: Tertiary circular reaction – The child gains means-end knowledge and is able to solve new problems. The child is now able to retrieve an object when it is hidden several times within their view, but cannot locate it when it is outside their perceptual field.
6. 18–24 months: Invention of new means through mental combination – The child fully understands object permanence. They will not fall for A-not-B errors. Also, a baby is able to understand the concept of items that are hidden in containers. If a toy is hidden in a matchbox then the matchbox put under a pillow and then, without the child seeing, the toy is slipped out of the matchbox and the matchbox then given to the child, the child will look under the pillow upon discovery that it is not in the matchbox. The child is able to develop a mental image, hold it in mind, and manipulate it to solve problems, including object permanence problems that are not based solely on perception. The child can now reason about where the object may be when invisible displacement occurs.
## Contradicting evidence
In more recent years, the original Piagetian object permanence account has been challenged by a series of infant studies suggesting that much younger infants do have a clear sense that objects exist even when out of sight. Bower showed object permanence in 3-month-olds. This goes against Piaget's coordination of secondary circular reactions stage because infants are not supposed to understand that a completely hidden object still exists until they are eight to twelve months old. The two studies below demonstrate this idea.
The first study showed infants a toy car that moved down an inclined track, disappeared behind a screen, and then reemerged at the other end, still on the track. The researchers created a "possible event" where a toy mouse was placed behind the tracks but was hidden by the screen as the car rolled by. Then, researchers created an "impossible event". In this situation, the toy mouse was placed on the tracks but was secretly removed after the screen was lowered so that the car seemed to go through the mouse. The infants were surprised by the impossible event, which suggests they remembered not only that the toy mouse still existed (object permanence) but also its location. Also in the 1991 study the researchers used an experiment involving two differently sized carrots (one tall and one short) in order to test the infants’ response when the carrots would be moved behind a short wall. The wall was specifically designed to make the short carrot disappear, as well as tested the infants for habituation patterns on the disappearance of the tall carrot behind the wall (impossible event). Infants as young as 3+1⁄2 months displayed greater stimulation toward the impossible event and much more habituation at the possible event. The same was true of the tall carrot in the second experiment. This research suggests that infants understand more about objects earlier than Piaget proposed.
There are primarily four challenges to Piaget's framework:
1. Whether or not infants without disabilities actually demonstrate object permanence earlier than Piaget claimed.
2. There is disagreement about the relative levels of difficulty posed by the use of various types of covers and by different object positions.
3. Controversy concerns whether or not perception of object permanence can be achieved or measured without the motor acts that Piaget regarded as essential.
4. The nature of inferences that can be made from the A-not-B error has been challenged. Studies that have contributed to this discussion have examined the contribution of memory limitations, difficulty with spatial localization, and difficulty in inhibiting the motor act of reaching to location A on the A-not-B error.
One criticism of Piaget's theory is that culture and education exert stronger influences on a child's development than Piaget maintained. These factors depend on how much practice their culture provides in developmental processes, such as conversational skills.
## In animals
Experiments in non-human primates suggest that monkeys can track the displacement of invisible targets, that invisible displacement is represented in the prefrontal cortex, and that development of the frontal cortex is linked to the acquisition of object permanence. Various evidence from human infants is consistent with this. For example, formation of synapses in the frontal cortex peaks during human infancy, and recent experiments using near infrared spectroscopy to gather neuroimaging data from infants suggests that activity in the frontal cortex is associated with successful completion of object permanence tasks.
However, many other types of animals have been shown to have the ability for object permanence. These include dogs, cats, and a few species of birds such as the carrion crow, Eurasian jays and food-storing magpies. Dogs are able to reach a level of object permanence that allows them to find food after it has been hidden beneath one of two cups and rotated 90°. Similarly, cats are able to understand object permanence but not to the same extent that dogs can. Cats fail to understand that if they see something go into an apparatus in one direction that it will still be there if the cat tries to enter from another direction. However, while cats did not seem to be quite as good at this "invisible displacement test" as dogs are, it is hard to say whether their poorer performance is a true reflection of their abilities or just due to the way in which they have been tested. A longitudinal study found that carrion crows' ability developed gradually, albeit with slight changes in the order of mastery compared to human infants. There was only one task, task 15, that the crows were not able to master. The crows showed perseverative searches at a previously rewarded location (the so-called "A-not-B error"). They mastered visible rotational displacements consistently, but failed at more complex invisible rotational displacements. Another study tested the comparison of how long it took food-storing magpies to develop the object permanence necessary for them to be able to live independently. The research suggests that these magpies followed a very similar pattern as human infants while they were developing.
## In artificial agents
It has been recently shown that artificial intelligent agents can also be trained to exhibit object permanence. Building such agents revealed an interesting structure. The object permanence task involves several visual and reasoning components, where the most important ones are (1) detect a visible object and learn how it moves and (2) reason about its movement even when it is not visible. Shamsian et al found that object permanence was achieved when the agent had two separate time-sensitive modules, one that tracks visible objects, and a second that decides "what to track" when one object occludes or contains the target. Object permanence has further been shown to apply to videos "in the wild".
## Recent studies
One of the areas of focus on object permanence has been how physical disabilities (blindness, cerebral palsy and deafness) and intellectual disabilities (Down syndrome, etc.) affect the development of object permanence. In a study that was performed in 1975–76, the result shows that the only area where children with intellectual disabilities performed more weakly than children without disabilities was along the lines of social interaction. Other tasks, such as imitation and causality tasks, were performed more weakly by the children without disabilities. However, object permanence was still acquired similarly because it was not related to social interaction.
Some psychologists believe that "while object permanence alone may not predict communicative achievement, object permanence along with several other sensorimotor milestones, plays a critical role in, and interacts with, the communicative development of children with severe disabilities". This was observed in 2006, in a study recognizing where the full mastery of object permanence is one of the milestones that ties into a child's ability to engage in mental representation. Along with the relationship with language acquisition, object permanence is also related to the achievement of self-recognition. This same study also focused specifically on the effects that Down syndrome has on object permanence. They found that the reason why the children that participated were so successful in acquiring object permanence, was due to their social strength in imitation. Along with imitation being a potential factor in the success, another factor that could impact children with Down syndrome could also be the willingness of the child to cooperate.
Other, more recent studies suggest that the idea of object permanence may not be an innate function of young children. While, in reference to Piaget's theory, it has been established that young children develop object permanence as they age, the question arises: does this occur because of a particular perception that already existed within the minds of these young children? Is object permanence really an inbred response to the neural pathways developing in young minds? Studies suggest that a multitude of variables may be responsible for the development of object permanence rather than a natural talent of infants. Evidence suggests that infants use a variety of cues while studying an object and their perception of the object's permanence can be tested without physically hiding the object. Rather, the object is occluded, slightly obstructed, from the infants view and they are left only other visual cues, such as examining the object from different trajectories. It was also found that the longer an infant focuses on an object may be due to detected discontinuities in their visual field, or the flow of events, with which the infant has become familiar.
## See also
- Elizabeth Spelke
- Renee Baillargeon
- Solipsism
- Philosophical realism
- Idealism
- Peekaboo
- Wax argument
- Ship of Theseus
- Subjective constancy
- Theory of mind
|
[
"## Early research",
"## Stages",
"## Contradicting evidence",
"## In animals",
"## In artificial agents",
"## Recent studies",
"## See also"
] | 2,877 | 37,045 |
1,777,977 |
Day of the Jackanapes
| 1,167,597,799 | null |
[
"2001 American television episodes",
"Television episodes about murder",
"Television episodes about revenge",
"Television episodes written by Al Jean",
"The Simpsons (season 12) episodes"
] |
"Day of the Jackanapes" is the thirteenth episode of the twelfth season of the American animated television series The Simpsons. It first aired on the Fox network in the United States on February 18, 2001. In the episode, Krusty announces his retirement due to interference from network executives and the growing popularity of the game show Me Wantee. When Krusty reveals that all of the episodes featuring Sideshow Bob have been erased, Bob decides to murder Bart again by hypnotizing him into murdering Krusty during his farewell show.
"Day of the Jackanapes" was written by Al Jean and directed by Michael Marcantel and features recurring guest star Kelsey Grammer returning to voice Sideshow Bob, as well as Gary Coleman voicing himself. It features references to Johnny Carson, Bookends and Terminator 2: Judgment Day, among other things. It would also feature a parody of the song "Zip-a-Dee-Doo-Dah", but because the series' staff were not able to clear the rights for the song in time for the episode's broadcast, the song remained unreleased until 2007. In its original broadcast, the episode was seen by approximately 9 million viewers, finishing in 34th place in the ratings the week it aired.
Following its broadcast, the episode received positive reviews from critics.
## Plot
When the popular game show Me Wantee! steals ratings from The Krusty the Clown Show, Krusty, annoyed with the network executives, announces his fifth—and final—retirement. During an interview with Kent Brockman, he says he is tired of doing his show, and admits to taping Judge Judy over all his old shows featuring Sideshow Bob. Upon hearing this on TV, Bob vows revenge and plots to kill Krusty. Bob is released from prison and applies for a job at Springfield Elementary as an assistant janitor. However, Principal Skinner decides to make him the morning announcer. Over the announcements, he asks Bart to meet him in the abandoned tool shed. Sideshow Bob then hypnotizes Bart, and starts to program him to kill Krusty on sight. Bob tests his hypnoses by having Bart smash a statue of Krusty at a local Krusty Burger location.
The next night is Krusty's farewell special, and as Krusty describes the history of his career, Bob straps Bart with explosives in order to kill Krusty. Bart attempts to hug Krusty, thereby setting off the explosives, but before he can, Krusty talks to the audience about how he regrets mistreating Sideshow Bob, holding himself responsible of turning Bob into a ruthless criminal. Krusty even goes far by singing a song on behalf of Bob, stating how very remorseful he is of mistreating him. Upon witnessing this, Bob is touched and develops a change of heart, but does not have enough time to stop his original plan from being carried out. Luckily, Krusty's trained chimp Mr. Teeny sees the life-threatening explosives, which he throws into the network executives' office, breaking Bart's hypnotic state and killing all the executives, though they then reanimate themselves like the T-1000. After the show, the Simpsons have dinner with Krusty, Bob and Sideshow Mel in a restaurant. Although Krusty and Bob reconcile, the police decide to execute Bob by guillotine for his attempted murder plot, although he wonders to Chief Wiggum that he should have a trial for it at least.
## Production
The first draft of "Day of the Jackanapes" was written by current showrunner Al Jean. In the DVD commentary for the episode, Jean said that he had always wanted to write an episode about Sideshow Bob, and that "Day of the Jackanapes" would be a good way to have the character return. He also said that the writers wanted to work with Kelsey Grammer, who portrays Sideshow Bob, again. "Of all the guest stars we've had who've been great, he's right up there as the very best", he said.
Still, the writers had trouble with coming up with a story for Sideshow Bob since they had already explored several aspects of the character before. "It's just that we've done so many angles of whether he's, he's good, he's reformed and then his brother came to town..." executive producer and former showrunner Mike Scully said about the difficulty of writing episodes about Sideshow Bob.
At the beginning of the episode, Krusty is shown being pestered by network executives who comment on every choice he makes. He announces his departure from The Krusty the Clown Show after the executives give him notes during filming of a sketch. At the end of the episode, Mr Teeny is uncertain of where he should throw the plastic explosives that Bart wore. When he sees the two executives discussing in a room, he throws it onto them. Instead of dying of the explosion however, the pieces of the executives reconstitute into what Jean describes as a "super-executive".
These sequences were inspired by Jean's dissatisfaction with some network executives, who he felt took control over a television series he was working on before he returned to The Simpsons in 1999. "I had just worked on a show on another network [...] we had a show where there were a lot of notes from executives", Jean said of the inspiration for the scenes. The episode would originally have a different ending, but it was changed to its current iteration after the writers did not find the original ending humorous enough. When recording the DVD commentary however, Jean said that he was a bit dissatisfied with the new ending. "I think we did leave it a little hanging", he said.
During one of the recording sessions for the episode, The Simpsons' staff recorded "Hullaba Lula", a version of the 1946 song "Zip-a-Dee-Doo-Dah" with Grammer as Sideshow Bob on vocals. The song would originally be used in the episode, but the staff were not able to clear the rights for the song in time. It was therefore removed from the episode altogether, and remained unreleased until September 17, 2007, when it was included as a bonus track on the soundtrack album The Simpsons: Testify. Aside from Grammer, the episode also features American actor Gary Coleman as himself.
## Cultural references
The episode's title is a play on the 1971 political thriller novel The Day of the Jackal, while its plot is based on the 1959 political thriller novel The Manchurian Candidate. Before filming an episode of his show, Krusty is stopped by the two network executives, who attempt to explain to him why the sitcom Seinfeld worked as a series. After Krusty has announced the cancellation of his show, a group of crying children are seen at the Krustylu Studios, where the show is filmed. The name of the studio is based on Desilu Studios, a television company based in Los Angeles. In an interview with Kent Brockman, Krusty says that he taped over all episodes of his show that Sideshow Bob was in with episodes of the reality court show Judge Judy. This is a reference to how NBC reused tapes of early episodes of The Tonight Show to film new programs. While in the Springfield Elementary School's tool-shed, Sideshow Bob accidentally steps on a rake and says "Rakes, my old arch-enemy." This is a reference to the scene, in the season 5 episode "Cape Feare", where Sideshow Bob steps on rakes a ridiculous number of times.
At one point in his last show, Krusty performs while sitting on a stool, a reference to television host Johnny Carson's last appearance on The Tonight Show. While watching Krusty's final show, Sideshow Bob holds a bag of Kettle Chips and says "Kettle Chips, the perfect sidedish for revenge." Because of this scene, the writing staff received several bags of Kettle Chips from Kettle Foods, according to Jean. When asking for Sideshow Bob's forgiveness, Krusty sings a song to the tune of "Mandy" by Barry Manilow. The picture behind him is based on the cover of Bookends by Simon & Garfunkel. After having exploded, the two network executives reform into a "super-executive". The scene is a reference to the 1991 science fiction action film Terminator 2: Judgment Day. Another reference to Terminator 2 is found earlier in the episode when Krusty drives a golf cart away from the network executives and one of them tries to cling on with golf clubs, similar to the T-1000. At the end of the episode, Krusty and Sideshow Bob reconcile in a restaurant. On the wall behind them are several pictures of guest stars that had previously appeared on The Simpsons, including Mark McGwire, Ringo Starr, Sting, Tom Jones, Brooke Shields and Elizabeth Taylor.
## Release
In its original American broadcast on February 18, 2001, "Day of the Jackanapes" received an 8.8 rating, according to Nielsen Media Research, translating to approximately 9 million viewers. The episode finished in 34th place in the ratings for the week of February 12–18, 2001, tying with an episode of Malcolm in the Middle. On August 18, 2009, the episode was released as part of a DVD set called The Simpsons: The Complete Twelfth Season. Mike Scully, Al Jean, Ian Maxtone-Graham, Yeardley Smith, Tim Long, Matt Selman and Michael Marcantel participated in the audio commentary for the episode.
Following its home video release, "Day of the Jackanapes" received positive reviews from critics. In his review of The Simpsons: The Complete Twelfth Season, Mac McEntire of DVD Verdict described the episode as a "winner". He especially enjoyed the scene in which Bart hits a statue of Krusty in the groin with a baseball bat. DVD Talk's Jason Bailey wrote that this episode and "Insane Clown Poppy" both "really shine", and Will Harris of Bull-Eye.com wrote that the episode was "a crowd-pleaser across the board."
Colin Jacobson, of DVD Movie Guide wrote that, although it does not compare with the best Sideshow Bob episodes, it still "looks good" compared to the rest of the season. He enjoyed the lampooning of network executives, and though he did not consider the episode to be a "classic", he maintained that it "fares pretty well."
IGN's Robert Canning also wrote that, although the episode is overall "solid", it is "lacking that extra something" that the best Sideshow Bob episodes have. Nevertheless, it reached number eight on the website's list of ten best Sideshow Bob episodes of the series.
|
[
"## Plot",
"## Production",
"## Cultural references",
"## Release"
] | 2,216 | 25,972 |
71,693,840 |
Shut Down (Blackpink song)
| 1,172,753,441 | null |
[
"2022 singles",
"2022 songs",
"Billboard Global 200 number-one singles",
"Billboard Global Excl. U.S. number-one singles",
"Blackpink songs",
"Interscope Records singles",
"Korean-language songs",
"Number-one singles in Singapore",
"Number-one singles in the Philippines",
"Popular songs based on classical music",
"Songs written by Teddy Park",
"South Korean hip hop songs",
"YG Entertainment singles"
] |
"Shut Down" is a song recorded by South Korean girl group Blackpink. It was released on September 16, 2022, through YG Entertainment and Interscope Records, as the second single of the group's second studio album, Born Pink (2022). It is primarily a hip hop song driven by looped classical violin, trap beats, strings, and bass sounds. It was written by its producer 24, alongside Teddy, Danny Chung, and Vince.
"Shut Down" was a commercial success and became Blackpink's second number-one hit on the Billboard Global 200. In South Korea, the track topped Billboard's South Korea Songs chart for three weeks and peaked at number three on the Circle Digital Chart. It also topped the charts in Hong Kong, Indonesia, Malaysia, Philippines, Singapore, Taiwan, and Vietnam, and entered the top ten in Australia, Canada, New Zealand, India, and South Korea. An accompanying music video for the song was uploaded onto Blackpink's YouTube channel simultaneously with the single's release.
## Background
On July 31, 2022, a teaser video was uploaded on Blackpink's social media accounts, announcing the release of a new album in September, preceded by the pre-release single "Pink Venom" on August 19. On August 24, YG Entertainment announced that the four members of Blackpink were filming the music video for their second album's lead single in Gyeonggi Province, South Korea. The label stated that the group was preparing for their world tour and teased their next single: "they are working hard on a schedule to fulfill their promises to their fans ... all the songs on the album are the crystals that will write a new story for Blackpink, but the title song in particular will be a song that will surprise world music fans. The music video will also elevate the status of K-Pop with a difference that has never been seen before."
On September 6, 2022, the title poster for the second single, "Shut Down", was released on Blackpink's social media accounts. From September 10 to 13, promotional posters of the song featuring each of the members were released. On September 13, a teaser for the music video was released, and the official music video was released on September 16.
## Composition
"Shut Down" is a hip hop-based track that features strings, an insistent bass sound, a trap beat and a "crazy loop" of classical violin. It samples the beginning of the third movement of Italian composer Niccolò Paganini's second violin concerto, commonly known as "La Campanella". YG Entertainment described the song's title as "intuitive but strangely tense." Unlike the original piece, which was composed in the key of B minor, "Shut Down" was composed in the key of C minor with a tempo of 110 beats per minute. Lyrically, the song shows the members response to the criticism from their haters. Elle's Erica Gonzales wrote that "throughout the track, the girls take turns telling their haters and doubters to take a seat".
## Critical reception
Billboard called "Shut Down" one of the best songs of 2022, praising its "swagger and savvy", and the melding of classical music and hip-hop as "ingenious."
## Commercial performance
"Shut Down" debuted at number one on the Billboard Global 200 with 152.8 million streams and 17,000 downloads sold, earning Blackpink their second number-one hit on the chart after "Pink Venom". The group joined BTS, Justin Bieber and Olivia Rodrigo as the only acts with multiple leaders on the chart. With "Pink Venom" at number two, Blackpink also became the first group to hold the top two spots in a single week on the Global 200. "Shut Down" debuted at number one on the Global Excl. U.S. with 140 million streams and 13,000 downloads sold outside the U.S., earning Blackpink their third number-one hit on the chart after "Lovesick Girls" and "Pink Venom". With this, Blackpink became the artist with the second-most number-one hits on the chart after BTS. The group also became the fourth act to debut atop the Global 200, Global Excl. U.S. and Billboard 200 charts simultaneously with "Shut Down" and its parent album Born Pink. BTS, Justin Bieber and Taylor Swift are the only other acts that have achieved this feat. "Shut Down" charted on the Global 200 for a total of 24 weeks.
In South Korea, "Shut Down" debuted at number 29 on the week 38 issue of the Circle Digital Chart for the period dated September 11–17, with less than two days of tracking. It peaked at number three the following week, for the period dated September 18–24. In the United States, the song entered the Billboard Hot 100 at number 25 for the week of September 16–22. It earned 4,000 downloads and debuted at number ten on Streaming Songs with 13 million streams, becoming the group's third top-ten on the chart and second completely solo. With this, Blackpink became the first girl group to have multiple top tens, and tied with Psy for the second-most top tens by a Korean act. They also became the first Korean act to have a non-compilation album yield multiple top tens on the chart. "Shut Down" also debuted at number 24 on the UK Singles Chart, marking the group's eighth top-forty hit in the country.
## Music video
A teaser for the music video of "Shut Down" was released on September 13, 2022, and the official music video was released on September 16, 2022. It surpassed 100 million views in five days and three hours.
The video references previous music videos released by Blackpink. In the opening shot of the video, Lisa stands on a deck against a dark sky ("Playing with Fire") before taking the wheel for a group car ride, mirroring a scene from "Whistle" in which Rosé drove. The scene in "Ddu-Du Ddu-Du" of Jennie rapping while sitting on a military tank with pink shopping bags is also recreated. Lisa raps sitting among black bags full of pink cash and speakers ("Boombayah"). Jisoo protects herself from raining money with a pink umbrella ("Ddu-Du Ddu-Du"). Just as in "Whistle", Rosé sits on top of the Earth, except the globe in "Shut Down" is black and pink. In another scene, she drives a car alone ("Kill This Love"). In "Playing with Fire", Jennie plays with a match with orange flame in a white bathtub; in "Shut Down", she does the same in an onyx bathtub and with a pink flame. Lisa wields a sword with the word "Blackpink" on it, and Rosé swings on a chandelier ("Ddu-Du Ddu-Du"). Jisoo trips and falls in front of paparazzi filming her every move in "Ddu-Du Ddu-Du," but confidently takes pictures of herself without the glaring eyes of the photographers in "Shut Down". During the chorus, the members dance in an alley lined with posters referencing the titles of their solo and group songs.
### Dance performance video
The dance performance video was additionally released on September 18, 2022; the video consists of the four members doing the full choreography in matching black outfits, in front of a set decorated with silver shutters, giving a sense of immersion and establishing the concept of the music video. Later, the girls were joined by a series of dancers in gray outfits, The dancers then joined the quartet for the finishing final poses.
The performance was choreographed by Kiel Tutin, Taryn Cheng, Lee Jeong (Ri Jeong), and Kyle Hanagami, of the choreography team YGX. The choreographers noted: "We emphasized Blackpink's unique strong hip-hop swag. Also, we maximized the core points of the performance and the colorful charms of the members."
## Accolades
## Live performances and promotion
On September 16, 2022, the group held a livestream on their official YouTube channel, one hour before the release of Born Pink, on a large stage themed after the concept of "Shut Down". In the broadcast, the members revealed behind-the-scenes stories of the music video filming, future activities and sneak peeks of the Born Pink World Tour, and they introduced the new songs on the album. On the same day, the group gave interviews on US radio stations Sirius XM and 102.7 KIIS FM. On September 19, they performed the song live for the first time on Jimmy Kimmel Live! on ABC, and on September 25, they appeared on SBS's Inkigayo to perform the song for the first time on a South Korean music program. "Shut Down" was included in the setlist of Blackpink's Born Pink World Tour, which started in October 2022. On January 28, 2023, the group performed the song with Swedish violinist Daniel Lozakovich at the Le Gala des Pièces Jaunes charity event organized by the First Lady of France, Brigitte Macron, in Paris. In April and June 2023, Blackpink performed "Shut Down" during their headlining sets at the Coachella Valley Music and Arts Festival in Indio, California and BST Hyde Park in London. The song was covered by La Poem, who is part of Yoo Se-yoon's team, on the fifth episode of the South Korean reality show Webtoon Singer. The show features K-pop artists' performances combining webtoons with extended reality.
## Credits and personnel
- Blackpink – vocals, creative directors
- Teddy – executive, lyricist, composition
- Danny Chung – lyricist
- Vince – lyricist
- 24 – composition, arrangement, keyboard, record producer
- Kang Yi-chae – strings
- Josh Gudwin – mixing engineer
## Charts
### Weekly charts
### Monthly charts
### Year-end charts
## Certifications
## Release history
## See also
- List of best-selling girl group singles
- List of Billboard Global 200 number ones of 2022
- List of Inkigayo Chart winners (2022)
- List of K-pop songs on the Billboard charts
- List of M Countdown Chart winners (2022)
- List of number-one songs of 2022 (Hong Kong)
- List of number-one songs of 2022 (Malaysia)
- List of number-one songs of 2022 (Philippines)
- List of number-one songs of 2022 (Singapore)
- List of number-one songs of 2022 (Vietnam)
- List of Show Champion Chart winners (2022)
- List of Show! Music Core Chart winners (2022)
|
[
"## Background",
"## Composition",
"## Critical reception",
"## Commercial performance",
"## Music video",
"### Dance performance video",
"## Accolades",
"## Live performances and promotion",
"## Credits and personnel",
"## Charts",
"### Weekly charts",
"### Monthly charts",
"### Year-end charts",
"## Certifications",
"## Release history",
"## See also"
] | 2,289 | 10,024 |
4,936,636 |
Anton Meyer
| 1,163,870,480 |
Fictional consultant cardiothoracic surgeon
|
[
"Crossover characters in television",
"Fictional Hungarian people",
"Fictional cardiothoracic surgeons",
"Holby City characters",
"Male characters in television",
"Television characters introduced in 1999"
] |
Anton Meyer is a fictional character from the BBC medical drama Holby City, played by actor George Irving. He appeared in the series from its first episode, broadcast on 12 January 1999, until series four, episode 46, broadcast on 20 August 2002. His role in the show is that of consultant cardiothoracic surgeon and head of the cardiothoracic surgery department at Holby General. Irving had considerable input in creating the character, who was initially envisioned by the series producers as an Iranian surgeon named Hussein. At Irving's suggestion, Meyer became Hungarian, an emigrant to Britain following the 1956 Hungarian Revolution. Little of the backstory created for Meyer was ever revealed on-screen, as part of a deliberate bid to present the character as enigmatic, allowing viewers to project their own imagination onto him.
Meyer is a driven, arrogant surgeon, with high expectations of his colleagues. His major storylines see him operate on his own sister, fear that he may have motor neuron disease, lose his spleen after being shot in a road rage incident, and ultimately depart from Holby for Michigan when the hospital Board make impositions on his autonomy. Irving made the decision to leave the series as he struggled to set the character aside outside of work, which had a negative impact on his personal life. He ruled out the possibility of returning to Holby City in future, preferring his memory of Meyer to remain untarnished.
Meyer proved popular with viewers and critics. Jim Shelley of The Mirror described Meyer as "one of the best characters on television in recent years".
## Storylines
Meyer's major storylines include operating on his own sister when she falls ill, despite a long-term enmity with his brother-in-law, Greg. He seeks help from his friend, neurologist Professor Charles Merrick (Simon Williams), when he fears he may have motor neuron disease, but Merrick deduces he has an easily treatable thyroid problem instead. Merrick's daughter Victoria (Lisa Faulkner) works on Meyer's firm for a period as a Senior house officer (SHO). When she is murdered by the irate father of one of her patients, Meyer becomes involved when he is trapped in a lift with her killer, James Campbell. Campbell overdoses on pills and dies in the lift before Meyer can revive him to face justice.
At the beginning of series four, Meyer is shot in a road-rage incident on his way to work. This sees the introduction of Ric Griffin (Hugh Quarshie) who performs lifesaving surgery to remove the bullet from Meyer's spine. The culprit is later admitted to the hospital as a patient, when he crashes his car after trying to flee following the shooting. He tries to escape from the hospital in fear that the police will discover him, and after three attempts at leaving the hospital, he finally achieves his goal but collapses in the hospital car park and dies.
When the parents of Rufus Wooding, a young patient of Meyer's, suddenly withdraw their consent for a complicated operation, total cavo-pulmonary connection (TCPC), Meyer discovers that his SHO, Sam Kennedy (Collette Brown), has intervened and persuaded the parents not to go ahead with surgery. Believing that his authority has been undermined, Meyer promptly fires her. Kennedy threatens to go to the press if Meyer is not investigated, so the hospital Board begin an enquiry, during which Meyer is suspended. The investigation is headed by Meyer's old friend and rival, Tom Campbell-Gore (Denis Lawson). It concluded that Meyer's clinical skills were exemplary and unquestionable, although the Board, aware that Meyer's penchant for taking extremely difficult cases has made hospital death rates appear bad, remove Meyer's discretion to decide when to operate in such cases. This decision angers Meyer, who argues that he performs operations that are in the interests of the patients not league tables. The Board also relieve Meyer of his registrar Alex Adams (Jeremy Sheffield). Meyer resigns to work in Michigan to develop an artificial heart, while Campbell-Gore takes his post at Holby.
