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26,110,728	Battle of Ciudad Juárez (1911)	1,147,050,003	Battle during the Mexican Revolution	[ "1911 in Mexico", "1911 in Texas", "April 1911 events", "Battles of the Mexican Revolution", "Battles of the Mexican Revolution involving the United States", "History of Ciudad Juárez", "May 1911 events" ]	The First Battle of Ciudad Juárez took place in April and May 1911 between federal forces loyal to President Porfirio Díaz and rebel forces of Francisco Madero, during the Mexican Revolution. Pascual Orozco and Pancho Villa commanded Madero's army, which besieged Ciudad Juárez, Chihuahua. After two days of fighting the city's garrison surrendered and Orozco and Villa took control of the town. The fall of Ciudad Juárez to Madero, combined with Emiliano Zapata's taking of Cuautla in Morelos, convinced Díaz that he could not hope to defeat the rebels. As a result, he agreed to the Treaty of Ciudad Juárez, resigned and went into exile in France, thus ending the initial stage of the Mexican Revolution. ## Background Diaz's 34-year dictatorial rule met with much opposition, which finally coalesced around the leadership of Francisco Madero. Madero had escaped from prison and, while in exile in the US in November 1910, called for an uprising against Díaz. In the northern state of Chihuahua the call was answered by trader, miner and arms smuggler Pascual Orozco and the "social bandit" Pancho Villa, both of whom began guerrilla operations against Díaz's troops. Encouraged by Villa's and Orozco's actions, as well as the outbreak of the Zapatista rebellion in Morelos, Madero crossed back into Mexico in February 1911. After a few minor engagements with units of Diaz's army, Madero, Orozco and Villa decided to attack the federal garrison at Ciudad Juárez. If they could take the city, they would control traffic between Mexico and the US. Furthermore, such a major success by the revolutionaries could very well be the final push that would knock over the Porfiriato. At the same time the attack on the city would mark the first time that the revolutionary army would confront federal forces in a regular battle rather than relying on guerrilla tactics. While the fusion of Madero's, Villa's and Orozco's men did result in a number of troops sufficient to form a force capable of fighting professional soldiers in pitched encounters, the federal troops still had the advantage in terms of training and discipline. The government, in fact, had a good chance of squashing the rebels by moving troops down from the state capital of Ciudad Chihuahua and capturing Madero in a pincer movement. However, the Díaz-appointed governor of the state, Miguel Ahumada, was worried that if the soldiers abandoned the capital unrest would break out and the insurrection would spread. As a further sign of the apparent demoralization of federal rank-and-file soldiers (many of whom had been forcibly conscripted and actually sympathized with the revolutionaries), the troops in Ciudad Chihuahua decided to stay put. ## The battle ### Run-up engagements Madero sent some of his forces to make a diversionary attack on Agua Prieta, which proved successful; the resulting First Battle of Agua Prieta was significant in that it was the first time railroads were used by the rebels to gain surprise and that US forces were involved in the fighting. The town was recaptured by federal troops two weeks later once additional reinforcements arrived. The main rebel offensive occurred on April 7, when Madero led 1,500 men to Ciudad Juárez, preceded by Villa and Orozco with 500 men each, alongside American mercenaries led by Captain E.L Holmdahl and Captain Linderfeldt the latter of whom would later complain of lack of promised wages by Madero. Along the way the insurrectionists captured Temosachi and Bauche, which greatly raised their morale. Ciudad Juárez, defended by 700 troops, was surrounded on three sides, with the only possible exit route for the besieged federales being the northern path into El Paso and the US. Despite the fact that the revolutionaries had cut off the water supplies into town and the garrison was low on ammunition, its commander, Gen. Juan J. Navarro, refused to surrender, convinced that the inexperience of the rebels in laying sieges would allow him to hold out. ### Villa and Orozco disobey Madero At this point Díaz tried to come to terms with Madero, particularly after the capture of Cuautla by the Zapatistas in south-central Mexico. Together with his finance minister and main advisor, José Yves Limantour, Díaz planned to make concessions to the fairly moderate Madero and, once Madero was pacified, crack down hard on the more radical elements among the rebels. A truce was agreed to on April 23. While Madero was ready to negotiate with Díaz and hold off from attacking, Villa and Orozco would have none of it. On May 8 the two generals launched an assault on the city without consulting Madero and blamed it on a "spontaneous" outbreak in fighting. The incident that served as an excuse for the offensive occurred when a federal officer insulted a female rebel on a bridge between Ciudad Juárez and El Paso. Madero attempted to halt the violence but Orozco and Villa pressed on. Both of them went to great lengths to avoid Madero so they wouldn't have to disobey a direct order. Even when Villa was eventually confronted by Castulo Herrera with explicit instructions to stop fighting, he simply ignored him. Likewise, when Madero finally managed to see Orozco in person, he was simply told that the battle was already raging and it was too late to stop it. Navarro, for his part, pressured by Madero, tried to keep the ceasefire for as long as he could. This proved to be quite costly to the defenders. The rebel forces captured the outer defenses of the city unopposed, as no federal officer was willing to countermand the orders to hold fire. Instead, the troops withdrew deeper into the city. Orozco attacked in the north and Villa in the south. Both of them led their troops parallel to the US border so that neither their shots, nor those of the town's garrison were likely to cross on to the American side. In fact, several thousand American civilians had gathered in El Paso in order to watch the struggle as spectators. ### Unconventional attack The rebels took control of the bridges connecting the city to the US, cut off electricity and telegraph, captured the bullring and reached the outskirts of the city center (where the second line of defenses had been constructed) on the first day of fighting. Navarro, influenced by the advice of the impetuous Col. Tamborrel, turned down an offer of safe passage made by the rebels. The town was well defended and fortified, as Navarro had prepared a defense in depth with several concentric rings of trenches, barricades and fortifications. However, unknown to the defenders, the insurrectionists had with them significant supplies of dynamite and foreign experts from other guerrilla wars, including Boer Gen. Ben Viljoen and the grandson of the famous Italian revolutionary Giuseppe Garibaldi II (news dispatches from the battle also mention the participation of the future star of many Hollywood Westerns, Tom Mix). In order to counteract the formidable defenses, the rebels developed an effective strategy that managed to circumvent Navarro's well-placed machine-gun nests and street barricades. Rather than attacking through the streets, the rebels used the dynamite to blow the walls of the adobe houses that were huddled up next to each other, which allowed them to proceed through the city house by house. Another novel aspect of the offensive used by the attackers, which was extensively commented upon by American journalist Timothy Turner who was observing the battle from El Paso, was the rotation of troops that the rebels employed. Rather than attacking en masse with the whole army, Villa and Orozco had their soldiers engage the enemy for a few hours, then go back to secure positions to sleep, while other rebels took their place. As a consequence the rebel troops were always rested while the less numerous defending federal troops were forced to remain sleepless and ever vigilant. The city's defenders ran out of water on May 8 (according to a report later submitted by Madero himself) and were confined to only a few buildings in the center of the city. Most of the fighting at this point was at close quarters; as a result, the advantage in machine guns and artillery that the federals enjoyed earlier was no longer a factor. According to some accounts, Gen. Navarro's troops were on the verge of mutiny and he was worried that they would turn on his officers. To forestall that possibility, Navarro began negotiations with the rebel forces. He surrendered the town two days later, at 2:30 p.m. on May 10, 1911. ## Aftermath After capturing the town, Madero placed a garrison of Rurales in the town under the command of Holmdahl, who was named "Captain of Juárez" and then Madeo marched to Mexico City. Madero and his revolutionary movement achieved a new kind of credibility, both within Mex/ico and in the US. Some American journalists crossed the border in order to congratulate Madero personally, and reported back to American readers on the quick and efficient way that order within the city had been reestablished. ### Fall of Díaz The outcome of the battle changed the perception of the rebel movement in Mexico. Before Madero's victory many believed that the rebel forces would scatter as soon as they were confronted by federal troops. The fall of Juárez proved that notion wrong and revealed the real strength of the rebel forces. The immediate effect of the rebels' success helped convince Porfirio Díaz to agree to the revolutionaries' demand for his resignation. Prompted by Limantour, two days after the end of the battle Díaz signed the Treaty of Ciudad Juárez with Madero, and ten days after the battle he resigned and went into exile in France. This ended the first stage of the Mexican Revolution, and at the same time made it clear that even well-garrisoned troops were not invulnerable to guerrilla armies. ### Dissension among the victors A more indirect consequence arose from the disagreements that occurred between Madero and his generals Villa and Orozco. The tensions began during the battle and continued afterward. In addition to the insubordination that the two leaders showed Madero while the fighting was still ongoing, they also clashed with him afterwards over payments to their soldiers and over the appointment of Venustiano Carranza as Madero's defence minister. Carranza was a civilian who had joined the revolution at the last minute, and for these reasons was despised by Orozco. However, the immediate cause for the outbreak of the conflict among the rebels was the fate of federal Gen. Juan N. Navarro who had defended Ciudad Juárez. Both Villa and Orozco wanted him executed for his earlier killing of rebel prisoners taken by his forces. Madero opposed it, despite the fact that a court-martial of federal officers who committed war crimes was one of the main points of his manifesto. Orozco and Villa went to confront Madero, a tense situation arose and (according to Villa and other witnesses) Orozco drew his pistol on Madero. Eventually Madero escaped the predicament by appealing directly to Villa's and Orozco's troops and the two generals had to relent. Madero escorted Navarro personally across the US border to El Paso. Likewise, Carranza kept his post while Orozco in particular nursed a grudge. However, Madero did withdraw gold from the local bank and distributed it to the troops in accordance with the generals' wishes. The motivations of the three in the infighting are not completely clear. According to Friedrich Katz, Madero, in refusing to let Navarro be killed, was motivated not only by his personal humanism but also by a need to assert his civilian authority over military leaders. It also seems that Villa was mostly concerned with taking care of his soldiers and his personal hatred for Navarro, since it was his soldiers—known as Villistas—who Navarro had earlier ordered to be bayoneted. Years later, after he fell out with Orozco, Villa wrote in his memoirs that the whole episode was a set-up by Orozco, who had been paid 50,000 pesos by Díaz's agents to get him to kill Madero. While Katz and other scholars consider this assessment extreme, it is possible that Orozco, who believed he should be the rightful leader of the revolution, was trying to provoke Villa into killing Madero. That way Madero would be out of the way, Villa would be discredited among the intellectual revolutionary circles as a common bandit and Orozco could claim the mantle of leadership. In the end, however, Villa kept his cool, Madero convinced common soldiers to support him and Orozco did not have the nerve to go through with it. ### Later developments resulting from the battle Orozco remained unsatisfied with the political positions he was offered in the Madero government. He became even more angry when Madero asked him to fight Zapata in central Mexico. As a result, in March 1912—less than a year after the battle of Ciudad Juárez—Orozco formally declared himself in rebellion against Madero. He subsequently supported Victoriano Huerta in his coup d'état against Madero. After Huerta's fall Orozco went into exile in the US and was eventually killed by Texas Rangers while trying to make his way back into Mexico to start another revolt. Villa remained loyal to Madero (and even fought for him against Orozco) and contributed greatly to the fall of Huerta. However, he broke with Carranza and lost the struggle for the control of the revolution to Carranza's Gen. Álvaro Obregón.	[ "## Background", "## The battle", "### Run-up engagements", "### Villa and Orozco disobey Madero", "### Unconventional attack", "## Aftermath", "### Fall of Díaz", "### Dissension among the victors", "### Later developments resulting from the battle" ]	2,894	34,004
16,865,514	New York State Route 382	1,172,005,279	Former highway in New York	[ "Former state highways in New York (state)", "Transportation in Cattaraugus County, New York" ]	New York State Route 382 (NY 382) was a state highway in the town of Red House in Cattaraugus County, New York, in the United States. The highway was 0.8 miles (1.3 km) long and served as a connector between NY 17 and the Red House entrance of Allegany State Park, where it connected to Allegany State Park Route 2 (ASP Route 2). NY 382 was assigned in the early 1930s and removed in the early 1970s after the highway's connection to the park was dismantled, and the hamlet it served evacuated, as part of the Southern Tier Expressway's construction. The NY 382 designation is currently reserved by the New York State Department of Transportation as a replacement for NY 88 in Ontario and Wayne counties. ## Route description The western terminus of NY 382 was at an intersection with Bay State Road and NY 17 in the now abandoned hamlet of Red House, located 5 miles (8.0 km) southwest of the city of Salamanca in the town of Red House. At the time, NY 17 was routed along an at-grade highway that paralleled the future routing of the Southern Tier Expressway to the north and west. NY 382 headed southeast from the junction, passing through the center of what was then the hamlet of Red House before turning eastward ahead of Red House Brook, a small stream that branched off the nearby Allegheny River. NY 382 paralleled Red House Brook east to the Allegany State Park boundary, where the NY 382 designation ended and the highway continued east as Allegany State Park Route 2. ## History NY 382 was assigned c. 1932 to a short roadway linking NY 17 to an entrance to Allegany State Park in Red House. The route remained intact until the construction of the Southern Tier Expressway (STE) through Red House in the late 1960s and early 1970s. Unwanted tourism in Jimerson Town, a newly built settlement northeast of Red House, prompted Seneca leaders to seek ways to reduce through traffic in the settlement; to do so, the state built a trumpet interchange off the expressway where NY 382 used to be, which, coupled with the flooding of the roadway of old Route 17 to the west, effectively cut Jimerson Town off from the highway system. The construction of the highway also allowed the state to claim eminent domain over most of the hamlet of Red House, leading to the hamlet's destruction; the few remaining private residences in the town as of 2015 are located southwest of what was Route 382. When the interchange at exit 19 of the STE was constructed c. 1970, NY 382 was disconnected from Allegany State Park Route 2, which was realigned to meet the new exit (as was Bay State Road, much of which was moved to a route south of and parallel to the expressway). The NY 382 designation was removed around this time as a result. The roadway still runs from the former NY 17 (now NY 951T, which terminates near the former NY 382's end at a dilapidated bridge) to the Exit 19 on/off ramp, but due to safety concerns, the road was blocked off at its eastern terminus. The former NY 382 was reopened in August 2014 after a washout on old NY 17 left several households unable to reach Salamanca. The NY 382 designation is reserved by the New York State Department of Transportation for future use along what is now NY 88 in the Finger Lakes region of New York. Currently, NY 88 has the same numerical designation as Interstate 88, an Interstate Highway in eastern New York. ## Major intersections ## See also	[ "## Route description", "## History", "## Major intersections", "## See also" ]	783	16,455
3,326,306	Mauritania at the 2000 Summer Olympics	1,139,338,172	null	[ "2000 in Mauritanian sport", "Mauritania at the Summer Olympics by year", "Nations at the 2000 Summer Olympics" ]	Mauritania sent a delegation to compete at the 2000 Summer Olympics in Sydney, Australia from 15 September to 1 October 2000. This was the African nation's fifth time competing at the Summer Olympic Games. The Mauritanian delegation consisted of two track and field athletes, Sidi Mohamed Ould Bidjel and Fatou Dieng. Neither advanced beyond the first round of their respective events. ## Background The Comité National Olympique et Sportif Mauritanien (The National Olympic Committee (NOC) of Mauritania) was recognised by the International Olympic Committee on 1 January 1979. Mauritania made their Olympic debut at the 1984 Los Angeles Olympics, and have sent a delegation to every Summer Olympic Games since; they have yet to make their first appearance at the Winter Olympic Games. These Sydney Olympics were the nation's fifth appearance at a Summer Olympiad. The 2000 Summer Olympics were held from 15 September to 1 October 2000; a total of 10,651 athletes represented 199 NOCs. The Mauritanian delegation consisted of two track and field athletes, Sidi Mohamed Ould Bidjel and Fatou Dieng. Ould Bidjel was selected as the flag-bearer for the opening ceremony. ## Athletics Fatou Dieng was 16 years old at the time of the Sydney Olympics, and was making her only Olympic appearance. She was the first female competitor ever sent to the Olympics by Mauritania. On 23 September, she took part in the first round of the women's 100 metres, and was drawn into heat seven. She finished the race in 13.69 seconds, ninth and last in her heat, and over two seconds behind the heat's winner, Chandra Sturrup of the Bahamas. In the event overall, the gold medal is vacant due to original gold medalist Marion Jones of the United States admitting to steroid use and forfeiting her medals and results from the Sydney Games. Officially, the medals in the event are held by Ekaterini Thanou of Greece and Tayna Lawrence (the original bronze medalist) of Jamaica sharing silver, and Merlene Ottey, also of Jamaica, the original fourth-place finisher, being awarded a bronze. Gold was left vacant because Thanou, the original silver medalist, had her own issue with missing a drug test at the 2004 Summer Olympics Sidi Mohamed Ould Bidjel was 18 years old at the time of these Games, and was likewise making his only Olympic appearance. On 25 September, he participated in the first round of the men's 1500 metres, and was assigned the third heat. He finished his race in a time of 4 minutes and 3.74 seconds, 14th and last in his heat, and he was eliminated. The gold medal was eventually won in Olympic-record time of 3 minutes and 32.07 seconds by Noah Ngeny of Kenya, the silver medal was earned by Hicham El Guerrouj of Morocco, and the bronze medal was taken by fellow Kenyan Bernard Lagat. ## See also - Mauritania at the 2000 Summer Paralympics	[ "## Background", "## Athletics", "## See also" ]	659	37,934
32,197,577	Galiella rufa	1,136,257,075	Species of fungus	[ "Fungi described in 1832", "Fungi of Asia", "Fungi of North America", "Pezizales" ]	Galiella rufa, commonly known as the rubber cup, the rufous rubber cup, or the hairy rubber cup, is a species of fungus in the family Sarcosomataceae. The fungus produces cup-shaped fruit bodies that typically grow in clusters on branches and exposed portions of buried wood throughout eastern and Midwest North America and in Malaysia. The fruit bodies have the texture of tough, gelatinous rubber, and have a rough, blackish-brown, felt-like outer surface and a smooth reddish-brown inner surface. Although generally considered inedible by North American mushroom field guides, it is commonly consumed in Malaysia. The fungus produces several interesting natural products. ## Taxonomy and naming The species was originally named Bulgaria rufa in 1832 by Lewis David de Schweinitz, based on material collected from Bethlehem, Pennsylvania. In 1913, Pier Andrea Saccardo transferred it to the genus Gloeocalyx as defined by George Edward Massee in 1901 (a genus now synonymous with Plectania) due to its hyaline (translucent) spores. Richard Korf made it the type species of his newly created Galiella in 1957, a genus that encompasses bulgarioid species (those with a morphology similar to those in Bulgaria) with spores that feature surface warts that are made of callose-pectic substances that stain with methyl blue dye. In 1906, Charles Horton Peck described the variety magna from material collected in North Elba, New York. Peck explained that the variety differed from the typical species in several ways: var. magna grew among fallen leaves under balsam fir trees, or among mosses on the ground, not on buried wood; it lacked a stem, and was instead broad and rounded underneath; its hymenium was more yellow-brown then the nominate variety; and, its spore were slightly longer. The specific epithet rufa means "rusty" or reddish-brown", and refers to the color of the hymenium. The species is commonly named the "rubber cup", the "rufous rubber cup", or the "hairy rubber cup". In Sabah, it is known as mata rusa (deer eyes), and in Sarawak, mata kerbau (buffalo eyes). ## Description The fruit bodies of G. rufa are initially closed and roughly spherical to top-shaped, and resemble minute puffballs. They later open in the shape of a shallow cup, and reach diameters of 15–35 mm (0.6–1.4 in) wide. The cup margin is curved inwards and irregularly toothed; the teeth are a lighter color than the hymenium. The interior surface of the cup, which bears the spore-bearing surface (the hymenium) is reddish-brown to orange-brown. The exterior surface is blackish-brown, and covered with hairs that measure 7–8 μm long that give it a felt-like or hairy texture. The flesh of the fruit body lacks any distinctive taste or odor, and is grayish, translucent, gelatinous and rubbery. The fungus sometimes has a short stem that is up to 10 mm (0.4 in) long by 5 mm (0.2 in) wide, but it may be missing in some specimens. Dried fruit bodies become leathery and wrinkled. Although the fruit bodies are generally considered by North American field guides to be inedible, or of unknown edibility, in parts of Malaysia it is commonly eaten, and even "prized for its edibility". The spores are thin-walled, elliptical with narrowed ends, and covered with fine warts; they have dimensions of 10–22 by 8–10 μm. Both the spores and the asci (spore-bearing cells) are nonamyloid. The asci are narrow and typically 275–300 μm long. The paraphyses (sterile cells interspersed among the asci in the hymenium) are slender threadlike. Ultrastructural studies have demonstrated that the development of the spore wall in G. rufa is similar to the genus Discina (in the family Helvellaceae) and to the other Sarcosomataceae, especially Plectania nannfeldtii; both of these species have fine secondary wall spore ornaments. ### Similar species Galiella amurense is similar in appearance to G. rufa. It is found in north temperate Asia, where it grows on the rotting wood of Spruce trees. It has larger ascospores than G. rufa, typically 26–41 by 13–16 μm. Bulgaria inquinans is similar in shape and size, but has a shiny black hymenium. Sarcosoma globosum, another species found in eastern North American, is black, has a more liquid interior than G. rufa, and is larger—up to 100 mm (3.9 in) across. Wolfina aurantiopsis has a shallower, woodier fruit body with a yellowish inner surface. ## Habitat and distribution Galiella rufa is a saprobic species, and can grow solitarily, but more usually in groups or in clusters on decaying hardwood branches and logs. The fungus fruits in late summer and autumn. The fungus has been noted to fruit readily on logs used for the cultivation of the shiitake mushroom. The fruit bodies are readily overlooked as they blend in with their surroundings. Galiella rufa is found in Midwest and eastern North America, and has been collected in areas between New York and Minnesota, Missouri and North Carolina. The species is also found in Malaysia. ## Bioactive compounds Galiella rufa produces several structurally related hexaketide compounds that have attracted attention for their biological properties: pregaliellalactone, galiellalactone. The compounds have anti-nematodal activity, killing the nematodes Caenorhabditis elegans and Meloidogyne incognita. These compounds have been shown in laboratory tests to inhibit the early steps of the biosynthetic pathways induced by plant hormones known as gibberellic acids, and they also inhibit the germination of seeds of several plants. Galiellalactone is additionally a highly selective and potent inhibitor of interleukin-6 (IL-6) signaling in HepG2 cells. IL-6 is a multifunctional cytokine which is produced by a large variety of cells and functions as a regulator of immune response, acute phase reactions, and hematopoiesis. Researchers are interested in the potential of small-molecule inhibitors (such as the ones produced by G. rufa) to interfere with the IL-6 signaling cascade that leads to the expression of genes involved in disease.	[ "## Taxonomy and naming", "## Description", "### Similar species", "## Habitat and distribution", "## Bioactive compounds" ]	1,432	14,581