## Creation
Irving was heavily involved in the creation of his character, writing Meyer's biography before assuming the role. He felt that it was important for him to understand Meyer's motivation and the reason he is so driven, as the character is presented as a "peacock ogre" who throws scalpels at one of his colleagues in an early episode, and unless Irving could fathom why, his portrayal would be "one step removed". Meyer was loosely based on the cardiothoracic surgeon Sir Magdi Yacoub. He was originally intended to be of Iranian descent and had the surname Hussein, before the series producers changed their minds and made him central European instead. Irving had developed a Hungarian accent for a film role prior to his involvement with Holby City, and decided that "Meyer was temperamentally Hungarian–gloomy with a bit of Mediterranean liveliness." It was decided that Meyer had left Hungary following the 1956 uprising, with his parents, who were intellectuals.
Although it was decided he has a sister, a wife and a daughter, Meyer's personal life is rarely mentioned on screen, enabling viewers to perceive him as a strong man onto whom they can "project whatever they want from their own imagination." Irving believes that modern television drama is populated by characters prone to disclosing everything about themselves, and so feels that having an enigmatic character like Meyer, who behaves in the reserved vein of Humphrey Bogart and Spencer Tracy, makes for a "refreshing change". He commented that revealing more of Meyer's personal life would be anticlimactic compared to viewers' expectations. As preparation for the role, Irving observed coronary artery bypass surgery performed at Papworth and Middlesex Hospital, deeming the experience an "enormous privilege". He had a "real fascination" with medicine and the human body prior to assuming the role, and considered studying biology at university.
## Development
Irving concentrated on his own ideas of Meyer's characterisation when playing him, believing it was important to ignore outside input, as Meyer in turn is unperturbed by others' opinions of him. Irving describes Meyer as a driven man, determined to only work with colleagues who meet his exacting standards. He feels that Meyer's "dry sense of humour" and bullying manner are both tools he uses to ensure colleagues meet his standards. Irving believes that Meyer's manipulative nature actually serves the greater good of the hospital, and despite his perfectionist and purist tendencies, Meyer is actually a great humanist, who holds his staff in the highest regard.
Graham Keal of the Birmingham Post observed that Meyer begins the series as a "hate figure"–ferocious, unbending and unsmiling, but is actually more complex a character than that, with "much to admire too." Shane Donaghey of The People compared Meyer to Hannibal Lecter, describing him as "Part panto villain, part grim reaper, with a bedside manner of a cruel vet" and commenting that he manages his department "with an iron fist veiled in a concrete glove."
Meyer has a penchant for listening to classical music whilst in theatre, and has a "right-hand-man" in his registrar, Nick Jordan (Michael French). Meyer's catchphrase is "Walk with me", an instruction he issues to his staff while, according to The Mirror's Jim Shelley, "sneer[ing] imperiously" and "saunter[ing] around the wards like a Roman emperor, suavely saving lives and damning other doctors with their own inadequacies."
Irving was dismayed by the storyline which saw Meyer shot in a road rage incident, describing filming the scenes as an "unpleasant experiences", the worst aspect being that Meyer loses his spleen as a result of his injuries. Of the later storyline which sees Meyer investigated by Tom Campbell-Gore on behalf of the hospital Board, Denis Lawson explained: "[Campbell-Gore] actually rather fancies Meyer's job but if he finds against him in the investigation he cannot get the job because it's a conflict of interest. So he has to play a rather clever game, which he does." On taking over as head of the cardiothoracic surgery department, he commented: "George is fantastic in the show, but obviously I'm going to do something very, very different, so I don't feel that I'm stepping into his shoes."
After four years in the role, Irving decided to leave Holby City and return to performing in theatre. Of his decision to leave, Irving explained that, while he enjoyed Meyer's sureness and confidence, he found it difficult to "switch off" the character outside of work, and had been forced to "put the rest of his life on hold" whilst part of the series, deeming it to be an "intense experience." He felt that, had he stayed in the series, Meyer could not have remained enigmatic much longer, and believed: "you have to stop when a character's time is through." Following Irving's departure from Holby City, Benji Wilson of the Radio Times questioned whether he would ever consider returning. Irving responded: "I don't know—my feeling is that Meyer was of his time. He's the kind of character that belongs at the launch of series like Holby and I think that's where he should remain. The memory of Meyer is important to me and I want it to stay as it is."
## Reception
The broadcast of the first episode brought positive comments for Irving and Meyer from television critics. In the Birmingham Post, Graham Keal called Irving's portrayal "a charismatic combination of autocratic arrogance and dry wit", and noted that the character's interactions with Nick Jordan "form the programme's primary double act". Andrew Billen in the New Statesman called Meyer the most compelling character of the series, while Kathleen Morgan of the Daily Record similarly deemed Meyer the star of the show, writing that Irving: "gave a chilling performance as a man who saves lives simply to boost his ego." Following the broadcast of the second episode, Daily Mirror critic Charlie Catchpole wrote that Irving gave the best performance in a hospital drama as "a rude, eccentric, conceited, arrogant bully" since Tom Baker in Medics.
John Russell of The People disliked the storyline which saw Meyer operate on his own sister, describing it as "something between a carve up and a cock up", and commenting that he was "so disturbed" he "switched the tripe off", however, fellow People critic Shane Donaghey lauded Meyer as the only reason to watch Holby City. Tony Purnell of The Mirror gave a poor review when Meyer did not appear for several episodes, commenting that the show was in "very poor health" in his absence, and "the sooner he returns, the better." Purnell praised Meyer's return two episodes later, however was concerned by his Motor Neurone Disease scare, deeming Meyer "the lifeblood of the series" and writing that Holby City could "ill afford to lose him".
Jim Shelley of The Mirror similarly hoped for Meyer to "get well soon and resuscitate the series." Shelley selected the character as a runner-up for his 2001 "Man of the Year" award, and upon the character's exit from Holby City, described him as "a study in arrogance and laconic authority [...] one of the best characters on television in recent years."
Meyer has been particularly well received by female Holby City fans, elevating Irving to sex-symbol status. Irving felt that this was "fairly predictable in terms of the nature of Meyer—tough and masterful—combined with the aphrodisiac of power, and the life and death aspects of his job." He commented that he was surprised by the positive reaction to his character, explaining: "He seems to have captured people's imaginations, but it's difficult to put your finger on what he has. I think it's got something to do with being a character who says exactly what he means all the time. He's got integrity, which I admire anyway, and I expect the audience responds to that. Surgeons seem to like him too. I find that particularly gratifying. He's got the courage to do what's right for his work and his patients and not worry about popularity or being liked." Conversely, Irving noted that after assuming the role, members of the public would sometimes "give a kind of shudder" upon encountering him, associating him with his character.
|
[
"## Storylines",
"## Creation",
"## Development",
"## Reception"
] | 2,558 | 32,906 |
11,258,082 |
Shetland sheep
| 1,144,247,208 |
Breed of sheep
|
[
"British products with protected designation of origin",
"Sheep breeds",
"Sheep breeds originating in Scotland",
"Sheep landraces",
"Shetland animal breeds"
] |
The Shetland is a small, wool-producing breed of sheep originating in the Shetland Isles, Scotland, but is now also kept in many other parts of the world. It is part of the Northern European short-tailed sheep group, and it is closely related to the extinct Scottish Dunface. Shetlands are classified as a landrace or "unimproved" breed. This breed is kept for its very fine wool, for meat, and for conservation grazing.
Although Shetlands are small and slow-growing compared to commercial breeds, they are hardy, thrifty, easy lambers, adaptable and long-lived. The Shetland breed has survived for centuries in difficult conditions and on a poor diet, but they thrive in better conditions. Shetlands retain many of their primitive survival instincts, so they are easier to care for than many modern breeds.
## History
Up to the Iron Age, the sheep of the British Isles and other parts of northern and western Europe were small, short-tailed, horned only in the male and variable in colour. Short-tailed sheep were gradually displaced by long-tailed types, leaving short-tailed sheep restricted to the less accessible areas. These included the Scottish Dunface, which until the late eighteenth century was the main sheep type throughout the Highlands and Islands of Scotland, including Orkney and Shetland. The Dunface died out on the mainland, Scotland, in the late nineteenth century, leaving its descendants limited to a few islands, including the Shetland Isles. The Shetland type of the Dunface has been regarded as distinct since the early nineteenth century or before.
### Breed conservation
By the early twentieth century, the Shetland was perceived as threatened by cross-breeding, leading to a decline in wool quality. To combat this, the Shetland Flock Book Society was formed in 1927, and this remains the body responsible for the protection of the breed in Shetland.
By the time the Rare Breeds Survival Trust was set up in the 1970s, the Shetland had become rare, and it was listed by them as Category 2 (Endangered). Since then, the breed has become popular with smallholders, and it is now classified as Category 6 (Other native breeds), with a UK population of over 3000. On the mainland the breed is governed by the Shetland Sheep Society.
### Export and history outside the Shetland isles
A Shetland ram was kept by United States President Thomas Jefferson for several years in the early nineteenth century. Unlike modern Shetlands (but like some related breeds) this ram had four horns. He was kept with about 40 other sheep on President's Square in front of the White House. In the spring of 1808, it attacked several people who had taken shortcuts across the square, injuring some and actually killing a small boy. Having been moved to Jefferson's private estate at Monticello, the ram was eventually killed after having killed several other rams: it was described by Jefferson as "this abominable animal". Such aggressive Shetland rams, however, are unusual.
In North America, the original Jefferson flock of Shetlands did not persist. Other importations were made at the beginning of the twentieth century most notably to Mrs. W.W. Burch of Coopersville, MI (wife of the Editor of the American Sheep Breeder at the time), and Mr. L.V. Harkness of the Walnut Hall (the same of Standardbred Horse fame). There is record of these flocks surviving until 1916, and also record of another flock in Illinois in 1917. By 1921, it was recorded that Shetlands could not be bought in the US (The Sheep Breeder, 1921). It was not until the mid-twentieth century that Shetlands were imported into Canada, and then from Canada into the United States in the 1980s. Since then, a North American Shetland Sheep Registry has been established, and there are now thousands of the breed in the region.
### Modern farming
Today, Shetland sheep are mainly kept in the Shetland isles and a handful of other places. This is because of their ability to survive on infertile land that would otherwise be agriculturally useless. Their good-natured temperament is also a major attraction in keeping Shetland sheep. They are most commonly farmed for their prized wool, but they also may be kept for their meat.
## Breed characteristics
The Shetland is one of the smallest British breeds. The ewes are usually polled (hornless) and the rams usually horned, although horned ewes and polled rams do occur occasionally. The breed is noted for its very fine, soft wool and the high quality of its meat, though its smaller size limits its use in commercial meat markets. They are small-bodied animals, with some wool on their faces, noses or legs, but not in excess. The legs are of medium length and finely boned. They have small, erect ears. A distinguishing feature of northern short-tailed sheep is the short, fluke-shaped tail, broad at the base, tapering to a point, and covered towards the tip in hair, not wool.
Shetlands occur in many different colours and patterns, most of which have particular traditional names. The rams weigh approximately 90 to 125 lb (41 to 57 kg) and ewes about 75 to 100 lb (34 to 45 kg).
### Wool
The wool produced by the Shetland has historically been a valuable commodity. Shetlands produce numerous shades of wool colours (see below), and this variety was commercially important to the wool industry of the Shetland Isles, where natural wools are often used undyed. Tweed is also produced from the coarser Shetland wool, but the Isles are best known for their multi-coloured knitwear (made using Fair Isle knitting) and for the traditional knitted lace shawls which are so fine, they will pass through a wedding ring. Fleeces usually weigh between 2 and 4 lb (0.9 and 1.8 kg).
In November 2011, Shetland wool produced in Shetland gained protected geographical status with a protected designation of origin (PDO) classification as "Native Shetland Wool". It was the first non-food product in the UK to receive this status.
#### Colours and patterns
Shetland sheep can show almost all possible sheep colours and patterns (some of which are still being catalogued), although solid white and solid moorit (reddish-brown) or black are most common. Many of the colours and patterns have Shetland dialect names – these derive from the Norn language formerly spoken in Shetland, and similar names are also used in at least one other Nordic language: Icelandic.
Eleven main colours are recognised by the breed association (most including many different shades): light grey, grey, white, emsket (dusky bluish-grey), musket (light greyish-brown), shaela (dark steely-grey), black, fawn, moorit (reddish brown), mioget (honey-toned, yellowish-brown), and dark brown.
Thirty coat patterns and markings are recognised, many of which can occur in combination. They include:
- katmoget ("badger-face": dark belly and dark shading around nose and eyes, lighter elsewhere)
- gulmoget ("mouflon", the reverse of katmoget: light belly, dark face with light marks around eyes, dark elsewhere)
- yuglet (generally light with dark "panda" patches around the eyes)
- bleset (dark with white blaze down face)
- smirslet (white marking around the muzzle)
- sokket (with white socks on the legs)
- bersugget (irregular patches of different colours)
- bielset (with a collar of a differing colour).
### Lambing
Like other "primitive" breeds, the ewes are highly seasonal, becoming fertile in October and November (in the Northern Hemisphere) and lambing in spring or summer. On the poor grazing of Shetland, the lambing percentage is about 130%. However, when the ewes are on better pasture, twin lambs are more common, especially from mature ewes. Shetland ewes are hardy, easy lambers, good mothers and produce ample milk. Healthy lambs are born with a weight between 4 and 7 lb (2 and 3 kg).
## See also
- Shetland animal breeds
|
[
"## History",
"### Breed conservation",
"### Export and history outside the Shetland isles",
"### Modern farming",
"## Breed characteristics",
"### Wool",
"#### Colours and patterns",
"### Lambing",
"## See also"
] | 1,786 | 18,146 |
40,569,982 |
Fragile (Tech N9ne song)
| 1,159,652,641 | null |
[
"2013 singles",
"2013 songs",
"Kendrick Lamar songs",
"Songs written by Kendrick Lamar",
"Tech N9ne songs"
] |
"Fragile" is a song by American hip hop recording artist Tech N9ne, taken from his thirteenth studio album Something Else (2013). "Fragile" was released on July 17, 2013 as the album's second single. It was produced by ¡Mayday!, Daniel "Keys" Perez and Ralfy "FAFA" Valencia. The song features vocals from Kendrick Lamar, ¡Mayday! and Kendall Morgan.
"Fragile" details each rappers disdain for music journalists and their criticism of their music. Ironically, the song was met with generally positive reviews from music critics. The song peaked at number 38 on the US Billboard Hot R&B/Hip-Hop Songs chart. A music video was released on February 9, 2014 featuring the artists rapping and singing in an abandoned warehouse.
## Background
On July 17, 2013, "Fragile" featuring Kendrick Lamar, ¡Mayday! and Kendall Morgan was premiered via Complex. Following its premiere, the song was made available for purchase with the iTunes pre-order for Something Else, also being released to Amazon.com as the album's second official single.
The song was inspired by Max Bell, a writer for LA Weekly who referred to Tech N9ne's Paid Dues performance as "gimmicky and redundant". He would later thank the writer during an interview, for giving him the inspiration to make the song. The song details each rapper's disdain for media criticism, as they address the critics and journalists that write about their music. Both artists rap with rapid-fire, aggressive verses, while Wrekonize and Bernz of ¡Mayday! and Kendall Morgan both sing the song's chorus.
## Writing and production
The song's composition begun after Strange Music label-mate ¡Mayday! sent Tech N9ne the song with their and Kendall Morgan's vocals on it. He said the introspective chorus made him take a moment to reflect on his own rhymes. He detailed himself creating his verse saying,
> "After I wrote my verse, it was my second show in Seattle. We did two shows, because I sold out both shows. There was like 2,000 the first night, and another 2,000 on the second night. So it was like, 'Whoa, we sold out both shows!' I was already tired from the night before, and we already had booked the studio time in Seattle. I went there, and I finished the last four bars of the verse I wrote. I wrote most of the verse—the first eight bars—on bus. It was getting closer to the show, and I wrote the last four bars at the studio because, our meet and greets aren’t an hour anymore. There’s like 300 people or 400 people, so you’re there until 6 pm now instead of 3 or 4. Now we got to go the studio, and I gotta be on stage at 9 pm, so it’s coming down to the wire I still have to eat and whatnot. But I did it, and after I did it, I’m like, 'Ooh, the verse is elite.'"
Following him writing his own verse, Tech N9ne decided he wanted another major rapper on the song after him. He stated, "It was already elite, so I needed somebody who could come after me, and there aren’t too many who can do it." After contemplating over which rapper would be featured on the track, even sending it to Eminem with hopes he would get on board, Tech N9ne decided to feature American rapper Kendrick Lamar on the song. This track would be Tech N9ne and Lamar's second collaboration.
The song's production was created by ¡Mayday!, Ralfy "FAFA" Valencia, and Danny "Keys" Perez. The instrumental is based around a brokenhearted guitar and piano-based beat, along with a simple drum pattern for the verses, before escalating with keys and guitar riffs for the hook.
## Critical reception
"Fragile" was met with generally positive reviews from music critics. Arasia Graham of HipHopDX said, ""Fragile" finds Tech N9ne and Kendrick Lamar annihilating a clear-cut beat through their bars with a concise delivery, while expressing disdain for critics. And Kendall Morgan's emotive vocals entice the track making it a contender for best on the album." Steve Jones of USA Today also named it one of the album's best songs.
Sha Be Allah of The Source called the song "a slow tempo, rimshot driven track blessed with lyrics from arguably the best of the underground and mainstream." AllMusic's David Jeffries stated, ""Fragile" ups the album artistically with jazz club ambience and the great Kendrick Lamar as guest star." Jonathan Sawyer of Hypetrak said, the song "is impressive all the way around. From the instrumentation to the hook provided by Morgan and ¡Mayday! to the spitfire verses from Tech N9ne and Kendrick, this is easily one of the standouts from N9ne's forthcoming Something Else album."
## Music video
On December 3, 2013, Tech N9ne shot the music video for "Fragile" with director Anthony Devera. Kendrick Lamar, Bernz and Wrekonize of ¡Mayday! and Kendall Morgan were all present in their respective roles. On February 9, 2014, the music video was released for "Fragile". The video features the artists rapping and singing in an abandoned warehouse.
## Charts
### Weekly charts
### Year-end charts
## Certifications
|
[
"## Background",
"## Writing and production",
"## Critical reception",
"## Music video",
"## Charts",
"### Weekly charts",
"### Year-end charts",
"## Certifications"
] | 1,152 | 24,094 |
39,746,332 |
Bruce Straley
| 1,150,969,393 |
American video game designer
|
[
"American video game designers",
"American video game directors",
"Living people",
"Naughty Dog people",
"Place of birth missing (living people)",
"Uncharted",
"Video game artists",
"Year of birth missing (living people)"
] |
Bruce Straley is an American game director, artist, designer, and studio director. He previously worked for the video game developer Naughty Dog, known for his work in the video games The Last of Us and Uncharted 4: A Thief's End. Straley's first video game work was as an artist at Western Technologies Inc, where he worked on the Menacer six-game cartridge (1992) and X-Men (1993). Following this, he formed a company, Pacific Softscape, where he worked as a designer on Generations Lost (1994). After the company disbanded, Straley was eventually hired at Crystal Dynamics, where he worked as a designer on Gex: Enter the Gecko (1998) and was initially game director for Gex 3: Deep Cover Gecko (1999); he left the company partway through development of the latter.
Straley was employed at Naughty Dog in 1999. He worked as an artist on Crash Team Racing (1999) and the Jak and Daxter series (2001–2004). Following this, he became co-art director on Uncharted: Drake's Fortune (2007), and was promoted to game director of Uncharted 2: Among Thieves (2009). He was later chosen to lead development on The Last of Us (2013) as game director, a role he continued during the development of Uncharted 4: A Thief's End (2016). Straley has received praise for his work. In particular, his work on The Last of Us was highly praised, and the game received several awards and nominations. He departed Naughty Dog in September 2017, and announced his new studio, Wildflower Interactive, in July 2022.
## Career
Bruce Straley grew up in Florida. He felt pressure from his mother to attend school after his brother and sister dropped out; since he felt that drawing was his only talent, he attended an art institute and received a degree in advertising design. When Straley heard about California from his friend, he decided to move to Los Angeles. After struggling to find a job in advertising, he applied for an art design position at Western Technologies Inc. At the job interview the following day, a programmer showed him footage from Sonic the Hedgehog and asked if he could make similar art; he said yes, and was offered the job by the end of the day. He worked on a video game about Robosaurus for some time, though it was eventually canceled.
Straley worked on two more games at Western Technologies Inc: the Menacer six-game cartridge in 1992, and X-Men in 1993. Following this, he formed a company, Pacific Softscape, with some ex-employees at Western Technologies. There, he worked as designer on Generations Lost in 1994. He felt too inexperienced to run a company, and did not get along with some of his coworkers, so the company disbanded in 1995. He left the industry for a short time, traveling to Europe, before moving to San Francisco in 1996 and receiving a job at Crystal Dynamics through a friend. There, Straley worked alongside several future Naughty Dog employees, including Amy Hennig, who later became creative director of the Uncharted series, Evan Wells, who later became co-president of Naughty Dog, and Danny Chan, who later worked as a lead programmer on Crash Team Racing.
Straley worked as designer on Gex: Enter the Gecko (1998), and was promoted to game director for Gex 3: Deep Cover Gecko (1999). Around this time, some of his coworkers, including Wells and Chan, had moved to Naughty Dog in Santa Monica, California; Straley, unhappy with the development of Gex 3 and missing his friends, followed them and met Naughty Dog co-founder Jason Rubin. Having left during development, Straley was credited for "additional art" on Gex 3. In March 1999, Straley was employed at Naughty Dog; he was the fifteenth employee.
At Naughty Dog, Straley worked as an artist on Crash Team Racing in 1999. Although he was employed as a texture artist, the small size of the team resulted in Straley performing various jobs, including design, background modeling and foreground animating, among others. As the size of the studio grew, the tasks became more specific. Straley acted as artist on Jak and Daxter: The Precursor Legacy (2001), Jak II (2003), and Jak 3 (2004). Straley is credited with creating the technology that managed the appearance of the Jak and Daxter series, and having the knowledge to understand the technical and artistic features, bridging the communication gap between the two departments. For Uncharted: Drake's Fortune (2007), Straley was appointed the role of co-art director, alongside Bob Rafei, which involved advancing the team's technology from the PlayStation 2 to the PlayStation 3. He was then given the role of game director for Uncharted 2: Among Thieves, which was released in 2009.
Following the development of Uncharted 2, Naughty Dog split into two teams to work on projects concurrently. With one team working on Uncharted 3: Drake's Deception (2011), co-presidents Evan Wells and Christophe Balestra chose Straley and Neil Druckmann to lead development on a new game; Straley was selected to lead the project, as game director, based on his experience and his work on previous projects. Though they were originally set to develop a new game in the Jak and Daxter series, the team felt that they "weren't doing service to the fans of [the] franchise", and decided to create a new game, titled The Last of Us.
Straley and Druckmann had previously worked together on Uncharted 2, and found that they shared similar interests. During the development of The Last of Us, Straley and Druckmann often joked that their relationship was "like a marriage", in which they have many differing ideas, but ultimately wish to achieve the same goal. Straley's role in developing The Last of Us was to handle gameplay. In the final weeks of development, Straley undertook roles from different departments that were busy with other tasks; for example, he was seen hand-arranging the texts on the game's training screens, a task that lead artist Nate Wells found unusual. Wells said: "I have never even heard of a game director doing that! That's like... an intern task." At the Electronic Entertainment Expo 2012, Straley showcased a gameplay demonstration of The Last of Us at Sony's press conference; his stance on the stage became an Internet meme, and was referred to as "The Bruce". The game was released on June 14, 2013, to critical acclaim. For his work on the game, Straley and Druckmann were nominated for Best Director from The Daily Telegraph; it was ultimately awarded to Davey Wreden for his work on The Stanley Parable (2013). Straley later continued his role as game director for The Last of Us: Left Behind (2014), a downloadable content and expansion pack for the 2013 game.
Following Hennig's departure from Naughty Dog in March 2014, it was announced that Straley and Druckmann were working on Uncharted 4: A Thief's End (2016) as game director and creative director, respectively. Initial reports claimed that Hennig was "forced out" of Naughty Dog by Straley and Druckmann, though Wells and Balestra later denied this. Straley presented gameplay demonstrations of Uncharted 4 at the PlayStation Experience in December 2014, and at the E3 2015 in June. The game was released on May 10, 2016, to critical acclaim. For his work on the game, Straley won Outstanding Visual Effects in a Real-Time Project at the 15th Visual Effects Society Awards, alongside visual effects artists Eben Cook and Iki Ikram. After the release of Uncharted 4, Straley took a break from development; he did not return to direct The Last of Us Part II. On September 13, 2017, Straley announced his departure from Naughty Dog, stating that he "found [his] energy focusing in other directions" following his break. His decision to leave was also partly due to burnout; his relationship with Naughty Dog and Sony became strained. Following the lack of credit to Straley in the television series The Last of Us in 2023, he considered the support for unionization in the video game industry, saying it may be necessary "to protect creators".
Straley worked as a story consultant on Chained: A Victorian Nightmare (2018), a virtual reality theater experience. He was awarded the Vanguard Award at the Fun & Serious Game Festival in December 2019. After leaving the industry in 2017, Straley was unsure if he wanted to continue making games; however, after thinking more about the medium, an "idea kept following [him]". He and some friends began prototyping, and eventually decided to create a studio, Wildflower Interactive, which was announced in July 2022. As studio director, Straley wants the studio to be "inclusive, equitable, and collaborative". It is operating in a fully remote work environment.
## Works
### Video games
### Literature
### Film and television
## Awards and nominations
|
[
"## Career",
"## Works",
"### Video games",
"### Literature",
"### Film and television",
"## Awards and nominations"
] | 1,939 | 25,398 |
24,623,777 |
Edith Rogers (Alberta politician)
| 1,173,515,777 |
Member of Legislative Assembly of Alberta
|
[
"1894 births",
"1985 deaths",
"20th-century Canadian women politicians",
"Alberta Social Credit Party MLAs",
"Alberta school board trustees",
"Canadian schoolteachers",
"People from Pictou County",
"People from Ponoka County",
"Politicians from Edmonton",
"Women MLAs in Alberta"
] |
Edith Blanche Rogers (née Edith Blanche Cox) (September 20, 1894 – July 17, 1985) was a Canadian politician who served as a member of the Legislative Assembly of Alberta from 1935 until 1940. Born in Nova Scotia, she came west to Alberta to accept a job as a teacher. She later moved to Calgary where she encountered evangelist William Aberhart and became a convert to his social credit economic theories. After advocating these theories across the province, she was elected in the 1935 provincial election as a candidate of Aberhart's newly formed Social Credit League.
Left out of cabinet despite her loyalty to Aberhart, she sided with the insurgents during the 1937 Social Credit backbenchers' revolt, rejoining Aberhart's followers once a settlement was reached. She was defeated in the 1940 election. After her defeat, she abandoned Social Credit for the Cooperative Commonwealth Federation, moved to Edmonton, and served for fifteen years as a school trustee. Edith Rogers died in 1985.
## Early life
Born in Eastville, Nova Scotia, to Samuel G. and Mahala (née Graham) Cox, Rogers was raised on a farm and attended Eastville High School and Normal School. She worked as a teacher in Nova Scotia until 1913, when she visited her aunt, Margaret Redmond, in Edgerton, Alberta. While there, she accepted an offer to teach at Bloomington School. She attended Camrose Normal School in 1914, after which she taught in Edgerton and near Tofield until 1918. Disillusioned with teaching in rural schoolhouses, she took a business course and began work as a bank teller for the Merchants Bank of Canada, which later merged with the Bank of Montreal, in Edgerton; this was an unusual career choice for a woman at the time. In 1922 she moved to Tofield, where she continued to work as a teller. The next year she moved to Killam, where she married William Rogers, the local high school principal, October 12, 1923.
In 1929, the couple moved to Calgary, where they became friends with William Aberhart and his family. Rogers' first foray into politics took place during the 1930 federal election, when she assisted with R. B. Bennett's successful Calgary West campaign. Governments' inability to end or alleviate the effects of the Great Depression soon disillusioned her with conventional politics. Upon hearing that Aberhart was beginning to incorporate politics and economics into his weekly gospel radio addresses, she began to listen and soon became a convert to his version of social credit.
## Early involvement in social credit
In 1932 Rogers convinced Aberhart to hold public meetings on social credit in Calgary; she subsequently organized neighbourhood study groups on the theory. In 1933 the Central Council of Social Credit in Calgary, which coordinated the city's sixty social credit study groups, named her women's organizer, in which capacity she held mass meetings designed to recruit women to social credit. In 1934 she embarked on a sixteen-month speaking tour of Alberta. At the same time, she organized social credit study groups around the province, including seventy-two in Edmonton. She concluded her tour by organizing a mass meeting there in the spring of 1935, where Aberhart spoke before 9,000 people.
When fissures appeared between Aberhart and people who supported the more orthodox version of social credit proposed by C. H. Douglas, the movement's British founder, Rogers remained steadfastly loyal to Aberhart. In the assessment of T. C. Byrne, her loyalty to Aberhart was second only to that of Ernest Manning, Aberhart's young protégé.
When Aberhart decided to run Social Credit candidates in the 1935 provincial election, he adopted an unusual system of candidate nomination: each constituency would nominate three or four candidates, with a committee headed by Aberhart naming one of them to be the party's candidate. Six different constituencies nominated Rogers as one of their candidates. Aberhart decided that she should run in Ponoka.
Her opponent from the governing United Farmers of Alberta (UFA) was the sitting MLA, John Edward Brownlee, who had resigned as Premier of Alberta but not as Member of the Legislative Assembly the previous year in the wake of a sex scandal in which he was sued for the seduction of a young woman. Brownlee biographer Franklin Foster speculated that the selection of a female candidate to run against the so-called "sober faced seducer" was a deliberate strategic decision by Aberhart. He noted that "aside from Aberhart himself, [Social Credit] could not have fielded a stronger candidate" in Ponoka.
## Member of the Legislative Assembly
Rogers won the seat with 2,295 votes, more than 1,400 ahead of Brownlee. In fact, the UFA lost every seat it contested, and Social Credit candidates won 56 of Alberta's 63 seats. Aberhart became premier. He did not appoint Rogers (or any other woman) to his cabinet, and Athabasca University historian Alvin Finkel has suggested that her gender cost her such an appointment. Female cabinet ministers were not unprecedented in Alberta (Irene Parlby was a cabinet minister throughout the UFA's time in office) and Finkel argues, given that Rogers was "recognized as sharp, articulate, and hard-working", that she could reasonably have expected a cabinet portfolio.
Despite her loyalty to Aberhart, Rogers became frustrated with his delay in implementing the social credit economic reforms he had promised. During the 1937 Social Credit backbenchers' revolt she sided with the insurgents who threatened to bring down the government unless it took concrete steps to implement social credit. Once the insurgents reached a settlement with Aberhart, she returned to her former position of loyalty.
She sought re-election as a Social Crediter in the 1940 election. Prior to this election, Social Credit's opponents, including Liberals, Conservatives, and those elements of the UFA that had not moved to Social Credit, formed the People's League, which ran nominally independent candidates.
The election in Ponoka, like in all districts outside Edmonton and Calgary, was determined through Instant-runoff voting. One of the People's League candidates, Percy McKelvey, came in first on the first count, leading second-place candidate Rogers by 13 votes, but not taking a majority of the votes. The Cooperative Commonwealth Federation (CCF)'s C.A. Johnson was in a distant third. When Johnson's votes were redistributed, in accordance with Alberta's electoral laws at the time, McKelvey maintained his lead and took a majority of votes still in play, and he was declared the victor.
## Later life
After her defeat, Rogers and her husband moved to Edmonton. She disapproved of the Social Credit government's move to the right under new premier Ernest Manning, and joined the socialist CCF. Finkel considers this surprising, in light of her long-time devotion to the ideals of social credit, the role the CCF played in her 1940 election defeat, and his assessment that she "seemed more interested in monetary reform than in the general social critique put forward by the CCF." She served as a member of the CCF's Edmonton membership and organization committee.
Rogers was elected to the board of Edmonton Public Schools in the 1959 Edmonton election as a candidate of the left-leaning Civic Reform Association (CRA). When the CRA dissolved in advance of the 1961 election, she joined the newly formed Quality Education Council. She was re-elected in 1961, 1963, 1964, 1966, 1968, and 1971.
When the Quality Education Council dissolved, she ran as an independent in the 1971 election, and retained her seat one last time.
Retiring from politics after 20 years, she did not seek re-election in the 1974 election.
Edith Rogers Junior High School in Edmonton opened in 1975. It was named in her honour and she attended many school events there during her lifetime. She printed and gave a copy of her book History Made in Canada to each member of the first graduating class of that school.
She was also author of the book Pioneers of the West.
Edith Rogers died July 17, 1985. She was predeceased by her husband, William Rogers, who died November 7, 1968.
## Electoral record
|
[
"## Early life",
"## Early involvement in social credit",
"## Member of the Legislative Assembly",
"## Later life",
"## Electoral record"
] | 1,743 | 24,001 |
33,819,755 |
Pasqua Rosée
| 1,164,908,257 |
Owner of the first coffee-house in London
|
[
"17th-century Greek people",
"Businesspeople from London",
"Businesspeople in coffee",
"Greek emigrants to England",
"Interlopers (business)"
] |
Pasqua Rosée () was a 17th-century servant who opened the first coffee-house in London and possibly Britain. He was born into the ethnic Greek community of the Republic of Ragusa (now southernmost Croatia). In 1651 he became the servant of Daniel Edwards, an English merchant of the Levant Company who was living in Smyrna (modern İzmir, Turkey) in the Ottoman Empire; Rosée's duties included preparing and serving Edwards's daily coffee.
In late 1651 Edwards returned to London, taking Rosée with him. The number and frequency of friends visiting Edwards to drink coffee with him disrupted his social life, and so he set up Rosée as the proprietor of a coffee-house near the Royal Exchange. As Rosée was not a freeman of the City of London he was not able to trade; accordingly Edwards made his father-in-law's former apprentice, Christopher "Kitt" Bowman—a freeman of the City—join Rosée as a partner. The last known reference to Rosée was in 1658, after which Bowman ran the coffee-house with his wife until his death in 1662. There are stories that Rosée left London as a result of a misdemeanour and that he went to Holland or Germany to sell coffee, although there is no evidence this was the case.
The number of coffee-houses grew rapidly after Rosée opened his outlet. By 1708 there were 500–600 in London and Westminster, and others in provincial cities. The original premises of the coffee-house was destroyed in the 1666 Great Fire of London. On its location is a late nineteenth century building housing—in the twenty-first century—a pub, the Jamaica Wine House; a commemorative plaque is now on the spot, unveiled in 1952—the tercentenary of the founding of Rosée's shop.
## Biography
### Background and work in Smyrna
Pasqua Rosée was born in the early seventeenth century into the ethnic Greek community of the Republic of Ragusa (now southernmost Croatia), and is variously described as Greek, Armenian, Turkish and "of Greek or Turkish origin". Little is known about his early life, but it is thought he spoke at least three languages: Greek, Turkish and English.
By 1651 Rosée was living in Smyrna (modern İzmir, Turkey), in the Ottoman Empire, where he became the servant of Daniel Edwards, an English merchant of the Levant Company. The Levant Company was an English chartered company formed in 1592 with the purpose of regulating English trade with the Ottoman Empire and the Levant. The charter effectively provided a monopoly for fifty-three English merchants named in the text. English traders preferred to employ Levantine servants as they were cheaper than those from England and had better knowledge of the local languages and customs. Rosée's language skills made him an important aid for Edwards in business, and he acted as "a clerk of accounts, a translator and a social diplomat, using his knowledge of Turkish customs to smooth the path of commerce", according to the historian Markman Ellis; he also acted in a personal capacity as Edwards's valet and coachman. Although Edwards's servants prepared and served his food, as his valet, Rosée prepared and served his coffee.
Edwards left Smyrna in late 1651 to return to England, accompanied by Rosée; this was either because Edwards had thwarted activities of a royalist cadre in the Levant Company in 1647 and 1650, or because of an outbreak of plague in the region, which reached Smyrna in September 1651. According to Markman Ellis, "Edwards brought some characteristics of Levantine merchants: hard work, Puritan politics and coffee drinking". According to one of Edwards's friends, it was known he "drank two or three dishes [of coffee] at a time, twice or thrice a day". Friends would visit Edwards frequently to share his coffee and socialise; so many visited to taste this novel drink that it affected his family life, and in 1652 he decided to set up a coffee-house. As the rules of the Levant company meant he was unable to open it himself, he set up Rosée in business.
### Coffee shop
Edwards and Rosée selected premises in St Michael's Alley, just off Cornhill and near the Royal Exchange. The lanes and alleys around the Exchange—a favoured place for merchants to meet daily—were busy with traders, lawyers, tavern keepers and the general public. The first incarnation of their coffee-house was a shed resembling a market stall on the edge of the churchyard of St Michael's Church. A sign hung over Rosée's stall, described either as "an image of himself dressed in some Levantine clothing", or a sign portraying his head.
To promote his enterprise, in 1652 Rosée published a handbill advertising "The Vertue of the Coffee Drink" in which he extolled the benefits of coffee, claiming "It is excellent to prevent and cure the dropsy, gout and scurvy", as well as scrofula, miscarriages and "a most excellent remedy against the spleen, hypocondriack winds and the like". This is the earliest-known advertisement for coffee, according to the historian Aytoun Ellis. The launch of the new product onto the London market was aided by the politics of the day, with puritans attacking the sale of wine and beer as being connected to the profligate and licentious activities of the Royalists. Taverners and wine merchants bemoaned the falling sales of their products in 1651 and 1652, and Rosée's positioning of coffee as a healthy and sober drink helped the product become commercially successful. One contemporary estimated that Rosée's turnover was 30 or 40 shillings a day – approximately £450 to 600 a year.
Markman Ellis considers the estimate is "probably overstated", although Rosée's business was successful enough to generate jealousy from local tavern owners; they petitioned the Lord Mayor of London on the basis that Rosée was not a freeman of the City of London, and therefore should not be able to trade as he did. To overcome the barrier to Rosée's continuing trading, Edwards turned to his father-in-law, Alderman Thomas Hodges, who proposed one of his former apprentices, Christopher "Kitt" Bowman, a freeman of the City of London, to join Rosée as a partner, which took place in 1654.
In 1656 Rosée and Bowman moved from their shed into premises, also in St Michael's Alley, which measured 27.5 by 19 feet (8.4 by 5.8 m); the property was in poor condition, needing repairs and the men paid an annual rent of £4. The two men operated in partnership until at least 1658 (when they were both listed in the churchwardens' accounts), but Rosée seems to have no part in the joint venture after that. The two men also ran competing coffee-houses on opposite sides of the street, which was remembered in doggerel verse, published under the name Adrianus del Tasso:
>
> Pull courage, Pasqua, fear no Harms,
>
> From the besieging Foe;
>
> Make good your ground, stand to your Arms,
>
> Hold out this summer, and then tho'
>
> He'll storm, he'll not prevail—your Face
>
> Shall give the Coffee Pot the chace.
There are no records relating to Rosée after 1658. The apothecary and writer John Houghton, writing in 1699, said that Rosée disappeared from London "for some misdemeanour", although no record or evidence for the misdemeanour has been found. There were claims that he left England and sold coffee in Germany or Holland—the latter in 1664—but there is no evidence to support either claim.
## Legacy
Bowman continued to run the coffee-house until 1662, when he died of tuberculosis. His widow continued to run the coffee-house until at least May 1663, when hers was one of seven coffee-houses in the Cornhill ward. The original closely built wooden buildings in St Michael's Avenue were destroyed in the 1666 Great Fire of London, although the stone-built church survived.
Rosée's was only the first of many coffee-houses in London. In 1659 a Covent Garden barber wrote that there was seemingly coffee sold "in almost every street" and by 1663 there were 83 coffee-houses in London, the clients of which were largely connected to trade in the Levant or Baltic region. Increasingly they became, as Markman Ellis writes, "firmly associated with the tumultuous political culture of the Commonwealth". In the early years of the growth of coffee-houses, there was opposition from local tavern keepers, who complained to the Lord Mayor of London about the number of non-Freemen of the city involved in the trade, and in December 1675, after the restoration of the monarchy, Charles II issued "A proclamation for the Suppression of Coffee-Houses", which withdrew all licences to sell coffee; the resulting uproar led to the proclamation being withdrawn. No precise figures exist, but by 1708 coffee-houses were found in several provincial cities, with 500–600 in London and Westminster, and in 1739, the London Directories listed 551.
Coffee-houses soon grew to be an important aspect of stock trading. In 1698 one trader began publishing share prices from Jonathan's Coffee-House and then from Garraway's Coffee House; according to the historian Elizabeth Hennessy, this publication is "among the earliest evidence of the existence of organised trading in marketable securities in London". Lloyd's Coffee House in Tower Street was opened in the 1680s by Edward Lloyd; he began publishing news sheets relating to shipping movements, and a newspaper, Lloyd's News. He would also rent out tables to those who insured ships, and traders, merchants and shipowners congregated at the coffee-house to do business; this was the origin of the Lloyd's of London shipping market.
Rosée's sign was copied and imitated by several other coffee-houses and taverns across Britain. In his 1963 study of London coffee-houses from 1652 to 1900, the historian Bryant Lillywhite identified over fifty outlets using a sign comprising a Turk's head. After he left the coffee-house, Rosée's reputation remained in the popular memory. He was the inspiration for a character in Knavery in all Trades, a play written by John Tatham in 1664, and he was the target of the anonymously written satire "A Broad-Side Against Coffee". A pub, the Jamaica Wine House, built in the nineteenth-century, now occupies the location of Rosée's outlet in St Michael's Alley. In 1952 the Lord Mayor of London, Sir Leslie Boyce, unveiled a plaque on the location, in celebration of the tercentenary of the founding of Rosée's shop.
## First coffee-house
Markman Ellis writes that several sources state that Rosée's coffee-house was the first in London but the second in England, after an earlier coffee-house that may have existed in Oxford; he considers this erroneous and that Rosée's "was the first in Christendom". The source of information about the Oxford coffee-house, Ellis states, is from the Oxford antiquarian Anthony Wood who wrote in his diary, known as "Secretum Antonii", that "Jacob a Jew opened a coffey house at the Angel in the parish of S. Peter, in the East Oxon". Wood left the reference undated, but the editor of his work, Andrew Clark, dated it to March 1650 or 1651. Wood's diaries state that coffee was consumed in private in 1650 in Oxford and that it was "publickly solde at or neare the Angel within the East Gate of Oxon ... by an outlander or a Jew" at some point between August 1654 and April 1655.
|
[
"## Biography",
"### Background and work in Smyrna",
"### Coffee shop",
"## Legacy",
"## First coffee-house"
] | 2,493 | 43,301 |
30,825,716 |
Ron & Tammy: Part Two
| 1,146,028,287 | null |
[
"2011 American television episodes",
"Parks and Recreation (season 3) episodes"
] |
"Ron & Tammy: Part Two" (sometimes referred to as "Ron and Tammy II") is the fourth episode of the third season of the American comedy television series Parks and Recreation, and the 34th overall episode of the series. It originally aired on NBC in the United States on February 10, 2011. In the episode, Tom tries to make Ron jealous by dating Ron's ex-wife Tammy, causing the two to resume their unhealthy and destructive relationship. Meanwhile, Leslie and Ben ask the police to provide security for the harvest festival, and April is assigned to be Chris's secretary.
Written by Emily Kapnek and directed by Tucker Gates, the episode is considered a sequel to the second season episode "Ron and Tammy". Megan Mullally, the real-life wife of actor Nick Offerman, reprises her role as Tammy. Mullally and Offerman were permitted a great deal of improvisation during their scenes, the both of them admitting in the audio commentary that their graphically intimate scenes together actually made other cast members uncomfortable. "Ron & Tammy: Part Two" also features guest appearances by Eric Pierpoint as Pawnee Police Chief Trumple and Jama Williamson in the last of several guest performances as Tom's ex-wife, Wendy.
When the episode first broadcast, NBC ran a commercial advertising "April and Andy's wedding registry" on the official Parks and Recreation website. Although apparently a mistake intended to refer to Ron and Tammy's registry, some commentators suggested it could be indicative of future events in the series. According to Nielsen Media Research, "Ron & Tammy: Part Two" was seen by 5.03 million household viewers, a slight increase from the previous episode, "Time Capsule". It received critical acclaim, with several commentators praising the re-pairing of Ron and Tammy, as well as Nick Offerman's performance.
## Plot
Ron's (Nick Offerman) ex-wife Tammy (Megan Mullally) continues her efforts to sabotage his life, but the normally susceptible Ron easily resists her seductions because he is now in a solid relationship with Tom's (Aziz Ansari) ex-wife Wendy (Jama Williamson), much to Tom's jealousy. Later, however, Wendy and Ron break up after she announces she is moving back to Canada. Meanwhile, Leslie (Amy Poehler) and the parks department throw a party for the Pawnee police department, where they hope to ask them to provide security for the upcoming Harvest Festival. During the party, Ben (Adam Scott) awkwardly fails to get Chief Trumple's (Eric Pierpoint) favor. Tom, unaware of Ron and Wendy's breakup, arrives at the party with Tammy to make him jealous. After bickering loudly, Ron and Tammy both decide to leave the party together to talk and try to make amends. However, a night filled with drunken sex and mayhem ensues, ending with the two getting remarried and ending up in jail.
After getting Ron released, the parks department holds an intervention for him about Tammy, even playing a previously recorded tape of Ron warning himself to stay away from her. Ron ignores the warnings and prepares to take Tammy to his cabin for a sex-filled honeymoon after her bridal shower. Leslie blames Tom for the dilemma and, although he initially claims to be unfazed, Tom later arrives at the bridal shower to stop Ron from going on the honeymoon. He reveals the whole marriage is a ploy by Tammy to once again make him miserable. Tammy attacks and mercilessly beats Tom, prompting Ron to remember what a monster she truly is and dump her. He literally carries Tom away, and the two later make amends. Despite the bad impression he made the day before, Ben asks Trumple for the Harvest Festival favor. The chief unconditionally agrees out of respect for Leslie, who he said always helps everyone, and because Leslie once dated his friend Dave (Louis C.K.). Ben seems relieved Leslie and Dave are no longer together, and he later asks Leslie out to eat.
In the B story, April (Aubrey Plaza) is working as Chris' (Rob Lowe) assistant until he goes back to Indianapolis. April's cynical personality clashes with Chris' relentless optimism and happiness. In an attempt to get fired, April purposely neglects to tell Ann (Rashida Jones) that Chris cannot make a lunch date. When Ann arrives to confront Chris, she quickly realizes April's ploy. Ann reveals she is very happy dating Chris, and would even probably move with him to Indianapolis if asked. Andy (Chris Pratt), who is still trying to win back April's affections, gives Chris an obviously forged letter from the FBI claiming April must immediately return to the parks department. Chris sees through the ruse and tells April she can go back, but that remaining his assistant may provide her career opportunities. He invites her to return with him to Indianapolis and she seems interested, leaving both Ann and Andy stunned and jealous.
## Production
"Ron & Tammy: Part Two", sometimes informally referred to as "Ron and Tammy II", was written by Parks consulting producer Emily Kapnek and directed by Tucker Gates, who has previously directed episodes of The Office, another comedy series created by Parks co-creator Greg Daniels. Like all of the first six third season episodes, it was written and filmed almost immediately after the second season ended as part of an early shooting schedule needed to accommodate Amy Poehler's pregnancy. However, although finished early in anticipation of a September 2010 release date, Parks was ultimately placed on hiatus until early 2011, many months after production on "Ron & Tammy: Part Two" was finished. The episode is considered a sequel to the second season episode "Ron and Tammy", which introduced the character of Ron Swanson's ex-wife, Tammy, and their unhealthy relationship with each other. Megan Mullally, the real-life wife of actor Nick Offerman, reprises her role as Tammy. "Ron and Tammy" was one of the most well-received episodes of the second season, so the writers immediately started contemplating ways to bring the character back.
Offerman said he worked well with Mullally, and that the two both enjoy "pushing the envelope and testing our boundaries, both of physical ability and good taste". He jokingly said of filming the episode:
> "They tell me it's quite something. I honestly don't remember much of what took place during the filming of that episode because it was like a crazy peyote fever dream. I remember there was lots of howling, and I came away very sore and scarred. Parts of my anatomy were alarmingly chafed. They say it turned out well. I'm excited to see it."
Offerman and Mullally were allowed to improvise a great deal during filming. The episode features a montage of various clips showing how Ron and Tammy gradually go from fighting with each other to getting married over the course of a particularly wild night. Long sequences of footage were shot — including Ron and Tammy loudly arguing on the sidewalk and the two making out atop a police car — but little more than a few seconds ultimately made the final episode. Offerman said it took about a half hour for the hair department to give him his cornrows haircut. He said he enjoyed the process, saying it "felt like a stiff head massage".
Mullally said Tammy is expected to appear again in future episodes: "It seems like it's sort of a once a season-ish kind of event. When Tammy shows up, it pretty much brings Ron to a screeching halt." Mullally and Parks co-star Adam Scott also starred together in the Starz comedy series Party Down. "Ron & Tammy: Part Two" featured the last of several guest performances of Jama Williamson as Wendy, who revealed she was returning to her home country of Canada to care for her aging parents. Pawnee Police Chief Trumple was portrayed by Eric Pierpoint, who has played several police officers throughout his career, including an alien police officer in the science fiction series Alien Nation and a police chief in the superhero drama series The Cape.
Immediately after "Ron & Tammy: Part Two" first aired on February 10, 2011, NBC ran a commercial advertising "April and Andy's wedding registry" on the official Parks and Recreation website. This seemed inconsistent with the show's storyline because, although April and Andy had previously expressed romantic interest in each other, the two had separated and were not yet reconciled at the time of the episode. Shortly after the episode aired, HitFix television reviewer Alan Sepinwall wrote that the commercial mistakenly used the wrong names and was actually referring to Ron and Tammy's wedding registry, which was mentioned in "Ron & Tammy: Part Two" and was indeed featured on the Parks and Recreation website. However, while images of both April and Andy were featured in the commercial, Tammy herself was not, and some commentators suggested the error could be indicative of future events in the series. Andy and April eventually did marry in the episode "Andy and April's Fancy Party". Afterward, Parks co-creator Michael Schur admitted the commercial was intended to run with that episode, but ran with "Ron & Tammy: Part Two" due to an error by NBC employees:
> "In an effort to undo the spoiler, we publicly stated, in a number of interviews, that NBC had just accidentally gotten the character names wrong, and that there was no upcoming Andy-April wedding. We sincerely hope that fans of the show are cool with us gently lying to them, in an effort to maintain the surprise nuptials as much as we could. Now if you'll excuse us, we have to go shoot the season finale surprise Jerry-Donna wedding scene."
## Reception
### Ratings
In its original American broadcast, "Ron & Tammy: Part Two" was seen by an estimated 5.03 million household viewers, according to Nielsen Media Research, with an overall 3.0 rating/5 share, and a 2.5 rating/7 share among viewers between ages 18 and 49. It marked a slight increase in viewership compared to the previous episode, "Time Capsule". The night "Ron & Tammy: Part Two" was broadcast, Parks and Recreation was outperformed in its timeslot by the CBS crime drama series CSI: Crime Scene Investigation, which was seen by 12.78 million households; the ABC medical drama series Grey's Anatomy, which was seen by 10.4 million household viewers; and the Fox comedy-drama series Bones, which was seen by 9.5 million households.
### Reviews
"Ron & Tammy: Part Two" received highly positive reviews, with several commentators praising the repairing of Ron and Tammy, Nick Offerman's performance and, in particular, the line in which Ron explains how part of his mustache became shaved off: "It rubbed off... from friction." Entertainment Weekly writer Hillary Busis said she feared Megan Mullally could not live up to her performance in "Ron and Tammy", but she said the follow-up episode "gave Parks and Rec fans everything they could hope for and more". Busis also praised the pairing of the enthusiastic Chris and the apathetic April. Alan Sepinwall of HitFix enjoyed that the script did not simply rehash the original "Ron and Tammy" story, but instead played it well off the Tom, Wendy and Ron love triangle. Sepinwall also praised the Chris/April pairing and the fact that Adam Scott got to do more than play his usual straight man role. He added that he hoped each season would have a Ron and Tammy-centric episode, but limit it to once a year in the style of Cheers Bar Wars episodes.
The A.V. Club writer Steve Heisler said the episode was "just about as good as it gets", with several great moments revolving around Nick Offerman's deadpan comedic delivery. Heisler also said making the police department part of the script was a good way to better flesh out Pawnee and its townspeople. New York magazine writer Steve Kandell praised the performances of Offerman and Aubrey Plaza, and referred to Tammy as Pawnee's equivalent of Sideshow Bob in The Simpsons' Springfield. Kandell also liked that the episode "had heart" because the Tammy subplot was resolved by Ron standing up for Tom. TV Squad writer Joel Keller said the episode did not reach the level of the original "Ron and Tammy", but that "it still had more than enough funny, cringeworthy and downright gross moments to be very satisfying". He declared Mullally "one of the best sitcom creations this side of Colonel Flagg on M\*A\*S\*H". The Atlantic writer Scott Meslow praised Ron Swanson as the show's "breakout character", and said "Ron & Tammy: Part Two" was so good that he hoped for another sequel episode in the next season.
Rick Porter of Zap2it said the episode featured several great scenes between Ron and Tammy and called it a "tour de force" for Nick Offerman, but also appreciated that the episode featured strong moments outside that main plotline. He called it the best comedic showcase for Adam Scott so far in the season, and praised both the pairing of April and Chris, and the way that subplot led to Ann's confusion about her future with Chris. Eric Sundermann of Hollywood.com said the subplot with April and Chris demonstrated how Parks often succeeds in pairing two characters that often seem to have little connection to each other. Sundermann also enjoyed how Ben's awkwardness around the police chief illustrated how "the show is becoming more and more clear on who understands and fits in Pawnee, versus who doesn't". TV Fanatic writer Matt Richenthal said the dynamic between Ron and Tammy worked well not only due to their real-life relationship, but also because of the balance between "the couple's over-the-top antics and the heart it showed in other areas". Richenthal also complimented the performance of Chris Pratt as the "sweet, well-intentioned, air-headed Andy".
|
[
"## Plot",
"## Production",
"## Reception",
"### Ratings",
"### Reviews"
] | 2,895 | 26,016 |
4,268,119 |
Jocelin of Wells
| 1,104,527,246 |
13th-century Bishop of Bath and Glastonbury
|
[
"1242 deaths",
"13th-century English Roman Catholic bishops",
"Bishops of Bath",
"Bishops of Bath and Glastonbury",
"High Sheriffs of Somerset",
"People from Wells, Somerset",
"Year of birth missing"
] |
Jocelin of Wells (died 19 November 1242) was a medieval Bishop of Bath (and Glastonbury). He was the brother of Hugh de Wells, who became Bishop of Lincoln. Jocelin became a canon of Wells Cathedral before 1200, and was elected bishop in 1206. During King John of England's dispute with Pope Innocent III, Jocelin at first remained with the king, but after the excommunication of John in late 1209, Jocelin went into exile. He returned to England in 1213, and was mentioned in Magna Carta in 1215.
Jocelin was one of the bishops that crowned John's son Henry III, and throughout the rest of Jocelin's life was involved in royal administration. He was also active in his diocese, ordering construction on the cathedral at Wells, and issuing rules for his diocesan clergy. During his time as bishop, he settled a dispute between his diocese and Glastonbury Abbey that had started during the bishopric of his predecessor. The memorial brass on his tomb in Wells Cathedral is probably one of the earliest in England.
## Early life
Jocelin born in Wells in Somerset, and was the son of Edward of Wells, a small landowner in the city of Wells. His brother Hugh de Wells, was archdeacon of Wells and Bishop of Lincoln. Some historians say that another relative, although the exact relationship is unknown, was Simon of Wells, who became Bishop of Chichester in 1207, but other historians dispute this. The name Jocelin Trotman or Thotman, by which he was occasionally known by some modern historians, only dates from the Margam Annals, and is not contemporary with his life.
Jocelin was a royal justiciar in 1203, as well as the custodian of the vacant diocese of Lincoln. He was a royal clerk as well as a canon of Wells, becoming a canon and a deacon by 1200. The previous bishop of Wells died in 1205, and on 3 February 1206, Jocelin was elected bishop. He was consecrated on 28 May 1206, at Reading by Bishop William of Sainte-Mère-Eglise of London. It is unclear if the cathedral chapters of Bath and of Wells took the action on their own, or if King John was the driving force behind the election.
## Advisor to King John
Jocelin was one of the main advisors of King John during the dispute with the pope over Stephen Langton's appointment to the Archbishopric of Canterbury. Jocelin did not immediately leave England after Pope Innocent III placed an interdict on England. Jocelin encouraged John to settle with Innocent in early 1209, worried that Innocent would expand the interdict into an excommunication, forcing John's advisors to choose between serving the king or obeying the pope. Nothing came of the negotiations, however. Jocelin did leave England when John was excommunicated in late 1209. Jocelin, along with Gilbert Glanvill, the Bishop of Rochester, was the subject of a mocking song on his conduct during the interdict.
Jocelin and Hugh were in exile together in Bordeaux in 1212, but they both returned to England in May 1213, along with the other English bishops. Jocelin was one of the bishops in August 1214 who refused to pay a scutage to the king. In 1215, Jocelin sided with Stephen Langton and the barons, and Magna Charta lists Jocelin as one of the king's councillors.
## Henry III's reign
Jocelin and Peter des Roches, the Bishop of Winchester, anointed and crowned King Henry III, the young son of John, after John's death. Later, Jocelin was present at the battle with Eustace the Monk in 1217, which helped to secure Henry's rule. Jocelin supported Hubert de Burgh's work of ejecting French forces from England and regaining control of royal castles seized by Falkes de Breauté and other barons. In 1218, Jocelin was one of the itinerant justiciars for southwestern England.