1,190,873	James Park Woods	1,173,364,493	Australian recipient of the Victoria Cross	[ "1886 births", "1963 deaths", "Australian Army soldiers", "Australian World War I recipients of the Victoria Cross", "Burials at Karrakatta Cemetery", "Military personnel from South Australia", "People from Two Wells, South Australia" ]	James Park Woods VC (4 January 1886 – 18 January 1963) was an Australian recipient of the Victoria Cross during World War I; the Victoria Cross was the highest award for gallantry in the face of the enemy that could be awarded to members of the Australian armed forces at the time. Woods enlisted in the Australian Imperial Force in September 1916 and, after training in Australia and the United Kingdom, joined his unit, the 48th Battalion, in France in September 1917. Along with the rest of his battalion, he participated in the First Battle of Passchendaele the following month. In early 1918, Woods was hospitalised for several months before rejoining his unit in May. He again reported sick in July, and did not return to the 48th Battalion until mid-August. On 18 September 1918, the 48th Battalion was involved in the attack on the Hindenburg Outpost Line during the Hundred Days Offensive. After the first phase of the attack, some elements of Woods' unit were tasked to support another battalion as it conducted a further assault. When it was suspected that flanking British troops had not gone forward to their objective as reported, a four-man patrol including Woods attempted to make contact with them. Instead of finding British troops, they encountered a strong German post and, after calling for reinforcements, attacked it, driving more than thirty Germans from the position. Woods' actions during this assault and subsequent defence of the captured post resulted in him being awarded the Victoria Cross. Woods survived the war, returned to Australia and operated a vineyard and orchard in Western Australia. He retired early due to ill health and died in 1963. His medals are displayed in the Hall of Valour at the Australian War Memorial. ## Early life James Park "Jimmy" Woods was born at Two Wells, South Australia, on 4 January 1886, the son of a blacksmith, James Woods, and his wife Ester née Johnson. After his mother's death when he was seven, Woods was raised by a stepsister and, after completing his schooling, worked in a vineyard alongside his brothers. Not long after World War I broke out in 1914, he attempted to enlist in the Australian Imperial Force (AIF), but was rejected due to his height of 5 feet 4 inches (163 cm). He and his brother Will then moved to Western Australia and for the next two years worked in cartage and fencing in the Kantanning district before James became a viticulturist at Caversham in the Swan Valley wine region near Perth. He was also an enthusiastic cricketer in his younger years. After further unsuccessful attempts to join the AIF, he was eventually successful on 29 September 1916, after height requirements had been lowered. ## World War I ### 1916–1917 Following his enlistment as a private, Woods was allotted as a reinforcement to the 48th Battalion, a mixed South Australian-Western Australian unit, part of the 12th Brigade, 4th Division. It was already serving on the Western Front in France and Belgium. After two months training at Blackboy Hill, Woods embarked with the rest of his reinforcement draft on at Fremantle on 23 December 1916. He disembarked at Devonport in the UK on 16 February 1917, and joined the 12th Training Battalion at Codford on Salisbury Plain. During this training period, he was hospitalised with mumps and then with bronchitis and pneumonia. Recovered, he completed his training, embarked at Southampton for France, and joined the 48th Battalion on 12 September. At the time Woods joined the battalion, it was undergoing training and absorbing reinforcements in a rest area at Zuytpeene. On 21 September, the battalion was collected by buses and transported over several days via Steenvoorde to the vicinity of Ypres in Belgium. There the 12th Brigade relieved other units of the 4th Division that had participated in the Battle of Polygon Wood and took up support positions. During this period its main tasks were battlefield salvage and digging graves for recently killed Germans and Australians. Despite these non-combat tasks, the battalion suffered several casualties from German artillery fire. The 48th Battalion was relieved from these positions on 1 October, and occupied trenches at Westhoek Ridge overnight before returning to Steenvoorde. After a week at Steenvoorde, Woods' battalion marched to Abeele on 10 October, then entrained for Ypres. That evening it marched to trenches on Westhoek Ridge, where it received orders for a major attack by the division: the First Battle of Passchendaele, which was fought on 12 October. Despite initial success and the capture of more than 200 Germans, the main attack failed, leaving the left flank of the battalion exposed. The first German counterattack was beaten off, but with its left flank unprotected, the 48th Battalion was pushed back to its start line by a second counterattack. During the fighting, the unit suffered 370 casualties from its original complement of 621. Woods and the rest of the battalion were withdrawn from the line and they were re-united with the nucleus troops, the one-third of each unit that was retained out of the line when a battalion went into action. Thus reinforced, the battalion then went briefly into a support position on Anzac Ridge on 19 October, before being relieved and marching away from Passchendaele for a long period of rest and recuperation. This time was spent first at Cuhem, then Friancourt before the battalion spent a few weeks at a camp near Péronne, where Woods and the rest of the unit celebrated Christmas Day. ### 1918 On 8 January 1918, the 48th Battalion marched to Péronne and, travelling by train and on foot, arrived in Belgium where they entered the front line trenches near Hollebeke on 11 January. The battalion remained in the quiet trenches in cold winter conditions for ten days before being relieved, being mainly engaged on improving the dilapidated defences. On the day after the battalion was relieved and went into the rear area, Woods reported sick. He was diagnosed with either bronchitis or pericarditis, and was evacuated to a hospital in Birmingham, UK. He did not return to his battalion until 30 May, when the battalion was in a rest area at Rivery. On 2 June the unit moved forward again, taking up positions as part of the divisional reserve. Two weeks later, the 48th Battalion moved into the front line near Sailly-le-Sec, from which it was relieved on 4 July. It then went back into a rest area near Allonville with the remainder of the 4th Division. This rest period continued to the end of the month, but on 23 July, Woods reported sick with dysentery. He was evacuated and admitted to a casualty clearing station to recover, and did not return to his unit until 16 August. At this time, the battalion was in the front line near Lihons, where it had a quiet time until relieved on 24 August. The unit was then withdrawn to a rest area near Saint-Vaast-en-Chaussée where it remained for nearly two weeks. By September 1918, the Allies were in the midst of the Hundred Days Offensive, a series of unanswered attacks that had commenced with the Battle of Amiens on 8 August. As part of the attack on the Hindenburg Outpost Line on 18 September, the 48th Battalion led the assault in the first phase, capturing 480 Germans, and they were followed by the 45th and 46th Battalions which were responsible for the second and third phases respectively. The Australian attack was near Le Verguier, north-west of St. Quentin. On the right flank of the 12th Brigade, the British 1st Division delayed its assault on the third objective line. The commander of the 12th Brigade, Brigadier General Raymond Leane, therefore ordered two companies of the 48th Battalion to protect the flank of the 46th Battalion as it conducted the third phase of the attack. After the 46th Battalion's successful assault, the two companies of the 48th Battalion were tasked to assist the 46th Battalion in consolidating their position. The British 1st Division on the right flank repeatedly reported that they had also captured the third objective, and Leane sent patrols to confirm. Woods was a member of a four-man patrol sent on Leane's orders to make contact with the British. Instead of finding British troops, they located a strongly defended German position with excellent fields of fire. While an attack in force on the position was being organised, Woods led the patrol against the German defenders. Woods killed one German, and at least thirty others fled, leaving behind four heavy and two light machine guns. One of the patrol was wounded in the assault, but they managed to hold off several determined counterattacks until reinforcements arrived. Woods climbed onto the parapet, lay down, and threw hand grenades passed to him, causing severe casualties to the Germans. Reinforcements arrived when he was down to his last few rifle cartridges, and the post was secured by dawn. During the overall brigade attack, the 48th Battalion suffered just 65 casualties. For his work, Woods was recommended for the Victoria Cross (VC). The 4th Division was then relieved and went to the rear to rest, and the brigade did not return to combat before the Armistice of 11 November 1918. Woods' VC citation was published on Christmas Eve 1918, and read: > For conspicuous bravery and devotion to duty near Le Verguier, north-west of St. Quentin, on the 18th September, 1918, when, with a weak patrol, he attacked and captured a very formidable enemy post, and subsequently, with two comrades, held the same against heavy enemy counterattacks. Although exposed to heavy fire of all descriptions, he fearlessly jumped on the parapet and opened fire on the attacking enemy, inflicting severe casualties. He kept up his fire and held up the enemy until help arrived, and throughout the operations displayed a splendid example of valour, determination and initiative. Woods' VC was the only one awarded to a member of the 48th Battalion. He received the decoration from King George V at Buckingham Palace on 31 May 1919. Woods embarked aboard the troop ship SS Königin Luise on 21 June, arrived back in Fremantle in early August, and was discharged from the AIF the following month. ## Later life On his return to civilian life, Woods bought and operated a vineyard and orchard in the Swan Valley. He married Olive Adeline Wilson at the Caversham Methodist Church on 30 April 1921. The couple had seven children: four sons and three daughters. James suffered from poor health as a result of his gassing and chest infections during his service, and in 1937 retired on a full pension, expected to only live a few more years. The family moved to Claremont. His sons Gordon and Norman served in the Royal Australian Air Force during World War II; Gordon, the eldest, was killed in a flying training accident near Newcastle, New South Wales, in October 1943. In retirement, Woods was involved with the Returned Sailors', Soldiers' and Airmen's Imperial League of Australia, serving as president of the Caversham sub-branch, and was a keen fisherman. In 1956, he went to the UK to attend the VC centenary. Woods died on 18 January 1963 in the Repatriation General Hospital, Hollywood, in Nedlands, aged 77, and was buried in Karrakatta Cemetery. He was survived by his wife and six children. A ward at the Repatriation General Hospital, now known as the Hollywood Private Hospital, is named in his honour. As well as the Victoria Cross, British War Medal and Victory Medal for his service in World War I, Woods was later awarded the King George VI Coronation Medal and Queen Elizabeth II Coronation Medal. His medal set, including his Victoria Cross, was presented to the Australian War Memorial in Canberra, and is displayed in the Hall of Valour. The Victoria Cross is the pre-eminent award for gallantry in the armed services and since 1991 the Victoria Cross for Australia has been awarded in the Australian honours system.	[ "## Early life", "## World War I", "### 1916–1917", "### 1918", "## Later life" ]	2,592	39,018
58,522,341	Soviet destroyer Tashkent	1,131,885,553	Destroyer of the Soviet Navy	[ "1937 ships", "Destroyers sunk by aircraft", "Italy–Soviet Union relations", "Ships built in Livorno", "Ships sunk by German aircraft", "Tashkent-class destroyers", "World War II shipwrecks in the Black Sea" ]	Tashkent (Russian: Ташкент) was the lead ship of her class of destroyer leaders (officially known as Project 20), built in Italy for the Soviet Navy just before World War II. The problems of the previous Leningrad-class destroyer leaders demonstrated that Russian design experience had atrophied in the years since the Russian Revolution of 1917, and the Soviets contracted for design assistance from Fascist Italy in the mid-1930s. Delivered without any armament in 1939, Tashkent was given a temporary gunnery outfit when she entered service with the Black Sea Fleet later that year. She had her permanent armament installed shortly before the Axis Powers invaded the Soviet Union in mid-1941. During the Siege of Odessa the ship escorted a transport to Odessa and provided naval gunfire support before she was badly damaged by Axis bombers in August. After repairs were completed in November, Tashkent ferried reinforcements and supplies, evacuated wounded and refugees, and bombarded Axis positions during the Siege of Sevastopol in 1941–1942. The last ship to enter Sevastopol harbor in June before the city surrendered, she was crippled by Axis bombers on her return voyage to Novorossiysk and was sunk a few days later during an air strike on the harbor there. Her wreck was refloated in 1944, but it was a constructive total loss and was scrapped after the war. ## Design and description Unsatisfied with the structural weaknesses and construction problems with Leningrad-class destroyer leader, the Soviets decided that they needed foreign design assistance around 1934–1935. They requested designs for a high-speed destroyer leader from three Italian shipbuilders and accepted the submission by Odero-Terni-Orlando (OTO) in September 1935 as part of the Second Five-Year Plan. The Italian firm would build Tashkent in its own shipyard and provide assistance for the Soviets to build others in their own shipyards. The Tashkent-class ships had an overall length of 139.7 meters (458 ft 4 in), a beam of 13.7 meters (44 ft 11 in), and a mean draft of 3.7 meters (12 ft 2 in). The ships displaced 2,840 long tons (2,890 t) at standard load and 4,163 long tons (4,230 t) at deep load. Their crew numbered 250 officers and sailors. They were powered by a pair of geared steam turbines, each driving one propeller shaft using steam from a pair of Yarrow boilers. Designed to produce 100,000 shaft horsepower (75,000 kW), the turbines were intended to give the Tashkents a maximum speed of 42.5 knots (78.7 km/h; 48.9 mph). Tashkent herself reached 43.5 knots (80.6 km/h; 50.1 mph) from 125,500 shp (93,600 kW) during her sea trials in 1938, although her armament had yet to be fitted. The ship reached 42.7 knots (79.1 km/h; 49.1 mph) once her armament had been installed. The ships carried enough fuel oil to give them a range of 5,030 nautical miles (9,320 km; 5,790 mi) at 20 knots (37 km/h; 23 mph). The main armament of the Tashkent class was intended to consist of six 130-millimeter (5.1 in) B-13 guns in three twin-gun B-2LM turrets, one superfiring pair forward of the superstructure and the other mount aft of it. The turrets were not ready in time for Tashkent so three single mounts were substituted for them once she arrived in the USSR. The designed anti-aircraft suite consisted of four semi-automatic 45-millimeter (1.8 in) 21-K anti-aircraft (AA) guns in single mounts, but six weapons were actually installed, all situated on a platform around the aft funnel, and six 12.7-millimeter (0.50 in) DShK machine guns in single mounts. She was fitted with nine 533-millimeter (21 in) torpedo tubes in three rotating triple mounts amidships. The Tashkents could also carry 76 mines and 24 depth charges which were delivered by two throwers and one stern rack. ### Modifications During a brief refit in February 1941, the three B-2LM turrets were fitted. At the same time the 45 mm guns were replaced by an equal number of fully automatic 37-millimeter (1.5 in) 70-K AA guns. A twin-gun 39-K mount for 76.2-millimeter (3 in) 34-K AA guns was installed on the stern while she was under repair on 31 August; it had been originally intended for the destroyer Ognevoy which was still under construction. ## Construction and career Tashkent, named after the capital of the Uzbek Soviet Socialist Republic, was laid down on 11 January 1937 by OTO at their Livorno shipyard. The ship was launched on 28 December and turned over to the Soviets on 6 May 1939 in Odessa. Because OTO painted her in the blue-gray color used by the Royal Italian Navy, she was nicknamed "Blue Beauty" and "Blue Cruiser" by sailors. She was assigned to the Black Sea Fleet on 22 October 1940 and was refitting in Nikolayev when the Germans invaded the USSR on 22 June 1941. Tashkent was transferred to Sevastopol on 10 July, being unsuccessfully attacked by aircraft twice en route, to conduct her post-refit sea trials. Problems with her propulsion machinery delayed her combat debut for another month. On 19 August she bombarded Axis positions with 127 shells from her main guns and she unsuccessfully searched for Axis transports two days later. On 28 August the ship helped to escort the transport from Sevastopol to Odessa. Tashkent remained in the area afterwards and provided naval gunfire support to Soviet troops near Odessa over the next three days. On the last of those days, 30 August, she was badly damaged by near-misses from three Axis bombers that knocked out her hydraulic power, punched a 5-by-5-meter (16 ft × 16 ft) hole in her hull, damaged one of her propeller shafts and distorted the forecastle girders. The shockwaves from the bombs killed two crewmen, injured seven others and one man went missing. Although she was escorted by the destroyer Smyshleny as a precaution, Tashkent was able to sail back to Sevastopol under her own power where she was dry docked for repairs that lasted until 1 November. That day she sailed to Poti, Georgia, one of the new bases for the Black Sea Fleet as approaching German forces had made Sevastopol too dangerous to use. On 19 November the ship transported a cargo of ammunition to Sevastopol and bombarded Axis positions outside the city as she departed with 145 shells two nights later. Kontr-admiral (Rear Admiral) Lev Vladimirsky hoisted his flag aboard Tashkent on 25 November as commander of a convoy of ships bound for the Soviet Far East that consisted of three oil tankers and an icebreaker. Vladimirisky and his ships escorted the convoy as far as the Bosporus in very heavy weather before returning home. On 22 December, Tashkent took another load of ammunition to Sevastopol and remained there for the next five days, firing 1,037 shells in support of the defenders. On 1 January 1942, the ship helped to transport elements of the 386th Rifle Division to Sevastopol and she remained there for the next few days, firing 176 main-gun shells in support of the defenders. On 7 and 8 January, she attempted to land reinforcements at Eupatoria during a Soviet counterattack, but was driven off by heavy German fire and bad weather, although she bombarded German defenses on the latter day with 79 shells from her 130 mm guns. After returning to Sevastopol, Tashkent escorted a pair of transports back to the Caucasus ports on the 15th. Two weeks later, she ferried replacements to Sevastopol and fired 79 shells at German positions on 30 and 31 January before departing on 1 February. The ship delivered 914 replacements to Sevastopol two days later. On 4 February Tashkent began focusing solely on bombarding Axis defenses; firing over three hundred 130 mm shells before resuming her transport duties on 29 April with the delivery of more replacements to Sevastpol. On 10 May the ship, together with the destroyer leader Kharkov, arrived in Feodosia Bay to bombard targets, but could not identify any and returned to base without firing. A week later she delivered 689 replacements and 50 metric tons (49 long tons) of ammunition, following that with 775 men and 65 metric tons (64 long tons) of ammunition on 22 May. On her return voyage, she carried 39 soldiers, 86 evacuees, 21 torpedoes and the contents of the state bank. On 24 May Tashkent ferried 983 soldiers and 100 metric tons (98 long tons) of ammunition to Sevastopol and made further trips with the same types of cargo on 28 May, and 2, 6, and 23 June. The following day, the destroyer leader was the last ship to arrive in Sevastopol, landing 1,142 men, supplies and equipment of the 142nd Rifle Brigade after evading attacks by Heinkel He 111H bombers of I. Gruppe (First Group) of Kampfgeschwader 100 (Bomber Wing 100) en route. After having loaded 2,100 wounded and part of the Siege of Sevastopol Panorama, Tashkent departed for Novorossiysk, but was attacked by numerous bombers on 27 June that failed to hit the ship directly. The shockwaves and fragments from the numerous near-misses, however, holed the hull multiple times, damaged her steering, flooded the forward boiler room and caused her to take on about 1,000 metric tons (980 long tons) of water. Three crewmen and 56 of her passengers were killed and 10 crewmen and 5 passengers were wounded. Her crew claimed to have shot down at least two of her attackers. A flotilla of ships sortied from Novorossiysk to assist her; the destroyer Soobrazitelny took off 1,975 of her passengers while the destroyer Bditelny towed her to Novorossiysk. The salvage ship Jupiter, the tugboat Chernomor and about 30 smaller ships also rendered assistance. Novorossiysk was attacked by Junkers Ju 88A bombers of I. Gruppe of Kampfgeschwader 76 (Bomber Wing 76) and elements of I./KG 100 on 2 July; hitting Tashkent and Bditelny each with a pair of bombs and sinking both ships as well as Chernomor. The Soviets stripped her wreck of useful equipment and parts, transferring a pair of B-2LM mounts and the 34-K mount to Ognevoy and the third B-2LM turret to Osmotritelny. When they assessed her wreck in 1943 they found that the boiler and turbine compartments had been destroyed by the bombs, her hull plating, decks, superstructure, and five transverse bulkheads were damaged and her keel was broken. Salvage operations began on 13 January 1944 although it was not until 30 August when the wreck was refloated and beached on a sandbar in the harbor. Deciding that it would not be economical to repair the ship, the navy left the wreck there until 1946 when it was towed to Nikolayev to be scrapped.	[ "## Design and description", "### Modifications", "## Construction and career" ]	2,561	2,558
29,890,027	Oxaziridine	1,118,578,139	Chemical compound	[ "Functional groups", "Nitrogen heterocycles", "Oxygen heterocycles", "Reagents for organic chemistry", "Three-membered rings" ]	An oxaziridine is an organic molecule that features a three-membered heterocycle containing oxygen, nitrogen, and carbon. In their largest application, oxaziridines are intermediates in the industrial production of hydrazine. Oxaziridine derivatives are also used as specialized reagents in organic chemistry for a variety of oxidations, including alpha hydroxylation of enolates, epoxidation and aziridination of olefins, and other heteroatom transfer reactions. Oxaziridines also serve as precursors to amides and participate in [3+2] cycloadditions with various heterocumulenes to form substituted five-membered heterocycles. Chiral oxaziridine derivatives effect asymmetric oxygen transfer to prochiral enolates as well as other substrates. Some oxaziridines also have the property of a high barrier to inversion of the nitrogen, allowing for the possibility of chirality at the nitrogen center. ## History Oxaziridine derivatives were first reported in the mid-1950s by Emmons and subsequently by Krimm and Horner and Jürgens. Whereas oxygen and nitrogen typically act as nucleophiles due to their high electronegativity, oxaziridines allow for electrophilic transfer of both heteroatoms. This unusual reactivity is due to the presence of the highly strained three membered ring and the relatively weak N-O bond. Nucleophiles tend to attack at the aziridine nitrogen when the nitrogen substituent is small (R<sup>1</sup>= H), and at the oxygen atom when the nitrogen substituent has greater steric bulk. The unusual electronics of the oxaziridine system may be exploited to perform a number of oxygen and nitrogen transfer reactions including, but not limited to: α-hydroxylation of enolates, epoxidation of alkenes, selective oxidation of sulfides and selenides, amination of N-nucleophiles and N-acylamidation. The peroxide process for the industrial production of hydrazine through the oxidation of ammonia with hydrogen peroxide in the presence of ketones was developed in the early 1970s. Chiral camphorsulfonyloxaziridines proved useful in the syntheses of complex products, such as taxol which is marketed as a chemotherapy agent. Both the Holton Taxol total synthesis and the Wender Taxol total synthesis feature asymmetric α-hydroxylation with camphorsulfonyloxaziridine. ## Synthesis ### N-H, N-alkyl, N-aryloxaziridines The two main approaches to synthesis of N-H, N-alkyl, and N-aryloxaziridines are oxidation of imines with peracids (A) and amination of carbonyls (B). Additionally, oxidation of chiral imines and oxidation of imines with chiral peracids may yield enantiopure oxaziridines. Some oxaziridines have the unique property of configurationally stable nitrogen atoms at room temperature due to an inversion barrier of 100 to 130 kJ/mol. Enantiopure oxaziridines where stereochemistry is entirely due to configurationally stable nitrogen are reported. ### N-sulfonyloxaziridines In the late 1970s and early 1980s Franklin A. Davis synthesized the first N-sulfonyloxaziridines, which act exclusively as oxygen transfer reagents, and are the most predominantly used class of oxaziridines today. While originally synthesized with mCPBA and the phase transfer catalyst benzyltrimethylammonium chloride, an improved synthesis using oxone as the oxidant is now most prevalent. Many N-sulfonyloxaziridines are used today, each with slightly different properties and reactivity. These reagents are summarized in the table below. ### Perfluorinated oxaziridines With highly electron withdrawing perfluoroalkyl substituents, oxaziridines exhibit reactivity more similar to that of dioxiranes than typical oxaziridines. Notably, perfluoroalkyloxaziridines hydroxylate certain C-H bonds with high selectivity. Perfluorinated oxaziridines may be synthesized by subjecting a perfluorinated imine to perfluoromethyl fluorocarbonyl peroxide and a metal fluoride to act as an HF scavenger. ## Reactions ### Hydrazine production Oxaziridines are intermediates in the peroxide process for the production of hydrazine. Many millions of kilograms of hydrazine are produced annually by this method that involves a step wherein ammonia is oxidized in the presence of methyl ethyl ketone to give the oxaziridine: Me(Et)C=O + NH<sub>3</sub> + H<sub>2</sub>O<sub>2</sub> → Me(Et)CONH + H<sub>2</sub>O In subsequent steps the oxaziridine is converted to the hydrazone, which is the immediate in the way to hydrazine: Me(Et)CONH + NH<sub>3</sub> → Me(Et)C=NNH<sub>2</sub> + H<sub>2</sub>O ### Oxygen transfer #### α-Hydroxylation of enolates α-Hydroxyketones, or acyloins, are an important synthetic motifs present in many natural products. α-Hydroxyketones have been synthesized in many ways, including reduction of α-diketones, substitution of a hydroxyl for a leaving group and direct oxidation of an enolate. Oxodiperoxymolybdenum(pyridine)-(hexamethylphosphoric triamide) (MoOPH) and N-sulfonyloxaziridines are the most common electrophilic sources of oxygen implemented in this process. One advantage of using N-sulfonyloxaziridines is that higher chiral induction is almost invariably observed relative to MoOPH and other oxidants. High yield (77–91%) and dr (95:5 – 99:1) are reported for α-hydroxylation with the Evans' chiral auxiliary with N-sulfonyloxaziridine as the electrophile. Chiral induction has been demonstrated with many other chiral ketones and ketones with chiral auxiliaries, including SAMP and RAMP. Extensive work has been reported on asymmetric hydroxylation of prochiral enolates with camphorsulfonyloxaziridine derivatives, achieving moderate to high enantiomeric excess. The commonly accepted proposed transition state that justifies this stereochemical outcome involves an open transition state where the steric bulk of R<sup>1</sup> determines the face of approach. The selectivity of some hydroxylations may be drastically improved in some cases with the addition of coordinating groups alpha to the oxaziridine ring as oxaziridines 3b and 3c in the table above. In these instances it is proposed that the reaction proceeds through a closed transition state where the metal oxyanion is stabilized by chelation from the sulfate and coordinating groups on the camphor skeleton. α-Hydroxylation with oxaziridines has been widely implemented in total synthesis. It is a key step in both the Holton Taxol total synthesis and the Wender Taxol total synthesis. Additionally, Forsyth