In 1218 and 1219, Jocelin also ended the dispute between his diocese and Glastonbury Abbey. Jocelin gave up any claim to control of the abbey, and the abbey gave the bishopric a number of estates. Previously, the bishops, as part of their attempt to annexe Glastonbury to their bishopric, had been known as the Bishop of Bath and Glastonbury. They also had held the office of abbot. In 1218, as part of the settlement, a new abbot was elected at Glastonbury. The papacy had never acknowledged Jocelin's claiming of the title of abbot. The historian J. A. Robinson felt that as part of the settlement, Jocelin began to use the title Bishop of Bath and Wells, but another historian, David Knowles, disagreed.
After 1223, Jocelin was a baron of the exchequer. In 1225 he served the king as head of one of the receivers of the tax of a fifteenth. After the dismissal of Walter Mauclerk as treasurer, at first Jocelin, along with Richard Poore, the Bishop of Durham, took over many of the treasurer's functions, but this did not last long, and after 1233, Jocelin no longer was involved with financial affairs. He occasionally witnessed charters, however. After the fall of Peter des Roches in April 1234, Jocelin was given control of the Wardrobe. After this, he appears less regularly in royal government, but he did witness the reconfirmation of Magna Carta in 1237.
## Diocesan affairs
With his brother Hugh, Jocelin founded St. John's Hospital at Wells. Jocelin promulgated a set of constitutions for the diocese, ordered that his diocesan clergy reside in their benefices, and gave land and income to the cathedral school. Glastonbury Abbey complained of Jocelin that he plundered lands of the abbey. Jocelin was also involved in mediating between William de Blois, the Bishop of Worcester, and Tewkesbury Abbey over William's rights over the abbey. Jocelin finally settled the dispute in 1232.
Jocelin funded the building of Wells Cathedral, begun at the east end in the Early English Gothic style under Reginald Fitz Jocelin. The nave was completed, the west front begun. The new cathedral was consecrated on 23 October 1239 by Jocelin. Other construction work undertaken by Jocelin included the cloisters and bishop's palace at Wells, and a manor house at Wookey.
## Death
Jocelin died on 19 November 1242 at Wells and was buried in the choir of Wells Cathedral. He may have been the father of Nicholas of Wells. The memorial brass on his tomb is allegedly one of the earliest brasses in England. He employed the medieval architect Elias of Dereham as a household official.
|
[
"## Early life",
"## Advisor to King John",
"## Henry III's reign",
"## Diocesan affairs",
"## Death"
] | 1,514 | 33,637 |
3,843,724 |
M-331 (Michigan highway)
| 1,167,489,497 |
Former unsigned state highway in Kalamazoo, Kalamazoo County, Michigan, United States
|
[
"Former state highways in Michigan",
"Transportation in Kalamazoo County, Michigan"
] |
M-331 was an unsigned state trunkline highway in the U.S. state of Michigan located within the city of Kalamazoo. It ran from the southern city limits north into downtown Kalamazoo. This was one of many highways to be established or realigned as a result of a rationalization process initiated in 1998 during the tenure of Governor John Engler. M-331 used streets in Kalamazoo that were once part of US Highway 131 (US 131) before a freeway was built that bypassed the downtown area. In 2019, the City of Kalamazoo and the Michigan Department of Transportation (MDOT) agreed to transfer control of various streets from state to city jurisdiction, and M-331 was decommissioned as a result.
## Route description
M-331 ran along Westnedge Avenue from the intersection of Kilgore Road on the Kalamazoo–Portage city limit near an exit with Interstate 94 (I-94). It ran north from this endpoint, which is unconnected to the rest of the trunkline system, to the vicinity of Crane Park in Kalamazoo along Westnedge Avenue. M-331 ran west of Blanche Hull Park and east of the Kalamazoo Country Club. It also passed immediately next to the Mt. Ever-Rest Cemetery. From Crane Park northward, Park Street carried the northbound traffic while Westnedge Avenue is restricted to the southbound traffic. Along this pairing of one-way streets, M-331 passed South Westnedge Park and met Bronson Park at the intersection of Michigan Avenue (formerly eastbound Business Loop Interstate 94/M-43 and northbound Business US Highway 131) downtown. The M-331 designation ended at Michigan Avenue, and Westnedge Avenue and Park Street continued north as Bus. US 131.
## History
The routing of M-331 was part of the long-time alignment of US 131 before that highway was relocated onto a freeway west of Kalamazoo in the 1960s. The trunkline was designated on October 1, 1998, as part of a rationalization process started by Governor John Engler designed to transfer control of roads and streets in Michigan of economic importance to the state. The highway was not shown on the official state map published by the MDOT, but it was labeled on the truck operator's map as an "unsigned state highway". On January 7, 2019, control over Westnedge Avenue and Park Street in the city of Kalamazoo was transferred from MDOT to the city. As a result, the M-331 designation was decommissioned.
## Major intersections
## See also
|
[
"## Route description",
"## History",
"## Major intersections",
"## See also"
] | 554 | 15,978 |
25,645,497 |
200 euro note
| 1,173,113,146 |
Euro banknote
|
[
"Euro banknotes",
"Two-hundred-base-unit banknotes"
] |
The two hundred euro note (€200) is the second highest value euro banknote (and the highest value banknote in production) and has been used since the introduction of the euro (in its cash form) in 2002. The note is used in the 25 countries that have the euro as their sole currency (with 23 legally adopting it); with a population of about 343 million. In July 2023, there were about 849,000,000 €200 banknotes in circulation around the eurozone. It is the second least widely circulated denomination, accounting for 2.9% of the total banknotes.
It is the second-largest note, measuring 153 × 82 mm, and the first series has a yellow colour scheme and the second series has a brown colour scheme. The two hundred euro banknotes depict bridges and arches/doorways in Art Nouveau style (19th and 20th centuries). The €200 note contains several complex security features such as watermarks, invisible ink, holograms and microprinting that document its authenticity.
The new banknotes of the Europa series 200 euro banknote was released on 28 May 2019.
## History
The euro was founded on 1 January 1999, when it became the currency of over 300 million people in Europe. For the first three years of its existence it was an invisible currency, only used in accountancy. Euro cash was not introduced until 1 January 2002, when it replaced the national banknotes and coins of the countries in eurozone 12, such as the Finnish markka.
In 2007, Slovenia was the first country to adopt the Euro since the introduction of Euro notes and coins in 2002,followed by Cyprus and Malta in 2008, Slovakia in 2009, Estonia in 2011, Latvia in 2014, Lithuania in 2015, with Croatia being the most recent country to join the Eurozone in 2023.
## The changeover period
The changeover period during which the former currencies' notes and coins were exchanged for those of the euro lasted about two months, from 1 January 2002 until 28 February 2002. The official date on which the national currencies ceased to be legal tender varied from member state to member state. The earliest date was in Germany, where the mark officially ceased to be legal tender on 31 December 2001, though the exchange period lasted for two months after that. Even after the old currencies ceased to be legal tender, they continued to be accepted by national central banks for ten years or more.
## Changes
Notes printed before November 2003 bear the signature of the first president of the European Central Bank, Wim Duisenberg, who was replaced on 1 November 2003 by Jean-Claude Trichet, whose signature appears on issues from November 2003 to March 2012. Notes issued after March 2012 bear the signature of the third president of the European Central Bank, Mario Draghi.
Until now there has been only one series of euro notes; however a new series, similar to the current one, is planned to be released. The European Central Bank will in due course announce when banknotes of the first series lose legal tender status.
As of June 2012, current issues do not reflect the expansion of the European Union: Cyprus is not depicted on current notes, as the map does not extend far enough east; and Malta is also missing as it does not meet the current series' minimum size for depiction. The European Central Bank plans to redesign the notes every seven or eight years, and a second series of banknotes is already in preparation. New production and anti-counterfeiting techniques will be employed on the new notes, but the design will be of the same theme and colours identical to the current series: bridges and arches. However, they will still be recognisable as a new series.
## Design
The €200 note measures 153 millimetres (6.0 in) × 82 millimetres (3.2 in) and has a yellow colour scheme. All euro banknotes depict bridges and arches/doorways, each in a different historical European style: the €200 note shows the Art Nouveau era (19th and 20th centuries). Although Robert Kalina's original designs were intended to show real monuments, for political reasons the bridge and art are merely hypothetical examples of the architectural era.
Like all euro notes, it contains the denomination, the EU flag, the signature of the president of the ECB and the initials of that bank in different EU languages, a depiction of EU territories overseas, the stars from the EU flag and twelve security features as listed below.
### Security features (first series)
The €200 note is protected by:
- Colour changing ink used on the numeral located on the back of the note, that appears to change colour from purple to brown when the note is tilted.
- A see-through number printed at the top corner of the note, on both sides, appears to combine perfectly to form the value numeral when held against the light.
- A glossy stripe, at the back of the note, showing the value numeral and the euro symbol.
- A hologram: the hologram image changes between the value and a window or doorway, but in the background, rainbow-coloured concentric circles of micro-letters appear, moving from the centre to the edges of the patch.
- A EURion constellation: this is a pattern of symbols found on a number of banknote designs worldwide since about 1996. It is added to help software detect the presence of a banknote in a digital image.
- Watermarks, which appear when held up to the light.
- Raised printing: in the main image, the lettering and the value numerals on the front of the banknotes will be raised.
- Ultraviolet ink; the paper itself does not glow, fibres embedded in the paper appear, and are coloured red, blue and green: the EU flag is green and has orange stars, the ECB President's, currently Mario Draghi's, signature turns green, the large stars and small circles on the front glow and the European map, a bridge and the value numeral on the back appear in yellow.
- Microprinting: on various areas of the banknotes there is microprinting, for example, inside the "ΕΥΡΩ" (EURO in Greek characters) on the front. The micro-text is sharp, not blurred.
- A security thread, embedded in the banknote paper. The thread will appear as a dark stripe when held up to the light. The word "EURO" and the value is embedded in tiny letters on the thread.
- Perforations in the hologram which will form the euro symbol. There are also small numbers showing the value.
- A matted surface; the note paper is made out of pure cotton, which feels crisp and firm, not limp or waxy.
- Barcodes,
- A serial number.
### Security features (Europa series)
In addition to the previous series' features the Europa series include a "Satellite Hologram" which shows two small € symbols that circle the denomination number when the banknote is tilted.
## Circulation
The European Central Bank is closely monitoring the circulation and stock of the euro coins and banknotes. It is a task of the Eurosystem to ensure an efficient and smooth supply of euro notes and to maintain their integrity throughout the euro area.
In December 2022, there were 852,106,913 €200 banknotes in circulation around the euro area for €170,421,382,600.
This is a net number, i.e. the number of banknotes issued by the Eurosystem central banks, without further distinction as to who is holding the currency issued, thus also including the stocks held by credit institutions.
Besides the date of the introduction of the first set to January 2002, the publication of figures is more significant through the maximum number of banknotes raised each year. The number is higher the end of the year, except for this note in 2008, 2010, 2012 and 2015.
The figures are as follows:
On 28 May 2019, a new 'Europe' series was issued.
The first series of notes were issued in conjunction with those for a few weeks in the series 'Europe' until existing stocks are exhausted, then gradually withdrawn from circulation. Both series thus run parallel but the proportion tends inevitably to a sharp decrease in the first series.
The latest figures provided by the ECB are the following :
## Legal information
Legally, both the European Central Bank and the central banks of the eurozone countries have the right to issue the seven different euro banknotes. In practice, only the national central banks of the zone physically issue and withdraw euro banknotes. The European Central Bank does not have a cash office and is not involved in any cash operations.
## Tracking
There are several communities of people in Europe, in particular EuroBillTracker, who, as a hobby, track the euro banknotes that pass through their hands, recording where they travel. The aim is to record as many notes as possible to know details about their spread, i.e. where the notes travel, and generate statistics and rankings: for example, in which countries there are more tickets. EuroBillTracker has registered over 180 million notes as of September 2018, worth more than €3.3 billion.
|
[
"## History",
"## The changeover period",
"## Changes",
"## Design",
"### Security features (first series)",
"### Security features (Europa series)",
"## Circulation",
"## Legal information",
"## Tracking"
] | 1,946 | 26,949 |
23,846,195 |
Blood Relatives (Millennium)
| 1,052,429,787 | null |
[
"1996 American television episodes",
"Millennium (season 1) episodes"
] |
"'Blood Relatives" is the seventh episode of the first season of the American crime-thriller television series Millennium. It premiered on the Fox network on December 6, 1996. The episode was written by Chip Johannessen, and directed by Jim Charleston. "Blood Relatives" featured guest appearances by John Fleck, Sean Six and Lynda Boyd.
Forensic profiler Frank Black (Lance Henriksen), a member of the private investigative organisation Millennium Group, is asked to investigate a killer who targets mourners after visiting the funerals of strangers.
"Blood Relatives" saw the series' first writing credit for Johannessen, who would contribute another twelve episodes across three seasons. The episode; which opens with a quotation from the Christian Gospel of Luke; went on to receive positive reviews from critics.
## Plot
At a funeral in Seattle, James Dickerson (Sean Six), approaches the mourning family. He introduces himself as "Ray Bell" and pretends to have known the deceased at university. He embraces the dead man's mother lingeringly, and leaves. Later that night, the mother is visiting her son's grave, and is pulled into an open grave as she passes it. Her body is found the next day, although the rest of her family have been told they cannot see it. Speaking to clinical social worker Catherine Black (Megan Gallagher), Seattle police officer Bob Bletcher (Bill Smitrovich) reveals that the victim had been graphically mutilated during the murder.
Catherine Black's husband, offender profiler Frank Black (Lance Henriksen), is asked to consult on the case as a member of the Millennium Group, a private investigative organisation. Black senses that the killer feels rage towards someone—not the victim—and is taking it out on strangers. Speaking to the family, Black finds that the victim's dead son has had a sports team badge taken from his body; he also realizes that the strange "Ray Bell" must be the killer.
Back at his halfway house Dickerson is wearing the missing badge, as the house's trustee Connor scolds him for breaking curfew—and threatens not to cover up for him any more. After Connor leaves, James finds an obituary in the newspaper and circles it. Elsewhere, Black finds the name "Ray Bell" in the same newspaper as the victim's son's obituary, and deduces that the killer may have been frequenting funerals before, probably taking souvenirs like the badge. He believes that the victim is his first, but that killing will become easier for him.
Dickerson visits another funeral, and befriends a mourner, Tina, by pretending to have been a childhood friend of the deceased. They visit a nearby lake to reminisce, but she feels something is wrong. Dickerson apologises and leaves; however, Tina is soon attacked from behind. Her body is found with the words "stop looking" carved into her stomach, and Black believes there may be a message somewhere on the first victim's body. He asks fellow Group member Peter Watts (Terry O'Quinn) to look for it; Watts is also able to find fingerprints on Tina's hair clip that identify Dickerson—a paroled convict. They track him down to the halfway home, although Connor secretly helps him to escape to a nearby scrapyard. In Dickerson's room, a hidden cache of souvenirs is found, along with a journal and a stack of letters marked "return to sender".
Catherine Black identifies Dickerson as an archetypal "lost child", raised in poor foster care and neglected. He visits funerals to connect with society, leaving her to wonder what has pushed him to murder. Meanwhile, Dickerson remains in hiding at the scrapyard, while Connor brings him food. Frank Black has noticed that the "S" carved in Tina's stomach matches that seen in the logo for Skorpion Salvage, the scrapyard Dickerson is hiding in. When he and the police arrive to find Dickerson, Connor is able to escape while the yard's dogs attack Dickerson.
Catherine Black has found Dickerson's biological mother, a Mrs. Dechant (Lynda Boyd). Having given Dickerson up for adoption as a teenager, she is now a suburban housewife. Dickerson had tried several years previously to reconnect with her, though she wanted nothing to do with him. Catherine asks her for help, and she begrudgingly agrees to see her son. She recoils when he hugs her, blaming the government for making him what he is. Rejected, Dickerson confesses to the murders. Connor is able to see all of this, his connection to it not yet uncovered. Frank Black is unconvinced that everything has been wrapped up, and realizes that Connor is involved—he wants Dickerson to himself. "Stop looking" was his message to Dickerson, to stop looking for affection anywhere else.
Mrs. Dechant returns home, and is about to take a bath when she is attacked by Connor. Black has followed her, and interrupts the attack; he and Connor struggle, with Black almost being strangled until he is able to hold Connor under the bathwater until he stops fighting. Connor is arrested and charged, while the now-cleared Dickerson resumes circling obituaries in the newspaper.
## Production
"Blood Relatives" is the first of two episodes of Millennium to be directed by James Charleston, who would return later in the first season to helm "Wide Open". The episode also marks the first writing credit in the series for Chip Johannessen, who would go on to write an additional twelve episodes across all three seasons, including the series' final episode "Goodbye to All That". After Millennium's cancellation, Johannessen would also contribute an episode to its sister show The X-Files, 1999's "Orison".
"Blood Relatives" featured the second of three appearances by Brian Markinson as Seattle police detective Teeple; Markinson had previously played the character in "The Judge", and would reprise the role in "Sacrament". Guest star Deanna Milligan, who portrayed the second victim Tina, would also appear in the third season episode "The Sound of Snow" in an unrelated role. Bob Morrisey, who played the first victim's husband, also appeared in the third season, playing a sheriff in "Omertà".
The episode opens with a quotation from the Gospel of Luke, the third and longest of the four canonical Gospels of the Christian New Testament. Biblical verses were also used at the beginning of other episodes in the series, including the Book of Job in "Wide Open" and "Dead Letters"; the Book of Jeremiah in "Weeds"; and the Book of Exodus in "Kingdom Come".
## Reception
"Blood Relatives" was first broadcast on the Fox Network on December 6, 1996; and earned a Nielsen rating of 7.5, meaning that roughly 7.5 percent of all television-equipped households were tuned in to the episode. The episode was watched by approximately 7.3 million households.
"Blood Relatives" received positive reviews from critics. Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated the episode five stars out of five, comparing it favourably to "Irresistible", a second season episode of The X-Files. Shearman and Pearson lauded Johannessen's "subtle writing", especially in the handling of the James Dickerson character; they felt the episode was "a study of a sociopath" which "humanises" its villain. Writing for The A.V. Club, Zack Handlen rated the episode a B, finding that its depiction of the character of James Dickerson added "some shades of gray" to the series' usual "black and white morality". Handlen also felt that while the scene in which a woman is killed by a lake shore was "shocking without being exploitative", and was carried out in such a manner that "we don't feel as though she's targeted because she's a woman"; however, the climactic scene in which Dickerson's mother is attacked while stripping for a bath was seen as "a reminder of the show's inability to separate its lofty goals from its willingness to take the cheapest shots". Bill Gibron, writing for DVD Talk, rated "Blood Relatives" 5 out of 5, describing it as being "as shocking as it is sentimental". Gibron compared the episode to "Best Boys", an episode of the English series Cracker, and praised its "atmospheric, moody tone".
|
[
"## Plot",
"## Production",
"## Reception"
] | 1,758 | 23,606 |
31,561,095 |
German destroyer Z19 Hermann Künne
| 1,171,089,858 |
Type 1936-class destroyer
|
[
"1937 ships",
"Maritime incidents in April 1940",
"Scuttled vessels of Germany",
"Ships built in Bremen (state)",
"Type 1936 destroyers",
"Underwater diving sites in Norway",
"World War II shipwrecks in the Norwegian Sea",
"Wreck diving sites"
] |
Z19 Hermann Künne was one of six Type 1936 destroyers built for the Kriegsmarine (German Navy) in the late 1930s. Completed at the beginning of 1939, the ship spent most of her time training although she did participate in the occupation of Memel a few months later. At the beginning of World War II in September, she was initially deployed to lay minefields off the German coast, but was soon transferred to the Skagerrak where she inspected neutral shipping for contraband goods. In late 1939, Z18 Hans Lüdemann helped to laid four offensive minefields off the English coast that claimed two British destroyers and thirty-eight merchant ships.
During the German invasion of Norway in April 1940, she was tasked to attack Narvik and participated in both the First and Second Naval Battles of Narvik. Z19 Hermann Künne was disabled during the first battle, but was repaired in time to fight in the second battle until she had exhausted her ammunition. Afterwards the ship had to be scuttled to prevent her capture.
## Design and description
Z19 Hermann Künne had an overall length of 125.1 meters (410 ft 5 in) and was 120 meters (393 ft 8 in) long at the waterline. The ship had a beam of 11.8 meters (38 ft 9 in), and a maximum draft of 4.5 meters (14 ft 9 in). She displaced 2,411 long tons (2,450 t) at standard load and 3,415 long tons (3,470 t) at deep load. The two Wagner geared steam turbine sets, each driving one propeller shaft, were designed to produce 70,000 PS (51,000 kW; 69,000 shp) using steam provided by six Wagner boilers for a designed speed of 36 knots (67 km/h; 41 mph). During Z19 Hermann Künne's sea trials on 21–22 March 1939, she reached 39 knots (72.2 km/h; 44.9 mph) from 72,100 PS (53,000 kW; 71,100 shp). The ship carried a maximum of 739 metric tons (727 long tons) of fuel oil which gave a range of 2,050 nautical miles (3,800 km; 2,360 mi) at 19 knots (35 km/h; 22 mph). Her crew consisted of 10 officers and 313 sailors.
The ship carried five 12.7-centimeter (5 in) SK C/34 guns in single mounts with gun shields, two each superimposed, fore and aft of the superstructure. The fifth mount was positioned on top of the rear deckhouse. The guns were numbered from 1 to 5 from front to rear. Her anti-aircraft armament consisted of four 3.7-centimeter (1.5 in) SK C/30 guns in two twin mounts abreast the rear funnel and six 2-centimeter (0.8 in) C/30 guns in single mounts. The ship carried eight above-water 53.3-centimeter (21.0 in) torpedo tubes in two power-operated mounts. Two reloads were provided for each mount. She had four depth charge launchers and mine rails could be fitted on the rear deck that had a maximum capacity of 60 mines. 'GHG' (Gruppenhorchgerät) passive hydrophones were fitted to detect submarines and an active sonar system was installed by the end of 1939.
## Construction and career
Z19 Hermann Künne was named after a gunner aboard the torpedo boat S-53 who was killed in hand-to-hand combat during the Zeebrugge Raid on 23 April 1918. The ship was ordered from AG Weser (Deschimag) on 6 January 1936. She was laid down at Deschimag's Bremen shipyard as yard number W921 on 5 October, launched on 22 December 1937, and commissioned on 12 January 1939. From 23 to 24 March, the ship was one of the destroyers that escorted Adolf Hitler aboard the heavy cruiser Deutschland to occupy Memel. On 30 June, Z19 Hermann Künne and her sister Z18 Hans Lüdemann were making port visits in Norway when the former accidentally rammed the pier at Moldefjord after her rudder failed. She returned to Swinemünde on 20 July and participated in torpedo training the following month.
When World War II began in September, Z19 Hermann Künne was initially deployed in the German Bight where she laid defensive minefields. The ship then patrolled the Skagerrak to inspect neutral shipping for contraband goods. On the night of 17/18 October, Rear Admiral (Konteradmiral) Günther Lütjens, aboard his flagship Z21 Wilhelm Heidkamp, led Z16 Friedrich Eckoldt, Z17 Diether von Roeder, Z18 Hans Lüdemann, Z19 Hermann Künne, and Z20 Karl Galster as they laid a minefield off the mouth of the River Humber. The British were unaware of the minefield's existence and lost seven ships totaling 25,825 gross register tons (GRT). Missions on the nights of 8/9 and 10/11 November had to be aborted because of seawater contamination in Z19 Hermann Künne's fuel. On the night of 12/13 November Z21 Wilhelm Heidkamp, now the flagship of the Commander of Destroyers (Führer der Zerstörer), Kapitän zur See (Captain) Friedrich Bonte, escorted Z18 Hans Lüdemann, Z19 Hermann Künne, and Z20 Karl Galster as they laid 288 magnetic mines in the Thames estuary. Once again unaware of the minefield's existence, the British lost the destroyer Blanche and thirteen merchant ships of 48,728 GRT.
Less than a week later, Z21 Wilhelm Heidkamp, Z19 Hermann Künne, and Z11 Bernd von Arnim laid 180 magnetic mines in the Thames Estuary on the night of 17/18 November. The mines sank the destroyer Gipsy, a fishing trawler, and seven ships of 27,565 GRT. On the night of 12/13 December, German destroyers sortied to lay minefields off the British coast. Under the command of Commodore (Kommodore) Bonte in his flagship Z19 Hermann Künne, Z4 Richard Beitzen, Z8 Bruno Heinemann, Z14 Friedrich Ihn and Z15 Erich Steinbrinck laid 240 mines off the mouth of the River Tyne, where the navigation lights were still lit. The British lost eleven ships totaling 18,979 GRT. En route home, the destroyers were ordered to escort the crippled light cruisers Leipzig and Nürnberg which had been torpedoed by the submarine HMS Salmon while covering the destroyers' withdrawal. Z19 Hermann Künne was scheduled for another minelaying mission on 17 December, but boiler contamination prevented her participation and she was refitting in Stettin until 14 March 1940
### Norwegian Campaign
Z19 Hermann Künne was allocated to Group 1 for the Norwegian portion of Operation Weserübung in April 1940. The group's task was to transport the 139th Mountain Infantry Regiment (139. Gebirgsjäger Regiment) and the headquarters of the 3rd Mountain Division (3. Gebirgs-Division) to seize Narvik. The ships began loading troops on 6 April and set sail the next day. When they arrived off the Ofotfjord on the morning of 9 April, Z19 Hermann Künne landed her troops at the head of the Herjangsfjord and helped to capture the Norwegian Army barracks at Elvegårdsmoen. Later that day she briefly refuelled from the whale factory ship SS Jan Wellem and then stood picket duty until midnight when she returned to Jan Wellem to top off her fuel tanks.
Shortly after dawn on 10 April, the ship was still tied up to Jan Wellem when the five destroyers of the British 2nd Destroyer Flotilla, Hardy, Havock, Hunter, Hotspur, and Hero appeared. Hardy, Hunter and Havock made the first attack on Narvik harbor while the other two acted as rearguards. Z19 Hermann Künne exchanged fire with Hunter to no effect while preparing to back away from the whaler. By the time Havock opened fire, the German ship was underway, having cast off hoses and mooring lines. When the British destroyer hit and sank Z22 Anton Schmitt with a torpedo, Z19 Hermann Künne was only 40 meters (44 yd) away and the shock from the detonation knocked out her turbines. Without power, the ship drifted into the wreck and became entangled with it. Some of her crew panicked and jumped overboard, but only a few were rescued. After about an hour, she was able to restore power and disentangle herself from Z22 Anton Schmitt's wreck. Z19 Hermann Künne had suffered from splinter damage that killed nine crewmen. Later that afternoon she sailed to the wreck of Hardy where it had run aground and searched it.
On the night of 12/13 April, Commander (Fregattenkapitän) Erich Bey, the senior surviving German officer, received word to expect an attack the following day by British capital ships escorted by a large number of destroyers and supported by carrier aircraft. The battleship Warspite and nine destroyers duly appeared on 13 April, although earlier than Bey had expected, and caught the Germans out of position. Z19 Hermann Künne, leading Z13 Erich Koellner westwards to take up her position flanking the entrance to the fjord, was the first ship to spot the approaching British ships and alerted Bey. The other operable destroyers joined Z19 Hermann Künne as she fell back and engaged the British ships at long range from behind a smoke screen. Nine Fairey Swordfish torpedo bombers attacked the German destroyers, near-missing Z19 Hermann Künne and another ship, but lost two aircraft shot down during the attack. By the early afternoon, the Germans had exhausted most of their ammunition and Bey ordered his ships to retreat to the Rombaksfjorden (the easternmost branch of the Ofotfjord), east of Narvik, where they might attempt to ambush any pursuing British destroyers. Lieutenant Commander (Korvettenkapitän) Friedrich Kothe, captain of the ship, misunderstood the signal and headed north into the Herjangsfjord where he run the ship aground in Trollvika near Bjerkvik. She had fired off all of her ammunition, including practice and star shells; her depth charges were rigged for demolition and they were set off once the crew had abandoned ship. The destroyers Eskimo and Forester followed the German ship into the Herjangsfjord and the former put a torpedo into the wreck for good measure, breaking off her stern.