implemented the transformation in his synthesis of the C3-C14 (substituted 1,7-Dioxaspiro[5.5]undec-3-ene) System of okadaic acid. #### Epoxidation of alkenes Epoxidation of alkenes is a common reaction because epoxides can be derivatized in a number of useful ways. Classically, laboratory epoxidation is carried out with mCPBA or other peracids. Oxaziridines have been found to be useful for the formation of highly acid sensitive epoxides. (−)-Chaetominine was synthesized via oxaziridine epoxidation as a late stage transformation as seen below. Another transformation of high synthetic utility is asymmetric epoxidation. A number of asymmetric epoxidations exist: the Sharpless epoxidation, the Jacobsen-Katsuki epoxidation, and the Juliá-Colonna epoxidation. These methods require specific functionality in order to achieve selectivity. The Sharpless epoxidation is specific to allylic alcohols, the Jacobsen epoxidation requires cis-disubstituted aryl alkenes, and the Juliá epoxidation requires α-β unsaturated ketones. Chiral oxaziridines act stereospecifically on many unfunctionalized alkenes. It has even possible to effect stereospecific epoxidation catalytically in the oxaziridine chiral unit. Further investigation into these reactions may be required before levels of enantiometic excess become practical for large scale synthesis. Lusinichi et al. have investigated asymmetric epoxidation with a chiral oxaziridinium salt using oxone as the stoichiometric oxidant seen below. #### Hydroxylation of unactivated hydrocarbons Perfluorinated oxaziridines are known to hydroxylate unactivated hydrocarbons with remarkable regio- and diastereospecificity. This is a highly coveted transformation, and similar reactivity and specificity is seldom rivaled, especially considering the nonmetallic nature of the oxidant. Perfluorinated oxaziridines show high selectivity toward tertiary hydrogens. Hydroxylation of primary carbons and dihydroxylation of a compound with two oxidizable sites have never been observed. Retention of stereochemistry is very high, often 95 to 98%. (Retention of stereochemistry may be further enhanced by the addition of a fluoride salt). ### Nitrogen transfer Oxaziridines with unsubstituted or acylated nitrogens are capable of nitrogen atom transfer, although this reactivity has received considerably less attention. #### Amination of N-nucleophiles Amination of nucleophiles with N-unsubstituted oxaziridines is quite versatile in the breadth of possible nucleophiles and corresponding products. Hydrazines may be derived from the amination of secondary or tertiary amines, hydroxylamine and thiohydroxamines may be formed from their corresponding alcohols and thiols, sulfimides may be formed from thioethers and α-aminoketones may be formed by attack of corresponding enolates. #### N-acylamidation The transfer of acylated amines is more difficult than that of unsubstituted amines, although, unlike amine transfer by oxaziridines, there are no alternative methods that directly transfer acylated amines. Acylamine transfer has primarily been performed using amines and hydrazines as nucleophiles. Very few transfers of acylated nitrogens to carbon nucleophiles have been successfully performed, although some do exist in the literature. ### Rearrangements Oxaziridines have been found to undergo rearrangement reactions via a radical mechanism when irradiated with UV light or in the presence of a single electron transfer reagent such as Cu<sup>I</sup>. spirocylic oxaziridines undergo ring expansions to the corresponding lactam. The migrating substituent is determined by a stereoelectronic effect where the group trans to the lone pair on the nitrogen will always be the predominant migration product. In light of this effect, it is possible to take advantage of the chiral nitrogen due to high inversion barrier to direct the rearrangement. This phenomenon is demonstrated by observed selectivities in the rearrangements below. In the rearrangement on the left the thermodynamically unfavorable product is observed exclusively, while in the reaction on the right the product derived from the less stable radical intermediate is favored. Aubé takes advantage of this rearrangement as the key step in his synthesis of (+)-yohimbine, a natural medicine classified by the NIH as possibly effective in the treatment of erectile dysfunction and the sexual problems caused by selective serotonin reuptake inhibitors. It is also notable that oxaziridines will thermally rearrange to nitrones. Cis-trans selectivity of the resulting nitrone is poor, however, yields are good to excellent. It is thought that some oxaziridines racemize over time through a nitrone intermediate. ### Cycloadditions with heterocumulenes Oxaziridines undergo cycloaddition reactions with heterocumulenes to afford a number of unique five membered heterocycles, as shown in the figure below. This reactivity is due to the strained three membered ring and weak N-O bond.	[ "## History", "## Synthesis", "### N-H, N-alkyl, N-aryloxaziridines", "### N-sulfonyloxaziridines", "### Perfluorinated oxaziridines", "## Reactions", "### Hydrazine production", "### Oxygen transfer", "#### α-Hydroxylation of enolates", "#### Epoxidation of alkenes", "#### Hydroxylation of unactivated hydrocarbons", "### Nitrogen transfer", "#### Amination of N-nucleophiles", "#### N-acylamidation", "### Rearrangements", "### Cycloadditions with heterocumulenes" ]	2,724	22,201
13,729,372	Islais Creek	1,150,023,141	River in the United States of America	[ "Rivers of Northern California", "Rivers of San Francisco", "Tributaries of San Francisco Bay" ]	Islais Creek or Islais Creek Channel (previously known as Du Vrees Creek, Islais Channel and Islais Swamp) is a small creek in San Francisco, California. The name of the creek is derived from a Salinan Native American word "slay" or "islay", the name for the Prunus ilicifolia wild cherries. Around the time of the Gold Rush, the area became an industrial hub, and the condition of the creek worsened. After the devastating 1906 San Francisco earthquake, the city decided to reclaim the creek using earthquake debris, reducing the waterbody to its present size. Though much of Islais Creek has been converted to an underground culvert, remnants still exist today at both Glen Canyon Park and Third Street. Several community organizations are dedicated to preserve these remnants, as they are important wildlife habitats. ## Course The historic Islais Creek, the largest body of water in the city covering an area of nearly 5,000 acres (7.813 sq mi; 20.234 km<sup>2</sup>), had two main branches. One originated near the southern slope of Twin Peaks, slightly north of Portola Drive. It flowed downstream southeastward through the Glen Canyon Park paralleling Bosworth Street and eventually reaching the bottom of the Mission Street viaduct at I-280. The other branch began at the intersection of Cayuga Avenue and Regent Street. It flowed generally eastward along Mission Street and reached the I-280 viaduct. Together, as a wider creek, it ran parallel to Alemany Boulevard and I-280 and debouched into the Islais Creek estuary, near Industrial Street and Oakdale Avenue. Precita Creek, a nearby creek that originated from Noe Valley, also joined Islais Creek at the Cesar Chavez Street and Evans Avenue intersection. From its sources in the Glen Canyon, the entire creek stretched about 3.5 miles (5.6 km) to the San Francisco Bay. The mouth was nearly 2 miles (3.2 km) wide, providing up to 85% of the drinking water in San Francisco. Due to urban development, however, the watershed of Islais Creek has been reduced by roughly 80% from its historical extent. A large number of neighborhoods in San Francisco today, such as Bernal Heights, Hunters Point, Visitacion Valley, parts of the Mission and Potrero Hill, were once covered by the extent of the creek. In 2007, the San Francisco Public Utilities Commission, which manages the city's water, began investigating the possibility of "daylighting" underground portions of the creek. As of 2009, remnants of the creek remain inside the Glen Canyon Park and a 1-mile (1.6 km) channel near Third Street where Islais Creek debouched into the bay. ## History The history of Islais Creek dates to the 18th century. The name Los Islais first appeared on Mexican maps in 1834, named for the Islay cherries that grew wildly in the area. By 1850, water from the creek was used by farmers to irrigate crops. The Gold Rush marked the decline of the creek as large numbers of gold rushers swarmed into the city. A railroad trestle was built over the creek and tidal flats in the 1860s and in a lawsuit that went up to the California Supreme Court called The People of the State of California ex relatione The Board of State Harbor Commissioners VS. The Potrero And Bay View Railroad Company, Islais Creek was declared a non-navigable waterway in 1883. In 1871, the area along the creek became known as the city's "New Butchertown" when more than 100 slaughterhouses opened. Since then, the condition of the creek deteriorated, literally becoming a dumping place of garbage, sewage, animal waste, and unsold meat products. The condition became so bad that the creek was commonly referred to as "Shit Creek" by San Franciscans, according to historian Karl Kortum. After the 1906 earthquake, San Francisco Board of Supervisors voted to fill the creek with earthquake debris, reducing the creek to its present size. During World War II, it served as docking areas for large ocean-going tugs. The area also located the largest copra coconut processing plant in the United States West Coast. In fact, the abandoned five-story high copra crane, used to transport large amount of copras from ships to the plant as late as 1974, still remains on the creek bank preserved as a historic landmark. In the 1950s, Islais Creek was home to the largest sardine canning industry in the world. The deteriorated condition of the creek gradually improved after the construction of a water treatment plant in 1970. Today, the majority of the creek is covered and transformed into a culvert with its remnants flowing at Glen Canyon and near the bay. Many local community organizations were set up to improve the condition of the creek and nearby areas. Friends of Islais Creek, established back in 1984, and David Erickson, a local community figure, were committed to build a waterfront park in Islais Creek. The initial plan for a park was finally launched in 1988 with a \$50,000 grant from the State Department of Water Resources as well as community groups in The Bayview. With an additional of \$100,000 federal and local grants as well as supports from non-profit organizations and governmental agencies, namely the Sierra Club, San Francisco Municipal Railway (Muni), Department of Public Works, Public Utilities Commission, Port of San Francisco, and Caltrans, the park was finished in 1998. Located adjacent to Pier 80 on the shores of the creek, the Muwekma Ohlone Park or the Muwekma Ohlone Sanctuary is named after the native inhabitants and has since become an important habitat for a wide array of wildlife, including the Pacific Chorus Frog and Mission blue butterfly. On November 19, 2001, construction crews, while preparing to drill an electrical conduit (consisting of six large 115kV electrical cables) across the creek for the Muni Metro T Third Street light rail line, cracked the concrete sewer underground which carries more than 80 million gallons of sewage a day. The incident flooded the creek and its adjacent Muwekma Ohlone Park with sewage. The park had to be excavated to make way for the repairing of the sewer pipe. It was estimated that it would take more than \$101,660 to repair and \$65,000 for wildlife habitat restoration. The remaining Islais Creek Park is next to Cargo Way and 3rd Street. It is home to a historical information sign, a short trail, public art created from a copra loading crane, and a pier with a dock for small boats. As of December, 2017, the copra crane is lying on its side and the restoration project on hold due to jurisdiction and cost problems. ### Health hazard Since Islais Creek is a culvert that carries storm water, domestic sewage, and industrial wastewater, it is possible for the sewage to overflow. Such overflow can cause a public health hazard as Islais Creek displays higher level of heavy metals, PCBs, bacteria, as well as organochlorines than other parts of the San Francisco Bay. ## Transportation The Third Street Bridge is the major crossing of the creek, carrying T Third Street light rail line and Third Street. It is a bascule-type drawbridge. The Port of San Francisco extended Illinois Street across Islais Creek in 2006 to relieve traffic for Third Street. This crossing also uses a bascule bridge. ## See also - List of watercourses in the San Francisco Bay Area	[ "## Course", "## History", "### Health hazard", "## Transportation", "## See also" ]	1,600	6,849
27,112,279	Italian battleship Vittorio Emanuele	1,136,519,217	Pre-dreadnought battleship of the Italian Royal Navy	[ "1904 ships", "Regina Elena-class battleships", "Ships built in Castellammare di Stabia", "Victor Emmanuel II of Italy", "World War I battleships of Italy" ]	Vittorio Emanuele was an Italian pre-dreadnought battleship, laid down in 1901, launched in 1904 and completed in 1908. She was the second member of the Regina Elena class, which included three other vessels: Regina Elena, Napoli, and Roma. Vittorio Emmanuele was armed with a main battery of two 305 mm (12 in) guns and twelve 203 mm (8 in) guns. She was quite fast for the period, with a top speed of nearly 21 knots (39 km/h; 24 mph). Vittorio Emmaneule saw action in the Italo-Turkish War as the flagship of the 1st Division. During the war, she participated in operations in Cyrenaica and the eastern Mediterranean Sea, including the seizure of the islands of Rhodes and the Dodecanese. She served during the First World War, but saw no combat during the war due to the hesitance of both the Italian and Austro-Hungarian navies to risk their capital ships in pitched battle. She remained in service as a training ship until 1923, when she was stricken from the naval register and broken up for scrap. ## Design The design for the Regina Elena class was prepared by the noted naval engineer, Vittorio Cuniberti, then the Chief Engineer of the Italian Regia Marina (Royal Navy). The Navy specified a vessel that would be more powerful than contemporary armored cruisers and faster than foreign pre-dreadnought battleships on a displacement of no more than 13,000 long tons (13,210 t). The first two vessels—Regina Elena and Vittorio Emanuele—were ordered for the 1901 fiscal year, and the final pair—Roma and Napoli—were authorized the following year. ### Characteristics Vittorio Emanuele was 144.6 meters (474 ft) long overall and had a beam of 22.4 m (73 ft) and a maximum draft of 8.58 m (28.1 ft). She displaced 13,914 long tons (14,137 t) at full load. The ship had a slightly inverted bow and a long forecastle deck that extended past the main mast. Vittorio Emanuele had a crew of 742–764 officers and enlisted men. Her propulsion system consisted of two vertical triple-expansion steam engines, each driving a screw propeller. Steam for the engines was provided by twenty-eight coal-fired Belleville boilers that were vented into three funnels. The ship's propulsion system was rated at 19,424 indicated horsepower (14,484 kW) and provided a top speed of 21.36 knots (39.56 km/h; 24.58 mph) and a range of approximately 10,000 nautical miles (18,520 km; 11,508 mi) at 10 knots (19 km/h; 12 mph). As built, the ship was armed with a main battery of two 305 mm (12 in) 40-caliber guns placed in two single gun turrets, one forward and one aft. The ship was also equipped with a secondary battery of twelve 203 mm (8 in) 45-cal. guns in six twin turrets amidships. Close-range defense against torpedo boats was provided by a battery of sixteen 76 mm (3 in) 40-cal. guns in casemates and pivot mounts. Vittorio Emanuele was also equipped with two 450 mm (17.7 in) torpedo tubes placed in the hull below the waterline. Vittorio Emanuele was protected with Krupp steel manufactured in Terni. The main belt was 250 mm (9.8 in) thick, and the deck was 38 mm (1.5 in) thick. The conning tower was protected by 254 mm (10 in) of armor plating. The main battery guns had 203 mm thick plating, and the secondary gun turrets had 152 mm (6 in) thick sides. ## Service history Vittorio Emanuele was built by the Regio Cantiere di Castellammare di Stabia shipyard in Castellammare di Stabia; her keel was laid down on 18 September 1901. The ship was launched on 12 October 1904, and construction was completed on 1 August 1908. Vittorio Emanuele served in the active duty squadron through 1910, by which time her three sisters had been completed, bringing the total number of front-line battleships to six, which also included the two Regina Margherita-class battleships. The active duty squadron was typically in service for seven months of the year for training; the rest of the year they were placed in reserve. ### Italo-Turkish War On 29 September 1911, Italy declared war on the Ottoman Empire in order to seize Libya. Vittorio Emanuele served as the flagship of Vice Admiral Augusto Aubry, the commander of the 1st Division throughout the conflict. On 30 September, Vittorio Emanuele, her sister Roma, and the armored cruiser Pisa cruised in the Aegean Sea, searching for the Ottoman training squadron that had departed Beirut for Constantinople two days before, and did not know that war had been declared. The Italian flotilla failed to locate its prey, which managed to safely reach Constantinople. On 18 October, Vittorio Emanuele and her three sisters, along with three cruisers and several destroyers and torpedo boats escorted a convoy that carried half of the 2nd Infantry Division to Benghazi. When the Ottomans refused to surrender the city before the amphibious assault, the Italian fleet opened fire on the Turkish defenders at 08:00, while landing parties from the ships and the Army infantry went ashore. The Italians quickly forced the Ottomans to withdraw into the city by evening. After a short siege, the Ottoman forces withdrew on 29 October, leaving the city to the Italians. By December, Vittorio Emanuele and the other ships of the 1st Squadron were dispersed in the ports of Cyrenaica. Vittorio Emanuele, Pisa, and the protected cruisers Etruria and Etna were stationed in Tobruk. While there, they supported the Italian Army as it occupied the city and surrounding area by contributing landing parties and providing fire support to the ground troops. In early 1912, most of the fleet had withdrawn to Italy for repairs and refit, leaving only a small force of cruisers and light craft to patrol the North African coast. On 4 March, Aubry died while aboard his flagship; Admiral Luigi Faravelli replaced him as the squadron commander. On 13 April, the 1st Division left Taranto, bound for the island of Rhodes. Meanwhile, the 3rd Division escorted a convoy of troopships from Tobruk to the island. The Italian heavy ships demonstrated off the city of Rhodes while the transports landed the expeditionary force 10 miles (16 km) to the south on 4 May; the soldiers quickly advanced on the city, supported by artillery fire from the Italian fleet. The Turks surrendered the city the following day. Between 8 and 20 May, Vittorio Emanuele was involved in the seizure of several islands in the Dodecanese between Crete, Rhodes, and Samos. In June, Vittorio Emanuele and the rest of the 1st Division was stationed at Rhodes. Over the next two months, the ships cruised in the Aegean to prevent the Turks from attempting to launch their own amphibious operations to retake the islands Italy had seized in May. The 1st Division returned to Italy in late August for repairs and refitting, and were replaced by the battleships of the 2nd Squadron. The 1st Division left port on 14 October, but was recalled later that day, when the Ottomans had agreed to sign a peace treaty to end the war. ### World War I Italy declared neutrality after the outbreak of World War I in August 1914, but by July 1915, the Triple Entente had convinced the Italians to enter the war against the Central Powers. The Austro-Hungarian Navy, Italy's traditional naval rival, was the primary opponent in the conflict. The Italian Naval Chief of Staff, Admiral Paolo Thaon di Revel, believed that an active fleet policy was prohibited by the serious threat from submarines in the confined waters of the Adriatic Sea. Instead, Revel decided to implement blockade at the southern end of the Adriatic with the battle fleet, while smaller vessels, such as the MAS boats conducted raids on Austro-Hungarian ships and installations. Meanwhile, Revel's capital ships would be preserved to confront the Austro-Hungarian battle fleet in the event that it sought a decisive engagement. As a result, the ship was not particularly active during the war. During the war, Vittorio Emanuele and her three sisters were assigned to the 2nd Division. They spent much of the war rotating between the bases at Taranto, Brindisi, and Valona, but did not see combat. On 14–15 May 1917, three light cruisers of the Austro-Hungarian Navy raided the Otranto Barrage; in the ensuring Battle of the Strait of Otranto, Vittorio Emanuele and her sisters raised steam to assist the Allied warships, but the Italian commander refused to permit them to join the battle for fear of risking their loss in the submarine-infested Adriatic. After the end of the war, Vittorio Emanuele was used as a training ship for a short period. In the summer of 1922, she was in Constantinople when the American destroyer USS Bulmer accidentally collided with a cutter from Vittorio Emanuele, causing minor damage to the boat. Then-Lieutenant Joseph J. Clark, Bulmer's executive officer, came aboard Vittorio Emanuele to apologize for the incident. In early 1922, the world's major navies, including Italy, signed the Washington Naval Treaty. According to the terms of the treaty, Italy could keep Vittorio Emanuele and her three sisters, along with the newer dreadnought battleships. Due to the small size and age of the ships, particularly in comparison to the modern dreadnoughts, the Italians could have kept the ships in service indefinitely. They could not, however, be replaced by new battleships under the normal practice of the Treaty system, which provided for replacements after a ship was 20 years old. Vittorio Emanuele was stricken from the naval register on 1 April 1923 and subsequently broken up for scrap.	[ "## Design", "### Characteristics", "## Service history", "### Italo-Turkish War", "### World War I" ]	2,243	18,068
4,899,084	Ezra Johnson	1,169,952,855	American football player (born 1955)	[ "1955 births", "American football defensive ends", "Green Bay Packers players", "Houston Oilers players", "Indianapolis Colts players", "Living people", "Morris Brown Wolverines football players", "National Conference Pro Bowl players", "Players of American football from Shreveport, Louisiana" ]	Ezra Ray Johnson (born October 2, 1955) is an American former professional football player who was a defensive end for 15 seasons with the Green Bay Packers, Indianapolis Colts and Houston Oilers in the National Football League (NFL) from 1977 to 1991. A first-round pick from Morris Brown College by the Green Bay Packers in 1977, Johnson was known as one of the best defensive linemen in his first few years in the league. Johnson earned a spot in the 1979 Pro Bowl after unofficially finishing second, to Detroit Lions Al "Bubba" Baker, with 20.5 sacks in 1978. (Quarterback sacks were not an official NFL statistic until 1982.) However, by 1981, Johnson's career was marred by a series of back injuries and allegations of his lack of discipline on the field, including one incident in which he ate a hot dog while sitting on the bench during a preseason game, and being inconsistent at times. He lost and regained his starting job multiple times during that period. Johnson was exclusively used as the third-down pass rush specialist after 1986, and took a leadership role with the team. He was released by the Packers in 1988 and played with two seasons with the Colts, and one with the Oilers before retiring in 1991. Despite his adverse relationship with the team at times, Johnson was elected to the Green Bay Packers Hall of Fame in 1997. ## College career Johnson played college football at Morris Brown College in Atlanta. In his last year at Morris Brown he had 112 tackles and 28 sacks. However his size and the small school he played for helped lower his draft stock. He was projected to go anywhere from the first to fourth rounds prior to the NFL Draft. ## Professional career ### Green Bay Packers Johnson was drafted as the 28th pick of the first round in the 1977 NFL Draft by the Green Bay Packers. Johnson was considered a "gamble pick" for the Packers because of lack of major college experience and his relatively small size for a defensive end. In his rookie season, Johnson appeared in 14 games as the backup for Alden Roche at defensive end. Johnson significantly improved in his second year, becoming one of the top defensive ends in the league with his explosivness off the snap and his speed, a 4.5 in the 40-yard dash, being the main factors for his success. He thrived on the Packers 4–3 defense, and recorded 14 sacks by the eighth game of the season. Johnson had two sacks and forced two fumbles in a 45–28 win against the Seattle Seahawks on October 16, 1978. At that time, the Packers had the best record in the NFC Central at 6–1. By the end of the year, Johnson recorded an unofficial 20.5 sacks, a statistic used, but not kept, by the NFL until 1982. However, the Packers offense were among the worst in the league, and the team lost a chance for a playoff berth in the final game of the season against the Los Angeles Rams. Johnson was rewarded for his efforts by being selected to play in the Pro Bowl and was rewarded with the Packers Defensive Player of the Year award. In 1979, Johnson missed seven games early in the season because of a sprained left ankle. On his return against the Minnesota Vikings on November 11, he sacked quarterback Tommy Kramer four times in a 19–7 win. During that period, Johnson teamed up with fellow first-round pick Mike Butler to form one of the league's most potent defensive lineups. Nicknamed the "Gang Green", they became known for their ability to pressure the quarterback to force a sack. Johnson was notoriously fined \$1,000 and required by then-general manager–head coach Bart Starr to apologize for eating a hot dog on the sidelines during the fourth quarter of a 38–0 Packers' home preseason loss to the Denver Broncos on August 30, 1980. Starr gave Johnson back the \$1,000 at the end of the year. However, defensive line coach Fred von Appen resigned five days after the incident because Starr refused to suspend Johnson. He started in all 15 games that season, as the Packers finished with a 5–10–1 record. After the season, Johnson and Butler were both criticized for not playing up to the Packers expectations when they drafted them. One journalist stated that their development was halted because of a lack of stability in the Green Bay coaching situation, who went through four defensive line coaches in three years. In 1981, Johnson lost his starting role to Casey Merrill as the Packers had changed to a 3–4 defensive scheme, and decided instead to use Johnson exclusively for pass rushing situations. It was a decision which confused the local media as Johnson had been the starter since 1978. Merrill, who was released by the Cincinnati Bengals and claimed off waivers by the Packers, was considered by the team as the better, more consistent interior lineman against the run. The Packers claimed Johnson lost his job because of his lack of "size" and low upside. However, during the preseason, many people within the Packers organization "questioned" Johnson's desire to play and his attitude, an allegation Johnson quickly denied. He also was fined by Starr an unknown amount of money for almost missing a team flight to New York after celebrating his birthday the previous night, misplacing his car keys. He only started three games that season. By 1982, Johnson regained his starting job over Merrill. Defensive coordinator John Meyer stated that Johnson was "playing his best football" since his breakout 1978 season. Johnson stated that "eating his mother's cooking" and being "healthy" were the main reasons for his improvement. He signed a three-year contract with the Packers at \$450,000 a year. It led to a lawsuit against his former agency Bradcor Sports Servicing, who claimed that he never gave the agency their commission. He had an official career best of 14.5 quarterback sacks in 1983 along with 107 tackles, a team record by a defensive lineman in a single season. The success didn't last long, as Johnson started to get hampered with back injuries, which reduced his effectiveness. In 1984, Johnson had surgery for a herniated disk, an injury he suffered during training camp, and was known as a potential career-ending injury. He missed the first game of the regular season against the St. Louis Cardinals and could not fully recover from the injury. Again he lost his starting job, becoming a third-down pass-rushing specialist, and was credited with seven sacks for the year; the injury forced Johnson to mull retirement. Prior to the start of training camp for the 1985 season, Johnson had a second surgery to repair his herniated disk. At the same time, Johnson took on a leadership role for the Green Bay defense, and started to accept his role as a backup and started to mentor the younger players. After injuries befell the Packers' defensive line, Johnson regained his starting position at defensive end. He started all 16 games that year, achieving 9.5 sacks. His career started to diminish after that season. In 1986, Johnson was credited with three and a half sacks as he was used as the designated third-down pass rushing specialist. He injured his right knee in 1987, missing 10 of the first 11 games of the season. He was released by the Packers on January 8, 1988. At the time of his release, Johnson was the Packers' all-time leader in sacks with 84. ### Indianapolis and Houston Johnson signed with the Indianapolis Colts in 1988 in order to provide experience to a young and inexperienced Colts squad. During his time with the Colts, Johnson was used as a part-time starter in a role similar to his final few years with the Packers. He played in ten games that year, recording three sacks and played in all 16 games the following year, recording 8.5 sacks. He joined the Houston Oilers in 1990, where he played in all 16 games, starting three, and was credited with 2.5 sacks. After playing two games for the Oilers in 1991, Johnson retired. He played in 192 games in his career, having officially 55.5 quarterback sacks (99 when his unofficial totals are added). ## Life after football After retirement Johnson coached at Morris Brown and at Morehouse College. He was elected to the Green Bay Packers Hall of Fame in 1997. He currently lives in the Atlanta area and has four children.	[ "## College career", "## Professional career", "### Green Bay Packers", "### Indianapolis and Houston", "## Life after football" ]	1,778	4,510
62,565,810	2020 German Masters	1,121,873,178	Snooker tournament, held January 2020	[ "2020 in German sport", "2020 in snooker", "European Series", "February 2020 sports events in Germany", "German Masters", "January 2020 sports events in Germany", "Sports competitions in Berlin" ]	The 2020 German Masters (officially the 2020 BetVictor German Masters) was a professional ranking snooker tournament that took place from 29 January to 2 February 2020 in the Tempodrom in Berlin, Germany. The tournament was the tenth ranking event of the 2019–2020 snooker season. It was the 14th edition of the German Masters, first held in 1995 as the 1995 German Open. The event featured a prize fund of £400,000 with £80,000 being given to the winner. Kyren Wilson was the defending champion after defeating David Gilbert 9–6 in the 2019 final. He lost 4–5 to Zhao Xintong in the second qualifying round. The final was contested between the reigning world champion Judd Trump and Neil Robertson, who had won the preceding European Masters event. Trump won the final defeating Robertson 9–6. Trump's win was his 15th ranking title and fourth of the season. This tournament was the last professional tournament for Peter Ebdon, who retired due to spine and neck degradation. Ebdon lost 4–5 in the first qualifying round to Matthew Stevens. ## Format The 2020 German Masters was a professional snooker tournament held at the Tempodrom in Berlin, Germany, between 29 January and 3 February 2020. This was the 13th edition of the German Masters tournament, being held since 2011, and previously between 1995 and 1998 as the German Open. It was the tenth ranking event of the 2019–20 snooker season following the European Masters and preceding the World Grand Prix. It was played as the best-of-nine-frames until the semi-finals, which were best-of-11-frames, followed by a best-of-17-frames final. The event featured 32 participants from the World Snooker Tour with two qualifying rounds which took place from 20 to 22 December 2019 in Barnsley, England. ### Prize fund The event featured a total prize fund of £400,000 with the winner receiving £80,000. The event was the second of the "European Series" which included the European Masters, Snooker Shoot Out and Gibraltar Open all sponsored by sports betting company BetVictor. The player accumulating the highest amount of prize money over the four events received a bonus of £150,000. The breakdown of prize money for the tournament is shown below: - Winner: £80,000 - Runner-up: £35,000 - Semi-final: £20,000 - Quarter-final: £10,000 - Last 16: £5,000 - Last 32: £4,000 - Last 64: £3,000 - Highest break: £5,000 - Total: £400,000 ## Tournament summary The first round of the German Masters began on 29 January 2020. A commemorative cake in the shape of a snooker table was baked to celebrate the 10th edition of the event to be held in the Tempodrome. Four-time world champion John Higgins lost his first round match to world number 59 Robbie Williams 4–5. Three players completed a whitewash in the first round, with Sunny Akani, Michael Georgiou and Matthew Selt all winning 5–0. Scott Donaldson defeated 2019 UK Championship winner Ding Junhui 5–4. The win gave Donaldson enough ranking points to qualify for the 2020 World Grand Prix. In the second round, Georgiou defeated Akani 5–4. Akani continued playing on the practice tables for two days after his loss. European Masters finalist Zhao Xintong defeated 17th seed Gary Wilson 5–1. In a rematch of the 2018 final, 19th seed Graeme Dott played third seed Mark Williams, with Dott winning 5–2. World number two Neil Robertson completed a second straight whitewash over Elliot Slessor in the quarter-finals, having also defeated Mitchell Mann in the second round 5–0. Shaun Murphy defeated Xintong 5–3, Dott defeated Selt 5–2 and Trump defeated Georgiou 5–1. The first semi-final was played between Dott and Trump. With no more than one frame between the two, they tied at 4–4. However, Trump won frame nine with a break of 110 and won the match 6–4. The second semi-final was between Robertson and Murphy. Robertson won five frames in a row with breaks of 73, 136, 62, 53 and 129 to win 6–1. Robertson reached the final having lost only two frames in the previous four matches. The final was played between Neil Robertson and Judd Trump on 2 February 2020. This was the second time in the 2019–20 snooker season that the pair had met in a final, having done so at the 2019 Champion of Champions. If Robertson won the final, he would be guaranteed to win the European Series. It was held as a best-of-17 frames match, held over two sessions. Robertson won four of the first six frames, with Trump winning the final two frames of the first session to tie the match at 4–4. Trump restarted the match, winning a further two frames to lead 6–4. Robertson won frame 11, before Trump won frame 12 to lead 7–5 going into the . The pair shared the next two frames, before Trump won the match 9–6 with a break of 120 in frame 15. This was Trump's 15th career ranking event title, his fourth of the season. ## Main draw Below are the event's results from the last-32 stage to the final. Player names in bold denote match winners. Numbers in brackets denote player seedings. ### Final ## Qualifying Qualifying for the event took place between 20 and 22 December 2019 at the Barnsley Metrodome in Barnsley, England. There were two rounds of qualifying with matches being played as best-of-9 frames. Defending champion Kyren Wilson did not qualify for the event, after losing 4–5 to Zhao Xintong in the second round. Peter Ebdon played his last professional match in a first round loss to Matthew Stevens. ### Round 1 ### Round 2 ## Century breaks ### Main stage centuries There was a total of 33 century breaks during the tournament. The highest was a 138 made by John Higgins in his first round win over Robbie Williams. - 138, 134 – John Higgins - 136, 133, 129, 120, 101, 101 – Neil Robertson - 134, 108 – Gary Wilson - 133, 106 – Mark Williams - 132 – Nigel Bond - 132 – Scott Donaldson - 130 – Elliot Slessor - 129, 127 – Shaun Murphy - 126 – Yuan Sijun - 122, 119, 114, 110, 100 – Judd Trump - 122, 102 – Luca Brecel - 122 – Robbie Williams - 121 – Graeme Dott - 119 – Robert Milkins - 112 – Michael Georgiou - 111, 110 – Mitchell Mann - 108 – Matthew Selt - 102 – Sunny Akani ### Qualifying stage centuries There was a total of 77 century breaks during qualifying. The highest was a 143 made by Tom Ford in his second qualifying round match against Oliver Lines. - 143, 129 – Tom Ford - 142, 137, 124 – Michael Georgiou - 141 – Hossein Vafaei - 140, 106 – Robert Milkins - 140 – Zhang Anda - 139, 137, 127, 109 – Zhao Xintong - 135 – John Astley - 135 – Louis Heathcote - 134, 131 – Yan Bingtao - 133 – Liang Wenbo - 133 – Zhou Yuelong - 132, 130 – Kyren Wilson - 132, 103 – Ricky Walden - 131, 111 – Kacper Filipiak - 131 – Kurt Maflin - 130 – Xu Si - 126, 106 – Dominic Dale - 126 – Mark Davis - 124, 115 – Stuart Bingham - 123, 113 – Li Hang - 123, 105 – Luca Brecel - 122 – Kishan Hirani - 119 – Jack Lisowski - 118 – Ali Carter - 118 – Fraser Patrick - 118 – Joe Perry - 117 – Sam Craigie - 116, 109, 107 – Judd Trump - 115, 100, 100 – Gary Wilson - 115 – Ian Burns - 114, 102, 100 – Ashley Carty - 114 – Jimmy Robertson - 113 – Soheil Vahedi - 111 – Noppon Saengkham - 110 – Alexander Ursenbacher - 110 – Anthony Hamilton - 109 – Bai Langning - 109 – Lee Walker - 108, 101 – Igor Figueiredo - 108 – Sam Baird - 107 – Andrew Higginson - 106 – Barry Hawkins - 104, 103 – David Gilbert - 104, 100 – Matthew Stevens - 103 – Fergal O'Brien - 102 – Scott Donaldson - 101 – Yuan Sijun - 100, 100 – Neil Robertson - 100 – Mark Selby - 100 – Ryan Day	[ "## Format", "### Prize fund", "## Tournament summary", "## Main draw", "### Final", "## Qualifying", "### Round 1", "### Round 2", "## Century breaks", "### Main stage centuries", "### Qualifying stage centuries" ]	2,103	31,347
1,788,075	Homer to the Max	1,164,458,751	null	[ "1999 American television episodes", "Television episodes about television", "Television episodes directed by Pete Michels", "Television shows written by John Swartzwelder", "The Simpsons (season 10) episodes" ]	"Homer to the Max" is the thirteenth episode of the tenth season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on February 7, 1999. In the episode, Homer discovers that a new television show, Police Cops, has a hero also named Homer Simpson. He is delighted with the positive attention he receives because of his name, but when the television character is rewritten from a hero to a bumbling idiot, he is mocked and taunted, so he changes his name to "Max Power" to rid himself of the negative attention. Max gains new friends, and is forced into a protest to prevent a forest from being knocked down. In the end, he changes his name back to Homer Simpson. The episode was written by John Swartzwelder and directed by Pete Michels. Since airing, it has received mixed reviews from television critics. Overall, the episode received a Nielsen rating of 8.5. ## Plot The Simpson family watches the pilot episode of Police Cops, which follows a duo of suave and dashing detectives, Lance Kaufman and Homer Simpson. Homer is delighted with the positive attention he receives from townspeople for sharing the lead character's name, as well as the character's personality, despite the family telling him it is just a coincidence. Following the pilot, however, the Homer Simpson character is rewritten as Lance's overweight and inept comic relief sidekick who mistakes the toys for guns program as "guns for toys" and the police chief's insulin shipment for illegal drugs. He also spouts the mindless catchphrase “Uh-oh! SpaghettiOs!”, resulting in Homer being mocked by the people of Springfield. Humiliated, he appeals to the producers to change the character back, but they refuse. Then, after unsuccessfully attempting to sue the company for improper usage of his old name, Homer legally changes his name to "Max Power", the only correctly spelled or sensible name on the list he presented to the presiding judge. Though the negative attention fades away, Marge is unhappy that Homer changed his name without consulting her. With his new identity comes a massive change in attitude, as Max is much more assertive and freewheeling than Homer was. While shopping at Costington's, Max meets a successful businessman named Trent Steel. Trent invites Max and the family to a garden party, despite Marge's reservations, where they meet many famous people, but Max finds out the party is an excuse to save a redwood forest from destruction. After travelling with the party guests to the forest, Max, Marge, and everyone else chain themselves to the trees to prevent the bulldozers from knocking them down. The Springfield police arrive and Eddie and Lou chase Max around his tree, trying to "swab" him with mace. As Max rounds the tree, the chain cuts into it. The redwood falls and knocks down all other redwoods, angering their newfound friends. Max later changes his name back to "Homer Simpson", but attempts to get Marge to agree to change hers into something sexually suggestive such as "Chesty LaRue" or "Busty St. Claire". ## Production The show's writers had read a story in the newspaper about people with famous names and came up with a way of how Homer's life could be affected if he saw someone on TV with his name. While creating the Homer Simpson television character, the production staff was deciding if the character should be "cool" throughout the episode, or if he should be an idiot from the beginning. The staff decided to use both methods and have him become an idiot after being seen as cool in the first episode of the new program. The hat Homer wears while walking through the mall is a parody of one owned by Woody Allen. Ron Hauge, a The Simpsons show producer, suggested the name Max Power to a friend who wanted to change his name. His friend, however, did not take it. The episode would also inspire Tom Martin's cousin to name his son Max Power. One scene from the episode features Ned Flanders commenting that cartoons are easily able to change voice actors; to enhance the joke for his one line of dialogue, Flanders is voiced by recurring cast member Karl Wiedergott instead of his regular voice actor Harry Shearer. ## Cultural references The TV show Police Cops is a parody of the television series Miami Vice. One of the new TV shows features Archie Bunker in the show All in the Family 1999. Homer suggests the names Hercules Rockefeller, Rembrandt Q. Einstein, and Handsome B. Wonderful to Judge Snyder for his name change. The "Max Power" song is sung to the melody of "Goldfinger", the theme from the James Bond film Goldfinger (1964). Actors Woody Harrelson and Ed Begley Jr., President Bill Clinton and producers Lorne Michaels, Brian Grazer and Jerry Bruckheimer are shown in attendance at the party (Grazer's appearance is identical to his guest-voice appearance as himself from "When You Dish Upon a Star", while Bruckheimer, who has not done a voice cameo for the show, is the thin man with a beard standing next to Grazer and wearing a bright sportcoat over a plain T-shirt). The police attempting to "swab" the protestors is a reference to several incidents in 1997 in which sheriff's deputies of Humboldt County, California, swabbed pepper spray in the eyes of environmental protesters. ## Reception "Homer to the Max" finished 39th in the weekly ratings for the week of Feb 1–7, 1999, with a Nielsen rating of 8.5. Since airing, this episode has received mixed reviews from television critics. The authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood, wrote that though it was "funny in all the right places, this is an episode of two distinct stories, neither of which mesh together. The whole Ed Begley, Jr. saving the forest bit seems to have been tacked on, as if the stuff about Homer finding his name being abused (shades of Mr. Sparkle again?) ran out of steam. Not a bad show, more a sort of 'So what?' show." Robert Canning of IGN gave the episode a 7.7/10 rating, commenting that "it has a number of really funny scenes and memorable lines", but overall "the storyline didn't really have anywhere to go and the final half of the third act is a complete waste of time." Morgan Larrick of About.com noted "Homer to the Max" as "one of the most unforgettable episodes" when reviewing the complete tenth season.	[ "## Plot", "## Production", "## Cultural references", "## Reception" ]	1,388	21,225
31,692,504	Church of the Holy Mother of God, Donja Kamenica	1,167,570,658	null	[ "14th century in Bulgaria", "14th-century Eastern Orthodox church buildings", "Cultural Monuments of Great Importance (Serbia)", "Medieval Bulgarian Orthodox church buildings", "Serbian Orthodox church buildings in Serbia", "Zaječar District" ]	The Church of the Holy Mother of God (Serbian: Црква Свeте Богородице / Crkva Svete Bogorodice; Bulgarian: Църква „Света Богородица“, Tsarkva „Sveta Bogoroditsa“) is a medieval Eastern Orthodox church in the village of Donja Kamenica in Knjaževac Municipality, Zaječar District, eastern Serbia. The church is generally considered to have been built in the 14th century, when this area was part of the Second Bulgarian Empire's Vidin appanage, though alternative datings have been proposed. While small, the Church of the Holy Mother of God is notable for its unusual architectural style, in particular for its high narthex flanked by two sharp-pointed towers. These features, which hint at Hungarian or Transylvanian influences, are highly atypical for medieval Bulgarian church architecture. The church is richly decorated on the inside, with as many as eleven frescoes of historical figures. One of these portraits, captioned as a despot, is variously identified as an eponymous son of Bulgarian tsar Michael Shishman or as an undocumented son of co-tsar Michael Asen IV; earlier speculation that the image depicted Serbian noble Mihailo Anđelović or Michael Shishman himself have since fallen out of favor with art historians. In addition to these early portraits, the interior walls of the church were painted with canonical murals, which can stylistically be assigned to the 14th–15th century. The church was reconstructed in 1958 and has been under Serbian state protection since 1982. ## History and architecture The Church of the Holy Mother of God lies in the eastern Serbian village of Donja Kamenica, some 10 to 15 kilometres (6.2 to 9.3 mi) southeast of Knjaževac, northeast of Niš and not far from the Bulgarian border. The church is located at the square in the centre of the village, by the left bank of the Trgoviški Timok river and along an old military road from Pirot to Vidin. The church acquired its name due to its abundance of frescoes featuring Mary, the mother of Jesus. The prevalent opinion is that the church was constructed and painted in the early 14th century, which coincides with the lifetimes of the individuals most widely accepted as represented by the figures depicted in the church's frescoes. At the time, the village of Donja Kamenica, along with much of the Timok Valley region, belonged to the Vidin appanage of the Second Bulgarian Empire. However, alternative theories place the construction of the church in the mid-14th century, the mid-15th century or even the 16th century. The church and its frescoes were restored in 1958. The church was declared a Monument of Culture of Great Importance in 1982, and it is protected by the Republic of Serbia. In terms of architecture, the church features a round dome and a single apse. The naos or cella has the shape of a cross, in line with the popular Byzantine cross-in-square design. Of particular interest is the formerly two-storey narthex, which is notable for its unusual verticality and the towers on either side of the entrance. Judging by the models depicted in the donor's portraits inside the church, it is clear that the towers were originally further apart and the west facade with the narthex included much woodwork. The towers are topped off by sharp-pointed pyramidal elements, with additional sharp-pointed details in each of the pyramids' four corners. The towers and their design are entirely unusual and unprecedented in medieval Bulgarian church architecture. Art historian Nikola Mavrodinov believes these resemble Gothic architecture, though a more modern researcher, Bistra Nikolova, dismisses his assessment and considers these an influence from Hungary or Transylvania. Despite its monumental appearance, the church is rather small in size. It measures 7.80 by 6.50 metres (25.6 ft × 21.3 ft) (according to Nikolova) or 7.70 by 6.20 metres (25.3 ft × 20.3 ft) (per Mavrodinova). The materials employed in the church's construction were chiefly chiseled stones welded together using mortar masonry. Several rows of bricks were added in order to even out the structure and to serve as decoration, particularly in the dome, which features more elaborate brickwork. ## Decoration The frescoes inside the church are commonly dated to the 14th–15th century, though they follow a standard compositional model which had been established in Bulgarian church decoration since the 13th century. Unusually, most of the captions which accompany the images are in Byzantine Greek, though a few are in Old Church Slavonic. In terms of style, the murals have much in common with churches from the southwestern Bulgarian lands. Biblical scenes and figures depicted in the Church of the Holy Mother of God include the worshiping of the Christ child as the eucharistic victim (the Melismos) in the lower part of the apse, the raising of Lazarus, the Annunciation, Jesus' triumphal entry into Jerusalem, Judas Iscariot's betrayal of Jesus, the Passion of the Christ in the upper part of the cella, the Descent from the Cross, the mourning of Jesus, and the Dormition of the Theotokos on the west wall. The north and south walls of the cella, as well as the wall piers, bear frescoes of saints, including rare images of military saints on horseback. Murals of Saint Petka and Saint Nicholas were painted in the upper reaches of the narthex, in the south and the north tower respectively. Besides religious imagery, the frescoes of the Donja Kamenica church also include eleven portraits of contemporary historical figures, separated into four compositions. Three of the compositions are uncaptioned, making the identification of the people practically impossible. The first composition is located in the cella and depicts two men preserved from the waist up, of which one holds a model of the church, and a child, of which only the head is visible today. The second composition was painted on the upper west wall of the narthex and portrays a man, a woman, a boy and a girl, with the man also holding a model of the church, a common symbol of donorship. Art historian Dragana Frfulanović believes that the images of men holding models in both compositions depict the same person, the main donor. The third composition is in the cella and depicts two men: a monk and a priest. ### Despot and despotissa's portraits Of greatest interest is the fourth composition of historical figures, a young man and a woman, which was painted on the lowest west wall of the narthex and includes inscriptions in Old Church Slavonic. The figures are painted facing the viewer. The man's red clothing is covered in pearls and double-headed eagles, and he wears an archaic-looking despot's crown on his head. In his right hand, the man holds a sceptre with a cross. He extends his hand to a woman, clad in a despotissa's attire and wearing a fitting crown. The inscription next to the figure of the man has been deciphered either as “Michael despot, in Christ [our] God... faithful” or “Michael despot, in Christ [our] God faithful, son of Tsar Michael”. Either reading presents significant challenges as to the proper identification of the portrayed person, who was clearly a despot, bore the name Michael, and, if the latter reading is correct, was the son of an eponymous tsar. As a result, various theories have been proposed by Bulgarian and Serbian researchers alike. Early Bulgarian historian Petar Nikov suggested that despot Michael of the Donja Kamenica church is identical with Bulgarian tsar Michael Shishman (r. 1323–1330) who, before his accession to the throne, was despot of Vidin. However, Michael Shishman's father was named Shishman, not Michael, and was usually titled despot rather than tsar. In turn, Mavrodinov proposed the theory that despot Michael is an otherwise unknown son of Michael Shishman, who was installed as despot of Vidin by his father after his coronation in 1323. In any case, this unknown son of Michael Shishman was probably dead by 1331 because Belaur is mentioned as the ruler of Vidin shortly thereafter. The latter theory is the most established identification of despot Michael in Bulgarian historiography. A third theory, supported by both Serbian and Bulgarian researchers, is that despot Michael is an unknown son of Michael Asen IV, the first-born son of Bulgarian tsar Ivan Alexander (r. 1331–1371), who was proclaimed co-tsar shortly after his father's accession and died in a battle against the Ottomans before 1354–1355. Against this identification is the account of Nikephoros Gregoras, who mentions that Michael Asen's widow returned childless to Constantinople after his death. Another issue with this theory is that no source mentions Michael Asen as a despot. Another theory, which was put forward by early Serbian historians and has subsequently lost support in Serbian scholarship, is that despot Michael is to be identified with mid-15th-century Serbian noble Mihailo Anđelović, a brother of Ottoman statesman Mahmud Pasha Angelović. However, in-depth research of the frescoes has concluded that they cannot be ascribed to the 1450s, as the artistic style, the clothing and hairstyles in the portraits are uncommon for this period. Furthermore, the church seems to bear little architectural similarity to churches of the Morava school, which dominated 15th-century Serbian architecture. It has also been revealed that in 1454–1455, Donja Kamenica was controlled by the Ottomans and in possession of a certain Yusuf, rather than part of the Serbian Despotate, and Mihailo Anđelović was never titled despot. The identity of the woman has also been a matter of debate. The inscription which accompanies her image clearly includes her title, despotissa, as well as the word “daughter”. Based on a possible reading of her name as Anna, she has been identified as Anna Neda, the Serbian wife of Michael Shishman, which is in line with the first identification of the despot. Nikolova believes that it is possible that the woman is Anna Neda even if the despot is her son rather than her husband. She theorises that Anna Neda settled in Vidin after Michael Shishman's second marriage and owned a personal domain which included Donja Kamenica. Another reading of the inscription deciphers the name of the despotissa as Elena. ## See also - Monuments of Culture of Great Importance - Tourism in Serbia	[ "## History and architecture", "## Decoration", "### Despot and despotissa's portraits", "## See also" ]	2,326	29,527