### The wreck
The ship was partially scrapped and the remains further demolished after World War II. It rests on its starboard side between 0 m (0 ft) and 37 m (121 ft) depth. In a 1999 survey, the wreck was found to contain no remaining oil. The wreck location is relatively easy to access, and wreck diving is permitted.
|
[
"## Design and description",
"## Construction and career",
"### Norwegian Campaign",
"### The wreck"
] | 2,454 | 3,525 |
22,546,492 |
Hurricane Cora
| 1,167,416,943 |
Category 1 Atlantic hurricane in 1978
|
[
"1978 Atlantic hurricane season",
"1978 meteorology",
"Cape Verde hurricanes",
"Category 1 Atlantic hurricanes"
] |
Hurricane Cora was the first tropical cyclone of the 1978 Atlantic hurricane season to reach hurricane strength. Forming from a disturbance that exited the African coast on August 7, the storm moved at an unusually high forward speed for a cyclone in the Atlantic Ocean in August. The storm later reached hurricane strength and formed a well-defined eye that lasted only 12 hours before the eye rapidly lost organization for unknown reasons, though the post-season report on the storm mentions the possibility that its high speed caused the eye to dissipate. The storm moved west-southwestward, weakening before making landfall on the island of Grenada. The storm lost its circulation and became a tropical wave on August 12. The remnant crossed over Central America into the Pacific Ocean, where it reintensified, becoming Hurricane Kristy.
Cora was an unusual cyclone, maintaining an unusually low latitude for the Atlantic in August at high speeds, similar to the tracks of Tropical Storm Alma in 1974 and Tropical Storm Fran in 1990. The hurricane was also upgraded into a hurricane based solely on satellite photography, the second time this occurred. Although it passed through the Windward Islands and the Lesser Antilles, only minor effects were reported. Cora was also responsible for altering weather conditions allowing for a takeoff of the historical flight of the Double Eagle II hot air balloon.
## Meteorological history
In early August, a disturbance was observed in satellite images moving off the coast of Africa on August 4. Moving westward along the Intertropical Convergence Zone at a forward speed of roughly 20 mph (32 km/h), the disturbance showed no signs of development until a cloud mass broke away from the ITCZ on August 6. The separated mass began rapidly organizing, becoming Tropical Depression Three late on August 7. The tropical depression continued to gain organization and was upgraded to a tropical storm on August 8, receiving the name Cora.
The newly named tropical storm continued to grow, reaching hurricane strength later that day after developing a well-defined eye, peaking early on August 9 with 90 mph (140 km/h) winds, a minimum pressure of 980 mbar, and gale–force winds extending 100 mi (160 km) from the center. The hurricane began to shift into a west-southwest track while moving at 23 mph (37 km/h). The hurricane would continue in this direction throughout its lifespan. Only 12 hours after forming, the eye rapidly dissipated on satellite imagery for unknown reasons, although the hurricane's high forward speed may have played a part. After becoming disorganized, a Hurricane Hunter aircraft—the first one to fly in the storm—reported that the cyclone had winds of only 65 mph (105 km/h), the highest winds recorded in the storm. After the report, Cora was downgraded into a tropical storm early on August 10. The dissipating storm continued on, striking the island of Grenada on August 11 as it weakened into a tropical depression. On August 12, the depression weakened into a tropical wave near Aruba due to continental influence despite atmospheric conditions being favorable for development. The wave was notable in that it was almost completely devoid of any cloudiness or convection. The remnants of Cora crossed Central America and uneventfully continued westward until August 18, when its remains contributed to the formation of Hurricane Kristy.
## Impact, records, and naming
While passing through the Lesser Antilles, reports of squalls with wind speeds of 45 mph (72 km/h) were received from St. Lucia and Barbados. Rain was also reported, but totals were not large due to the storm's quick passage. One death was attributed to Cora on St. Lucia when a 22–year old stepped on a high tension power line that was downed by the winds from the storm in Castries. In addition, an industry on the island reported tree losses of two to four percent from the storm. No reports of damage were received from the other Windward Islands and damage on Grenada, if any, is unknown. Although it remained far to the south, Hurricane Cora affected weather conditions that reached as far north as Presque Isle, Maine, where balloonists Ben Abruzzo, Maxie Anderson, and Larry Newman were preparing to make the first ever transatlantic balloon flight on the Double Eagle II. The winds created by Cora's influence would give the hot air balloon the northerly push required for takeoff according to Anderson. After six days, the Double Eagle II completed the flight, landing near Miserey, France. Cora also affected another record attempt when swimmer Diana Nyad was delayed due to the hurricane's influence. The planned marathon swimming record attempt was for her to swim from Cuba to Florida, a total of 103 mi (166 km). The record attempt ultimately failed after 42 hours.
According to the preliminary report on the hurricane, neither track forecasts or intensity forecasts panned out for the storm. The track forecasts called for a path more northward than the actual track whereas following the development of the eye, intensity forecasts called for further strengthening until it became clear the cyclone was weakening. When it was upgraded to a hurricane on August 8, Cora became the second hurricane to have been upgraded to that intensity based solely on satellite presentation after 1975's Hurricane Doris. The hurricane was also the second of three storms in the season to reform or be reclassified as East Pacific storms. The other two were Tropical Storm Bess (which became Hurricane Iva), and Hurricane Greta-Olivia. Of these, only Greta maintained its circulation over land. This was the only time an Atlantic hurricane was named Cora.
## See also
- Hurricane Joyce (2000)
|
[
"## Meteorological history",
"## Impact, records, and naming",
"## See also"
] | 1,180 | 9,670 |
71,660,379 |
Club Penguin Rewritten
| 1,173,364,576 |
2017 video game
|
[
"2017 video games",
"Browser-based multiplayer online games",
"Club Penguin",
"Fan games",
"Free online games",
"Impact of the COVID-19 pandemic on the video game industry",
"Inactive massively multiplayer online games",
"Internet properties disestablished in 2022",
"Internet properties established in 2017",
"Internet services shut down by a legal challenge",
"Persistent worlds",
"Unauthorized video games",
"Video games about birds",
"Video games developed in the United Kingdom",
"Video games set in the Arctic",
"Video games set on fictional islands",
"Video games with customizable avatars"
] |
Club Penguin Rewritten was a 2017 fangame based on the massively multiplayer online game Club Penguin. It was created by four indie developers as an alternative to the original game, which had been shut down by Disney on March 29, 2017. As a voluntary project, Rewritten had in-game items once limited to paid members in Club Penguin available to everyone in the game. After Club Penguin ceased operations, development for Rewritten began to expand as the team expanded. The game was built on pre-existing Flash files and simulated older versions of the original game but was distinct through its absence of monetization and in-game purchases.
The Club Penguin Rewritten site was launched on February 12, 2017. The game accumulated a large online community in relation to the consequences and restrictions from the COVID-19 pandemic. Teens and young adults who played the original game used it to host in-game events during the pandemic. As it provided escapism, Rewritten was subject to speedruns and a virtual concert for Soccer Mommy's album Color Theory. During this time, a staff member reported that the game averaged 30,000 new registered users daily. Rewritten was praised for its nostalgic environment, as well as its focus on the community and player freedom. The remake was recognized by Lance Priebe, one of the developers of Club Penguin, in which he respected the social impact the game brought during the pandemic.
The Rewritten site was shut down on April 13, 2022, by the City of London Police in compliance with a copyright investigation request from Disney, where three suspects were arrested. Prior to its shutdown, the game had accumulated over 11 million registered users.
## Gameplay and development
Club Penguin Rewritten was an identical recreation of Club Penguin. It featured much of the same gameplay and policies, including a dedicated moderation team and a chat filtering system. The main attraction of the game was the absence of a paid membership, which allowed players to collect any in-game item for free. To appeal to an older audience, Rewritten simulated earlier versions of Club Penguin in addition to the last publicly available version. The New Statesman reported Rewritten's gameplay as having fewer restrictions, older game mechanics, and servers that could support up to two million concurrent players at a time.
Rewritten was developed voluntarily by fans of the original game. It was created by four semi-anonymous developers known as Joe, Josh, Lewis and Tim, who were all UK-based students at the time of its creation. The developers had previously gained experience developing their own projects and offered Rewritten as freeware. Working without permission from Disney, one of the main goals of establishing Rewritten was to preserve the original game. The foundation of the game was developed by restoring the original Flash source code. After Club Penguin shut down on March 29, 2017, Rewritten's development gained prominence and media attention. At that point, the development team claimed that Rewritten fell under fair use protections in the United States. At Rewritten's legal page, a disclaimer was given, calling the game an "independent recreation of Disney's Club Penguin" and "not affiliated with Disney Interactive or Club Penguin Inc.". After Club Penguin's shutdown, the Rewritten team expanded and began supporting email troubleshooting and moderation. In a written response to the New Statesman via Twitter, the developers of Rewritten said that they wanted to ensure the gameplay experience would be enjoyable, safe, and appealing to a nostalgic audience or those who want to interact with others globally. In order to achieve this, the game would strive to be "as authentic as possible", while including new features to maintain interest.
## Release and reception
Club Penguin Rewritten was launched on February 12, 2017. New York reported that Rewritten saw an influx of users during the COVID-19 pandemic, calling it a "thriving fandom". The game consisted of teens and young adults that had played the original game, who used the remake as a way of escapism from the pandemic. Rewritten leaned into its user growth by hosting virtual recreations of events such as proms and graduation ceremonies that had been cancelled as a result of the pandemic. The Hollywood Reporter described the demographics of Rewritten as primarily being high school and college students. The majority of Rewritten players were based in the United States. The game reached 100,000 registered players in April and one million registered players on October 4 of the same year.
Kotaku described the game as the most popular Club Penguin Private Server and highlighted the game's speedrunning community. The shutdown of other private servers contributed to Rewritten's growing popularity, such as the closure of Club Penguin Online in 2020. On April 3, 2020, Singer-songwriter Soccer Mommy hosted a virtual concert for her album Color Theory through the site as part of an internet trend of musical video game performances influenced by the pandemic. Allison stated that Club Penguin was "a game that everyone remembers [as] a kid", and alluded to the nostalgic desire to play the game during the pandemic: "I feel like a lot of people were also doing the same thing I was doing: logging back on when we were all stuck inside, and playing [...] just for fun."
At an interview with The Hollywood Reporter, Lance Priebe, one of the developers of Club Penguin, praised Rewritten's use of communication during the pandemic. In March 2020 a Rewritten staff member said that the game was receiving 30,000 new users every day. The developers described Rewritten's culture as revolving around social media phenomenon such as Vine, and classic in-game trends such as "tipping the iceberg". In April 2020, Disney sent a DMCA notice to Google with concerns over the Club Penguin Rewritten domain, which they claimed infringed upon the Club Penguin trademark. A second notice was filed a month later. Google did not respond to or address Disney's request. By late 2020, Rewritten was estimated to have eight million registered users.
## Shutdown
On April 13, 2022, the Club Penguin Rewritten site was shut down by the City of London Police. The main page was replaced with a disclaimer reading that "This site has been taken over by Operation Creative, Police Intellectual Property Crime Unit (PIPCU)." Rewritten moderator Thorn gave a notice through the game's official Discord server, stating that the game was "shutting down effective immediately due to a full request by Disney". The game was being investigated for copyright violations after the developers had granted the police control over the website. Detective Constable Daryl Fryatt of the PIPCU confirmed that on April 12, 2022, three suspects related to the game were arrested on "suspicion of distributing materials infringing copyright". It was reported that the suspects were released two days later to provide assistance in the copyright investigation.
Rewritten had over 11 million registered users and 140,000 members on its Discord server after its shutdown. Slate reported that other private servers experienced an increase in registration afterwards, and players noted that the game had briefly included advertising in exchange for an in-game reward. Rewritten moderator BigChun confirmed that advertisements were placed in the game since mid-2020, as "running a game like this costs money". In response, Lane Merrifield, one of the original three co-founders of Club Penguin, opined on Twitter that Disney did not understand "that controlling IP at the expense of the community will devalue it, not preserve it". American streamer Ludwig Ahgren said that the shutdown was too extreme for a children's game, calling it "overkill".
## See also
- Impact of the COVID-19 pandemic on the video game industry
- Intellectual property protection of video games
|
[
"## Gameplay and development",
"## Release and reception",
"## Shutdown",
"## See also"
] | 1,576 | 33,528 |
61,641,148 |
SMS Salamander (1850)
| 1,162,828,055 |
Aviso of the Prussian and later the British Royal Navy
|
[
"1850 ships",
"Nix-class avisos",
"Ships built in Millwall"
] |
SMS Salamander was the second and final member of the Nix class of avisos that were built for the Prussian Navy in the early 1850s. The ship saw little active use, apart from limited training exercises. In 1855, the ship was sold to the British Royal Navy in part exchange for the sail frigate Thetis and was commissioned as HMS Recruit. After entering service, she saw action in the Black Sea during the Crimean War, where she took part in operations against Russian logistics. The Royal Navy thereafter did not put the vessel to much use either, as she remained idle in Valletta, Malta, until late 1861, with the only events of note taking place in 1857 when she helped recover a gunboat and two merchant ships that had run aground in the region. Recruit was recalled to Britain in late 1861, thereafter remaining in reserve until 1869. In the 1870s she became a merchant ship, and was then used as a gunpowder magazine at Cape Town.
## Design
The Nix-class avisos were paddle steamers designed by the British naval architect John Scott Russell and Prince Adalbert of Prussia in 1849. They were authorized in 1850 as part of a program to strengthen the small Prussian Navy during the First Schleswig War; they were ordered from Russell's firm, Robinson & Russell, along with the larger paddle steamer Danzig, which was to be built under British supervision in Prussia.
Salamander was 53.85 m (176 ft 8 in) long overall, with a beam of 7.2 m (23 ft 7 in) over the hull and 12.4 m (40 ft 8 in) over the paddle wheels. With a design displacement of 389 t (383 long tons) and a full-load displacement of 430 t (420 long tons), she had a draft of 2 m (6 ft 7 in). She was propelled by a pair of single-expansion marine steam engines that turned a pair of paddle wheels, one on either side of the hull amidships. Steam for the engines was provided by four boilers, which were ducted into two funnels. Her propulsion system was rated at 600 PS (592 ihp) for a top speed of 13 knots (24 km/h; 15 mph). At a speed of 10 knots (19 km/h; 12 mph), she could steam for 2,500 nautical miles (4,600 km; 2,900 mi). Her crew consisted of approximately four officers and seventy enlisted men. She carried an armament of four 25-pound mortars.
## Service history
### SMS Salamander
The keel for Salamander, named after the amphibian, was laid down in 1850 and she was launched later that year. When it became clear that both she and her sister ship Nix could not be completed before Prussia's Baltic Sea ports iced over for the winter of 1850–1851, the shipyard and the Prussian Navy agreed that work on Nix should be temporarily halted to allow the workers to focus on Salamander to have her ready in time. Initial sea trials began in December 1850 under the supervision of Kommodore (Commodore) Jan Schröder. These tests were completed to Schröder's satisfaction by 16 December, and the next day the British shipyard crew took the ship to Swinemünde, which she reached on 31 December. A dispute between the Prussian customs department and the Ministry of War over the import duty was eventually settled by the ministry paying duties only on the armament and stores. In mid-January 1851, the ship was taken to the naval depot in Stettin, where she was placed in reserve and the British crew returned home.
In late April 1851, Salamander was reactivated to tow her sister Nix, which had run aground in the mouth of the Oder river outside Stettin. The ship was formally commissioned into the fleet on 1 July to begin training exercises that were observed by Prince Adalbert. On 28 July, she embarked King Friedrich Wilhelm IV for a voyage from Swinemünde to Königsberg. The ship was decommissioned in Stettin in mid-September. She was transferred to the newly established naval depot on the island of Dänholm, but she remained out of service for the year. She next saw active service on 11 June 1853, for the purpose of taking the ship to Karlskrona, Sweden, for an overhaul. She took part in training maneuvers later that year and she carried Friedrich Wilhelm IV to the island of Rügen, but on 17 September she had to return to port after an outbreak of cholera among her crew. She remained laid up through May 1854, only to move the ship to Danzig.
Salamander recommissioned for the last time under the Prussian flag on 22 October 1854, to be taken to Britain, where she and Nix were to be exchanged for the British frigate Thetis. The poor reputation of the vessels, in large part a result of repeated boiler-related fires aboard Nix, led the naval command to decide to sell the two Nix-class ships. The Prussian Navy initially sought to trade them for a pair of small corvettes from the British Royal Navy, one of which was to have been HMS Terpsichore. After negotiations, an agreement was reached to transfer the ships to the British in exchange for Thetis, as the British were in need of small, fast steamers for use during the Crimean War.
In early November, Nix and Salamander left Danzig and on the 23rd, they stopped in Jade Bay to take part in celebrations marking the founding of the naval base at Wilhelmshaven. Two days later, they resumed their voyage to Britain, but the Hannoverian government initially refused to grant permission for the vessels to enter Bremen on the Weser to take on coal for the trip across the North Sea and shelter in the port to avoid bad weather. After the Prussian representative in Hannover pressured the government, they were finally allowed entry on 1 December. They remained there until 11 December, but a severe storm prevented them from leaving the Weser estuary for three days.
### HMS Recruit
On 12 January 1855, the ship was formally transferred to British control. Renamed HMS Recruit, the ship was overhauled and in March was sent to the Mediterranean Fleet. There, she joined the Anglo-French fleet that operated in the Black Sea during the Crimean War. On 25 May, she and several other vessels entered the Sea of Azov for operations there. Over the course of the next four days, they captured or destroyed some 245 vessels carrying supplies for Russian forces in the Crimea. The ships also destroyed supply stockpiles at Berdiansk, Genitchi, and Taganrog.
She was stationed in Valletta, Malta, where she remained idle through October 1861. During this period, she assisted with the recovery of the gunboat HMS Cracker in January 1857, which had broken free from her anchors and ran aground. That August, she assisted in refloating the British ship Gazelle, which had been driven ashore near Patras, Greece. On 12 December, she assisted in the refloating of the British ship Cynthia, which had run aground at Missolonghi, Greece. She was ordered to return to Chatham Dockyard for a thorough overhaul in October 1861, but on arrival she was instead simply laid up at the Sheerness Dockyard until her sale.
### Sale and further service
On 23 September 1869 Recruit was offered for sale at auction but found no buyer. In January 1870 she was successfully sold to Edward Bates of Liverpool, who registered her there as the merchant ship Recruit with Official Number 63244. In April that year the ship was sent to South America via Lisbon and eventually arrived in the River Plate at Montevideo in November. The ship was later at Cape Town, where she was registered in 1874 as owned by the Table Bay Dock & Breakwater Management Commission and, by 1878, was in use as a powder magazine.
|
[
"## Design",
"## Service history",
"### SMS Salamander",
"### HMS Recruit",
"### Sale and further service"
] | 1,741 | 32,682 |
50,172,711 |
2016 Amstel Gold Race
| 1,163,494,971 | null |
[
"2016 UCI World Tour",
"2016 in Dutch sport",
"Amstel Gold Race"
] |
The 2016 Amstel Gold Race was a one-day classic cycling race that took place in the Limburg region of the Netherlands on 17 April 2016. It was the 51st edition of the Amstel Gold Race and the eleventh event of the 2016 UCI World Tour. It was also the first of the Ardennes classics, although it is technically not in the Ardennes region. The race took place over a 258-kilometre (160 mi) route that starts in Maastricht and ends in Berg en Terblijt on the outskirts of Valkenburg. The key difficulty in the race came from the 34 short but steep climbs. The central climb, the Cauberg, was crossed four times, with 1.8 kilometres (1.1 mi) between the final summit and the finish line. The favourites for victory in the race included the three-time winner Philippe Gilbert (BMC), the defending champion Michał Kwiatkowski (Sky), and Simon Gerrans and Michael Matthews (both ).
There were numerous attacks in the first part of the race, but no group had a significant advantage in the last part of the race. Tim Wellens () had a small lead on the final climb of the Cauberg, but he was caught before the summit by a large group led by Orica–GreenEDGE. Towards the summit of the climb, Enrico Gasparotto (), the 2012 champion, attacked; he was joined by 's Michael Valgren and the two came to the finish together, with Gasparotto winning the sprint for victory. Sonny Colbrelli () was third in the main group, which finished four seconds behind.
## Route
The route covered 258 kilometres (160 mi) and included 34 classified climbs; as in the other Ardennes classics (La Flèche Wallonne and Liège–Bastogne–Liège), the main difficulty came from the short but steep climbs. The route started in Maastricht and travelled north to the outskirts of Geleen for the first three climbs of the day. The route turned east to Voerendaal for the fourth climb, then west for the first climb of the Sibbergrubbe. This took the riders into Valkenburg aan de Geul and onto the first of four climbs of the Cauberg, where there was a series of three circuits, each shorter than the last. The first circuit took the riders on a long loop to the south of Valkenburg as far as Vaals. This included the first climb of the Geulhemmerberg, then fifteen more climbs. These included the Loorberg and the Gulpenerberg for the first time and the Sibbergrubbe and the Cauberg for the second time. The second climb of the Cauberg came with 165 kilometres (103 mi) completed and 93 kilometres (58 mi) remaining.
The second circuit again took the riders south, through the town of Gulpen. This circuit included the Bemelerberg for the first time, the Geulhemmerberg, the Loorberg and the Gulpenerberg for the second time and then the Cauberg for the third time. Between this ascent of the Cauberg and the finish line were 21 kilometres (13 mi) of roads that were raced around a small circuit close to Valkenburg. The circuit included the third climb of the Sibbergrubbe, then the second climb of the Bemelerberg and finally the fourth climb of the Cauberg. At the top of the Cauberg there were 1.8 kilometres (1.1 mi) of relatively flat roads to the finish line in Berg en Terblijt.
The Cauberg was expected to be the decisive climb in the race. The first two climbs were expected to be raced gently, but the final two times were expected to be central to the race's outcome. The Cauberg itself is an 800-metre (870 yd) climb with an average gradient of 6.5% and a maximum gradient of 12.8%. Additional difficulty was created throughout the route by the roads that frequently turned back on themselves and by the high density of traffic calming devices. Cyclingnews.com described the route as "technically demanding" and "a fertile ground for crashes", adding that local knowledge was valuable.
## Participating teams
The race organisers invited 25 teams to participate in the 2016 Amstel Gold Race. As it is a UCI World Tour event, all 18 UCI WorldTeams were invited automatically and were obliged to send a squad. An additional seven UCI Professional Continental teams were given wildcard entries. These included two Belgian teams ( and ), a Dutch team (), two Italian teams ( and ), a Polish team () and a French team ().
## Pre-race favourites
The defending champion was Michał Kwiatkowski, who won the 2015 race while riding for but moved to for the 2016 season. He won that race by catching up with the leading riders on the flat section following the final climb and outsprinting them at the line. He was also in strong form, having won the E3 Harelbeke a few weeks previously. Kwiatkowski was considered to able both to attack on the final climb and also to win from a small group sprint.
The previous champion was Philippe Gilbert (), who had won the race a total of three times as well as winning the 2012 world championships road race that finished with the same Cauberg finale. He had won the 2014 edition by escaping on the climb and, with the assistance of a tailwind, staying away to the finish. Gilbert had recently been involved in an altercation with a driver in which he had broken a finger; he missed Brabantse Pijl in order to have metal pins inserted and it was unclear whether he would be able to play a major part in the race.
`had two major favourites for the race: Michael Matthews and Simon Gerrans. Matthews had been third in 2015, while Gerrans had finished third on three other occasions. They were declared to be "joint leaders" by their team, but in the 2015 road race world championships had sprinted against one another, despite being on the same team. Gerrans in particular was in good form, following his performance in the 2016 Tour of the Basque Country, while Matthews had declared the Amstel Gold Race to be one of the main objectives of his season.`
The last rider to win the race from a long-range breakaway had been Roman Kreuziger () in 2013, but he had failed to perform well in the race since then. Other possible winners included 's Julian Alaphilippe and Petr Vakoč, 's Daniel Moreno, 's Enrico Gasparotto (the 2012 champion), 's Simon Geschke, 's Tony Gallopin, 's Edvald Boasson Hagen and 's Fabio Felline.
## Race summary
In the neutral section before the official start of the race, Fabio Felline crashed. He was reaching down to adjust something at the front of his bike; his wheel then jammed and the bike stopped abruptly. Felline was thrown over the handlebars and hit the ground face first. He broke his nose and suffered a fracture at the base of his skull. The injuries put him out of both the Amstel Gold Race and the rest of the Ardennes week.
When the racing started, it took 35 kilometres (22 mi) for a breakaway to form. Eleven riders escaped and, over the following 15 kilometres (9.3 mi), built a four-minute lead. The riders in the breakaway were Alex Howes (), Laurent Didier (Trek–Segafredo), Matteo Montaguti (), Laurens De Vreese (), Matteo Bono (), Kévin Reza (), Larry Warbasse (), Fabien Grellier (), Giacomo Berlato (), Tom Devriendt () and Josef Černý (). Their lead reached five minutes at the foot of the first ascent of the Cauberg. In the peloton, Sky, Orica–GreenEDGE and AG2R La Mondiale led the chase and the lead was reduced to just over three minutes when they crossed the finish line for the second time. Rain began to fall, causing a crash for Joaquim Rodríguez ().
With 65 kilometres (40 mi) remaining, a four-man group broke free of the peloton. The riders were Tosh Van der Sande (Lotto–Soudal), Niccolò Bonifazio (Trek–Segafredo), Gianni Meersman (Etixx–Quick-Step) and Björn Thurau (Wanty–Groupe Gobert). They were chased unsuccessfully by Andriy Hrivko (Astana); the four-man group reduced the breakaway's advantage to 90 seconds. On the Gulpenerberg, Reza and Didier were dropped from the breakaway, which had a two-minute lead over the peloton. Michael Albasini (Orica–GreenEDGE) attacked in the main group but was chased by Team Sky; Orica–GreenEDGE then brought the four-man chasing group back before the summit of the Keutenberg. With 25 kilometres (16 mi) remaining, Philippe Gilbert and Edvald Boasson Hagen were dropped.
On the penultimate climb of the Cauberg, the breakaway was reduced to five riders, who had a fifteen-second lead. Bob Jungels (Etixx–Quick-Step) and Enrico Battaglin () attacked from the peloton, while Michał Kwiatkowski was among the riders dropped. Orica–GreenEDGE continued to lead the peloton with Albasini and Mathew Hayman, the winner of Paris–Roubaix the previous week. The breakaway was caught with 14 kilometres (8.7 mi) remaining. Roman Kreuziger attacked with 8 kilometres (5.0 mi) remaining; there was an immediate counter-attack from Tim Wellens (Lotto–Soudal), who passed Kreuziger and earned a fifteen-second lead at the bottom of the final climb of the Cauberg.
As Albasini brought Wellens back on the Cauberg, Enrico Gasparotto attacked. He was followed by Tinkoff's Michael Valgren at the top of the climb. Despite a brief attack from Jelle Vanendert (Lotto–Soudal), no one in the peloton seemed willing to put the effort into catching the leading pair. Valgren did a long pull at the front of the race, with Gasparotto in his wheel. At the finish line, Gasparotto was easily able to come around him to take his second Amstel Gold Race victory. Sonny Colbrelli (Bardiani–CSF) won the sprint for third place.
## Result
## Post-race analysis
### Reactions
The race was Gasparotto's first win since his first Amstel Gold triumph in 2012. He crossed the line pointing to the sky in a reference to his former teammate Antoine Demoitié, who had been killed in an accident at Gent–Wevelgem two weeks previously. Cycling Weekly described his victory as "emotional". Gasparotto himself had not been at Demoitié's funeral as he had been training on Mount Teide in Tenerife. He had been encouraged by Demoitié's widow the previous day and said that he had felt a "really big responsibility" and had not wanted to let his teammates down. He also said that, as in his 2012 victory, he had used the 39-tooth inner ring for most of the climb and had only changed to the 53-tooth outer ring at the summit, for the flat section towards the finish line. Gasparotto also credited his victory to Valgren's presence with him, as Valgren was willing to pull hard in the final kilometre.
Valgren, meanwhile, said that his second-place finish was a "big result" for him. Because Valgren was so determined to stay ahead of the chasing group, Gasparotto was able to sit in behind him and come past at the finish when Valgren was tired. Nonetheless, he said that he was happy with his performance and that he hoped to come back and win the race in the future. Cyclingnews.com described the result as "a big step up" for him. Colbrelli, however, said that he had "mixed feelings" about his third-place finish. He said that the calibre of the riders who had finished behind him demonstrated that he had ridden "a great race" but also that he had "waited for too long" to try to bring the leading pair back.
Kwiatkowski tweeted after the race that the weather had been a factor in his disappointing performance: he wrote "I tried my hardest but the hail with rain froze my hands, feet, legs, back and, finally, my thoughts and ambitions." His team's directeur sportif, Kurt Asle Arvesen, said that he "didn't have good legs" and that the two Sky riders in the group at the end of the race – Sergio Henao and Lars Petter Nordhaug – had been unable to go with the attack on the Cauberg and were not strong enough to compete with the sprinters at the finish.