50,841,641	Her Majesty Queen Elizabeth II – An 80th Birthday Portrait	1,156,797,563	2005 painting by Rolf Harris	[ "2005 paintings", "21st-century portraits", "Cultural depictions of Elizabeth II", "Impressionist paintings", "Lost paintings", "Portraits by Australian artists", "Portraits of the British Royal Family", "Portraits of women", "Rolf Harris" ]	Her Majesty Queen Elizabeth II – An 80th Birthday Portrait is a 2005 oil painting of Queen Elizabeth II by Rolf Harris, commissioned by the BBC for the Queen's 80th birthday. It was unveiled at the Queen's Gallery in Buckingham Palace and publicly displayed there from 2005 to 2006. A BBC television special about its creation, The Queen, by Rolf, was broadcast on BBC One on 1 January 2006. The painting was voted the second-most-favoured portrait of the Queen by the British public, but it was critically derided. Rolf Harris was a popular entertainer on British TV, and was the presenter of Rolf on Art, a BBC series on artists. He took two months to complete the portrait: two sittings were held at Buckingham Palace in the summer of 2005, filmed by the BBC; the rest of the painting was completed at Harris' own art studio. The portrait, measuring 100 centimetres (39 in) × 50 centimetres (20 in), is of the Queen wearing a turquoise dress and is painted in oil. After he completed the portrait, Harris' reputation as an artist, and the value of his works, increased and he was appointed a Commander of the Most Excellent Order of the British Empire (CBE). The award was annulled following his conviction for indecent assault and sexual offences. The ownership and current location of the portrait is unknown. ## Background The painting was commissioned by the BBC, and subsequently unveiled at the Queen's Gallery in Buckingham Palace and publicly displayed there from 20 December 2005 to 11 June 2006. A BBC television special about its creation, The Queen, by Rolf, was broadcast on BBC One on 1 January 2006. Harris had been a popular entertainer and artist for several decades in Britain at the time the portrait was commissioned, and was the presenter of Rolf on Art, a series of television programmes on notable artists of the past. Harris subsequently said of the Queen that she was "an incredible lady and it was a real pleasure to paint her. The portrait I've created aims to capture the Queen's warm and friendly personality, rather than being a very formal portrait focusing more on her official status." Harris explained to The Daily Telegraph the following year: "I was as nervous as anything. I was in a panic". After he completed the portrait, his reputation as an artist (and the value of his works) increased. He was appointed a Commander of the Most Excellent Order of the British Empire (CBE) in 2006. Then, in 2013, he was arrested as part of Operation Yewtree, a police investigation into child sexual abuse by media celebrities, and was convicted for indecent assault and imprisoned for five years nine months in June 2014. His art work was largely withdrawn from sale, and the CBE was cancelled and annulled. ## Painting The portrait in oil of the Queen wearing a turquoise dress, measuring 100 centimetres (39 in) × 50 centimetres (20 in), took two months to complete. Two sittings were held at Buckingham Palace in the summer of 2005; Harris subsequently completed the painting at his own art studio. The two sittings were filmed by the BBC. Prior to painting the portrait, Harris said that he wanted to "get the real person rather than the state image" and intended that it would be "representational of the way the Queen looks and her obvious charm and friendly quality, rather than the very formal". Harris aimed to create an "impressionistic" as opposed to a "photographic" portrait of the Queen. ## Critical reception The portrait was voted the second-most-favoured portrait of the Queen by the British public; however, it has been critically derided, being described by Harry Wallop as depicting the Queen as a "gurning granny". Clive Aslet, writing in The Telegraph, described the painting as representing a "nadir" of portraiture of the Queen, feeling it showed her "grinning like the monkey on top of a barrel organ". ## Ownership and location The location and ownership of the painting are presently unknown. The National Portrait Gallery later refused Harris's offer of the portrait. In 2012, the painting was displayed at the Walker Art Gallery in Liverpool as part of an exhibition of Harris's work. It was described by the Walker Gallery as having been part of Harris's private collection; the gallery later said that they had returned the portrait to Whitewall Galleries with whom Harris had a commercial relationship. Following Harris's arrest and 2014 conviction for indecent assault and sexual offences, BBC News Online's magazine discussed the location and ownership of the painting. It revealed that the painting was not part of the Royal Collection, having only been loaned to the Queen's Gallery for display; it was also not part of the BBC's art collection and Whitewall Galleries did not respond to requests for a comment on the portrait's ownership. The public relations company Bell Pottinger, who acted for Harris during his trial, were unable to say if Harris possessed the painting. The article reported that it was "likely to have been returned to Harris".	[ "## Background", "## Painting", "## Critical reception", "## Ownership and location" ]	1,071	28,058
7,123,243	Five Mile Point Light	1,172,868,927	Lighthouse in Connecticut, United States	[ "1805 establishments in Connecticut", "Buildings and structures in New Haven, Connecticut", "Lighthouses completed in 1805", "Lighthouses completed in 1812", "Lighthouses completed in 1847", "Lighthouses in New Haven County, Connecticut", "Lighthouses on the National Register of Historic Places in Connecticut", "Long Island Sound", "National Register of Historic Places in New Haven, Connecticut", "Tourist attractions in New Haven, Connecticut", "Towers completed in 1805" ]	Five Mile Point Light, also known as Five Mile Point Lighthouse or Old New Haven Harbor Lighthouse, is a U.S. lighthouse in Long Island Sound on the coast of New Haven, Connecticut. Located at the entrance to New Haven Harbor, the beacon's name derives from its proximity to Downtown New Haven, about five miles (8 km) away. The original lighthouse consisted of a 30-foot (9.1 m) octagonal wooden tower built in 1805 by Abisha Woodward. In 1847, a new 80-foot (24 m) octagonal tower was constructed by Marcus Bassett with East Haven brownstone. This new beacon was illuminated by 12 lamps with reflectors which were positioned 97 feet (30 m) above sea level. Also constructed at this time was a two-and-one-half story brick house which supplanted the previous, deteriorating keeper's dwelling. A fourth-order Fresnel lens replaced the lamps in 1855 and a fog bell was added in the 1860s. The Five Mile Point Light was deactivated in 1877 when the nearby Southwest Ledge Light was completed. Currently, the lighthouse is contained within Lighthouse Point Park and, along with the keeper's house, was listed on the National Register of Historic Places in 1990. ## History During the American Revolutionary War in July 1779, a battle took place on the site of the future lighthouse when British troops anchored offshore and staged an invasion of New Haven. Patriot forces launched a defense of the beachfront as the attackers landed their boats. Ensign and Adjutant Watkins of the King's American regiment was the first of the British soldiers killed in the skirmish, shot while attempting to disembark on the shoreline. He was buried close to where the lighthouse at Five Mile Point would eventually be erected a few decades later. Although the British went on to burn the nearby house of Amos Morris and several other residences in the area, they suffered heavy losses and ultimately abandoned their advance on New Haven. ## Original tower In 1804, the United States Congress passed a statute requiring the secretary of the treasury to build a lighthouse at Five Mile Point if land could be obtained for a reasonable price. That same year, Amos Morris, Jr., son of the man whose home was the first to be razed during the 1779 British invasion, sold a suitable one-acre plot of his father's coastal estate to the federal government for \$100. On March 16, 1805, an appropriation for \$2500 was issued for the construction of the lighthouse. Late that year, a 30-foot (9.1 m) octagonal wooden tower was built by Abisha Woodward on the southwest edge of the harbor and to mark the path around the Southwest Ledge. The fixed white light was made by eight oil lamps with 13 inches (33 cm) parabolic reflectors, but it was criticized for being too dim. The lighthouse also had a keeper's quarters constructed in 1805. The first keeper of the light was Amos Morris Jr., for a period of just three weeks. An 1832 report noted that the light was 50 feet (15 m) above the water and that its visibility had been improved with the removal of some trees. In 1838, Lieutenant George M. Bache reported that the wooden tower and keeper's house was in a poor state. Congress would appropriate \$10,000 to construct a new stone lighthouse on March 3, 1847. ## Current tower Constructed in 1847, the new 80-foot (24 m) octagonal tower was constructed by Marcus Bassett with East Haven brownstone from Jabez Potter's quarry. The interior of the lighthouse was lined with New Haven brick and a 74-step granite stairway leads to the cast-iron lantern. The light was powered by 12 lamps with reflectors and was located 97 feet (30 m) above sea level. Also constructed was a new two-and-one-half story brick house to replace the one in a "very bad state of repair". The light would be replaced with a fourth-order Fresnel lens in 1855. In the 1860s, a fog bell was also added. The lighthouse was extinguished in 1877 when the offshore Southwest Ledge Light replaced it for navigation. The keeper, Elizur Thompson, went to be the Southwest Ledge Light's keeper for five years before returning to live in the Five Mile Point Light keeper's quarters and fly storm signal flags for the United States Weather Bureau. In 1896, the lighthouse was transferred to the United States Department of War and was improved by a leasee named Albert Widmann. In 1922, the property was split up, with the land given to the state of Connecticut and the buildings to the city of New Haven. Two years later, New Haven purchased the land from the state for \$11,180. The tower was renovated in 1986. The \$86,000 restoration included repairing cracked mortar, steam cleaning the interior and exterior and removing "guano [that had] accumulated over the decades". ## Importance Roth and Clouette note that the "Five Mile Point Lighthouse is significant because it embodies the distinctive characteristics of American lighthouse construction during the first half of the 19th century ... [it] is also significant in the maritime history of New Haven." The keeper's dwelling currently is a private residence for New Haven Recreation Department personnel and has been modified with the addition of a porch. The lighthouse and the keeper's residence were listed on the National Register of Historic Places in 1990. ## List of keepers ## See also - List of lighthouses in the United States - List of lighthouses in Connecticut - National Register of Historic Places listings in New Haven, Connecticut	[ "## History", "## Original tower", "## Current tower", "## Importance", "## List of keepers", "## See also" ]	1,202	757
58,607,120	The Epic Split	1,163,244,700	2013 commercial by Volvo Trucks	[ "2010s television commercials", "Enya", "Viral videos", "Volvo" ]	"The Epic Split feat. Van Damme (Live Test)" is a 75-second-long commercial released in November 2013 by Volvo Trucks, as the sixth commercial in their "Live Tests" advertising campaign. The commercial was made to demonstrate the stability of the Volvo FM trucks while using their implementation of dynamic steering. It features Jean-Claude Van Damme performing a split on the wing mirrors between two backwards moving trucks set to the music "Only Time" by Enya. The commercial was recorded in a single take at the abandoned Ciudad Real International Airport in Spain during a sunrise. It was produced by the agency Forsman & Bodenfors and was directed by Andreas Nilsson. It has won several awards, and multiple parodies were based on the commercial. ## Content The commercial starts with Van Damme's face in close up. In the voice-over, he says: > "I've had my ups and downs. My fair share of bumpy roads and heavy winds. That's what made me what I am today. Now I stand here before you. What you see is a body crafted to perfection. A pair of legs engineered to defy the laws of physics and a mindset to master the most epic of splits." The camera zooms out and shows that he is standing on the mirrors of two trucks which are both driving backwards. The left truck starts to move sideways, while Van Damme starts his gymnastic split. The camera is moving sideways, causing the sun to disappear and appear again behind the trucks. The music "Only Time" by Enya plays during the commercial, which includes the lyric "Who can say where the road goes ..." The commercial then states: "This test was set up to demonstrate the stability and precision of Volvo Dynamic steering. It was carried out by professionals in a closed-off area". ## Background The Epic Split was the sixth video in a series of commercials by Volvo Trucks called "Live Tests". Volvo Trucks has appointed the advertising agency before the launch of a major new series of trucks. Other commercials include "Hamster", "The Chase" and "The Hook". ## Production The director was Andreas Nilsson. It was the sixth advert released in the series called Live Tests which Swedish advertising agency Forsman & Bodenfors had created for Volvo Trucks. The runway of the closed Ciudad Real International Airport in Spain was selected as the shooting location during the five-month planning period. Following three days of rehearsals, the stunt footage featuring van Damme was recorded in a single take. Van Damme was protected by a hidden safety harness and wire not visible in the final result. A small platform was fitted to each truck behind the wing mirrors to support Van Damme's feet during the stunt. Mikael Rosell was the driver of the truck steering sideways. Both trucks were driving in reverse at a fixed speed of 25 kilometres per hour (16 mph), with co-drivers in each of the two trucks to help monitor the speed. Filming was performed with an Arri Alexa digital camera mounted via a boom to a camera car. The long shot was captured in a single take, because of the position of the sunrise. Colour grading was performed by The Mill and removal of reflections and safety wires was done by Swiss International. ## Reception One week after release, Epic Split had been viewed online 25 million times, and after nine days reached 40 million views. Enya's music "Only Time" re-entered the Billboard Top 100 reaching number 43, thirteen years after the original release. In May 2014, Epic Split won the Best in Show award from The One Club. During 2014 Epic Split won a Black Pencil award from the Design and Art Direction design awards in 2014. In December 2014, the advert received six prizes including the Film Grand Prix at the Eurobest awards in Helsinki, Finland. In 2015, it won another prize at the Cannes Lions International Festival of Creativity, for Creative Effectiveness. ## Analysis An initial international follow-up market research survey by GfK found Epic Split to be the most attention grabbing of the six adverts in the Live Tests series, but less effective than the other five in causing immediate action of the viewer. Neuroscientific analysis showed that female viewers were more intrigued and engaged during the split itself; whereas male viewers sympathised with the pain possibly being felt by Van Damme, subsequently leading to high memory encoding effectiveness at the precise point of the "Volvo Dynamic Steering" message being shown. By late-2014 the overall campaign was estimated to have cost \$3–4 million to produce, and generated \$170 million in revenue for Volvo. ## Parodies Less than a week after Volvo released the advert, a face-swapped variant was distributed, with Van Damme replaced by then-Mayor of Toronto Rob Ford. In November 2013, during the filming of 22 Jump Street, a parody was created with actor Channing Tatum performing the splits between two food trolleys. In December 2013, a parody was created showing Chuck Norris as Walker, Texas Ranger, performing a similar manoeuvre between two aircraft to the opening lines of Hamlet. As the camera pulls back eleven commandos are seen balancing on the character's head in the shape of an illuminated Christmas tree. Five years later, the director of Epic Split, Nilsson, would go on to film a commercial for Toyota Tacoma pickups featuring the real Chuck Norris. On April Fools' Day 2014, Bohemia Interactive released a parody of The Epic Split as part of a promotion for the fake "Arma 3: Karts" downloadable content pack for their 2013 video game Arma 3. The video depicts a major character from the game's story performing a similar stunt between two go-karts. Though intended as a mere joke, the video became so popular with fans that Bohemia released the Karts DLC on May 29, 2014, as Arma 3's first paid DLC.	[ "## Content", "## Background", "## Production", "## Reception", "## Analysis", "## Parodies" ]	1,221	5,872
70,735,737	Diamond Miller	1,169,018,882	American basketball player	[ "2001 births", "All-American college women's basketball players", "American women's basketball players", "Basketball players from Essex County, New Jersey", "Franklin High School (New Jersey) alumni", "Living people", "Maryland Terrapins women's basketball players", "McDonald's High School All-Americans", "Minnesota Lynx draft picks", "Minnesota Lynx players", "People from Franklin Township, Somerset County, New Jersey", "Shooting guards", "Sportspeople from Montclair, New Jersey", "Sportspeople from Somerset County, New Jersey", "United States women's national basketball team players" ]	Diamond Miller (born February 11, 2001) is an American professional basketball player for the Minnesota Lynx of the Women's National Basketball Association (WNBA). She played college basketball for the Maryland Terrapins. Miller attended Franklin High School in Somerset, New Jersey, where she was rated a five-star recruit by ESPN and earned McDonald's All-American honors in 2019. At Maryland, she was named an All-American as a senior, won Most Outstanding Player of the 2021 Big Ten tournament and left as a three-time All-Big Ten selection. Miller won a gold medal with the United States national team at the 2021 FIBA Women's AmeriCup. She was selected 2nd overall in the 2023 WNBA draft by the Minnesota Lynx. ## Early life and high school career Miller grew up playing basketball and soccer. In her childhood, she played basketball with her two older sisters, Adreana and LaNiya, who inspired her to pursue the sport. Miller looked up to Candace Parker, Stephen Curry and Kevin Durant. She was coached by her father, Lance, with Team Miller Lightning in the Amateur Athletic Union. Miller was a four-year varsity player at Franklin High School in Somerset, New Jersey. She averaged 15.5 points per game as a freshman. In her sophomore season, Miller averaged 18.1 points, 6.6 rebounds and 3.8 blocks per game, leading Franklin to a New Jersey Tournament of Champions and Group 4 state titles. As a junior, Miller averaged 23.8 points, 7.7 rebounds, 3.8 assists and 3.8 blocks per game, and was named Courier News Player of the Year for 2018. She broke her own program single-season scoring record and surpassed her sister, Adreana, as Franklin's all-time leading scorer. Miller led her team to the Group 4 state championship, scoring 27 points against Toms River High School North in the title game. In her senior season in 2018–19, she averaged 21.8 points, 8.7 rebounds and 3.1 blocks per game, repeating as Courier News Player of the Year. Miller led her team to a 34–0 record, another Tournament of Champions title, and the Group 4 state title. She was named New Jersey Gatorade Player of the Year, NJ.com Player of the Year, and USA Today New Jersey Player of the Year. She was selected to play in the McDonald's All-American Game. ### Recruiting Miller was considered a five-star recruit and the number 17 player in the 2019 class by ESPN. She received her first college basketball scholarship offer from Villanova, her father's alma mater, in eighth grade. On March 10, 2018, she committed to playing college basketball for Maryland over an offer from Notre Dame. Miller was drawn to the program by its coaching staff and proximity. On November 14, she signed her National Letter of Intent with Maryland. ## College career In her freshman season at Maryland, Miller was a key reserve for Maryland. On November 24, 2019, she scored a season-high 17 points in a 107–52 win against Quinnipiac. As a freshman, Miller averaged 7.7 points and 3.2 rebounds per game. Her team won the Big Ten tournament and were contenders for the NCAA tournament, which was canceled amid the COVID-19 pandemic. Miller assumed a leading role alongside Ashley Owusu in her sophomore season. On December 3, 2020, she scored a season-high 28 points, shooting 5-of-7 from three-point range, in a 112–78 win over Towson. Miller posted 15 points and six assists in a 104–84 win against Iowa to capture her second Big Ten tournament title. She was named tournament Most Outstanding Player. As a sophomore, Miller averaged 17.3 points, 5.8 rebounds and 2.9 assists, earning first-team All-Big Ten honors. She was limited to begin her junior season due to a lingering knee injury, and missed 10 of her first 12 games. On January 6, 2022, Miller scored a season-high 24 points in a 106–78 victory over Penn State. She scored 24 points, with nine rebounds, three assists and three steals, in an 89–65 win over Florida Gulf Coast at the second round of the 2022 NCAA tournament. As a junior, Miller averaged 13.1 points, 4.1 rebounds and 2.8 assists per game, making the All-Big Ten second team. Following the season, she underwent knee surgery and was sidelined for three to six months. On November 20, 2022, Miller recorded a career-high 32 points and 10 rebounds in a 73–68 win over Baylor. On December 1, she had 31 points, 12 rebounds and five assists, making the game-winning buzzer-beater, in a 74–72 victory over Notre Dame. Miller was a unanimous first-team All-Big Ten selection by the league's coaches and media. She was named a second-team All-American by the Associated Press and the United States Basketball Writers Association, and made the Women's Basketball Coaches Association Coaches' All-America team. As a senior, Miller averaged 19.7 points, 6.6 rebounds, 2.9 assists and 2.1 steals per game, and set the program single-season record with 201 free throws made. She declared for the 2023 WNBA draft, where she was considered one of the top prospects. ## Professional career ### Minnesota Lynx Miller was selected 2nd overall in the 2023 WNBA Draft by the Minnesota Lynx. Miller made her WNBA debut on May 19, 2023, against the Chicago Sky as a starter scoring 9 points and grabbing 7 rebounds. In the July 26, 2023, Lynx home game against the Washington Mystics, she became the first WNBA rookie to ever score 20 or more points (she had 21), have 9 or more assists, and only have 1 or no turnovers. ## National team career Miller represented the United States at the 2017 FIBA Under-16 Women's Americas Championship in Argentina. She averaged 6.4 points, 5.6 rebounds and two steals per game, helping her team win the gold medal. Miller recorded 10 points, four rebounds and two steals in a 91–46 win over Canada in the final. She was a late addition to the United States team for the 2019 FIBA Under-19 Women's Basketball World Cup in Thailand. Miller averaged two points and 1.3 rebounds per game en route to a gold medal. She made her debut for the United States senior national team at the 2021 FIBA Women's AmeriCup in Puerto Rico. Miller averaged 4.7 points, four rebounds and two assists per game for the gold medal-winning team. ## Personal life Miller is the daughter of Dreana and Lance Miller. Her father played professional basketball in Europe after a college career at Villanova. Miller's two sisters have played college basketball: Adreana at La Salle and Ohio State, and LaNiya at Stony Brook and Wagner. She majored in family science at the University of Maryland, College Park.	[ "## Early life and high school career", "### Recruiting", "## College career", "## Professional career", "### Minnesota Lynx", "## National team career", "## Personal life" ]	1,549	28,971
42,320,694	Typhoon Mamie (1985)	1,152,212,261	Pacific typhoon in 1985	[ "1985 Pacific typhoon season", "1985 disasters in China", "Tropical cyclones in 1985", "Typhoons", "Typhoons in China" ]	Typhoon Mamie was the worst tropical cyclone to affect northeastern China in 26 years. Originating from an area of disturbed weather near the Philippines in mid-August 1985, the system gradually became better organized, and was upgraded into a tropical storm early on August 16. It continued to deepen, and late on August 17, Mamie attained typhoon intensity. Around this time, Typhoon Mamie reached its peak intensity of 120 km/h (75 mph), which it maintained for 12 hours. After making landfall in Shanghai, the storm steadily weakened. However, after turning north and crossing the Shanghai Peninsula and the Yellow Sea, Mamie made a second landfall near Yantai as a tropical storm. After turning northwest and re-entering the Yellow Sea, Mamie moved ashore for the third and final time near Dairen. On August 21, Mamie dissipated inland over northeastern China. Due to both Mamie and Nelson, widespread flooding was reported across much of northern China, with 19 rivers overflowing. The typhoon forced around 1,000 factories to temporarily close, and toppled approximately 6.5 million trees. Moreover, about 8,000 homes were flooded and 120,000 houses received damage Nearly 1 million people were directly affected by the typhoon. The typhoon killed more than 120,000 animals and sank more than 200 boats. Overall, 17 fatalities occurred and 165 were injured. Losses totaled \$172 million (1985 USD). ## Meteorological history Typhoon Mamie originated from the southwesterly monsoonal flow near the Philippines. The monsoon flow was situated near Tropical Storm Lee, which was situated east of Taiwan at that time. At 0000 UTC on August 14, banding features were noted via satellite imagery. The system was first monitored by the Joint Typhoon Warning Center (JTWC) at 0600 UTC on August 14; the JTWC noted that the chances of significant development were poor. Throughout the day, the system became better organized while turning north and at 1800 UTC that day, the Japan Meteorological Agency (JMA) started watching the disturbance. Early on August 15, the JTWC remarked that the storm had a "fair" chance at potential development. As such, Hurricane Hunter aircraft was requested. Following an increase in banding features and outflow, a Tropical Cyclone Formation Alert (TCFA) was issued by the JTWC that afternoon. Thereafter, the cyclone began to strengthen as interaction with Tropical Storm Lee diminished. At 2300 UTC on August 15, the aircraft discovered a closed low-level circulation, as well as tropical storm-force winds. Based on this, both agencies designated the system as Tropical Storm Mamie early on August 16. On August 16, the tropical storm began to turn northwest in response to the strengthening of a subtropical ridge north of Mamie and a westward-moving mid-latitude cyclone. At 0000 UTC on August 17, the JTWC classified Mamie as a typhoon while the JMA reported winds of 105 km/h (65 mph), a severe tropical storm. Around midday, the JTWC estimated winds of 130 km/h (80 mph), equivalent to a Category 1 hurricane on the United States-based Saffir-Simpson Hurricane Wind Scale. However, the aforementioned ridge was not strong enough to prevent the storm from turning north-northwest on August 17. That evening, the JMA upgraded Mamie to typhoon status. Simultaneously, the JMA estimated peak winds of 120 km/h (75 mph), and a minimum barometric pressure of 975 mbar (28.8 inHg). According to the JMA, the typhoon held on to peak intensity for 12 hours while moving onshore near Shanghai on August 18. Mamie only gradually weakened overland, but according to the JMA, the storm's winds had decreased to 105 km/h (65 mph) midday on August 18. Typhoon Mamie moved offshore at 0200 UTC on August 19; subsequently, the JTWC estimated winds of 95 km/h (60 mph) while the JMA estimated winds of 95 km/h (60 mph). After crossing the Shanghai Peninsula, Mamie entered the Yellow Sea while turning north along the western periphery of a subtropical ridge, and at 0600 UTC, struck Yantai as a minimal tropical storm. Following a turn towards the northwest, Tropical Storm Mamie briefly emerged into the Yellow Sea before making a third and final landfall just west of Dairen at noon. At the time of landfall, both the JMA and the JTWC reported winds of 70 km/h (45 mph). Due to interaction with the mountainous terrain of China, Mamie began to dissipate over land, and by 0000 UTC on August 20, the JTWC ceased watching the cyclone. The JMA followed suit 42 hours later. ## Preparations, impact, and aftermath Roughly 24 hours prior to Mamie's third landfall, all ships were warned in the port of Dalian to evacuate; however, 152 ships stayed at the port. Shortly after making landfall, Mamie was considered the worst storm to affect northeastern China in 26 years. The nation was already inundated by significant flooding earlier in the summer of 1985, especially from Typhoon Nelson. After making landfall, Typhoon Mamie dropped 420 mm (17 in) of rain in Liaoning, where the storm flooded 300,000 ha (741,315 acres) of farmland. Due to a combination of Mamie and previous flooding, 19 rivers overflowed. The typhoon forced 1,000 factories to temporarily close, and toppled about 6.5 million trees. Over 8,000 dwellings were flooded. More than 3,000 residents were evacuated in the Jilin province. At least 36,400 villagers necessitated rescue. Nearly 1 million individuals were directly affected by the typhoon. Elsewhere, in Yantai, the typhoon killed more than 120,000 animals, damaged 120,000 homes, and sank more than 200 boats. Waves up to 8 m (26 ft) in height pounded the Bohai Bay shoreline, forcing more than 200 ships to be evacuated. Cables securing an oil rig were snapped. One person died while trying to fasten steel products on a ship. In all, 17 people perished and 165 were injured due to Mamie. Loses totaled \$172 million. After the passage of Typhoon Mamie, more than 800,000 civilians and 9,000 soldiers were organized in order to protect reservoirs from flooding. By August 28, 150,000 civilians and 10,000 soldiers were fighting against flooding along the Liao River on a daily basis. Additionally, local military forces were called in to assist relief workers. The government organized buses and boats to carry flood victims. Some schools were used as shelter while restaurants and hospitals sent food and medicine. ## See also - Typhoon Rusa - Typhoon Damrey (2012)	[ "## Meteorological history", "## Preparations, impact, and aftermath", "## See also" ]	1,495	34,836
2,703,111	Washington State Route 168	1,146,987,041	State highway in Washington	[ "Proposed state highways in the United States", "State highways in Washington (state)", "Transportation in Pierce County, Washington", "Transportation in Yakima County, Washington" ]	State Route 168 (SR 168) is a legislated, but not constructed, state highway located in Washington, United States. The highway is meant to serve as an alternate crossing through the Cascade Range at Naches Pass, supplementing the seasonal Chinook Pass on SR 410. Proposals were first drawn in the 1930s, and the highway has been codified in law under its current designation since 1970, but no construction has occurred. ## Route description The highway is legislated to begin at a junction with SR 410 in Greenwater, in eastern Pierce County. The road would travel east along the historic Naches Trail, passing through Mount Baker-Snoqualmie National Forest and across Naches Pass to Wenatchee National Forest. It would terminate at another junction with SR 410 north of Cliffdell in Yakima County. The highway would pass near Pyramid Peak, which has a maximum altitude of 5,718 ft (1,743 m). A crossing similar to the legislated highway is covered by a series of Forest Routes, including Road 19 and Road 70. SR 168 would be an all-season route through Naches Pass, at an elevation of 4,923 feet (1,501 m), providing an alternative to SR 410, which closes annually due to avalanche dangers near Chinook Pass, at an elevation of 5,430 feet (1,655 m). SR 168 would allow commercial vehicles to bypass Mount Rainier National Park, where trucks and other large vehicles are prohibited on SR 410. The current restriction detours commercial traffic south to U.S. Route 12 over White Pass or north to Interstate 90 over Snoqualmie Pass. ## History Plans for a or highway date back to the early 1930s, designated as the Naches Pass Link of Primary State Highway 5. The state legislature appropriated \$50,000 (equivalent to \$ in ) for a study on the feasibility of a new highway. The 1946 study by engineer Ole Singstad determined that a Naches Pass tunnel would require a 24-mile (39 km) bore at 2,500 feet (760 m), which would be more difficult to build than a similar tunnel at either Snoqualmie or Stampede passes. The corridor was included as part of an extension to Interstate 82 in a 1959 proposal by the Washington State Highway Commission that was later dropped. In the early 1960s, Governor Albert Rosellini established a committee to study the feasibility of a toll road. The route was considered feasible by the committee, and they estimated tolls of \$1.50 per vehicle (equivalent to \$ in ) would need to be levied to pay for the highway. Proponents of the new highway were pushing to have U.S. Route 10 routed over the pass, away from the routing over Snoqualmie Pass, but this never occurred. Ultimately, the highway was not built as the state considered the highway unfeasible. The highway has been codified in Washington law since 1970, while the tunnel through Naches Pass has been codified in state law since 1959.	[ "## Route description", "## History" ]	646	1,969
21,077,940	New York State Route 393	1,116,487,613	Former highway in New York	[ "Former state highways in New York (state)", "Transportation in Tompkins County, New York" ]	New York State Route 393 (NY 393) was an east–west state highway in Tompkins County, New York, in the United States. It was a spur route that connected the downtown district of the city of Ithaca to the Ithaca–Dryden town line. The western terminus of the route was at an intersection with NY 13 (modern NY 366) in East Ithaca. Its eastern terminus was at Game Farm Road, a local road that straddled the boundary between the towns of Ithaca and Dryden. NY 393 was assigned in the early 1930s as a signed designation for a highway that the state of New York had assumed maintenance of in the 1910s. It originally extended west along Mitchell Street to NY 79, but was truncated to Ithaca Road when NY 13 was rerouted through Ithaca in the mid-1930s. The NY 393 designation was removed in the mid-1960s, and its former routing is now maintained by the city of Ithaca and Tompkins County. The designation is currently reserved by the New York State Department of Transportation for a highway in Chautauqua County. ## Route description NY 393 began at the intersection of Mitchell Street and Ithaca Road in the city of Ithaca. Here, NY 13 turned off Mitchell Street to follow Ithaca Road while NY 393 continued eastward on Mitchell Street. It passed through the community of East Ithaca and entered the surrounding town of Ithaca. In the town of Ithaca, NY 393 intersected Pine Tree Road (County Route 174 or CR 174) and passed through areas with varying levels of development before ending at Game Farm Road, here marking the boundary between the towns of Ithaca and Dryden. The roadway continued eastward into Dryden as a locally maintained highway. ## History The portion of Mitchell Street and Ellis Hollow Road from the city of Ithaca to the Ithaca–Dryden town line had existed as early as 1900. In the early 1910s, the state of New York helped finance improvements to the portion of the highway within the town of Ithaca. The highway was added to the state highway system in late October 1914. In 1916, construction began on an upgrade of Mitchell Street in Ithaca, again partially paid for by the state of New York. All of Mitchell Street was accepted into the state highway system on August 31, 1917. The state-maintained portion of Mitchell Street and Ellis Hollow Road was designated as NY 393 c. 1933. The route began at NY 79 (State Street) in Ithaca and ended at the Dryden town line, where the road continued east as a local highway. NY 13 was realigned through Ithaca c. 1936 to bypass the campus of Cornell University to the south along Dryden Road, Ithaca Road, and Mitchell Street. As a result, NY 393 was truncated slightly to begin at the junction of Ithaca Road and Mitchell Street. NY 393 remained unchanged until the mid-1960s when it was removed from the state highway system. The portion of NY 393's former routing in the city of Ithaca is now city-maintained while the remainder of the highway in the town of Ithaca is now part of CR 110. The NY 393 designation is currently reserved by the New York State Department of Transportation for a proposed "Chautauqua Lakeway" in Chautauqua County between Interstate 86/NY 17 and NY 5. No timetable exists for the Lakeway's construction nor for NY 393's reassignment. ## Major intersections ## See also	[ "## Route description", "## History", "## Major intersections", "## See also" ]	785	29,570
46,597,370	The Voice (Indian TV series)	1,173,086,065	Indian singing talent show	[ "&TV original programming", "2015 Indian television series debuts", "Hindi-language television shows", "Indian television series based on non-Indian television series", "Music competitions in India", "Singing talent shows", "StarPlus original programming", "The Voice (Indian TV series)" ]	The Voice is an Indian Hindi-language singing reality talent show, based on the original Dutch version of the program created by John de Mol and is part of a wider international franchise. The series employs a panel of four coaches who critique the artists' performances. Each coach guides their team of selected artists through the remainder of the season. They also compete to ensure that their act wins the competition, thus making them the winning coach. The show first aired on 6 June 2015 on &TV and has aired for three seasons; it has produced three winners: Pawandeep Rajan, Farhan Sabir and Sumit Saini. The first season of the series received positive reviews; one critic called the show "delightful", while another said that some of the participants on the show displayed fantastic singing. Due to the show's huge success, the channel announced a junior version which premiered on 23 July 2016. ## Format The show is part of the television franchise The Voice and is structured as three phases: blind auditions, battle rounds and live performance shows. ### The Blind Auditions The first stage is the blind auditions, in which the four coaches, all noteworthy recording artists, listen to the contestants on chairs facing away from the stage so as to avoid seeing them. If a coach likes what they hear from that contestant, they press the "I WANT YOU" button to rotate their chairs to signify that they are interested in working with that contestant. If more than one coach presses their button, the contestant chooses the coach he/she wants to work with. In the 3rd season, a new twist called "Block" is featured, which allows one coach to block another coach from getting a contestant. The artist's journey on the show comes to an end if no coach selects him/her. The blind auditions end when each coach has a set number of contestants to work with. Coaches dedicate themselves to developing their singers mentally, musically and in some cases physically, giving them advice, and sharing the secrets of their success. ### The Battle rounds The contestants who successfully pass the blind auditions proceed to the battle rounds, where the coaches put two of their own team members against each other to sing the same song together in front of a studio audience. After the vocal face-off, the coach chooses only one to advance into the next knockout phase, the Super Battle round. A new element was added in season three; coaches were given one "steal", allowing each coach to select one individual who was eliminated during a battle round by another coach. In the Super Battle round, each of the remaining 28 artists performs a solo on stage to compete with three/four others for a place in the Grand Gala round. The coach can choose only two from each of these performances to progress to the top sixteen and the Grand Gala round. In the Grand Gala round, there is no elimination and contestants sing individually. ### The Live Shows In the final performance phase of the competition, the top contestants from each team compete against each other during a live broadcast. The television audience vote to save one contestant on each team, leaving the coach to decide on live television who they want to save and who will not move on. In the next round, the public chooses between the two artists left on each team, and the coach also has a vote that weighs equally with the public vote. Finally, each coach has his/her best contestant left standing to compete in the finals, singing an original song. From these four, one is named "The Voice"—and receives a grand prize money. ## Production The Voice India was created by John de Mol in the Netherlands and is based on the original Dutch series. de Mol then began to grow and expand The Voice competition franchise and on 6 June 2015, the Indian version of the show was launched on &TV. In April 2015, The Hollywood Reporter reported that &TV would broadcast The Voice in June 2015. Zee Entertainment Enterprises had bought the rights of the original version of the series from Talpa and John de Mol to telecast the Indian version of the show on &TV. The channel announced the series' premiere month as June 2015. &TV business head Rajesh Iyer said in a statement: "We are excited to present viewers with The Voice, a show which is already a global sensation, as one of our biggest non-fiction offerings." Talpa Media global managing director Maarten Meijs stated: "We are very pleased to be collaborating with &TV to bring The Voice to India." The show had been seen in 60 local productions in over 180 countries reach 500 million viewers worldwide. In April 2015, &TV and show producer Endemol India and producer of South Africa's Urban Brew Studios announced leading Bollywood singers Himesh Reshammiya, Mika Singh, Shaan and Sunidhi Chauhan as the coaches for the first season and Karan Tacker as the host. In an interview with Mid-Day, Shaan said: "It's the most sought after show for any singer-musician. If you want to be on television and on a music show it has to be The Voice India." Endemol India and Urban Brew Studios SA announced that Terence Lewis would be choreographing the opening act for the premiere of the show. On 30 July 2016, India Today reported that The Voice India would return with the second season. Shaan was again selected as the coach for the second season. Himesh Reshammiya, Mika Singh and Sunidhi Chauhan were replaced by Neeti Mohan, Salim Merchant and Benny Dayal. In July 2018, the series was renewed for a third season and it was announced that the series is to be shifted from &TV to StarPlus as the channel sell its broadcasting rights to broadcast its onward seasons to StarPlus. In January 2019, Adnan Sami, Armaan Malik, Harshdeep Kaur and Kanika Kapoor were announced as the new mentors, with A. R. Rahman being the super judge. Asha Bhosle was introduced as the super judge for the final episode replacing A. R. Rahman. ## Coaches ### Coaches' teams Winning coach; winners are denoted by boldface; finalists are italicised, and eliminated contestants are in small font ## Series overview Color key ### Season 1 (2015) The coaches of the first season were Himesh Reshammiya, Shaan, Sunidhi Chauhan and Mika Singh, while Karan Tacker was the host. The season premiered on 6 June 2015 and concluded on 30 August 2015 (with 26 episodes), with Pawandeep Rajan being crowned as the winner. Deepesh Rahi was runner-up, followed by Parampara Thakur in third place and Rishabh Chaturvedi in fourth place. Pawandeep received the grand prize money of ₹5 million (US\$63,000) from &TV, a Maruti Alto K10 and a deal to record his first single with music label Universal Music Group. Thanking his coach Shaan, he said: "I would like to thank coach Shaan, who thought I was good enough to make the cut and mentored me wholeheartedly." ### Season 2 (2016-2017) In July 2016, it was reported that &TV would launch the second season of The Voice. Shaan was announced as returning coach; Neeti Mohan, Salim Merchant and Benny Dayal joined Shaan. Karan Tacker was replaced by Gunjan Utreja as the host of the season. Sugandha Mishra joined Utreja as the co-host. The season started airing on 10 December 2016 and concluded on 12 March 2017 (28 episodes), with Farhan Sabir being crowned as the winner. Rasika Borkar was runner-up, followed by Parakhjeet Singh in third place and Niyam Kanungo in fourth place. Sabir received the grand prize money of ₹2.5 million (US\$31,000) from &TV and a Maruti Alto K10 with Automatic Gear Shift. The top 4 finalists received a gift hamper from Alto and handsets from Vivo Camera and Music as well. ### Season 3 (2019) The new coaches of the third season were Adnan Sami, Armaan Malik, Harshdeep Kaur and Kanika Kapoor, with A. R. Rahman being the super judge, while Divyanka Tripathi was the new host. The season began airing on 3 February 2019 and concluded on 4 May 2019 (26 episodes), with Sumit Saini being crowned as the winner. Adnan Ahmad was the runner-up. Simran Chaudhary and Hargun Kaur were other finalists. Saini received the grand prize money of ₹2.5 million (US\$31,000). ## Kids edition Due to the huge success of The Voice India, in June 2016, &TV announced plans for a junior version of the show which would feature contestants between the ages of six and fourteen. It was announced that Sugandha Mishra and Jay Bhanushali will host the series, while Neeti Mohan, Shaan and Shekhar Ravjiani were declared as the coaches. The children's has the same format as the original show and began airing in July 2016. ## Reception ### Season 1 The Voice India received a positive reception from critics. Tulika Dubey of The Times of India, said that the judges on the show had brought variety to the panel, in terms of profile and expertise and called the show "delightful". She concluded by saying, "the winner of the finale stands to have a great career ahead." An India Today reviewer enjoyed the premiere episode, saying it had "drama, glitz and glamour", and concluded that "some of the participants on the show displayed fantastic singing." Rajyasree Sen of Firstpost, called it a "'wowtastic' show" and encouraged its readers to watch the show. Appreciating the show, she said that the focus of the show was actually on the talent. The show earned high ratings for &TV and has become the most watched show on the channel. Raj Baddhan of website Biz Asia said, "The Voice India seems to be working a treat in UK ratings on &TV." The show pulled in 39,000 viewers – peaking at 59,800 viewers on the channel between 9 PM IST – 10 PM. ### Season 2 Anvita Singh of India Today liked the premiere episode and said that "the chemistry between the judges is fresh, young, and peppy." She concluded by saying that she can't wait for more to happen in the season. Karthika Raveendran of Bollywood Life gave the season a 3.5 rating out of 5 stars. Liking the new judging panel and contestants, she said that "the show is a must watch". ### Season 3 Divyanka Tripathi got rave reviews for her hosting skills and glam transformation on social media. An India Today reviewer liked the premiere episode, saying that "the show returned in a better avatar as the previous installments of The Voice India aired on &TV", and concluded that "the presence of Rahman added another dimension to the show". ## Awards ## See also - The Voice (TV series) - List of programmes broadcast by &TV - List of programs broadcast by StarPlus	[ "## Format", "### The Blind Auditions", "### The Battle rounds", "### The Live Shows", "## Production", "## Coaches", "### Coaches' teams", "## Series overview", "### Season 1 (2015)", "### Season 2 (2016-2017)", "### Season 3 (2019)", "## Kids edition", "## Reception", "### Season 1", "### Season 2", "### Season 3", "## Awards", "## See also" ]	2,398	3,070
34,172,606	Oliver David Jackson	1,161,736,949	Australian Army officer	[ "1919 births", "2004 deaths", "Academic staff of the Royal Military College of Canada", "Australian Army personnel of World War II", "Australian Companions of the Distinguished Service Order", "Australian Officers of the Order of the British Empire", "Australian brigadiers", "Australian military personnel of the Vietnam War", "British emigrants to Australia", "Military attachés", "Military personnel from London", "Royal Military College, Duntroon graduates" ]	Brigadier Oliver David Jackson, (24 November 1919 – 7 May 2004) was a senior officer in the Australian Army, seeing service during the Second World War and the Vietnam War. After graduating from the Royal Military College, Duntroon, in 1939 he served in the Middle East and New Guinea during the Second World War. Later, he commanded the Australian Army Training Team Vietnam (AATTV) and the Australian Army Force Vietnam (AAFV) in 1965–66. In 1966, he became the first commander of 1st Australian Task Force (1 ATF) in South Vietnam. He subsequently filled a number of senior command and staff positions before retiring in 1974. He died in 2004. ## Early life Jackson was born in London, England, on 24 November 1919. The youngest son of Robert Jackson, a professional soldier, and his wife Edith Marguerite (née Vautin); his siblings included an older brother born in 1915 in Surrey, England, and a sister. Named after his uncle, David, who had been killed at Gallipoli in 1915 while attempting to rescue a wounded soldier, Jackson was known throughout his life as either "O.D." or David. His father had been commissioned in the Permanent Military Forces (PMF) in 1911, serving in Western Australia. With the outbreak of the First World War Jackson's father had joined the Australian Imperial Force (AIF) in November 1914, embarking as adjutant of the 10th Light Horse Regiment. On 29 May 1915 he was wounded at Gallipoli and after recovering in England held a number of staff appointments with the 3rd Division on the Western Front in 1917–18. Following Jackson's birth the family returned to Australia in 1920 so that his father could resume his military career. He subsequently attended a number of schools, completing his secondary education at Scotch College, Melbourne in 1936, where he was a member of the athletics and rugby teams. ## Military career ### Early career and Second World War Jackson subsequently joined the Australian Army in March 1937 as a regular officer in the PMF. His older brother, Donald, was also a professional soldier, having entered the Royal Military College, Duntroon in 1934 and later also reached the rank of brigadier. After completing his own training at Duntroon, Jackson graduated into the infantry as a lieutenant in December 1939, following the outbreak of the Second World War two months earlier. Transferring to the 2nd AIF for overseas service, in July 1940 he took up his first appointment commanding a platoon in the 2/25th Battalion where he saw action in the Middle East in North Africa and Syria. Meanwhile, Jackson's father had been appointed to command Northern Command in May 1940 and was promoted to major general in July. However, the following year he was posted to Western Command and believed that he had been passed over for a combat command after opposing the Brisbane Line strategy, subsequently retiring in early 1942. By late 1942 Jackson's battalion returned from the Middle East, and he later served in New Guinea fighting the Japanese at Gona, as well as in the Ramu Valley, the Finisterre Ranges and the New Guinea north coast. He was subsequently posted to Headquarters 18th Brigade as a major during the period 1943–44. In June 1944, he took up a position as an instructor at the Canadian Staff College in Kingston, where he remained until the end of the war. ### Interbellum Returning to Australia, Jackson filled a number of staff positions, including postings to the Royal Military College, Army Headquarters and Headquarters Western Command. His father died of pneumonia at Heidelberg, Victoria, on 24 November 1948. Jackson was promoted to lieutenant colonel in 1949 and to colonel in 1951. On 21 June 1956, Jackson assumed command of the 1st Battalion, Royal Australian Regiment (1 RAR) in South Korea deployed as part of the UN garrison which had remained there following the end of the Korean War and oversaw the battalion's final operational activities before its return to Australia. He subsequently took up a two-year appointment in the United States as Australian Military Attache in Washington. In 1959 he was appointed as an Officer of the Order of the British Empire (OBE) in recognition of his service to the Australian Staff Corps. ### Vietnam War In 1961, he took up the position of Director of Infantry at Army Headquarters. He subsequently commanded the 3rd Battalion, Royal Australian Regiment (3 RAR) in 1963, before serving as the commanding officer of the 2nd Battalion, Royal Australian Regiment (2 RAR) in 1963–64. Ultimately, Jackson was the only officer to command all three of the original battalions of the Royal Australian Regiment. Jackson took over command of the Australian Army Training Team Vietnam (AATTV) on 5 February 1965. Following the arrival of Australian ground forces in South Vietnam in May 1965, he was promoted to brigadier and assumed command of the new headquarters in Saigon, known as the Australian Army Force Vietnam (AAFV). In March 1966, the Australian government further increased its commitment to the Vietnam War, announcing the deployment of a two-battalion brigade with armour, aviation, engineer and artillery support, designated the 1st Australian Task Force (1 ATF). Jackson was subsequently appointed as its first commander. Based in Phuoc Tuy Province, South Vietnam, 1 ATF was involved in counter-insurgency operations against the Viet Cong. During his period in command the task force was successfully established at Nui Dat, clearing a security zone around the base and conducting offensive operations to the edge of the Tactical Area of Responsibility, while a number of significant actions were fought, including the Battle of Long Tan, which established 1 ATF's dominance over the province. Jackson was later awarded the Distinguished Service Order (DSO) for his command of 1 ATF during this period. In June 1967, Jackson returned to Australia having served nearly two years in Vietnam, and subsequently served on the staff of Australian Headquarters. His final posting was as the Chief of Staff at Headquarters 1st Division, before retiring with the rank of brigadier in May 1974. ## Later life Settling in Sydney in his later life Jackson enjoyed sailing and gardening. Married to Dorothy Honor, the couple had a son and two daughters. Jackson died in Burradoo, New South Wales, on 7 May 2004, aged eighty-four.	[ "## Early life", "## Military career", "### Early career and Second World War", "### Interbellum", "### Vietnam War", "## Later life" ]	1,391	25,527