### UCI World Tour standings
There were no significant changes in the standings of the season-long 2016 UCI World Tour competition. Because Gasparotto, Colbrelli and Bryan Coquard () all rode for Professional Continental teams rather than World Teams, they did not earn any World Tour points. Valgren's second-place finish earned him 60 points; this put him in 25th place in the individual standings but it also helped Tinkoff to an increased lead in the team standings. Australia, meanwhile, retained a two-point lead over Belgium in the nations' standings.
|
[
"## Route",
"## Participating teams",
"## Pre-race favourites",
"## Race summary",
"## Result",
"## Post-race analysis",
"### Reactions",
"### UCI World Tour standings"
] | 2,913 | 18,519 |
46,996,488 |
Mario & Luigi: Paper Jam
| 1,173,350,959 |
2015 video game
|
[
"2015 video games",
"AlphaDream games",
"Crossover role-playing video games",
"Mario & Luigi",
"Nintendo 3DS eShop games",
"Nintendo 3DS games",
"Nintendo 3DS-only games",
"Paper Mario",
"Single-player video games",
"Video games about parallel universes",
"Video games developed in Japan",
"Video games scored by Yoko Shimomura",
"Video games set in castles",
"Video games that use Amiibo figurines"
] |
Mario & Luigi: Paper Jam, known in Europe and Australia as Mario & Luigi: Paper Jam Bros., is a 2015 role-playing video game developed by AlphaDream and published by Nintendo for the Nintendo 3DS console. It is the fifth installment in the Mario & Luigi series, and serves as a crossover between the Mario & Luigi and Paper Mario series, the latter being a cross-genre series developed by Intelligent Systems. In Paper Jam, Luigi accidentally opens a book containing the Paper Mario universe and all of its containments spread into the Mushroom Kingdom; Mario and Luigi, with the help of the befriended Paper Mario, venture to save both Princess Peach universe variants from Bowser, who has teamed up with his paper counterpart as well. In the game, the player controls the trio simultaneously through an overworld to reach Bowser's Castle, and fights enemies in turn-based combat along the way.
Paper Jam was developed by AlphaDream while Intelligent Systems oversaw production. The concept of a crossover came to be when AlphaDream conceptualized a third character for the player to control in-game to help shake up the traditional gameplay of the series. They considered the combination to work well due to the two series having shared gameplay features as well as opportunities to use the Paper Mario series for new gameplay options. The game was announced at E3 2015 and launched ahead of schedule, released internationally in December 2015 and in North America the following month.
Reception of the game was generally positive, receiving praise for the introduction of Paper Mario elements and combat, mixed opinions for its writing and failure to use the Paper Mario series to its fullest, and criticism for usage of worldbuilding and minigames. Paper Jam was the final original Mario & Luigi installment, followed by two remakes of previous titles in the series, before AlphaDream filed for bankruptcy in 2019.
## Gameplay
Paper Jam is a role-playing game that follows a similar format of previous games in the Mario & Luigi series, with some additional reliance on elements from the Paper Mario series as well. The player simultaneously controls Mario, Luigi, and Paper Mario from his respective series, and travels the Mushroom Kingdom overworld to reach Bowser's Castle to save both Princess Peach variants from both Bowser variants from their respective universes. Each of the three uses a different button to control them. In the overworld, the player can talk to non-player characters (NPCs) and solve puzzles, some of which are required to be solved in order to progress. Some puzzles involve using character-specific actions; for example, Paper Mario can use his paper-thin body to squeeze through small gaps to reach areas inaccessible by Mario and Luigi. In other cases, the three learn additional special moves as the main storyline continues, which can be used in the overworld to solve puzzles that hinder progression or other secret areas.
Some of the involved puzzles are minigame sessions that break up traditional gameplay. In certain boss battles, the trio rides a large-scale paper-craft version of a character or enemy from the Mario franchise and fight another enemy—also on a papercraft—in an open arena with the goal of destroying the enemies papercraft. In another, the player is tasked by a Lakitu to return to previously explored segments to find hidden Paper Toads, who in return offer rewards and advice for further progression.
When the player comes in contact with an enemy in the overworld, a battle-sequence will commence. Combat in Paper Jam is turn-based; they can select one of the various methods to attack the enemies present as each of the three characters, and vary from dealing damage to healing lost health using an item. To attack, the player must press buttons in a timed fashion to maximize how much damage is dealt. Attack methods of the trio can be combined to involve more than one of the three, to deal even further damage. Similarly, when the enemy attacks, buttons need to be pressed in anticipation of the attack so the trio takes less damage. As the game progresses, the player is given access to "Battle Cards", which can be used by the player in combat for additional perks, such as increasing the amount of damage given to certain enemies. Certain Mario amiibo can be used for further bonuses.
## Plot
Luigi and a Toad enter the attic of Princess Peach's Castle to find the source of a wind draft. When Luigi accidentally bumps into a bookshelf and knocks open a book containing the Paper Mario universe inside it, the book opens up and shoots its contents across the Mushroom Kingdom. Princess Peach and her counterpart Paper Peach meet, and send Mario and Luigi to round up the citizens of the Paper Mario universe, equipped with the book to return them to their original home. Meanwhile, Bowser discovers his paper counterpart, Paper Bowser, and the two merge their armies. Mario and Luigi meet Paper Mario and return to Peach's Castle, only to find that the two princesses have been kidnapped by both Bowsers; they begin their quest towards Bowser's Castle to save them.
As the trio progresses through various locales to reach their destination, they are hindered by various enemies who have teamed up with their paper counterparts, some of which serve as the game's bosses. They also come across large groups of enemies wielding large Papercraft dioramas of enemies found in-game; the trio fights the giant papercraft using their own dioramas, which are constructed by Toadette. During their journey, they are confronted by Bowser Jr. and his paper counterpart, who take the book from Luigi.
As the trio approaches Bowser's Castle, they are once again approached by the two Bowser Jrs., who kidnap Toadette to prevent the production of new papercraft. Mario, Toadette, and Luigi battle the two Bowser Jr's and retrieve the book. Enraged, the Bowser duo lifts their castle into the sky to prevent the trio from entering, renaming it the "Neo Bowser Castle".
The trio venture to a nearby mountain to enter Neo Bowser's Castle from a high distance. As they approach the castle's interior, the Bowser duo sends waves of various enemy and boss duos, but all are defeated. The trio approaches the Bowsers, who reveal their intentions: they planned on capturing the three in the book and promptly burning the book to ash. Each Bowser also secretly planned to double-cross the other and capture them in the book as well. The heroes defeat Bowser and capture Paper Bowser in the book. Toadette hosts a papercraft parade in celebration, and the paper counterparts say their goodbyes and enter the book. The game closes with Bowser attacking the Mushroom Kingdom once more, prompting Mario and Luigi to stop him.
## Development and release
Like the previous games in the series, Paper Jam was developed by AlphaDream and published by Nintendo. Intelligent Systems, developer of the Paper Mario series, oversaw the game's production and gave advice when needed. Akira Otani served as the game's producer, and Shunsuke Kobayashi and Jun Iwasaki served as directors. The game was announced at E3 2015 and was scheduled for a spring release in 2016 for the Nintendo 3DS. It was announced to release ahead of schedule via a Nintendo Direct, however, and was available in Japan and Europe on December 3 and 4 respectively, and North America the following January 22.
### Scenario
Prior to considering a Paper Mario crossover, the developers discussed ways to deviate from typical Mario & Luigi gameplay and decided on using another button to control a third character alongside Mario and Luigi, according to producer Akira Otani. They first considered using an in-universe character from the Mario franchise, such as Bowser, but eventually decided to use another variant of Mario himself, therefore gravitating towards Paper Mario to fulfill the role. They knew the series crossover would blend well, considering how both used adventure and role-playing video game elements and being guided by humorous dialogue and scenarios. They could also use the element of paper for gameplay contrast, using Paper Mario for lightweight or thin objectives that Mario and Luigi cannot do themselves. When pulling ideas from the Paper Mario series they mainly drew inspiration from Paper Mario: Sticker Star, the most recent Paper Mario game at the time. Paper Jam was the first game to introduce a white border around Paper Mario, to help differentiate the paper characters from the Mario & Luigi universe; this border trend would be continued with every Paper Mario release to date, starting with Paper Mario: Color Splash in 2016.
### Gameplay and writing
One of the game's main challenges in the development process was to retain the series' core philosophy of making a role-playing game that was presentable and easily accessible to a broad audience. One of the first prototypes of Paper Jam had the player rapidly tapping three different buttons to perform a trio combo move; when Otani presented the concept to Mario creator Shigeru Miyamoto, he quickly rejected the idea and told them to make the action simpler to perform. They considered adding Paper Luigi as a fourth character, being controlled by a fourth button, but this was eventually deemed too complicated to comfortably manage as a player and he was later cut. The giant papercraft battles stemmed from the vision of making the game as lively as possible, similar to a carnival setting. The papercraft models were based on shrines found at Japanese festivals.
The developers went through multiple drafts for the game's plot, two ideas including the Mushroom Kingdom of the Mario & Luigi universe slowly transforming to paper, and having the trio move back and forth between both universes. They chose to have elements from the Paper Mario universe added on top of the Mario & Luigi universe instead, to instead focus more on the character dynamics between both universes. The developers received negative feedback on their previous title due to the series having increasingly excessive tutorials, including directions for minuscule actions. AlphaDream implemented a feature where the player can skip through content they already know, and the game detects a player's skill level and skips other elements automatically, with the exception of new game elements.
## Reception
Mario & Luigi: Paper Jam received "generally positive reviews" according to review aggregator Metacritic, scoring a 76/100 on the site based on 76 reviews. The game sold 49,000 copies in Japan in its debut month, equivalent to half the sales of the prior game, Mario & Luigi: Dream Team.
Among critics, combat was most positively received, mainly due to its use of new Paper Mario elements to keep it engaging. GamesRadar+ review Alex Jones commented that Paper Mario refreshed combat in-game, especially for series veterans, and while Kyle Hilliard of Game Informer felt that a third character made things cumbersome at certain times, battles were never entirely unmanageable or unfair. GameSpot's Miguel Concepcion considered the game's combat "worthy of the attention", and how the addition of new paper enemies made each battle a new experience. Jared Petty, writing for IGN, found the battle system to be an in-depth experience, and each battle utilized a different element to keep the new additions from becoming overwhelming. Janine Hawkins of Polygon enjoyed the unique trio attacks, but the button requirements to fulfill were oftentimes too difficult and relied too much on memorization. Both Jones and Nintendo Life's Conor McMahon found amiibo use to be effective, although McMahon' warned that they would be used often and having it on hand while playing was vital. Hilliard appreciated the added collectible value the cards brought, especially how they had functionality when in combat, while McMahon positively compared the card system to similar RPG features found in Paper Mario: The Thousand Year Door.
Writing and humor received mixed opinions, and most critics believed the game did not capitalize on using Paper Mario elements to its fullest. Petty and McMahon commented that the additions of paper counterparts were unique addition but often predictable, and the game never fully took advantage of the narrative of colliding universes. Concepcion felt that the game did not use the crossover to its fullest expense, but considered Paper Jam to be a good gateway experience to a newcomer. Hilliard found the plot to be on the less compelling side, but they enjoyed the complex narratives of having two of the same character interacting, especially how both Bowser counterparts could not work well with each other. Jones considered the main storyline to be too lengthy and slow-paced but was excellently broken up with minigames and other features that broke up the standard format. GameSpot commended the writing from both series and how they blended well with each other but did not experience any laugh-out-loud moments—mainly in part due to their belief that AlphaDream played writing too safely.
Concepcion called the worldbuilding unique and applauded how it encouraged the player to explore, but due to collectibles and items being common he felt no reason to do so. Petty found the environment to be "colorful but uninspired", and were too similar to other Mario entries to hold interest, especially due to the lack of interesting landmarks to distinguish areas. He also believed that the Toad Hunts, one of the game's various minigames, continuously broke the story's pacing in a negative way in comparison to the upbeat Papercraft battles. Nintendo Life, alternatively, called Toad Hunts a "fun diversion". Jones considered the Papercraft battles to be one of Paper Jam's weaker elements, but overall an interesting way to break up the pace. Similarly, Hawkins enjoyed the unique one-off moments like the Papercraft battles in the storyline but oftentimes felt they dragged or became too complicated, leading to tedious repetition.
## See also
- Paper Mario: The Origami King
- List of Mario role-playing games
|
[
"## Gameplay",
"## Plot",
"## Development and release",
"### Scenario",
"### Gameplay and writing",
"## Reception",
"## See also"
] | 2,788 | 19,091 |
38,849,876 |
Goathouse Refuge
| 1,162,534,409 |
Animal sanctuary in Pittsboro, US
|
[
"Animal sanctuaries",
"Animal welfare organizations based in the United States",
"Buildings and structures in Chatham County, North Carolina",
"Domestic cat welfare organizations",
"Non-profit organizations based in North Carolina",
"Organizations established in 2007"
] |
The Goathouse Refuge in Pittsboro, North Carolina, is a nonprofit no-kill animal sanctuary for cats that is run on a volunteer-basis. The refuge is cage-free with the cats roaming around within the boundaries of the property. Founded in 2007 by Italian-born artist Siglinda Scarpa, the refuge can hold up to 300 cats on a 16-acre farm. There is an art gallery located on the first floor of the house where Scarpa sells her handmade art such as pottery, sculptures, and cookware to help support the refuge.
## Founding
Siglinda Scarpa says she had issues with communication as a child, stating that "people were not seeing me, that they were talking, but never to me." Her father gave her a stray kitten, but when it was a year old, it became very ill and died. After his death, Scarpa decided to take in as many cats as possible, with the hopes of eventually creating a safe haven for cats. Scarpa created the Goathouse Refuge in 2007, naming it after an old goat who came with the plantation house and the 16 acre property. Originally, the land was just intended for her pottery studio. After the house and studio burned down, Scarpa rebuilt it with plans that included a sanctuary for cats, using personal resources and proceeds from her pottery sales to make it possible.
## Operations
As a nonprofit shelter, the Refuge is run mainly by volunteers. There are two shifts of at least two volunteers each who look after the cats and socialize them to be ready for adoption. In its first five years, the refuge has found homes for over 900 cats. No cats are rejected or subjected to euthanasia unless past all hope of recovery. Unadoptable cats may live out their lives on the property as well. Goathouse Refuge relies on donations to help cover medical treatment, food, toys and other items. The Goathouse Refuge has the option to sponsor a cat by donating to cover their adoption fees so that the cat may have a higher chance of being adopted. The refuge also provides "virtual cats" as gifts and will send the donor a photo of a cat of their choice, as well as a behind-the-scenes story about them.
|
[
"## Founding",
"## Operations"
] | 460 | 29,393 |
15,424,189 |
Techno Cumbia
| 1,158,602,654 | null |
[
"1994 songs",
"1995 singles",
"American hip hop songs",
"Dancehall songs",
"EMI Latin singles",
"Selena songs",
"Song recordings produced by A. B. Quintanilla",
"Songs written by A. B. Quintanilla",
"Songs written by Pete Astudillo",
"Spanish-language songs",
"Techno songs"
] |
"Techno Cumbia" is a song recorded by American singer Selena for her fourth studio album, Amor Prohibido (1994). It was posthumously released as the b-side track to "Dreaming of You" through EMI Latin on August 14, 1995. Techno Cumbia would be put on her fifth and final studio album Dreaming of You (1995) and would be the fourth single for Dreaming Of You. "Techno Cumbia" was written by Pete Astudillo and co-written and produced by Selena's brother-producer A.B. Quintanilla. The song is a dance-pop and tecnocumbia recording with influences of dancehall, rap, Latin dance, and club music. Lyrically, Selena calls on people to dance her new style the "techno cumbia" and calls out those who cannot dance.
"Techno Cumbia" garnered acclaim from music critics, who believed it to be one of the better recordings found on Amor Prohibido. Musicologists believed "Techno Cumbia" predated the Latin urban music market and found that Selena spearheaded a new style of music. The song posthumously peaked at number four on the United States Billboard Hot Latin Songs and Regional Mexican Airplay charts. The recording received the Tejano Music Award for Tejano Crossover Song of the Year in 1995 and received nominations for Single of the Year at the Broadcast Music Inc.'s pop awards and Music Video of the Year at the 1996 Tejano Music Awards.
## Background and release
"Techno Cumbia" was written by Selena y Los Dinos backup dancer and vocalist Pete Astudillo and Selena's brother A.B. Quintanilla who also arranged the piece and served as producer. In 2002, A.B. spoke on how Amor Prohibido (1994) was experimental and commented on how "Techno Cumbia" was an example of his ideas of keeping the band's image modern. During the recording sessions, Selena added rap verses to the song; A.B. believed it to be first of its kind for the genre. Selena was shot and killed by Yolanda Saldívar, her friend and former manager of the singer's Selena Etc. clothing boutiques, on March 31, 1995. The song was included on the track listing of the posthumously released album Dreaming of You (1995). A.B. flew to Manhattan to meet up with R&B group Full Force who remixed "Techno Cumbia" along with updating their remix version of Selena's 1992 song "Missing My Baby". San Antonio Express-News writer and Billboard Latin music correspondent, Ramiro Burr believed the addition of "Techno Cumbia" were "remastered, injecting extra percussions to spice them up." The album's remix version and radio edit of "Techno Cumbia" was released as the b-side track to the lead single "Dreaming of You".
## Composition
"Techno Cumbia" is a Spanish-language uptempo techno-pop cumbia song. It draws influences from Latin dance, dancehall, rap, and club music. Musicologists Ilan Stavans and Harold Augenbraum called it a hip-hop fusion song. Billboard magazine Latin music correspondent, John Lannert wrote the liner notes of Dreaming of You and called "Techno Cumbia" a "dancehall thumper". Musicologist James Perone found the recording to be the "richest track" off of Amor Prohibido because of its "rhythmic and textural contrast". Perone compared it to the '90s American dance music scene and commented on how the "techno aspect of the piece is muted; however, Selena's voice is electronically processed for part of the recording." "Techno Cumbia" incorporates "rhythmic shifts from accentuation on off-beats to accentuation on the beat". The "hey, ho" is a reference to American soul singer Ray Charles' call and response 1950s single "What'd I Say", used under a "Latin-style drumbeat".
Texas Monthly editor, Joe Nick Patoski believed "Techno Cumbia" contained the "most popular rhythm [at the time] coursing through the Latin music world". Patoski further wrote that the track "honored" it by "updating it with vocal samples, second line drumming from New Orleans, and horn charts inspired by soca from the Caribbean." This was echoed by word for word from author Deborah Paredez on her book on Selena's fandom. Patoski further wrote that the remix version "may have been laced with such exotica as a reggae toastmaster talking over a teeth-rattling bass line", and called it an "electronic mishmash", and a "pan-Caribbean attack that included soca and Hi Life from the Trinidad". Written in the key of G minor, the beat is set in common time and moves at a moderate 91 beats per minute. The remix version on Dreaming of You has a key signature set in C minor and moves at a moderate 90 bpm. The remix employs a piano, güira, tambourine, French horn and drums. Lyrically, Selena calls on people to dance her new style the "techno cumbia" dance and "humorously" calls out people who cannot dance cumbia. Italian essayists Gaetano Prampolini and Annamaria Pinazzi described the lyrics of "Techno Cumbia" that "summons everyone to the dance floor". Patoski found it to resemble the "nonsensical novelty" song by Shirley Ellis' 1964 single "The Name Game".
## Critical reception and chart performance
Because of its mixture of different cultural music genres, "Techno Cumbia" reminded authors Sara Misemer and Walter Clark of Chicano performance artist Guillermo Gómez-Peña's suggestion that "cultures are being superimposed". According to Ed Morales who wrote in his book The Latin Beat, "Techno Cumbia" is easily "forgettable throwaways" among the average listener, but found the recording "catchy" and "sticks in your gut". Author Michael Corcoran wrote in his music guide on Texan music that "Techno Cumbia" has "Michael Jackson-like trills". Patoski believed "Techno Cumbia" was aimed towards the Spanish international market, calling it "the most compelling tune". Author Norma Elia Cantú called "Techno Cumbia", "La Tracalera" (1990), and "La Carcacha" (1992) the "auditory of Tejano music". Morales believed the song "may have been an indirect influence on the fin de siècle collective of disc jockeys from the borderlands around Tijuana called Nortec". Stavans and Augenbraum called "Bidi Bidi Bom Bom", "No Me Queda Más", and "Techno Cumbia" to have been the "key hits of [Amor Prohibido]". Lannert wrote in the Dreaming of You liner notes that Selena "amazingly and quickly reverses field [from the previous track "Tú Sólo Tú"] to reveal a playful cooing growl".
"Techno Cumbia" debuted at number 13 on the United States Billboard Hot Latin Tracks chart on October 7, 1995. In its second week the song rose to number nine, receiving airplay honors that week. On October 21, 1995, "Techno Cumbia" jumped to number five and subsequently debuted at number seven on the U.S. Regional Mexican Airplay chart. The following week the recording gained more airplay spins at radios, however it remained at number five on the Hot Latin Tracks chart while the song moved to number six on the Regional Mexican Airplay chart. On November 4, 1995, "Techno Cumbia" reached its peak at number four on the Hot Latin Tracks chart. In the issue dated November 11, 1995, "Techno Cumbia" received increased airplay spins from the previous tracking week and peaked at number four on the Regional Mexican Airplay chart.
## Cultural impact and legacy
"Techno Cumbia" is believed by musicologist to have predated the Latin urban music genre—which became one of the most popular subgenres of Latin music in the 2000s decade—and to have spearheaded a new style of music. During a 2002 interview, Astudillo spoke on how the success of "Techno Cumbia" and its cultural impact on Latin music "has set a new trend". He further said that at the time of recording the song, he didn't envision the track to be as successful or impactful as it has been. Following Selena's death, A.B. formed his own group the Kumbia Kings and released "Boom Boom" from his album Shhh! (2001); believed by Billboard to be the direct "descendants of Techno Cumbia". Author Charles Tatum, found "Techno Cumbia" along with Selena's 1992 single "La Caracaha" and "Bidi Bidi Bom Bom" to have revolutionized the Tejano cumbia music scene. Music analyst Guadalupe San Miguel wrote that "Techno Cumbia", "Como la Flor" (1992), and "La Carcacha" were Selena's "biggest cumbia hits". Selena popularized the technocumbia genre during her career. Vibe magazine reported that Full Force was awarded gold and platinum discs for Selena's 1992 song "Missing My Baby" and "Techno Cumbia". The song was included on Selena's 2002 posthumous compilation Ones (album)
The music video of "Techno Cumbia" was released posthumously and used the remix version found on Dreaming of You. The video was choreographed by Kenny Ortega, who later choreographed the music video of Selena's posthumously released "A Boy Like That" single in 1996. The music video featured live performances of Selena singing the song at the Houston Astrodome concert on February 26, 1995, outtakes from her music video for "Bidi Bidi Bom Bom", and performances of the singer during her tour for Amor Prohibido (1994–95). Cecilia Miniucchi served as the director of the video and found the project to be rather challenging to do. "Techno Cumbia" was awarded the Tejano Music Award for Tejano Crossover Song of the Year in 1995. During the awards ceremony, presenter Raul Yzaguirre mistakenly read the Tejano Crossover Song of the Year award as being Shelly Lares. The mistake was corrected during the awards "lengthy break" and Lares gave the award to Selena who was seen in tears and refused to accept the award from Lares, despite Jose Behar (president of EMI Latin) urging the singer to do so. The song was nominated for Music Video of the Year at the 1996 Tejano Music Awards, and Song of the Year at the 1997 Broadcast Music Inc.'s pop awards. Mexican group Liberación recorded the song for the tribute album Mexico Recuerda a Selena (2005). AllMusic's Alex Henderson commented on how Liberación gave "Techno Cumbia" a "grupero treatment". Mexican group Banda El Recodo performed and recorded the track for the live televised tribute concert Selena ¡VIVE! in April 2005."
## Charts
## Certifications
## Credits and personnel
Credits adapted from Dreaming of You liner notes.
- Selena – vocals
- James Echavarria – vocals
- Pete Astudillo – writer
- Ricky Vela – keyboards
- Joe Ojeda – keyboards
- Chris Pérez – guitar
- Suzette Quintanilla – drums
- A.B. Quintanilla – co-writer, bass, arranger, producer, vocals
- Art Meza – percussions
## See also
- Latin music in the United States
- 1995 in Latin music
|
[
"## Background and release",
"## Composition",
"## Critical reception and chart performance",
"## Cultural impact and legacy",
"## Charts",
"## Certifications",
"## Credits and personnel",
"## See also"
] | 2,595 | 17,013 |
553,995 |
USS Cape Esperance
| 1,167,342,961 |
Casablanca-class escort carrier of the US Navy
|
[
"1944 ships",
"Casablanca-class escort carriers",
"Cold War auxiliary ships of the United States",
"Korean War auxiliary ships of the United States",
"S4-S2-BB3 ships",
"Ships built in Vancouver, Washington",
"World War II escort aircraft carriers of the United States"
] |
USS Cape Esperance (CVE-88) was a Casablanca-class escort carrier of the United States Navy. She was named after the Battle of Cape Esperance, an inconclusive naval engagement in support of the Guadalcanal campaign. Built for service during World War II, the ship was launched in March 1944, and commissioned in April, and served as a replenishment carrier. Postwar, she participated in Operation Magic Carpet. She was decommissioned in August 1946, when she was mothballed in the Pacific Reserve Fleet. However, she was recommissioned in August 1950, and assigned to become an auxiliary vessel as a part of Military Sealift Command. She was decommissioned again in January 1959, and ultimately, she was sold for scrapping in May 1959.
## Design and description
Cape Esperance was a Casablanca-class escort carrier, the most numerous type of aircraft carriers ever built, and designed specifically to be mass-produced using prefabricated sections, in order to replace heavy war losses sustained in the early engagements of the Pacific War. Standardized with her sister ships, she was 512 ft 3 in (156.13 m) long overall, had a beam of 65 ft 2 in (19.86 m), and a draft of 20 ft 9 in (6.32 m). She displaced 8,188 long tons (8,319 t) standard, 10,902 long tons (11,077 t) with a full load. She had a 257 ft (78 m) long hangar deck and a 477 ft (145 m) long flight deck. She was powered with two Skinner Unaflow reciprocating steam engines, which drove two shafts, providing 9,000 shaft horsepower (6,700 kW), thus enabling her to make . The ship had a cruising range of 10,240 nautical miles (18,960 km; 11,780 mi) at a speed of 15 knots (28 km/h; 17 mph). Her compact size necessitated the installment of an aircraft catapult at her bow, and there were two aircraft elevators to facilitate movement of aircraft between the flight and hangar deck: one each fore and aft.
One 5-inch (127 mm)/38 caliber dual-purpose gun was mounted on the stern. Anti-aircraft defense was provided by 8 Bofors 40-millimeter (1.6 in) anti-aircraft guns in single mounts, as well as 12 Oerlikon 20-millimeter (0.79 in) cannons, which were mounted around the perimeter of the deck. By the end of the war, Casablanca-class carriers had been modified to carry thirty 20-mm cannons, and the amount of 40-mm guns had been doubled to sixteen, by putting them into twin mounts. These modifications were in response to increasing casualties due to kamikaze attacks. Casablanca-class escort carriers were designed to carry 27 aircraft, but the hangar deck could accommodate more. Due to Cape Esperance serving as a replenishment of transport carrier throughout most of her time in service, it frequently carried up to sixty aircraft during these missions, around the maximum amount at which the flight deck would still be functional. She was designed to accommodate 764 crew, but in wartime, her complement inevitably crept over that number. A reasonable estimate puts the number of crew typically on board a Casablanca-class escort carrier at around 910 to 916 men.
## Construction
Her construction was awarded to Kaiser Shipbuilding Company, Vancouver, Washington under a Maritime Commission contract, on 18 June 1942, under the name Tananek Bay (a misspelling of "Tonowek Bay"), as part of a tradition which named escort carriers after bays or sounds in Alaska. The escort carrier was laid down on 11 December 1943, MC hull 1125, the thirty-fourth of a series of fifty Casablanca-class escort carriers. She therefore received the classification symbol CVE-88. On 6 November 1943, she was renamed Cape Esperance, as part of a new naval policy which named subsequent Casablanca-class carriers after naval or land engagements. She was named after the Battle of Cape Esperance, an early and inconclusive naval battle fought in support of the Guadalcanal campaign. She was launched on 3 March 1944; sponsored by Mrs. W. M. McDade; transferred to the United States Navy and commissioned on 9 April 1944.
## Service history
### World War II
Upon being commissioned, Cape Esperance underwent a shakedown cruise down the West Coast to San Diego. She then underwent two transport missions, ferrying new aircraft to bases in the South and West Pacific, and returning to the West Coast with damaged aircraft. After returning from her second transport run, she was assigned to Task Group 30.8, the replenishment escort carrier group. She was loaded with replacement aircraft at San Francisco, and departed on 5 October 1944. She rendezvoused with the other replenishment carriers on 2 November, and provided replacement aircraft to the Fast Carrier Task Force operating against Japanese positions on Leyte and Luzon. The replenishment carriers would meet with the frontline carriers at designated rendezvous days, during which supplies and aircraft would be transferred. She was based from and received additional replacement aircraft at Ulithi and Guam.