14,051,204	Mondo Cane (album)	1,166,130,018	null	[ "2010 albums", "Covers albums", "Ipecac Recordings albums", "Italian-language albums", "Mike Patton albums" ]	Mondo Cane is a 2010 album by Mike Patton. Featuring a forty-member orchestra and fifteen-piece backing band, the album contains a series of cover versions of 1950s and 1960s Italian pop music. Patton conceived of the album while living in Bologna, and became attracted to music he heard on the radio featuring pop singers backed by orchestras. Released on May 4, 2010, through Patton's record label Ipecac Recordings, Mondo Cane has been met with favorable responses from music critics. Reviewers have drawn comparisons to California, an earlier album by Patton's first group Mr. Bungle. Mondo Cane peaked at number 2 in the United States' Classical Albums chart, briefly charting in Switzerland and Finland as well. ## Production ### Gestation Mondo Cane consists of Mike Patton's arrangements and performances of 1950s and 1960s Italian pop songs. Patton had heard these songs while living in Bologna; the singer had adopted the city as a second home after marrying Italian artist Titi Zuccatosta, and had become a fluent speaker of Italian. Patton began exploring Italian popular music; although initially wishing to listen to contemporary music, he found nothing that interested him. However, he became drawn to pop music from the 1950s and 1960s, intrigued by singers using orchestras for backing rather than pop bands. Having considered making an album covering these songs for some time, Patton initially believed he would approach the project with a small band, but was offered the chance to compose music for an orchestra. Patton then opted to use this opportunity to record Mondo Cane instead. Patton had also been inspired by the music of Italian composer Ennio Morricone. Patton's record label Ipecac Recordings had previously released Crime and Dissonance, a two-disc retrospective of Morricone's work. The singer has described his admiration for Morricone's writing, feeling that the composer turned "what could be banal, surface-style pop into really deep, orchestrated, tense and compelling music". Several of the album's songs had been written by Morricone, including "Deep Down", written for the 1968 Mario Bava film Danger: Diabolik. Patton had been aware of the song for some time, having been a fan of the film and Morricone's score; however, the two musicians have not actually met or worked together before. ### Recording Mondo Cane was recorded with the backing of a forty-strong orchestra, a fifteen-piece band, and a choir. Recordings were made on a live tour, with the album's tracks assembled as composites from the first three dates of the Italian leg of the tour. Each song contains elements taken from different recordings, with Patton describing the process as "a giant Rubiks Cube [sic]", noting that individual bars of one instrument's music might be lifted from one concert and layered with bars of another instrument's parts from another concert. Stylistically, the album has been described by Allrovi's Jason Lymangrover as ranging "from Frank Sinatra pop to psychedelic garage rock"; while The Boston Globe's James Reed has noted the "spare" sound of "Scalinatella" and the "furious and rocking" pace of "Urlo Negro". Although wanting to remain faithful to the original versions of the songs covered, Patton wished to avoid simply mimicking the original recordings, stating "this is a record of covers, and I believe firmly that you have to make them your own. There is a very fine line to tread. You have to treat a song with respect, yet twist it up, fuck it up and somehow make it a part of your own voice". When assembling the cut for "Deep Down", Patton was able to get in touch with the original vocalist, a woman named Christy, though mutual friend Daniele Luppi. However, she declined to take part in the project. One song on the record, "Scalinatella", is sung in Neapolitan, rather than Italian, which required Patton to re-learn the correct inflections and pronunciations in that language. However, the conductor of the orchestra Patton used on tour was a native of Naples and would frequently correct the singer during rehearsal until he was able to perform it correctly. Describing this collaboration, Patton noted "I had a lot of great people around me. I wouldn’t have been able to do any of this shit without them". ## Track listing ## Release and reception Although initially intended for release in 2009, Mondo Cane was released on May 4, 2010 through Patton's record label, Ipecac Recordings. The album was released on both compact disc and vinyl record. The album's cover feature a die-cut design based on poster artwork created to advertise one of the early Mondo Cane concerts. Mondo Cane has been met with generally favorable reviews. Review aggregation website Metacritic lists the album as having an average rating of 74 out of 100, based on seventeen reviews. Writing for Allrovi, Jason Lymangrover rated the album four stars out of five, calling it Patton's "most elaborate endeavor to date". Lymangrover singled out "Deep Down" as a highlight, and felt that the covers were treated with due deference to the original recordings while still featuring Patton's idiosyncratic take on them. Philip Bloomfield of Drowned in Sound awarded Mondo Cane a score of seven out of ten, describing it as "yet more proof that his talent and his breadth are perhaps indeed 'senza fine'". Bloomfield compared the sound of the album to California, a 1999 release by Patton's first band Mr. Bungle; and also felt that although the album's covers were faithful to the original versions, they still showcased a degree of Patton's versatility. Slant Magazine's Jesse Cataldo rated Mondo Cane three stars out of five, describing Patton as "less a musician than a kind of gonzo multi-specialty clearinghouse". Cataldo felt that album was "actually simpler and less interesting than it sounds", finding it to be well-made but slightly incohesive. Chris Martins of The A.V. Club awarded the album a B+ rating, feeling that it "offers a new window into the obfuscated Patton oeuvre". Martins also compared the record to California and felt that it would be greatly enjoyed by fans of Patton's various side projects. Writing for The Boston Globe, James Reed described Mondo Cane as "offbeat for sure but not off-putting", adding that "language is no barrier with music this lovely". Sputnikmusic's Tyler Monro rated the album three-and-a-half out of five, feeling that it would be, in theory, a bad idea. However, Monro felt that, on listening to the album, it was "his best work in close to a decade", describing it as "a summer-time staple and a faithful reminder that Mike Patton can sing but sadly little else". Writing for PopMatters, John Garratt rated the album seven out of ten, writing "even if this album is a genre exercise, it’s still a very fine one". Garrat felt that "Deep Down" was the album's best song, adding that it "feels like it was written just for Mike Patton to sing". ## Chart performance In the United States, Mondo Cane reached a peak position of \#2 on the Billboard Classical Albums chart, spending forty-two weeks in the chart in total. The album also spent one week in the Independent Albums chart, at \#41, and two weeks in the Top Heatseekers album chart, peaking at \#7. Mondo Cane spent one week in the Swiss Music Charts, at \#81, and one week in The Official Finnish Charts, at \#44.	[ "## Production", "### Gestation", "### Recording", "## Track listing", "## Release and reception", "## Chart performance" ]	1,626	10,458
21,776,711	Trust No 1	1,167,596,792	null	[ "2002 American television episodes", "Television episodes set in Maryland", "Television episodes set in Virginia", "Television episodes written by Chris Carter (screenwriter)", "Television episodes written by Frank Spotnitz", "The X-Files (season 9) episodes" ]	"Trust No 1" is the sixth episode of the ninth season of the American science fiction television series The X-Files. It premiered on the Fox network on January 6, 2002. The episode was written by series creator Chris Carter and executive producer Frank Spotnitz, and directed by Tony Wharmby. "Trust No 1" helps to explore the series' overarching mythology. The episode received a Nielsen household rating of 5.1 and was viewed by 8.4 million viewers; it garnered mixed to negative reviews from television critics, with many feeling that it portrayed the series' characters in a way that was unfaithful to the show's history. The show centers on FBI special agents who work on cases linked to the paranormal, called X-Files; this season focuses on the investigations of John Doggett (Robert Patrick), Monica Reyes (Annabeth Gish), and Dana Scully (Gillian Anderson). In this episode, Scully is hopeful about reuniting with her former partner, Fox Mulder (David Duchovny) when a complete stranger offers new information about what drove him into hiding. Yet her trust in the stranger may place Mulder in even more danger, for the man turns out to be a super soldier. "Trust No 1" features former leading star Duchovny via the use of previously filmed footage. It was written in response to fans who felt that, during season eight, Mulder's abduction was not dealt with until his miraculous return in "This is Not Happening"/"Deadalive". Actor Terry O'Quinn, who appears in this episode as the Shadow Man, had appeared as different characters in the second season episode "Aubrey" and the 1998 feature film and appeared as Peter Watts in The X-Files sister show Millennium. The tagline for the episode is "They're Watching." ## Plot While at a coffee shop, Dana Scully (Gillian Anderson) sees an infant crying and sees its mother, Patti, arguing with her husband outside. Scully asks the mother if she is okay, and the mother leaves with her child. Meanwhile, John Doggett (Robert Patrick) and Monica Reyes (Annabeth Gish) visit Scully at Quantico to tell her about a tipster who wants to contact Fox Mulder (David Duchovny). Doggett encourages Scully to contact Mulder, believing the tipster has the names of the Super Soldiers and could prove vital to tracking them down. The tipster indicates that he is willing to share this information with no one other than Mulder. Scully, fearful for Mulder's safety, falsely claims not to know his whereabouts. A short time later, Scully sees Patti having another argument with her husband, who drives off with their baby in the car. Scully approaches Patti, offering her assistance. Scully convinces Patti to stay over that night in her apartment after learning she has nowhere else to go. Meanwhile, Doggett and Reyes stake out the location where he traced the tipster's call. They see Patti's husband, who they believe to be the tipster, walk inside an apparently abandoned building. Inside, the husband sits at a computer. The Shadow Man (Terry O'Quinn), who appears to be the husband's boss, monitors Scully through surveillance. The next morning, Patti shuts off the baby monitor and removes William from his crib. Scully awakens when she gets a phone call from Doggett warning her that the tipster they were following had just gone into her apartment building. Scully then hears William cry and confronts Patti at gunpoint. Just then, Patti's husband attempts to pick Scully's lock, but is stopped by Doggett and Reyes. The husband informs the agents that they are being watched, and signals to Scully to close the window. He then reveals to Scully that he is an NSA employee with no name. Patti says their daughter is just like William, and they only want to keep both children safe. The husband reveals that his supervisor has discovered the “Super Soldier” project and alludes to crimes against innocent people. He begs Scully to call Mulder out of hiding in order to give him this information. Moments later, the Shadow Man calls Scully and tells her that she contact get Mulder in one day or else he will disappear with the Super Soldiers' identities. Scully refuses unless she can meet with the Shadow Man face-to-face. The Shadow Man gives Scully detailed instructions about how and where to meet him, warning her that even a slight deviation from his instructions would mean that he will never contact her again. The Shadow Man tells Scully to drive west in a series of vehicles until she is told to stop. He also tells her to change into a different outfit that he has in the trunk of the car she is driving; Scully reluctantly complies. The Shadow Man then comes face-to-face with Scully and destroys her vehicle with a remotely detonated bomb. He explains that he has been watching her for quite some time, and that, in addition to her clothing size, he knows everything about her, including "that one lonely night you invited Mulder to your bed." Scully finally gives in and contacts Mulder; she tells Doggett that before Mulder left, they had worked out a plan that, if he was to return, he would be arriving by train. Doggett urges Scully to contact Mulder and tell him not to come, fearing that the Shadow Man is setting a trap for him. Scully replies that she wants to see Mulder, and that it is too late to call it off. Reyes, Doggett, and the NSA agent cover Scully at the train station. However, as the train pulls up, the Shadow Man appears and guns down the agent before approaching Scully. Before the Shadow Man can kill Scully, Doggett appears and shoots him twice, sending him falling onto the train tracks, where the train seemingly runs over him. Because there has been a shooting, much to Scully's dismay, a train employee radios to the conductor to keep the train moving and not to stop at that station. While Scully consoles Patti, whose husband just died in Scully's arms, Doggett reports that he cannot find the Shadow Man's body. Scully, fearful that he is a Super Soldier pursuing Mulder, chases after the train with Doggett and Reyes. An employee who works for the train gets a call on his radio, saying that someone jumped off a train and into a rock quarry. Doggett and Reyes chase after someone they believe to be Mulder, while Scully goes deeper into the quarry. There, she is attacked by the Shadow Man. Suddenly, the Shadow Man is destroyed by the magnetite being mined from the quarry. ## Production "Trust No 1" was written by series creator Chris Carter along with executive producer Frank Spotnitz; it was directed by Tony Wharmby. The episode features former leading star David Duchovny via the use of previously shot footage. According to Matt Hurwitz and Chris Knowles in their book The Complete X-Files, the episode includes themes "about Orwellian surveillance." "Trust No 1" was written in response to fans who felt that, during season eight, Mulder's abduction was not dealt with until his miraculous return in "This is Not Happening"/"DeadAlive". Despite this, series director Kim Manners was critical of this take on Mulder, noting, "The only thing I thought we didn't do right during seasons eight and nine was that a lot of the shows were about Mulder, and I thought it was a mistake to make a series about a man that wasn't standing in front of the camera." The email addresses that Mulder and Scully use to communicate with each other were real addresses, created and maintained by Ten Thirteen Productions. The tagline for the episode is "They're Watching", changed from the usual "The Truth is Out There". Actor Terry O'Quinn, who appears in this episode as the Shadow Man, had appeared as different characters in the second season episode "Aubrey" and the 1998 feature film. He had also played a recurring role as Peter Watts on Millennium and appeared in the short-lived series Harsh Realm. O'Quinn later earned the nickname "Mr. Ten Thirteen", due to his appearance in multiple shows and movies affiliated with Ten Thirteen Productions, the company that produced The X-Files. ## Broadcast and reception "Trust No 1" first premiered on the Fox network in the United States on January 6, 2002. The episode earned a Nielsen household rating of 5.1, meaning that it was seen by 5.1% of the nation's estimated households and was viewed by 5.4 million households, and 8.4 million viewers. It was the 55th most watched episode of television that aired during the week ending March 3. The episode eventually aired in the United Kingdom on BBC Two on December 8, 2002. The episode was later included on The X-Files Mythology, Volume 4 – Super Soldiers, a DVD collection that contains episodes involved with the alien super soldiers arc. The episode received mixed to negative reviews from television critics. Jessica Morgan from Television Without Pity gave the episode a B− grade. 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 one star out of five. The two called the entry "an exercise in futility [...] at best" and argued that, because Duchovny had left the series, the sense of excitement that he might have made an appearance in the episode was completely gone. Furthermore, Shearman and Pearson heavily criticized Mulder and Scully's characterization, calling Mulder a character the audience "can't recognize any more" and Scully a "gullible patsy". M.A. Crang, in his book Denying the Truth: Revisiting The X-Files after 9/11, was also critical of the script's treatment of the characters, arguing that Mulder and Scully in this episode "sound nothing like the characters we have come to know". He also lamented that the episode did not examine the central theme of electronic surveillance in greater detail. Tom Kessenich, in his book Examinations, wrote a largely negative review of the episode. He derided the series for making it appear that Mulder abandoned the woman he loved and his own child. He noted, "Just because it walks, talks, and sometimes acts like The X-Files, doesn't make it The X-Files."	[ "## Plot", "## Production", "## Broadcast and reception" ]	2,212	11,050
22,041,450	Old Man Willow	1,161,842,323	Evil character in Tolkien's fiction	[ "Fictional trees", "Middle-earth characters", "Middle-earth monsters" ]	In J. R. R. Tolkien's fantasy The Lord of the Rings, Old Man Willow is a malign tree-spirit of great age in Tom Bombadil's Old Forest, appearing physically as a large willow tree beside the River Withywindle, but spreading his influence throughout the forest. He is the first hostile character encountered by the Hobbits after they leave the Shire. Tolkien made a drawing of Old Man Willow while writing the chapter about him; his son Christopher suggests it was based on a tree by the River Cherwell at Oxford. A predatory tree appears in a 1934 poem, but Tolkien did not arrive at the malevolent Old Man Willow, both tree and spirit, for some years. Scholars have debated the nature of the tree; some have been surprised by it, as Tolkien is seen as an environmentalist. The character was omitted by both Ralph Bakshi and Peter Jackson from their film versions of The Lord of the Rings. ## Context The protagonist Frodo Baggins and his Hobbit companions Sam Gamgee and Pippin Took set out from his home at Hobbiton in the Shire. They are pursued by mysterious Black Riders. They travel eastwards and cross the Bucklebury Ferry over the Brandywine River, meeting their friend Merry Brandybuck. They rest briefly in Buckland, deciding to shake off the Black Riders by cutting through the Old Forest. Old Man Willow first appeared in Tolkien's poem "The Adventures of Tom Bombadil", published in 1934 in The Oxford Magazine. ## Character Old Man Willow is a malign tree-spirit of great age in Tom Bombadil's Old Forest, appearing physically as a large willow tree beside the River Withywindle, but spreading his influence throughout the forest. As Tolkien explains in the narrative of The Lord of the Rings: > But none was more dangerous than the Great Willow: his heart was rotten, but his strength was green; and he was cunning, and a master of winds, and his song and thought ran through the woods on both sides of the river. His grey thirsty spirit drew power out of the earth and spread like fine root-threads in the ground, and invisible twig fingers in the air, till it had under its dominion nearly all the trees of the Forest from the Hedge to the Downs. ## Narrative In the story, Old Man Willow casts a spell on the hobbits, causing them to feel sleepy. Merry and Pippin lean against the trunk of the willow and fall asleep, while Frodo sits on a root to dangle his feet in the water, before he also falls asleep. The willow then traps Merry and Pippin in the cracks of its trunk and tips Frodo into the stream, but the latter is saved by Sam, who, suspicious of the tree, manages to remain awake. After Frodo and Sam start a fire out of dry leaves, grass, and bits of bark in an attempt to frighten the tree, Merry shouts from the inside to put the fire out because the tree says it is going to squeeze them to death. They are saved by the arrival of Tom Bombadil who sings to the ancient tree to release Merry and Pippin. The tree then ejects the two hobbits. Once they are safely in his house, Bombadil explains to the hobbits that the "Great Willow" is wholly evil, and has gradually spread his domination across the Old Forest until almost all the trees from the Hedge to the Barrow-downs are under his control. ## Drawing Tolkien made a careful pencil and coloured pencil drawing of Old Man Willow while he was writing the chapter "The Old Forest"; Wayne Hammond and Christina Scull call it "a fine example" of the drawings he made to support his creative writing. They note that "with a little imagination" a face can just be made out on the right-hand side of the tree above the arm-like branch. Tolkien describes it as a "huge willow-tree, old and hoary"; to the hobbits it seemed enormous, though Hammond and Scull observe that it does not seem so in the drawing. Tolkien's son John suggests that it was based on one of the few unpollarded willows on the River Cherwell at Oxford. ## Analysis ### Etymological connotations Tolkien was a philologist. Jason Fisher, writing that "all stories begin with words", takes up Edmund Wilson's "denigrating dismissal" of The Lord of the Rings as "a philological curiosity", replying that to him this is "precisely one of its greatest strengths". Fisher explores in detail the connotations of Tolkien's use of words meaning bent and twisted, including Ringwraith as well as willow or withy (a willow, or flexible twigs from it twisted and woven into wicker baskets), this last from Old English wiþig. "Windle", too, is an old word for a wicker basket, from Old English windel-treow, the willow, the basket-maker's tree, as well as a cognate of the modern English "to wind". Thus, Old Man Willow's Withywindle is perhaps the "willow-winding" river. Fisher comments, too, that Old Man Willow could be said to have gone to the bad, like the Ringwraiths or in the words of the Middle English poem Pearl that Tolkien translated, wyrþe so wrange away, "writhed so wrong away" or "strayed so far from right". ### Interpretations The Tolkien scholar Verlyn Flieger writes that Old Man Willow first appears as "a predatory tree" in the 1934 poem "The Adventures of Tom Bombadil", and that the character is developed in The Lord of the Rings, as documented in The Return of the Shadow. In an early draft from 1938, she writes, the "Willow" tree and the "Old Man" character had not yet become a single "indivisible being". Instead, Tolkien writes of "how that grey thirsty earth-bound spirit had become imprisoned in the greatest Willow of the Forest." Flieger writes that in this draft and in the 1943 "Manuscript B", Tolkien links "a tree and a spirit, a 'non-incarnate mind'" which is "imprisoned" in an individual tree. She comments that Tolkien solved the problem of how a spirit might become trapped in this way by turning them into a single being, at once a tree and a spirit. Saguaro and Thacker comment that critics have puzzled over Tolkien's description of Old Man Willow, as it does not fit with Tolkien's image as an environmentalist "tree-hugger". They write that trees (like other creatures in Tolkien's world) are subject to the corruption of the Fall of Man, mentioning Tolkien's Catholicism. They state that while Tolkien's writings on the meaning of trees verges on the pagan, both the Old and the New Testament use trees as symbols – the Tree of Knowledge of Good and Evil in the Book of Genesis, the cross, the tree of death in the Gospels, and the Tree of Life in Revelation (22:2). In their view, Tolkien succeeds in "bring[ing] all these elements together" in The Lord of the Rings: death, creation, sub-creation, re-creation. Dickerson writes that Old Man Willow indicates both that nature, like Man, is fallen, and that it is actively hostile to Man. The Tolkien critic Jared Lobdell compares the "treachery of natural things in an animate world" seen in the character of Old Man Willow to Algernon Blackwood's story "The Willows". Paul H. Kocher writes that it is unclear whether the tree's malice derives from the Dark Lord Sauron, or is simply the tree's own "natural hatred for destructive mankind", and notes that the hostility extends to all travellers, "innocent and guilty alike". The scholar of literature James Obertino comments that "'Every obstacle that arises' in the hero's path 'wears the shadowy features of the Terrible Mother'", who in Aeneas's case is the goddess Juno, in Frodo's "the darkness that is Old Man Willow", along with that of the Barrow-wight and Moria. Obertino likens Frodo's encounters with these darknesses to catabasis, the descent into an underworld, complete with psychological interpretations of personal development, of a hero such as Virgil's Aeneas. He adds that Frodo initially finds comfort in the darkness, "in danger of succumbing to the charm of uroboric incest", as he slumbers beside Old Man Willow, and again in the Barrow-wight's deathly dwelling-place. E. L. Risden states that the elimination of the Ring and Sauron along with his servants the Ringwraiths and Saruman removed the most powerful sources of evil in the world. Others like Old Man Willow were not removed, "but they too will now fade into quietness. The remaining world, blander, has more narrowly circumscribed limits." ## Adaptations: appearing or disappearing Old Man Willow, like the Old Forest and Tom Bombadil, was not included in Peter Jackson's films of The Lord of the Rings. Justifying the excision, Jackson asked rhetorically in From Book to Script "So, you know, what does Old Man Willow contribute to the story of Frodo carrying the Ring? ... it's not really advancing our story & it's not really telling us things that we need to know." Of the earlier adaptations, Terence Tiller's 1955–1956 radio play did include Old Man Willow and Bombadil, though no recording survives. Morton Zimmerman's unproduced 1957 highly-compressed script, criticised by Tolkien for rushing rather than cutting, similarly included them: Bombadil takes the hobbits straight from Old Man Willow to the Barrow-downs, all the action in the episode seemingly occurring in one day. John Boorman's unproduced c. 1970 script did not include them; the hobbits "getting high on mushrooms" instead. Ralph Bakshi's 1978 animated film omits the Old Forest altogether, setting a precedent for Jackson. Although the hobbits do not pass through the Old Forest in Jackson's film of The Fellowship of the Ring, the map shown on screen earlier in the film does include Buckland, the Old Forest, and the Barrow-downs; however, in the extended edition DVD of The Two Towers, the Ent Treebeard speaks a version of Bombadil's unlocking words to Old Man Willow in Fangorn Forest, so, argues John D. Rateliff, as far as Jackson was concerned there can have been no Old Man Willow in the mapped Old Forest, and no Bombadil, as the action takes place elsewhere. Old Man Willow however does appear in the Old Forest in the 1991 Soviet television play Khraniteli, where he traps two of the hobbits.	[ "## Context", "## Character", "## Narrative", "## Drawing", "## Analysis", "### Etymological connotations", "### Interpretations", "## Adaptations: appearing or disappearing" ]	2,282	36,864