The Third Fleet had been operating against positions on Luzon since 14 December, but its escorting destroyers ran low on fuel. As a result, the fleet retired to the east to refuel, and to receive replacement aircraft from Task Group 30.8. As a part of Task Unit 30.8.14, she rendezvoused with the Third Fleet about 300 mi (480 km; 260 nmi) east of Luzon early on 17 December. Cape Esperance was carrying thirty-nine planes on her flight deck, along with another twelve stored in her hangar deck. The location had been chosen because it lay out of range of Japanese fighters, but it also happened to lie within Typhoon Alley, where many Pacific tropical cyclones transited. As the escort carriers and the Third Fleet met, Typhoon Cobra began to bear down. At 01:00 in the night, fueling operations were attempted with the destroyers, although heavy winds and listing seas complicated the matter. At the same time, barometers on-board the ships began to drop, and tropical storm force winds were recorded.
As the weather continued to deteriorate, Admiral William Halsey Jr. ordered fueling operations suspended at 13:10, just after noon. He ordered his fleet to move to the next morning's planned rendezvous spot, approximately 160 mi (260 km; 140 nmi) northwest, and comfortably safe from the typhoon's impacts. Two hours later, he instead ordered his fleet to proceed due southwards, 180 mi (290 km; 160 nmi) from where the fleet was located. This brought the fleet directly into the typhoon's core. To make matters worse for the Third Fleet, Halsey ordered the fleet to proceed northwards at 22:20, putting the fleet in the quadrant of the typhoon with the highest winds. Blurry data and observations meant that command had little idea of where the typhoon actually was, with some weather maps pinning the typhoon's center some 100 mi (160 km; 87 nmi) away, even whilst the fleet sailed directly into the eye. Attached to the Third Fleet, Cape Esperance followed, although Captain Bockius had begun preparations on 17 December. The aircraft on the flight deck had been tied down, weight had been transferred downwards to lower the ship's center of gravity, the hatches had been battened down, and the crew had been informed to stay on the port side of the carrier to counteract any list in the ship. The ship's aircraft elevators had also been lowered, in the hopes that this transferred weight would negate the lists generated from the wind.
At 07:00, on the morning of 18 December, the fleet was inescapably trapped in the typhoon's path. Conflicting orders meant that some of the destroyers attempted to do some fueling during the morning, even as waves with an estimated height of 60 ft (18 m) pounded the task force. At 09:52, Cape Esperance began maneuvering independently of the task force. Multiple rolls of 36° were recorded, and the occasional roll of 39° frightened the ship's command. The ship's officers began discussing the possibility of jettisoning the aircraft on the flight deck to make the ship less top-heavy, before discarding the idea. The typhoon's winds solved the weight problem, by ripping the aircraft on the flight deck from their restraints, and carrying them into the ocean. However, at 12:28, an aircraft ended up stuck on the forward starboard stack, and caught on fire, forcing an evacuation of the bridge. Fortunately for the crew, as the carrier rocked and yawed, the plane was dislodged and carried overboard. The fire sparked by the aircraft, which had threatened to become a conflagration because of the aircraft's fuel tanks, ended up being extinguished by the rain.
The loss of most of the planes on the flight deck meant that Cape Esperance no longer threatened to keel over. At 16:00, another plane on the flight deck broke loose, and plummeted through the open forward aircraft elevator, landing on another plane. Fortunately for the crew, a fire did not result from this collision. As the carrier emerged from the typhoon, of the thirty-nine aircraft fastened to the flight deck, only seven remained. Although all of the planes in the hangar deck survived, eight planes were struck due to damage. As a result, she only had eleven replacement planes which she could deliver to the battered Third Fleet. Although 790 crewmen perished in the typhoon, none were from Cape Esperance. Her flight deck, damaged by the blaze, required major repairs.
She continued her duties as a replenishment carrier through the New Year, although repairs were made at bases in Guam and Ulithi. She retired from the replenishment carrier fleet in February 1945, heading back to the West Coast. There, she loaded aircraft, which she ferried to Guam. Until news of the surrender of Japan broke, she acted as a transport carrier, transporting newly minted aircraft from the United States to the West Pacific, in order to replace heavy war losses over Okinawa and the Japanese home islands. Whilst she was transporting aircraft, Captain Patrick Henry, Jr. took over command of the vessel on 3 May.
### Post-war and Cold War
Following the end of the war, she joined the Operation Magic Carpet fleet, which repatriated U.S. servicemen from around the Pacific. She first made a run from San Diego to Pearl Harbor, ferrying aircraft and veterans to San Francisco, where she arrived on 11 September 1945. Until mid-1946, she made several such Magic Carpet runs, touching stops throughout the Pacific. After being released from the Magic Carpet fleet, she proceeded to Bremerton, Washington, where she was decommissioned on 22 August 1946, and subsequently mothballed in the Pacific Reserve Fleet.
Cape Esperance was recommissioned on 5 August 1950 under the identification T-CVE-88, as an aircraft transport carrier serving under the Military Sealift Command. Most of her weapons were stripped from her hull, and she was operated by a mostly civilian crew. Immediately after being recommissioned, she began delivering aircraft to Japan, where they would participant in the Korean War. For the next nine years, Cape Esperance fulfilled a variety of duties, including supporting nuclear tests at Eniwetok, and ferrying aircraft to the Royal Thai Air Force. She engaged in an average of nine transpacific voyages per year, reinforcing forces of the Southeast Asia Treaty Organization, as well as U.S. assets in the Pacific. In 1952, she steamed for Hong Kong, where she evacuated planes previously belonging to the Republic of China that were hastily sold to Civil Air Transport to prevent being seized by People's Republic of China. She was reclassified as a utility aircraft transport carrier, T-CVU-88, on 12 June 1955, and began conducting transatlantic voyages, ferrying aircraft to bases in Western Europe. She then returned to the Pacific, and proceeded to transport aircraft to Pakistan in 1956.
She was decommissioned a second time on 15 January 1959, as the operation of Casablanca-class escort carriers became less and less economical. She was abandoned in favor of Bogue-class escort carriers, who served for another decade as transport carriers, before they too became obsolete and uneconomical. She was sold for scrapping on 14 May 1959, and ultimately broken up in Japan throughout January 1961.
|
[
"## Design and description",
"## Construction",
"## Service history",
"### World War II",
"### Post-war and Cold War"
] | 2,712 | 33,587 |
12,486,327 |
Vengeance: Night of Champions
| 1,173,037,647 |
2007 World Wrestling Entertainment pay-per-view event
|
[
"2007 WWE pay-per-view events",
"2007 in Texas",
"Events in Houston",
"June 2007 events in the United States",
"Professional wrestling in Houston",
"WWE Night of Champions",
"WWE Vengeance"
] |
Vengeance: Night of Champions was the seventh annual Vengeance as well as the inaugural Night of Champions professional wrestling pay-per-view (PPV) event produced by World Wrestling Entertainment (WWE). It was held for wrestlers from the promotion's Raw, SmackDown!, and ECW brand divisions. The event took place on June 24, 2007, at the Toyota Center in Houston, Texas. It was the final Vengeance event until 2011, as Night of Champions continued in its place. Per the theme of the event, every match on the card was contested for one of WWE's nine then-active championships; only one person won a championship and the others were retained.
The main event featured the Raw brand. It saw John Cena defend the WWE Championship in a fatal five-way match against Mick Foley, Bobby Lashley, Randy Orton, and King Booker. Cena won the match and retained the title after pinning Foley. The featured match from the SmackDown! brand was a Last Chance match for the World Heavyweight Championship between Edge and Batista, in which Edge emerged victorious via countout.
Chris Benoit was originally booked to face (and defeat) CM Punk to win the vacant ECW World Championship. However, he did not show up, and was replaced by Johnny Nitro—who won by pinfall after performing a corkscrew neckbreaker from the middle rope. Following the event, it was discovered that Benoit had murdered his wife and son, and then committed suicide.
## Production
### Background
Vengeance was an annual pay-per-view (PPV) event produced by World Wrestling Entertainment (WWE) since 2001. From that inaugural event until 2006, the event was promoted solely as Vengeance, but in 2007, WWE retitled the seventh Vengeance as "Vengeance: Night of Champions". It took place on June 24, 2007, at the Toyota Center in Houston, Texas. While the previous three Vengeance events were held exclusively for the Raw brand, the 2007 event featured wrestlers from Raw, SmackDown!, and ECW, as following WrestleMania 23 in April, brand-exclusive PPVs were discontinued.
With the event's subtitle of "Night of Champions", the theme of the event was that every championship promoted by WWE at the time was contested. These included the four championships on Raw—the WWE Championship, the Intercontinental Championship, the World Tag Team Championship, and the WWE Women's Championship—the four championships on SmackDown!—the World Heavyweight Championship, the United States Championship, the WWE Tag Team Championship, and the WWE Cruiserweight Championship—and ECW's sole championship—the ECW World Championship.
### Storylines
The main feud on the Raw brand heading into the event was between WWE Champion John Cena, Bobby Lashley, King Booker, Mick Foley, and Randy Orton. The feud began when Lashley was drafted to Raw and stripped of the ECW World Championship. After being stripped of the title, Lashley began to pursue the WWE Championship. On the June 18 episode of Raw, Foley, Orton, Booker, and Lashley all cut promos on why they deserve to be the number-one contender to the WWE Championship. Cena also cut a promo on who he believed deserved to be the number one contender to the championship. Following this, Interim General Manager Jonathan Coachman announced that all five men would compete for the title in a match billed as the "WWE Championship Challenge" at Vengeance.
The main feud heading into Vengeance on the SmackDown! brand was between World Heavyweight Champion Edge and Batista. Their match stemmed from their Steel Cage match at One Night Stand, three weeks before Vengeance, where Edge won by escaping the cage. On the June 8 episode of SmackDown!, WWE Chairman Vince McMahon announced that Edge would defend the World Heavyweight Championship against Batista in a "Last Chance" match at Vengeance. On the June 22 episode of SmackDown!, Batista and Ric Flair defeated Edge and Montel Vontavious Porter (MVP). Midway through the match, Flair and MVP brawled outside the ring, leaving Edge on his own against Batista. Batista gained the pinfall after executing a Batista Bomb on Edge.
The feud between The Hardys (Matt Hardy and Jeff Hardy) and Lance Cade and Trevor Murdoch began at Backlash. At Backlash, The Hardys defeated Cade and Murdoch to retain the World Tag Team Championship. At the following event, Judgment Day, Matt and Jeff defeated Cade and Murdoch once again to retain the titles.
## Event
### Preliminary matches
Before the event aired live on pay-per-view, Super Crazy defeated Carlito in a dark match.
The event began with a video package of the event and its theme, "Night of Champions," followed by opening pyrotechnics. The first match was between Lance Cade and Trevor Murdoch and The Hardys (Matt Hardy and Jeff Hardy) for the World Tag Team Championship. Cade and Matt started the match, with Matt in control. The two teams tagged in and out until Cade and Murdoch attempted to walk out of the match, but the Hardys went after them, and brought them back into the ring. Jeff attempted a Swanton Bomb onto Cade, but Murdoch interfered on Cade's behalf. Matt tried to interfere on Jeff's behalf, but was stopped by the referee. Murdoch used this as an advantage, and pushed Jeff off the turnbuckle, leading to Cade performing a powerbomb. Cade gained the pinfall on Jeff to win the match and retain the titles.
The second match was between Chavo Guerrero and Jimmy Wang Yang for the WWE Cruiserweight Championship. The match began with Yang and Guerrero locking up, followed by Yang in control through most of the match. After Yang missed a moonsault, Guerrero executed a Gory Bomb. Shortly after, Guerrero performed a Frog Splash on Yang. Afterwards, Guerrero pinned Yang to win the match and retain the Cruiserweight Championship.
The third match was between CM Punk and Johnny Nitro (who replaced the absent Chris Benoit) for the ECW World Championship. The match started off with Punk attempting a crossbody on Nitro. Nitro countered, however, and executed an enzuigiri. Nitro delivered a corkscrew neckbreaker and pinned Punk to win the match to become the new ECW World Champion.
The fourth match was between Santino Marella and Umaga for the WWE Intercontinental Championship. The match began with Umaga in control, squashing Marella. Two minutes into the match, Umaga was punching Marella uncontrollably. The referee disqualified Umaga when he refused to stop after giving a five count, and Marella retained the title. Umaga, following the disqualification, delivered a splash and a Samoan Spike to Santino.
The fifth match was between Montel Vontavious Porter (MVP) and Ric Flair for the WWE United States Championship. The match started with Flair executing a series of backhand chops to MVP. Flair kept the advantage and applied the figure four leglock. MVP countered, by executing a low blow. MVP then performed the Playmaker and pinned Flair to retain the United States Championship.
The sixth match was an open challenge by Deuce 'n Domino to any tag team for the WWE Tag Team Championship, which was accepted by Jimmy Snuka, who just happens to be Deuce's real-life father and Sgt. Slaughter. Snuka and Slaughter controlled most of the match; however, Deuce 'n Domino got the win after Deuce pinned Snuka. After the match, Deuce 'n Domino attacked Snuka and Slaughter until Tony Garea and Rick Martel came into the ring to assist Snuka and Slaughter.
### Main event matches
The seventh match was between Edge and Batista for the World Heavyweight Championship. This was a "Last Chance match", meaning if Batista lost, he could not get another shot at the World Heavyweight Championship as long as Edge was champion. Batista originally won the match by disqualification after Edge executed a low blow; however, SmackDown! General Manager Theodore Long restarted the match with the stipulation that Edge could lose the title by disqualification. Edge won the match after Batista was counted out, thus retaining the title, and with the match stipulation, Batista would be unable to challenge for the World Heavyweight Championship as long as Edge was the champion. After the match, in complete frustration, Batista attacked Edge and performed a Batista Bomb on him outside of the ring onto the ground before leaving him with the title.
The eighth match was Melina against Candice Michelle for the WWE Women's Championship. After a back and forth match, Michelle executed a spinning heel kick on Melina to win the Women's Championship.
The main event, billed as the "WWE Championship Challenge," saw John Cena defending the WWE Championship against King Booker, Bobby Lashley, Mick Foley and Randy Orton. Throughout the match, all five men gained an advantage over one-another at one or more spots. One spot in the match saw Lashley dive over the top rope onto the other four competitors. Towards the end of the match, Cena executed an FU on Lashley through an announce table. Cena won the match and retained the title after pinning Foley following an FU.
## Aftermath
The scheduled June 25 episode of Raw was going to be a three-hour memorial to "Mr. McMahon". However, due to the real-life death of Chris Benoit, the show opened with McMahon standing in an empty WWE arena, acknowledging that his reported death was only of his character as part of a storyline. This was followed by a tribute to Chris Benoit that filled the three-hour timeslot. Once the details of Benoit's actions became apparent, WWE once mentioned Chris Benoit to be removed from their website, as involved with future WWE networks and some publications.
Chavo Guerrero went on to defend the WWE Cruiserweight Championship in a Cruiserweight Open at The Great American Bash against Jimmy Wang Yang, Jamie Noble, Funaki, and Shannon Moore. Hornswoggle also entered the match at the bell, but immediately escaped the ring and hid under it. With all of the cruiserweights down, with the exception of Noble, Hornswoggle came out from under the ring and delivered a Tadpole Splash to Noble. He pinned him afterwards to win the match and the Cruiserweight Championship. Candice Michelle and Melina continued to feud over the WWE Women's Championship. The two had a rematch at The Great American Bash for the title. Michelle pinned Melina after delivering a Candy Wrapper to retain the title.
On the July 2 episode of Raw, Umaga defeated Santino Marella in a rematch to capture the WWE Intercontinental Championship. Two weeks later, Jeff Hardy defeated William Regal, Shelton Benjamin, and Santino Marella in a Fatal Four-Way Elimination match to become the number one contender to the Intercontinental Championship. At The Great American Bash, Umaga defeated Hardy to retain the title after the Samoan Spike. That same night, Bobby Lashley won a "Beat the Clock" tournament to become the number-one contender to the WWE Championship. At The Great American Bash, Lashley faced John Cena for the WWE Championship in the main event. Cena retained the title after an FU from the top rope.
On the June 26 episode of ECW on Sci Fi, CM Punk defeated Elijah Burke in a two out of three falls match to become the number one contender to the ECW World Championship. At The Great American Bash, Punk faced John Morrison (formerly known as Johnny Nitro) for the ECW World Championship. Morrison retained the title after hitting Punk with both of his knees.
On the July 6 episode of SmackDown!, Kane was named the number one contender to the World Heavyweight Championship after he appeared as the special guest on Edge's Cutting Edge segment. Edge held a celebration for himself on the July 13 episode of SmackDown!, and was attacked by Kane, who in the process legitimately injured Edge. On the July 20 episode of SmackDown!, Edge was forced to vacate the World Heavyweight Championship as a result of his injury. The Great Khali went on to win a 20-man battle royal to become the new World Heavyweight Champion. At The Great American Bash, Khali defended the title successfully against Kane and Batista in a triple threat match.
Vengeance: Night of Champions would be the final Vengeance until the event was reinstated in 2011, as WWE decided to drop Vengeance in 2008 in favor of continuing Night of Champions as its own PPV chronology. This 2007 event would also be the only Vengeance to feature the ECW brand, as it was disbanded in 2010, and it was the final Vengeance to occur during the first brand extension, which ended in August 2011, two months before the 2011 event; in April 2011, WWE ceased using its full name with the "WWE" abbreviation becoming an orphaned initialism. Additionally, this would be the only Night of Champions event, as well as the final Vengeance event, to feature the original Cruiserweight Championship, as the title was retired in September 2007, and it was the only Vengeance event to feature the ECW World Championship, and the final Vengeance event to feature the World Tag Team Championship and WWE Women's Championship, as the three titles were retired in February, August, and September 2010, respectively. Night of Champions continued as an annual PPV until its 2015 event, which was the final Night of Champions, as it was replaced by the similarly themed Clash of Champions in 2016. However, Night of Champions was reinstated in 2023.
This was also the last Vengeance event and only Night of Champions event to be in 4:3 format, as in January 2008, all WWE shows went to high definition.
## Results
### Tournament brackets
(\*) – Johnny Nitro was an impromptu replacement added by WWE due to the absence of Chris Benoit, explained on-air as being due to “personal issues". It was later discovered by local Georgia law enforcement officials that Benoit had murdered his wife and son, and then killed himself in their home.
|
[
"## Production",
"### Background",
"### Storylines",
"## Event",
"### Preliminary matches",
"### Main event matches",
"## Aftermath",
"## Results",
"### Tournament brackets"
] | 2,966 | 23,551 |
8,040,748 |
Pentachaeta bellidiflora
| 1,151,145,856 |
Species of flowering plant
|
[
"Astereae",
"Critically endangered plants",
"Endemic flora of California",
"Endemic flora of the San Francisco Bay Area",
"Natural history of San Mateo County, California"
] |
Pentachaeta bellidiflora, the white-rayed pentachaeta or whiteray pygmydaisy, is a Californian wildflower in the genus Pentachaeta of the family Asteraceae. It is included in both the state and federal lists of endangered species.
It is endemic to the San Francisco Bay Area of California, United States, and occurs only at altitudes less than 620 metres (2,034 ft). P. bellidiflora is found chiefly on rocky, grassy areas. The conservation status of this species was, as of 1999, characterized by a declining population, with a severely diminished and fragmented range. The specific bellidiflora refers to the similarity of the flowers with those of common daisies (Bellis).
## Description
Pentachaeta bellidiflora is a small annual wildflower growing from a slender taproot, which, although it appears smooth, is actually covered by fine hairs. The sparsely hairy stems may number between 6–17 cm (2–7 in) in length and are typically simple, or branching in the lower half of plant. They are erect, generally flexible, and of green to reddish color. White-rayed Pentachaeta leaves are normally narrowly linear, ciliate (fringed with hair) and green, measuring less than 4.5 cm (1.8 in) long and one millimeter wide. Upper and lower leaf surfaces are smooth.
The terminal inflorescences number four or five solitary, roughly circular heads per plant. Peduncles are wispy, with bell-shaped involucres measuring 3 to 7 millimeters, and they range from glabrous to short-haired. Like all of its genus, P. bellidiflora has green phyllaries in two to three generally equal series, lanceolate to obovate, with margins widely scarious (dry and membranous), and a naked receptacle. The yellow corollas are five-lobed, and each of the 16 to 38 disk shaped florets (per head) has linear, acute style tips. They may be slightly red-tinged underneath. Fruits are 1.5 to 3.0 millimeters in diameter and are generally compressed in an oblong to fusiform shape; they are typically covered with small hairs. The plant presents fragile pappuses with five or fewer slender bristles, slightly expanded at the base. Flowering season ranges from late March until late June. From a chromosomal standpoint, the species is diploid, (contains one set of chromosomes from each parent), and has 2n=18.
## Distribution and habitat
White-rayed pentachaeta is found in serpentine grassland as well as valley and foothill grassland. It is currently known only to survive in serpentine bunchgrass communities and native prairies in two small areas of San Mateo County, including populations in Edgewood County Park and on San Francisco Water District lands at serpentine outcrops on the eastern slopes of Crystal Springs Reservoir, in the vicinity of State Route 92. It was formerly known to occur from Marin to Santa Cruz counties. One study declares only one population remains. Prior range is defined by the following USGS maps: Soquel (387B)\* 3612188, Santa Cruz (387E) 3612281, Castle Rock Ridge (408A)\* 3712221, Big Basin (408B)\* 3712222, Davenport (408C)\* 3712212, Felton (408D)\* 3712211, Woodside (429A) 3712243, San Francisco South (448B)\* 3712264, Montara Mountain (448C)\* 3712254, San Mateo (448D)\* 3712253, San Quentin (466B)\* 3712284, San Rafael (467A)\* 3712285, Point Bonita (467D)\*.
## Conservation
As of the declaration of Federal endangerment status, the finding of the United States Environmental Protection Agency was that the total species population was sufficiently small and fragmented that it was subject to stochastic extinction. Recent habitat destruction by urban development, off road vehicle use and actions of highway maintenance crews have been responsible for the severe reduction in range and viability of this species.
Population sizes vary from year to year depending on local rainfall and competition from invasive plants. In 1997, P. bellidiflora was the subject of a recovery workshop conducted by the California Department of Fish and Game, where the need for permanently protecting and managing the existing populations, and reintroduction strategies for populations into suitable protected habitat were analyzed. Management and recovery actions for the species have been addressed in the United States Federal Recovery Plan for Serpentine Soil Species of the San Francisco Bay Area, finalized in 1998.
## See also
- San Mateo thorn-mint
|
[
"## Description",
"## Distribution and habitat",
"## Conservation",
"## See also"
] | 1,030 | 30,623 |
62,979,799 |
In Praise of Polytheism
| 1,155,187,464 |
Essay by Odo Marquard
|
[
"1978 speeches",
"1979 essays",
"Criticism of Christianity",
"Criticism of rationalism",
"Essays about politics",
"German essays",
"Monotheism",
"Philosophy essays",
"Philosophy lectures",
"Pluralism (philosophy)",
"Political philosophy literature",
"Political theology",
"Polytheism",
"Technical University of Berlin"
] |
"In Praise of Polytheism (On Monomythical and Polymythical Thinking)" (German: Lob des Polytheismus. Über Monomythie und Polymythie) is an essay by the German philosopher Odo Marquard, which was held as a lecture at the Technical University of Berlin in 1978. It was first published in 1979 in an anthology, and was published again in 1981 in Marquard's book Farewell to Matters of Principle (German: Abschied vom Prinzipiellen).
The essay posits that monotheism and the Enlightenment are based on "monomythical thinking", meaning that they only allow one story. It also posits that the separation of powers and the individual have their origin in polytheism, and argues that people should embrace what Marquard calls "enlightened polymythical thinking"—the recognition of several stories in the modern world. Marquard was a professor of philosophy and proponent of scepticism and pluralism. He belonged to a part of German philosophy that viewed the issues of modernity through political theology, which associates modern political concepts with theological concepts. Some of the points in the essay have precursors in the writings of Max Weber, Erik Peterson and Friedrich Nietzsche.
"In Praise of Polytheism" has provoked discussion and controversy in Germany. An early critic was Jacob Taubes, who associated its views with far-right politics. Several humanities scholars and theologians have responded to the essay by questioning its statements about polytheism, the individual, and pluralism.
## Background
Several German-speaking philosophers in the 20th century addressed concerns about the meaning of life in the contemporary world by discussing modernity in religious terms. They were inspired by the secularisation theorem associated with Carl Schmitt and Karl Löwith, which posits that there is a continuity between theology and secular politics or science. Schmitt discussed this under the label of political theology, which he summarised by writing that "all significant concepts of the modern theory of the state are secularized theological concepts". The philosophers engaged in these discussions varied in their approaches and solutions to the problems they identified. Jacob Taubes and Gershom Scholem viewed the ancient Gnostic worldview as a precedent for modern nihilism, and embraced it; especially Taubes, who initiated discussions about modernity and Gnosticism with his book Occidental Eschatology (1947), identified as a modern Gnostic, considered the world to be illegitimate, and wished to see it end in an apocalyptic destruction. Schmitt, Eric Voegelin, Hans Jonas, Hans Blumenberg and Odo Marquard, on the other hand, wanted to legitimise the world as it is and overcome the Gnostic rejection of the world.
Marquard (1928–2015) was a professor of philosophy at the University of Giessen. He thought it was crucial to recognise human finitude, promoted philosophical scepticism and pluralism, and opposed the absolutism found in German idealism. He was against the search for first principles and foundational philosophies, because he was convinced they inevitably end up in conflict with a reality that will fail to meet their demands. Without a monopolistic power in the form of a founding principle, Marquard thought the individual will be able to live in contingency and in freedom, because there is a plurality of possibilities.
Marquard believed a lack of meaning in the modern world had resulted in cultural and intellectual decay, and that the solution was to rediscover systems of meaning from the ancient world, notably polytheism. His intellectual combination of modernity and polytheism was preceded by the sociologist Max Weber, who in the 1910s had written that life in the modern world, with its different choices and ultimate subordination to fate, could be understood as a form of disenchanted polytheism. Weber wrote that this situation made ancient Greece a suitable place to look for models for a modern way of life. Another precursor was the Christian theologian Erik Peterson, who had discussed the possibility of polytheism as a political theology in his essay "Monotheism as a Political Problem" (1935). Marquard adopted Friedrich Nietzsche's view that the end of religious monotheism marked the beginning of modernity.
## Summary
Marquard's essay "In Praise of Polytheism" argues that human consciousness has never undergone a process of demythologisation. The author fundamentally agrees with Claude Lévi-Strauss', Blumenberg's and Leszek Kołakowski's positions on myths, and writes that the story of demythologisation is itself a myth. Marquard argues that myths are stories, and not primitive precursors to knowledge; knowledge is about finding truths, and storytelling is how humans engage with known truths in their lifeworld. From this he concludes that new knowledge will only lead to new myths. He compares the changing of myths to the changing of clothes and writes that the Enlightenment was not a "striptease"; "mythonudism" is not possible.
The essay posits that myths can be harmful or wholesome: monomythical thinking—allowing only one story—is harmful because it causes narrative atrophy; conversely, polymythical thinking is a separation of powers, where different stories keep each other in check and the "manifoldness" of each individual can exist. According to Marquard, the chief example of a monomyth is that of world history as progress toward emancipation. This myth emerged in the mid-18th century philosophy of history and turned "histories" into the singular "history". Marquard calls it the second end of polymythical thinking; the first was the end of religious polytheism. Although the Christian Trinity may be polytheistic, the salvation story is monotheistic and ends in nominalistic "storylessness".
The emancipation story, writes Marquard, emerged as a failed attempt to secularise the salvation story. Like its precursor, it is a story about how humans will cease to be subject to myths, but eventually became a new mythology itself. After the new mythology emerged, an uneasiness about the monomyth began to show. It expressed itself as an increased interest in the exotic, which included classical antiquity, orientalism, and the Germanic mythology in Richard Wagner's works. In his contemporary West, Marquard regards Maoism, tourism, and structural ethnology as examples of the same "mythological orientalism". Marquard argues that this countermovement never will offer a solution, because it merely submits exotic mythology to the monomyth of progress and thereby confirms its domination.
Marquard says the true solution is "enlightened polymythical thinking": the modern world began when monotheism was disenchanted, which also led to the "disenchanted return of polytheism" in the form of the political separation of powers and the reemergence of the individual; the latter had existed under the separation of powers of ancient polytheism, before it was formulated under the threat from monotheism. Marquard believes when people recognise that myths are stories, it becomes possible to identify modern polymythical thinking, which exists in fields like the scientific study of history and in novels. For philosophy to break with the monomyth, he argues, it must allow dissent and tell stories again, defying charges of relativism and scepticism.
## Publication history
Marquard gave "In Praise of Polytheism" as a lecture at the Technical University of Berlin on 31 January 1978 as part of the colloquium Philosophie und Mythos (lit. 'Philosophy and myth'). It appeared as an essay in a 1979 anthology named after the colloquium, published by Walter de Gruyter. It was included in Marquard's essay collection Farewell to Matters of Principle (German: Abschied vom Prinzipiellen), which was published in German by Reclam in 1981 and translated into English by Robert M. Wallace in 1989 through the Oxford University Press, and in Zukunft braucht Herkunft (), published by Reclam in 2003 as a selection of Marquard's most important texts.
Marquard continued his arguments in the text "Aufgeklärter Polytheismus—auch eine politische Theologie?" (lit. 'Enlightened polytheism—also a political theology?') which was published in a 1983 anthology about the legacy of Schmitt. He discussed his views on polytheism as a requisite for freedom and individuality in the 1988 essay "Sola divisione individuum—Betrachtung über Individuum und Gewaltenteilung" (lit. 'Individual by separation alone—considerations on the individual and separation of powers'), which was presented at the 13th colloquium of the research group Poetik und Hermeneutik [de].
## Reception
"In Praise of Polytheism" is cited in many German philosophical works but has been at the centre of discussion and controversy. According to Burkhard Gladigow, the opposition it faced became intense because Marquard proposed polytheism as a political solution. Gladigow wrote that the strong reaction to the subject resulted from a eurocentric and academic perspective, because among the world's population, only a minority adheres to nominally monotheistic religions. Within even those religions, monotheism is only one of several elements that inform the religious practice.
In 1983, Taubes published a response to "In Praise of Polytheism" where he wrote that Marquard should ask himself if he had not outlined a "philosophical choreography" for present-day "Kosmiker"; with this he referred to a group of mystics and neopagans with blood and soil tendencies, active in Munich at the turn of the 20th century. Taubes said the essay produces a mythical mindset rather than describes one, and that "recourses to myth post Christum are really just repetitions of Julian's apostasy". He connected Marquard's project to Alain de Benoist's book On Being a Pagan (1981) and thereby associated it with the neopaganism of the far-right Nouvelle Droite movement in France.
Taubes dismissed the idea that polytheism is the seed to the individual and the separation of powers. He pointed to the neo-Kantian philosopher Hermann Cohen, who argued that the ego or soul originated with a development away from the "mythico-tragic view" of polytheism, and that this can be observed in Ezekiel 18. Richard Faber, a sociologist working in the tradition of the Frankfurt School, critiqued "In Praise of Polytheism" in 2007 and also rejected Marquard's argument about polytheism. Faber described the polytheism of ancient Greece as a self-destructive "oligotheism"—a theological oligarchy—that was destined to fail, and wrote that "pluralism has long become integralism (or rather: corporatism)".
Faber compared "In Praise of Polytheism" to Blumenberg's book Work on Myth (1979) and wrote that Marquard, by openly embracing polytheism as political pluralism, "explicates what Blumenberg only implies". In 2016, Stefanie von Schnurbein grouped Marquard's essay with texts written by Botho Strauß and Martin Walser in the 1990s. She wrote that the three authors share a "post-modern, post-structuralist and post-colonial impulse, which posits a logic of difference against a unifying, colonializing logic of sameness". Due to the nationalist implications of Strauß' and Walser's texts, Schnurbein wrote that "Taubes' early critique of Marquard is not as far-fetched or one-sided as it might have seemed at the moment of its publication in 1983".
From a Christian perspective, the Roman Catholic theologian Alois Halbmayr [de] wrote his 1998 doctoral dissertation as a response to Marquard's writings about polytheism and monotheism. Halbmayr argued that the separation of powers that Marquard requests can be found in the Christian concept of the Trinity, and that Marquard engages in wishful thinking when he presents polytheism as a guarantee for freedom. Halbmayr called for resumed critical discussions about hope and ethics within the theology and philosophy of history, where the separation of powers should be kept in mind. The Lutheran theologian Klaus Koch wrote that "In Praise of Polytheism" is written in a "noble-philosophical diction" with the effect that "you don't know to what extent the matter is meant as serious", or if Marquard had been inebriated when he conceived it.
## See also
- Criticism of rationalism
- Religious pluralism
- Secular paganism
|
[
"## Background",
"## Summary",
"## Publication history",
"## Reception",
"## See also"
] | 2,709 | 22,624 |
46,766,249 |
Bad Rats
| 1,166,339,947 |
2009 video game
|
[
"2009 video games",
"Indie games",
"Puzzle video games",
"Single-player video games",
"Strategy First games",
"Video game memes",
"Video games about mice and rats",
"Video games developed in Brazil",
"Video games with 2.5D graphics",
"Windows games",
"Windows-only games"
] |
Bad Rats: The Rats' Revenge is a 2009 puzzle video game developed by Invent4 Entertainment. Over a string of levels, the player places a set of rats and static objects to guide a ball towards a trap that kills a cat. Bad Rats was released as Invent4 Entertainment's debut game on 20 July 2009 via Steam, followed by releases on other services in 2010. While it received no reviews at release, retrospective pieces criticised the game's graphics, puzzles, and physics. Bad Rats is considered an oddity for being released on Steam while the platform's catalogue was still hand-curated. It became a popular gag gift on Steam, leading to more than 400,000 owners by 2018. A sequel, Bad Rats Show, was released on the seventh anniversary of Bad Rats in 2016.
## Gameplay
Bad Rats is a physics-based puzzle video game in a style similar to The Incredible Machine and Armadillo Run. In each level, the player is tasked with arranging (by moving and rotating) a set of rats and static objects in a way that steers a ball towards a trap. The ball's touch causes the trap to activate, killing the nearby cat. The game offers a tutorial and two modes: In the "Easy" mode, the inventory is limited and the solution to each level can be displayed. The "Expert" mode provides the entire inventory, including all ten kinds of rats, and no solutions. Hints for each level are available in both modes.
## Development and release
Bad Rats was developed by Invent4 Entertainment, an indie game studio based in Porto Alegre. It was the company's first game, after it was founded by Augusto Bülow on 4 April 2009. Bülow provided the concept for the game and acted as its programmer and level designer. Carlos Alberto Kunkel Bülow designed the 3D models and their animations, while graffiti imagery was provided by Mateus "Mes" Silva Brum. Additional art was created by Gustavo Bülow, and music and sound design done by Márcio Stein.
A demo of Bad Rats was released through Invent4 Entertainment's website on 20 May 2009. This demo was downloaded more than 20,000 times by August that year, and an updated version was published in November. Bad Rats was released via Steam on 20 July 2009. It was made available through Invent4 Entertainment's website in January 2010, as well as GamersGate and Direct2Drive in February 2010. In April that year, the company announced partnerships that would see Bad Rats (and future games) released by Strategy First in North America, by Akella in Russia, and by Micromedia in the Netherlands.
## Reception
Bad Rats received no reviews indexed by the review aggregator website Metacritic. In a 2015 retrospective, Nathan Grayson of Kotaku stated that the game remained the worst game available on Steam. In particular, he criticised the game's "shoddy" puzzles and "inconsistent" physics. This sentiment was echoed by Max Scoville and Brian Altano of IGN later that year. In 2018, Adam Heron of Hardcore Gaming 101 described Bad Rats as "possibly ... the worst physics-based puzzle game of all time". He criticised the "hideous, grungy urban art direction" and its low-quality textures, and described the improper physics as the game's "fatal flaw", especially due to the randomness applied to scenarios Heron believed should be static. He further faulted the game's user interface, which he considered unfriendly and unintuitive. Richard Cobbett and Wes Fenlon of PC Gamer included the cover art of Bad Rats in their list of the "worst PC game box art ever", calling it a "monstrosity".
## Legacy
According to Grayson, Bad Rats was an oddity on Steam when it was released, as the platform's catalogue was still hand-curated by its owner, Valve, before the launch of the Steam Greenlight programme in 2012. Augusto Bülow stated that Bad Rats only became popular several years following its release, after negative reviews by popular YouTubers turned attention toward the game. Bad Rats became an internet meme and was frequently used as a gag gift by Steam users. Many users penned sarcastic positive reviews, resulting in an on-average positive review score for the game. In a 2016 interview, Bülow said that he was happy with this situation, saying that, because Bad Rats had been "planned to be funny", "If people are laughing while playing the game, that's fine. The game reached its objectives." In July 2018, based on leaked Steam player counts, Bad Rats was estimated to have 476,787 unique players on the platform.
According to Bülow, a sequel to Bad Rats was planned from the outset, originally with the intent to include dogs alongside cats. A second Bad Rats game was teased through videos, starting in December 2014, and announced as Bad Rats Show in a trailer during E3 2016. It was released on 20 July 2016, the seventh anniversary of Bad Rats. Bülow presented an in-development mobile version of Bad Rats, designated the Pocket Edition, in September 2017. In December 2019, he announced Bad Rats 3. The game was intended to be released on Bad Rats' fourteenth anniversary—20 July 2023—but missed this target.
|
[
"## Gameplay",
"## Development and release",
"## Reception",
"## Legacy"
] | 1,150 | 19,642 |
17,429,397 |
The Gambia at the 2008 Summer Olympics
| 1,094,219,467 | null |
[
"2008 in Gambian sport",
"Nations at the 2008 Summer Olympics",
"The Gambia at the Summer Olympics by year"
] |
Gambia took part in the 2008 Summer Olympics, held in Beijing, China from 8 to 24 August 2008. It was Gambia's seventh appearance in the summer Olympics since its debut in 1984. The Gambia team included three athletes; runners Suwaibou Sanneh and Fatou Tiyana as well as boxer Badou Jack. Jack, a middleweight at his first Olympics, was selected as flag bearer for both the opening and closing ceremonies. None of the Gambia athletes progressed further than the qualifying heats.
## Background
Gambia had participated in six previous Summer Olympics, between its debut in the 1984 Summer Olympics in Los Angeles, United States and the 2008 Summer Olympics in Beijing. At its debut, the country sent ten athletes to the games, all of whom competed in athletics. As of 2012, 10 remains the largest number of Gambian athletes participating in the summer games. No Gambian has ever won a summer Olympics medal. Three athletes from Gambia were selected to compete in the 2008 Olympics: Suwaibou Sanneh in the men's track and field 100 metres, Fatou Tiyana in the women's track and field 100 metres and Badou Jack in the men's middleweight boxing competition.
## Athletics
At the 2008 Olympics, Gambia was represented by one male athlete in athletics, 100 metres sprinter Suwaibou Sanneh. At age 17, Sanneh was the country's youngest competitor, and was competing at his first Olympics. He competed on 15 August in Beijing, and finished 5th out of 8 in heat eight. His time of 10.52 seconds placed him 46th out of 80 competitors overall. The fastest athlete was Tyrone Edgar (10.13 seconds) and the slowest athlete that progressed to the semi-finals was Uchenna Emedolu (10.46 seconds). Youssouf, who was 0.06 seconds behind Emedolu, did not progress to the semi-finals.
Competing at her first Olympics, Fatou Tiyana was the only female competing in the track and field events at the 2008 Summer Olympics for Gambia. She competed in the 100 meters on 19 August. Tiyana was drawn into heat seven for the event. She ran a personal best time of 12.25 seconds and finished seventh in her heat, 0.92 seconds behind the winner, Ivet Lalova. She finished 58th out of 85 athletes overall and was 2.55 seconds faster than the slowest athlete, Robina Muqimyar. Tiyana was 1.12 seconds behind the fastest athlete (Oludamola Osayomi) and 0.60 seconds behind the slowest athlete who progressed to the semi-finals, Thi Huong Vu. Therefore, Tiyana did not progress to the semi-finals.
Men
Women
## Boxing
Gambia's only boxer at the Beijing Olympics, Badou Jack, qualified in the middleweight class at the second African continental qualifying tournament. Jack competed at age 24 and was Gambia's oldest competitor. He was selected as the Gambian flag bearer for the opening ceremony. His first fight was against Indian Vijender Singh. Kumar won the fight 13-2 and Jack was eliminated from the competition.
|
[
"## Background",
"## Athletics",
"## Boxing"
] | 694 | 4,003 |
11,189,835 |
Mark Stimson
| 1,172,720,873 |
Footballer; football manager (born 1967)
|
[
"1967 births",
"Association football coaches",
"Barnet F.C. managers",
"Barnet F.C. players",
"Canvey Island F.C. players",
"England men's semi-pro international footballers",
"English Football League managers",
"English Football League players",
"English football managers",
"English men's footballers",
"Footballers from Plaistow, Newham",
"Gillingham F.C. managers",
"Gillingham F.C. players",
"Grays Athletic F.C. managers",
"Grays Athletic F.C. players",
"Hornchurch F.C. managers",
"Isthmian League players",
"Kettering Town F.C. managers",
"Leyton Orient F.C. players",
"Living people",
"Men's association football midfielders",
"National League (English football) managers",
"Newcastle United F.C. players",
"Player-coaches",
"Portsmouth F.C. players",
"Southend United F.C. players",
"Stevenage F.C. managers",
"Thurrock F.C. managers",
"Thurrock F.C. players",
"Tottenham Hotspur F.C. players",
"Waltham Abbey F.C. managers"
] |
Mark Nicholas Stimson (born 27 December 1967) is an English former footballer and currently manager of Grays Athletic. He signed his first professional contract with Tottenham Hotspur in 1985, but was unable to gain a regular place in the team. In 1989, he moved on to Newcastle United, where he made over 80 appearances in the Football League. He later played for Portsmouth, Southend United and Leyton Orient before dropping into non-League football.
He was appointed manager of Grays Athletic in 2002 and remained in charge until 2006 when he took over as manager of Stevenage Borough. He led Grays to victory in the Final of the FA Trophy in 2005 and 2006, and repeated the feat with Stevenage in 2007. In November 2007, he became manager of a Football League team for the first time when he took over at one of his former clubs, Gillingham, but he was unable to prevent the club's relegation from League One at the end of the 2007–08 season. He led Gillingham back into League One the following season via the League Two play-off final, but his contract was terminated after the team were relegated back to League Two the following season. On 1 June 2010, Stimson was appointed as the new manager of League Two club Barnet, but he was sacked on New Year's Day 2011 with the club near the bottom of the table. He later had a spell as manager with Conference club Kettering Town. He led Hornchurch to the 2021 FA Trophy Final at Wembley Stadium, beating Hereford 3–1.
## Playing career
Born in Plaistow in east London, Stimson played for the Essex county representative football team and was on the books of Queens Park Rangers, before joining Tottenham Hotspur on an apprenticeship in July 1984. A year later, he signed his first professional contract, at the age of 17. He made his Football League debut against Everton in May 1987, but struggled to gain a place in the first team, and was sent to Leyton Orient on loan in March 1988, where he played ten times. During the following season, he was loaned out again, this time to Gillingham, whose manager, Keith Burkinshaw, had worked with him at Tottenham. Stimson made 18 appearances for the Kent-based club and, although he was unable to help the team avoid relegation from the Third Division, his contribution impressed the fans, who voted him into second place in the club's player of the year ballot.
At the end of the 1988–89 season, Stimson was transferred to Newcastle United, then in the Second Division, for a fee of £200,000. He spent four years with the club and finally gained a regular first team place, making over 80 appearances. After Kevin Keegan took over as manager, however, Stimson found himself out of favour and he had a short spell on loan to Portsmouth in December 1992, which led to a £100,000 transfer at the end of that season. He made over fifty appearances for Portsmouth but was also loaned out again, this time to Barnet during the early part of the 1995–96 season. In March 1996, he was transferred to Southend United for a fee of £25,000. His first season at the club was affected by a long lay-off due to injury, meaning that he did not play between August and November, but he ultimately made over 50 Football League appearances for the club. During his time at Roots Hall the club suffered two consecutive relegations, dropping from the First Division into the Second Division in 1997 and from there into the Third Division in 1998. In March 1999, having not played for Southend since the previous November, he returned to former club Leyton Orient on a free transfer. He played for the club in the semi-finals of the play-offs, but was restricted to an appearance as an unused substitute in the final, which Orient lost.
Prior to the 1999–2000 season, Stimson spent a short period on trial at another of his former clubs, Gillingham, but manager Peter Taylor decided against offering him a contract and he instead joined Isthmian League club Canvey Island. He helped the "Gulls" win the FA Trophy in the 2000–01 season, setting up the only goal and winning the man of the match award in Canvey's 1–0 defeat of Forest Green Rovers in the final. He was also selected to play for the England National Game XI, the national team for semi-professional players, earning one cap against an equivalent team from the United States. He left Canvey in May 2002 to join Grays Athletic as player-coach.
## Managerial career
In September 2002, Stimson took over as manager of Grays after the sacking of Craig Edwards, initially as caretaker manager, but after leading the team to its first victory of the season, he was quickly given the job on an ongoing basis. Despite the signing of a number of former top-level players, such as Carl Leaburn and Jason Dozzell, the team escaped relegation by only one point. The following season, however, boosted by a switch to full-time professional status and helped by the goals of Freddy Eastwood, Grays finished in 6th place, sufficient to gain a place in the newly formed Conference South for the 2004–05 season. Grays won the Conference South at the first attempt by a margin of 23 points, thus achieving promotion to the Conference National, the top level of non-league football, for the first time in their history. In the same season, Stimson also led Grays to the FA Trophy Final, where the team beat Hucknall Town in a penalty shoot-out. Grays reached the FA Trophy Final again in the following season, and claimed a second successive win after a 2–0 victory over Woking at Upton Park. In the Conference, Grays finished in third place and qualified for the play-offs for promotion to the Football League, but lost to Halifax Town in the semi-finals.
Citing his disappointment at failing to gain promotion, Stimson resigned from his post at Grays on 16 May 2006. He stated that at the time he had received no firm job offers from other clubs, and acknowledged that he was taking a gamble with his career, but said that if he was unable to find a new job as a manager he would move into youth coaching or open his own football school. He was linked with the managerial vacancy at League Two Peterborough United, but eventually took over as manager of Stevenage Borough on 28 May, and led the club to an eighth-place finish in the Conference National in his first season in charge. Stevenage also defeated Stimson's former club Grays to reach the FA Trophy final, and beat Kidderminster Harriers 3–2 at the new Wembley Stadium in the final, giving Stimson a third consecutive Trophy win as a manager.
In the early part of the 2007–08 season, speculation began to mount that Stimson would be approached to take over as manager of a Football League club, with Gillingham, Port Vale and Millwall all alleged to be interested in his services. He was offered a new contract by Stevenage on 16 October 2007, but resigned the following day. On 1 November, he was appointed as the new manager of Gillingham, and quickly moved to sign a number of Stevenage players, including Adam Miller and John Nutter. He was unable to recreate his previous success, however, and at the end of the 2007–08 season Gillingham were relegated from League One. He was also criticised by departing player Aaron Brown, who acknowledged that Stimson had strong coaching skills but described his man-management as "shocking". The following season the Gills finished fifth in League Two and beat Shrewsbury Town 1–0 in the play-off final at Wembley Stadium to gain promotion, but in the 2009–10 season Gillingham were relegated back to League Two, after which Stimson's contract was terminated "by mutual consent" on 10 May 2010.
On 1 June, Stimson was appointed as the new manager of League Two club Barnet, but was sacked seven months later on 1 January 2011 due to a bad string of results which left the club near the bottom of the table. Towards the latter stages of the 2010–11 season, Stimson accepted a coaching role at Dagenham & Redbridge. After a brief spell at Dagenham, he was appointed manager of Conference National club Kettering Town on 7 September 2011. On 4 January 2012, Stimson left Kettering with the team placed in the Conference relegation places. Four months later he was appointed manager of Thurrock following the club's relegation to the Isthmian League. At the age of 49, Stimson was registered as a player again for the 2017–18 season and named himself as a substitute on a number of occasions.
On 10 May 2018, after leaving Thurrock as a result of the club folding, Stimson was appointed manager of Waltham Abbey. In November of the same year, however, he resigned in order to take over as manager of AFC Hornchurch. He led the club to the 2021 FA Trophy Final at Wembley Stadium, beating Hereford 3–1.
After leaving Hornchurch at the end of the 2022–23 season, Stimson returned to Grays Athletic for the upcoming season.
## Personal life
Stimson is married, and when he returned to former club Grays Athletic as manager of Stevenage Borough in 2007, he and his wife were praised for visiting the clubhouse after the game to chat to home supporters. He has three children, including a son, Charlie, who in 2008 joined Gillingham's youth team, but turned down the offer of a professional contract in 2010 after his father's dismissal from the manager's job. In 2000, Stimson presented his Essex Senior Cup winner's medal to a disabled Canvey Island fan, saying "it's easy to forget the fans who come along and support us, often in pouring rain."
## Managerial statistics
## Honours
### As a player
- 2000–01: FA Trophy winner – Canvey Island
### As a manager
Grays Athletic
- Conference South champions: 2004–05
- FA Trophy: 2004–05, 2005–06
Stevenage
- FA Trophy: 2006–07
Gillingham
- League Two play-off winners: 2008–09
Thurrock
- Isthmian Division One North play-off winners: 2016–17
Hornchurch
- FA Trophy: 2020–21
|
[
"## Playing career",
"## Managerial career",
"## Personal life",
"## Managerial statistics",
"## Honours",
"### As a player",
"### As a manager"
] | 2,300 | 11,690 |
56,956,930 |
Al-Adil ibn al-Sallar
| 1,148,074,387 |
Fatimid commander and official (died 1154)
|
[
"1153 deaths",
"12th-century Kurdish people",
"12th-century people from the Fatimid Caliphate",
"Assassinated heads of government",
"Crusader–Fatimid wars",
"Generals of the Fatimid Caliphate",
"Governors of the Fatimid Caliphate",
"Muslims of the Crusades",
"Viziers of the Fatimid Caliphate"
] |
Abu'l-Hasan Ali al-Adil ibn al-Sallar or al-Salar (Arabic: أبو الحسن علي العادل ابن السلار, romanized: Abu’l-Ḥasan ʿAlī al-ʿĀdil ibn al-Sallār; died 3 April 1154), usually known simply as Ibn al-Sal[l]ar, was a Fatimid commander and official, who served as the vizier of Caliph al-Zafir from 1149 to 1154. A capable and brave soldier, Ibn al-Sallar assumed senior gubernatorial positions, culminating in the governorship of Alexandria. From this position in 1149 he launched a revolt, along with his stepson Abbas ibn Abi al-Futuh. Defeating the army of the then vizier, Ibn Masal, he occupied Cairo and forced the young Caliph al-Zafir to appoint him vizier instead. A mutual disdain and hatred bound the two men thereafter, and the Caliph even conspired to have Ibn al-Sallar assassinated. During this tenure, Ibn al-Sallar restored order in the army and strove to halt Crusader attacks on Egypt, but with limited success. He was assassinated at the behest of his ambitious stepson Abbas, who succeeded him as vizier.
## Early life
Of Kurdish origin, Ibn al-Sallar grew up in Jerusalem, where his father was in the service of the local Artuqid governors. Al-Adil became a follower of the Shafi'i school of Sunni Islam.
Following the brief Fatimid recovery of Jerusalem in 1098, Ibn al-Sallar's father was kept in his position, and Ibn al-Sallar himself received his first official post, as commander of the elite mounted battalion (ṣubyān al-ḥajar) belonging to the Fatimid army. Ibn al-Sallar distinguished himself in battle against the Crusaders, beginning a career that led him to the governorships of Upper Egypt, al-Buhayra, and Alexandria. In the latter post, he met Bullara, the widow of a Zirid prince who had died in exile in the city. To further his political ambitions, he soon married Bullara, and raised her son Abbas ibn Abi al-Futuh as his own.
## Vizierate
At the time of the death of Caliph al-Hafiz in October 1149, Ibn al-Sallar was governor of Alexandria, and his stepson Abbas was governor of the neighbouring district of al-Gharbiyya. Ibn al-Sallar had hoped to be named vizier by the new ruler al-Zafir, but the latter chose Ibn Masal instead. Infuriated, Ibn al-Sallar refused to accept the appointment, and together with Abbas conspired against Ibn Masal. When al-Zafir learned of this plot, he called upon assistance from the grandees of the realm in support of Ibn Masal, but they proved unwilling to. In the end, the Caliph provided Ibn Masal with his own funds to hire mercenaries for action against Ibn al-Sallar. Ibn al-Sallar entered Cairo on 10 December, and installed himself in the vizier's palace. For the moment al-Zafir was forced to submit to the new strongman, appointing him vizier and conferring him the honorific titles al-Malik al-ʿĀdil ("righteous ruler"), al-Sayyid al-ʿAjal ("most noble master"), Amīr al-Juyūsh ("commander of the armies"), Sharaf al-Islām ("glory of Islam"), Kafī Quḍāt al-Muslimīn ("protector of the Muslims' qāḍīs"), and Hādī Duʿāt al-Muʾminīn ("guide of the believers' missionaries").
His position was not yet secure, as Ibn Masal was among the tribes of Upper Egypt, trying to raise additional troops. Furthermore, the Caliph was unreconciled to the new situation, and conspired to have Ibn al-Sallar killed. In retaliation, in January 1150 Ibn al-Sallar gathered the caliphal guard (ṣibyān al-khāṣṣ), an elite corps of cadets comprising the sons of high dignitaries and officials, and executed most of them, sending the rest to serve on the empire's frontiers. He then sent an army under his stepson Abbas, along with Tala'i ibn Ruzzik, to confront Ibn Masal and his ally, Badr ibn Rafi. The two armies met in battle at Dalas in the province of Bahnasa on 19 February 1150, in which Ibn Masal was defeated and killed. Abbas brought his severed head back to Cairo as a token of victory.
Unsurprisingly, the relationship between caliph and vizier remained extremely hostile: according to Usama ibn Munqidh, the two despised each other, with the Caliph conspiring to kill Ibn al-Sallar, and the latter seeking to depose the Caliph. The mutual hatred of both men was only kept in check by the grave external threats faced by the empire from the Crusader Kingdom of Jerusalem. Ibn al-Sallar entertained the notion of an alliance and joint action with the Zengid ruler of Aleppo, Nur al-Din, but this did not come to pass, as the latter was focused on capturing Damascus at the time. Nevertheless, following the sack of Farama by the Crusaders, in 1151/2 Ibn al-Sallar mobilized the Fatimid navy to raid Christian shipping along the coasts of the Levant from Jaffa to Tripoli, Lebanon. The fleet inflicted significant casualties and returned victorious. This success strengthened Ibn al-Sallar's position domestically, but was hollow, as neither the Fatimids nor Nur al-Din followed it up; in contrast, in early 1153 the Crusaders launched an attack on the Fatimid outpost of Ascalon.
The garrison of Ascalon comprised men of the local tribe of Kinaniyya, and a 400–600 strong cavalry force sent from Cairo every six months. In March 1153, Ibn al-Sallar prepared to send reinforcements to the city, both naval and military. While the fleet was being prepared under the personal supervision of Ibn al-Sallar, the army left Cairo for Bilbays. The force was led by his stepson Abbas and Usama ibn Mandiqh. According to the historian al-Maqrizi, this mission displeased Abbas, who would much rather have continued to spend his time savouring the pleasures of Cairo. His ambition inflamed by Usama, who suggested that he could become sultan of Egypt if only he so desired, Abbas decided to kill his stepfather. The plot was hatched with the agreement of the Caliph. Abbas sent his son Nasr, a favourite of the Caliph, back to in Cairo to stay with his grandmother in the palace of Ibn al-Sallar, ostensibly to spare him from the dangers of war. During the night Nasr entered the chamber of Ibn al-Sallar and murdered him in his sleep. He then sent a message by carrier pigeon to his father, who quickly returned to Cairo to claim the vizierate for himself, showing Ibn al-Sallar's severed head to the populace assembled before the Bab al-Dhahab gate. Abandoned to its fate, Ascalon fell to the Crusaders in August 1153.
Neither Abbas nor al-Zafir survived for long. Al-Zafir was killed by Nasr in April 1154 and replaced by his five-year old son, al-Fa'iz bi-Nasr Allah. When Abbas executed two of al-Zafir's brothers, the remaining Fatimid princes appealed to Tala'i ibn Ruzzik for aid. Abbas and Nasr were forced to flee to Syria, where Abbas was killed, while Nasr was captured by the Crusaders and handed back to the Fatimids for execution.
## Legacy
Historian Thierry Bianquis assesses Ibn al-Sallar as "a man of no discernible qualities whatsoever", whose greed led to "brutal and vindictive crimes", described in some detail by the chroniclers Ibn Zafir and Ibn Muyassar. These had made him widely unpopular, so that his murder was welcomed at the time.
As vizier, Ibn al-Sallar raised the pay of the army, restoring its order and discipline, and reactivated the Fatimid fleet, for the first time since 1125; unlike the army, the fleet showed itself to be an effective force during this period. Ibn al-Sallar was also active in promoting Sunni Islam in Egypt, against the Isma'ili doctrine espoused by the Fatimids: he ordered the construction of a Shafi'i madrasa in Alexandria, known as al-Adiliyya and completed in 1151/2, and may have been responsible for the appointment of the Shafi'i Abu'l-Ma'ali ibn Jumay al-Arsufi as chief qāḍī of Egypt. He was also responsible for commissioning a number of other buildings, including several mosques and madrasas.
His rise to power and downfall mark the beginning of the end for the Fatimid state: from al-Zafir on the caliphs were underage youths, sidelined and mere puppets at the hands of the strongmen who vied for the vizierate. This power struggle between generals and viziers dominated the last decades of the Fatimid state, until its takeover by Saladin in 1171.
|
[
"## Early life",
"## Vizierate",
"## Legacy"
] | 2,068 | 13,426 |
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