73,112,815	Duffield Memorial	1,153,865,205	Memorial in Great Baddow, Essex, England	[ "1912 establishments in England", "Grade II listed buildings in Essex", "Monuments and memorials in Essex", "Outdoor sculptures in England" ]	The Duffield Memorial is a gravesite monument located in the churchyard of the Church of St Mary in Great Baddow, Essex, England. Designed by Herbert Maryon and installed in 1912, it originally commemorated Marianne Duffield and William Ward Duffield, who died in 1910 and 1912 respectively. A second plaque was added to commemorate their son, William Bartleet Duffield, who died in 1918. The memorial covers the grave, and comprises edging and a vertical cross. It is designed in the Art Nouveau style and is made of riveted sections of copper alloy sheet metal. The edging follows the rectangular perimeter of the plot, and features short pillars at each corner. The cross is a Celtic wheel cross decorated in relief with leaflike motifs. A curved shaft connects it to the foot, which, like the four-sided base upon which it is mounted, has curved and splayed sides. The plaques commemorating the Duffields are riveted to the base; a medallion was once riveted to the centre of the cross, but is now lost. Newspapers at the time termed the memorial "very fine" and "quite unique" for the area, and in 2022 it was designated a Grade II listed building. The list entry terms the memorial "an unusual example" of both "churchyard memorial design" and "Art Nouveau design in metal work" and describes it as "well detailed and combined with a conventional form of churchyard memorial, a Celtic wheeled cross". ## Background ### The Duffields The Duffields were a prominent family in Chelmsford, having settled in Great Baddow by the time of Henry VIII. William Ward Duffield was born on 25 November 1820 to James Duffield, a farmer. He went on to become a successful solicitor, founding the Chelmsford firm Duffield and Son, and the London firm Duffield, Bruty and Co. He also held many public roles, including as clerk to the Chelmsford Board of Governors, clerk to the Justices at Chelmsford, registrar of the Chelmsford County Court and Bankruptcy Court, and governor (and later chairman) of the King Edward VI School. His private positions included roles as director and chairman of a range of businesses, including the Reliance Life Assurance Company, the London Board of the Norwich Union, the Chelmsford and Braintree Gas Companies, and the Chelmsford and Blackwater Navigation Company. Duffield married Marianne Bartleet on 10 March 1860. The couple had three surviving children: William Bartleet Duffield (1861–1918), Arthur Stewart Duffield (1867–1930), and Florence Marion Duffield. Marianne Duffield died on 22 June 1910, three months after the couple had celebrated their 50th anniversary. She was buried in the churchyard of Church of St Mary in Great Baddow, following a family tradition of several generations. Her husband died two years later, on 7 August 1912, and was buried in the same grave. William Bartleet Duffield died a bachelor six years later in France, where he had been wintering for his health. ### Herbert Maryon At the time of William Ward Duffield's death, Herbert Maryon was 38 years old and a teacher of sculpture at the University of Reading. Maryon had studied at The Slade, Saint Martin's School of Art, and the Central School of Arts and Crafts, where his teachers included Alexander Fisher and William Lethaby. He subsequently led the Keswick School of Industrial Art from 1900 to 1904, where he designed numerous Arts and Crafts works, and taught metalwork at the Storey Institute. Maryon taught at Reading from 1907 to 1927, then at Armstrong College (part of Durham University at the time) until 1939. Maryon designed a number of other memorials while a teacher, including First World War monuments for East Knoyle, Mortimer, and the University of Reading. After the Second World War Maryon went on a second career as a conservator at the British Museum; his work on the Sutton Hoo ship-burial led to his appointment as an Officer of the Order of the British Empire. ## Description The memorial is located approximately 75 metres (246 ft) east of the Church of St Mary. It is made of riveted sections of copper alloy sheet metal and designed in an Art Nouveau style. It consists of edging that follows the rectangular perimeter of the grave, and a vertical cross. Small pillars rise from each of the four corners. The memorial is placed over the grave of the Duffields, which is made of brick. The cross sits within the grave plot and surrounding edging. It features a Celtic wheel cross connected by a shaft to a four-sided base. The wheel is decorated in relief with leaflike motifs; a medallion, now removed, was once riveted to the centre. The shaft is curved, and meets the curved and splayed edges of the foot. This is mounted atop the base, which features similar lines. Two copper plaques are riveted to opposite sides of the base. The west-facing plaque commemorates the elder Duffields, and reads: The east-facing plaque reads: ## History The memorial was erected around October 1912, within two months of William Duffield's death. Newspapers reported on it on 25 and 26 October, praising it as "very fine" and "admirably executed", and noting that it was "quite unique, at any rate in this neighbourhood". After William Bartleet Duffield died on 3 June 1918, the east-facing plaque was added to the memorial to commemorate him. On 25 July 2022, Historic England designated the memorial a Grade II listed building. The organisation cited historic interest, architectural interest, and group value, for listing the memorial. As to historic interest, Historic England termed the memorial "an unusual example of churchyard memorial design that is also memorial to prominent local citizen William Ward Duffield and his son". Architecturally, the organisation cited the "unusual example of Art Nouveau design in metal work, well detailed and combined with a conventional form of churchyard memorial, a Celtic wheeled cross". For group value, Historic England considered the memorial in conjunction with the Church of St Mary, itself a Grade I listed building. ## Gallery	[ "## Background", "### The Duffields", "### Herbert Maryon", "## Description", "## History", "## Gallery" ]	1,354	19,026
66,875,367	A Tolkien Compass	1,168,201,256	1975 book of literary criticism of Tolkien	[ "1975 non-fiction books", "Tolkien studies" ]	A Tolkien Compass, a 1975 collection of essays edited by Jared Lobdell, was one of the first books of Tolkien scholarship to be published; it was written without sight of The Silmarillion, published in 1977. Some of the essays have remained at the centre of such scholarship. Most were written by academics for fan-organised conferences. The collection was also the first place where Tolkien's own "Guide to the names in The Lord of the Rings" became widely available. The Tolkien scholar Tom Shippey described the essays as written in an innocent time before Tolkien studies became professionalised, and as such they offer "freshness, candor, and a sense of historical depth" that cannot be repeated. Other scholars have stated that two of the essays about The Hobbit have become frequently-cited classics in their field. ## Context J. R. R. Tolkien (1892–1973) was an English Roman Catholic writer, poet, philologist, and academic, best known as the author of the high fantasy works The Hobbit and The Lord of the Rings. The Lord of the Rings was published in 1954–55; it was awarded the International Fantasy Award in 1957. The publication of the Ace Books and Ballantine paperbacks in the United States helped it to become immensely popular with a new generation in the 1960s. It has remained so ever since, judged by both sales and reader surveys. The literary establishment was initially largely hostile to the book, attacking it in numerous reviews. ## Synopsis The first and second editions contain the following essays: I. Jared Lobdell. "Introduction". Aside from introducing the essays, he notes that none of them attempt Quellenforschung, the search for Tolkien's sources, but suggests that the matter is worthy of study. II\. Bonniejean Christensen. "Gollum's character transformation in The Hobbit". She finds the "fallen hobbit" Gollum immediately interesting, even apart from Tolkien's changes to the second edition of the novel to make the story fit better with The Lord of the Rings, which make Gollum "fascinating". The key changes are to chapter 5, "Riddles in the Dark": Gollum becomes a far darker character, and the riddle competition becomes deadly serious, as Bilbo will be eaten if he loses. III\. Dorothy Matthews. "The Psychological Journey of Bilbo Baggins", provides an early Jungian approach to Tolkien, suggesting that Gandalf fits the Wise Old Man archetype, and Gollum the Devouring Mother, while Bilbo sets out on his quest "out of balance and far from integrated". IV\. Walter Scheps. "The Fairy-tale Morality of The Lord of the Rings". He argues that Tolkien's morality, revealed in his Middle-earth books, is "radically different from our own" and indeed much like that of fairy tales, so it is not a concern that orcs are black, that trolls are working class, or that enemies come from the south and east. Further, "nobility is inherited rather than acquired". V. Agnes Perkins and Helen Hill. "The Corruption of Power" examines what power, especially that of the One Ring, does to those who have it. "And the answer is unequivocal: The desire for power corrupts." Of the three wise and ancient characters in The Lord of the Rings, Gandalf and Galadriel see the temptation, and reject it. Saruman succumbs to it. Of the men of Gondor, Boromir tries to seize the Ring; Faramir "understands the danger". VI\. Deborah Rogers. "Everyclod and Everyhero: the image of man in Tolkien" argues that both the Hobbits and Aragorn represent Man. Rogers notes that she knows Hobbits are important, as Tolkien wrote her a letter in 1958 confessing "I am in fact a hobbit." The Hobbits are in her view "small, provincial, and comfort-loving" but not John Bull English: in short, they are cloddish antiheroes. Aragorn, however, is definitely a hero; together, he and the Hobbits form a composite picture of man, a clod with a hero trying to get out. VII\. Richard C. West "The Interlace Structure of The Lord of the Rings" shows that the novel has a complex medieval organisation, in which story threads are interwoven to create a subtly cohesive narrative. It mirrors "the perception of the flux of events in the world around us, where everything is happening at once". The technique allows events to be seen, too, from different points of view. West notes that this is also modern, as writers like James Joyce and Marcel Proust "once again began experimenting" with the medieval technique. VIII\. David Miller. "Narrative pattern in The Fellowship of the Ring" looks at other story structures, noting that with the road as a setting, the "there and back again" novel (he includes The Hobbit) is picaresque. Miller analyses the journey in the first volume as a sequence of "conference[s] in tranquillity", "blundering journey[s]", dangers, and "unexpected aid", as for example the party venturing into the Old Forest, becoming entrapped by Old Man Willow, only to be rescued by Tom Bombadil. He identifies nine such cycles. IX\. Robert Plank. "'The Scouring of the Shire': Tolkien's view of fascism" looks at a single chapter – Book 6, Chapter 8 of The Lord of the Rings, in which the Hobbits return home victorious from their adventures like the hero Odysseus to Ithaca, only to have to "scour" their home of enemies. Plank comments that "the outstanding characteristic of [the chapter] is that miracles do not happen, the laws of nature are in full and undisputed force, [and] the actors in the drama are all human [mortals, whether men or Hobbits]." Thus the chapter is "not fantasy", unlike the rest of the novel. Plank is surprised that Tolkien thinks of the "overthrow of a tyrannical government as a quick and easy job." X. Charles A. Huttar. "Hell and the city: Tolkien and the traditions of Western literature" looks at the novel's debt to literary tradition. The Fellowship's journey through Moria is likened to a descent into Hell, part of a hero's monomyth, while Gandalf's struggle with the Balrog echoes the hero "overcoming a monster of 'the deep'". Frodo's journey to Mordor, too, is such a descent. Huttar considers, too, the various cities with their towers: Minas Tirith of Gondor; Barad-Dûr, the Dark Lord Sauron's fortress; Orthanc, the fallen wizard Saruman's fastness within the industrial Isengard; and either Minas Morgul, home to the nine Nazgûl, or the nearby Cirith Ungol, the watchtower that becomes Frodo's prison. All have become hellish, except for Minas Tirith, the Tower of Guard, which stands against them: "a great city" with its seven walls and seven levels, "but it is dying." This would seem desperate: but "Tolkien sees hope." XI\. U. Milo Kaufmann. "Aspects of the paradisiacal in Tolkien's work" picks out two features of Tolkien's writing: "his uncanny capacity for making us see ordinary objects and actions bursting with the value of wholeness and finality", and "his talent for creating intransigently mysterious landscape." He finds these in "Leaf by Niggle" and in The Lord of the Rings. The first edition also contains: XII\. J. R. R. Tolkien. "Guide to the names in The Lord of the Rings". Tolkien explains how to translate both personal names like "Treebeard" (by sense) and placenames like "Bag End" (again, by sense), individually listed and explained, and asks that all other names be left untranslated. The second edition has in addition: - Tom Shippey. "Foreword". The Tolkien scholar looks back over a generation of scholarship and the transformation of Tolkien's reception by scholars, commenting that A Tolkien Compass, written in a very different time, had stood up well and now offered a unique perspective. ## Publication history A Tolkien Compass was published in paperback by Open Court in 1975. They brought out a second edition in 2003, adding a scholarly foreword by Tom Shippey. The essays consisted mainly of Lobdell's selections from the first and second Conferences on Middle-earth. The book has been translated into French, Swedish, and Turkish. There are no illustrations. ## Reception Tom Shippey commented that A Tolkien Compass appeared "at a time when, in the United Kingdom at least, professing an interest in Tolkien was almost certain death for any hopeful candidate seeking entrance to a department of English". The first edition included Tolkien's "Guide to the Names in The Lord of the Rings"; Shippey called this "immensely valuable" and "deplored" the fact that the Tolkien Estate had demanded it be omitted from later editions. Shippey described the essays as written in the "Age of Innocence" before Tolkien studies became professionalised, and as such offer "freshness, candor, and a sense of historical depth" that cannot be repeated. He noted that some of the early predictions, made before The Silmarillion appeared in 1977 or The History of The Lord of the Rings in 1988–1992, were wrong. For instance, Tolkien had not written much of The Lord of the Rings before the Second World War; but many other predictions have been substantiated, such as Richard C. West's account of Tolkien's use of medieval-style interlacing as a narrative structure. The Tolkien scholar Janet Brennan Croft has written that West's essay "has proven to have particularly long-lasting impact", while the medievalist Gergely Nagy called the book "a significant early collection". The librarian and Tolkien scholar David Bratman described the book as "the first commercially published collection of scholarship from the Tolkien fan community." He commented that the essays were originally papers for conferences organised by fans, but were for the most part written by scholars, and that two of the chapters were seen by scholars as "classics in the field": Richard C. West's essay on "The Interlace Structure of The Lord of the Rings, and Bonniejean Christensen's on "Gollum's Character Transformations in The Hobbit". The librarian Jean MacIntyre, regretting that scholars have paid relatively little attention to The Hobbit compared to Tolkien's other novels, has noted that A Tolkien Compass takes the children's book seriously with two frequently-consulted essays, namely Matthews's psychological interpretation of The Hobbit (MacIntyre notes that Randel Helms had "mocked" this), and Christensen's account of Tolkien's revisions of The Hobbit as he updated Gollum's character. ## See also - Master of Middle-Earth, a 1975 book of Tolkien scholarship	[ "## Context", "## Synopsis", "## Publication history", "## Reception", "## See also" ]	2,334	2,691
15,547,707	Ich hatte viel Bekümmernis, BWV 21	1,149,547,150	Church cantata by Johann Sebastian Bach	[ "1713 compositions", "Church cantatas by Johann Sebastian Bach", "Psalm-related compositions by Johann Sebastian Bach" ]	Johann Sebastian Bach composed the church cantata Ich hatte viel Bekümmernis (I had much grief), BWV 21 in Weimar, possibly in 1713, partly even earlier. He used it in 1714 and later for the third Sunday after Trinity of the liturgical year. The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as e per ogni tempo (and for all times), indicating that due to its general theme, the cantata is suited for any occasion. The text is probably written by the court poet Salomon Franck, who includes four biblical quotations from three psalms and from the Book of Revelation, and juxtaposes in one movement biblical text with two stanzas from Georg Neumark's hymn "Wer nur den lieben Gott lässt walten". The cantata possibly began as a work of dialogue and four motets on biblical verses. When Bach performed the cantata again in Leipzig in 1723, it was structured in eleven movements, including an opening sinfonia and additional recitatives and arias. It is divided in two parts to be performed before and after the sermon, and scored for three vocal soloists (soprano, tenor, and bass), a four-part choir, and a Baroque instrumental ensemble of three trumpets, timpani, oboe, strings and continuo. Bach led a performance in the court chapel of Schloss Weimar on 17 June 1714, known as the Weimar version. He revised the work for performances, possibly in Hamburg and several revivals in Leipzig, adding for the first Leipzig version four trombones playing colla parte. ## History and words Bach composed the cantata in Weimar, but the composition history is complicated and not at all stages certain. Findings by Martin Petzoldt suggest that the cantata began with the later movements 2–6 and 9–10, most of them on biblical text, performed at a memorial service of Aemilia Maria Haress, the wife of a former prime-minister of Schwarzburg-Rudolstadt, at the church St. Peter und Paul in Weimar on 8 October 1713. Bach may then have expanded it and presented it for his application in December 1713 at the Liebfrauenkirche in Halle. The performance material of this event, the only surviving source, shows on the title page the designation e per ogni tempo, indicating that the cantata with its general readings and texts is suitable for any occasion. Bach designated the cantata to the Third Sunday after Trinity of 1714. The prescribed readings for the Sunday were from the First Epistle of Peter, "Cast thy burden upon the Lord" (), and from the Gospel of Luke, the parable of the Lost Sheep and the parable of the Lost Coin (). The librettist was probably the court poet Salomon Franck, as in most cantatas of the period, such as Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172. The text shows little connection to the prescribed gospel, but is related to the epistle reading. The poet included biblical texts for four movements: for movement 2 , for movement 6 , translated in the King James Version (KJV) to "Why art thou cast down, O my soul? and why art thou disquieted in me? hope thou in God: for I shall yet praise him for the help of his countenance.", for movement 9 (KJV: "Return unto thy rest, O my soul; for the Lord hath dealt bountifully with thee."), and for movement 11 , "Worthy is the Lamb", the text also chosen to conclude Handel's Messiah. Similar to other cantatas of that time, ideas are expressed in dialogue: in movements 7 and 8 the soprano portrays the Seele (Soul), while the part of Jesus is sung by the bass as the vox Christi (voice of Christ). Only movement 9 uses text from a hymn, juxtaposing the biblical text with stanzas 2 and 5 of "Wer nur den lieben Gott lässt walten" by Georg Neumark, who published it with his own melody in Jena in 1657 in the collection Fortgepflantzter Musikalisch-Poetischer Lustwald. Possibly the first version of the cantata ended with that movement. Bach performed the cantata in the court chapel of Schloss Weimar on 17 June 1714, as his fourth work in a series of monthly cantatas for the Weimar court which came with his promotion to Konzertmeister (concert master) in 1714. The so-called Weimar version, his first composition for an ordinary Sunday in the second half of the liturgical year, marked also a farewell to Duke Johann Ernst who began a journey then. A revision occurred during the Köthen years, specifically in 1720. A performance, documented by original parts, could have been in Hamburg to apply for the position as organist at St. Jacobi in November 1720, this time in nine movements and in D minor instead of C minor. As Thomaskantor in Leipzig, Bach performed the cantata again on his third Sunday in office on 13 June 1723, as the title page shows. For this performance, now of eleven movements beginning again in C minor, he also changed the instrumentation, adding for example four trombones to double the voices in the fifth stanza of the hymn. This version was used in several revivals during Bach's lifetime and is mostly played today. ## Music ### Scoring and structure Bach structured the cantata in eleven movements in two parts, Part I (movements 1–6) to be performed before the sermon, Part II (7–11) after the sermon. He scored it for three vocal soloists (soprano (S), tenor (T) and bass (B)), a four-part choir SATB, three trumpets (Tr) and timpani only in the final movement, four trombones (Tb) (only in Movement 9 and only in the 5th version to double voices in the fifth stanza of the chorale), oboe (Ob), two violins (Vl), viola (Va), and basso continuo (Bc), with bassoon (Fg) and organ (Org) explicitly indicated. The duration is given as 44 minutes. In the following table of the movements, the scoring and keys are given for the version performed in Leipzig in 1723. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown. ### Movements The music for this early cantata uses motet style in the choral movements. Biblical words are used in a prominent way. They are treated in choral movements, different from other cantatas of the Weimar period where they were typically composed as recitatives. John Eliot Gardiner, who conducted all of Bach's church cantatas in 2000 as the Bach Cantata Pilgrimage, termed the cantata "one of the most extraordinary and inspired of Bach's vocal works". He notes aspects of the music which are similar to movements in Bach's early cantatas, suggesting that they may have been composed already when Bach moved to Weimar in 1708: the psalm verses resemble movements of cantatas such as Nach dir, Herr, verlanget mich, BWV 150, and Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, the dialogue of the Soul and Jesus (movement 8) is reminiscent of the Actus tragicus, and the hymn in motet style (movement 9) recalls movements 2 and 5 of the chorale cantata Christ lag in Todes Banden, BWV 4. #### Part I Themes of deep suffering, pain and mourning dominate the music in the first part of the cantata. Gardiner notes that five of the six movements are "set almost obsessively in C minor". ##### 1 The work is opened by a Sinfonia similar to the one of the cantata Weinen, Klagen, Sorgen, Zagen, BWV 12, possibly the slow movement of a concerto for oboe and violin. A sighing motif, the picture of a storm of tears, and the flood image conjured by the upwelling music characterizes the dark and oppressive feeling. ##### 2 The first vocal movement is a choral motet on the psalm verse "Ich hatte viel Bekümmernis in meinem Herzen" (I had much trouble in my heart). The music has two contrasting sections, following the contrast of the psalm verse which continues "aber deine Tröstungen erquicken meine Seele" (but your consolations revive my soul). The word "Ich" (I) is repeated several times, followed by a fugal section. A homophonic setting of aber (but) leads to the second section, in free polyphony, marked Vivace. It broadens to Andante for a solemn conclusion. ##### 3 The soprano aria "Seufzer, Tränen, Kummer, Not" (Sighs, tears, anguish, trouble) is one of the first arias in Italian style in a Bach cantata, accompanied by an obbligato oboe. #### 4 The tenor sings in accompanied recitative with the strings "Wie hast du dich, mein Gott" (What? have You therefore, my God,). ##### 5 The tenor, accompanied by the strings, intensifies the mood: "Bäche von gesalznen Zähren" (Streams of salty tears). ##### 6 A consoling verse from a psalm is treated as a closing motet of Part I: "Was betrübst du dich, meine Seele" (Why do you trouble yourself, my soul). Alfred Dürr analyzes in detail how different means of expression follow the text closely, with shifts in tempo and texture, culminating in a "permutation fugue of remarkably logical structure" on the final "daß er meines Angesichtes Hilfe und mein Gott sei" (for being the help of my countenance and my God). #### Part II The second part begins in a different mood, through the trust of sinners in the grace of God. In a recitative and an aria, the Soul (soprano) and Jesus (bass as the voice of Christ) enter a dialogue, leading to a final choral movement as a strong hymn of praise. ##### 7 Soprano and bass enter a dialogue in accompanied recitative with the strings. The Soul asks: "Ach Jesu, meine Ruh, mein Licht, wo bleibest du?" (Ah, Jesus, my peace, my light, where are You?). Dialogue was common in Protestant church music from the 17th century but is especially dramatic here. ##### 8 Soprano and bass unite in an aria: "Komm, mein Jesu, und erquicke / Ja, ich komme und erquicke" (Come, my Jesus, and revive / Yes, I come and revive), accompanied only by the continuo. It resembles passionate love duets from contemporary opera. ##### 9 In a movement unusual in Bach works, which originally concluded the cantata, biblical text from a psalm, "Sei nun wieder zufrieden, meine Seele" (Be at peace again, my soul), is juxtaposed with two stanzas from Georg Neumark's hymn, stanza 2, "Was helfen uns die schweren Sorgen" (What good are heavy worries?), and stanza 5, "Denk nicht in deiner Drangsalshitze" (Think not, in your heat of despair,) The first hymn stanza is sung by the tenor to solo voices rendering the biblical text. In the second stanza the soprano has the melody, the voices are doubled by a choir of trombones introduced in the Leipzig version of 1723. ##### 10 The tenor aria "Erfreue dich, Seele, erfreue dich, Herze" (Rejoice, soul, rejoice, heart), accompanied only by the continuo, was added late to the cantata. Dürr describes the mood as "spirited exited abandon". ##### 11 The concluding movement is a motet on a quotation from Revelation, "Das Lamm, das erwürget ist" (The Lamb, that was slain). Three trumpets and timpani appear only in this triumphant movements of praise. It begins in homophony and expresses the text "Lob und Ehre und Preis und Gewalt" (Glory and honour and praise and power) in another permutation fugue with a climax in the subject played by the first trumpet. ## Recordings A list of recordings is provided on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are marked by a green background.	[ "## History and words", "## Music", "### Scoring and structure", "### Movements", "#### Part I", "##### 1", "##### 2", "##### 3", "#### 4", "##### 5", "##### 6", "#### Part II", "##### 7", "##### 8", "##### 9", "##### 10", "##### 11", "## Recordings" ]	2,785	1,956
3,303,226	House of Frankenstein (film)	1,168,792,108	null	[ "1940s American films", "1940s English-language films", "1940s science fiction horror films", "1944 films", "1944 horror films", "American black-and-white films", "American science fiction horror films", "American sequel films", "American vampire films", "American werewolf films", "Dracula (Universal film series)", "Films about Romani people", "Films directed by Erle C. Kenton", "Films scored by Paul Dessau", "Films set in Europe", "Frankenstein (Universal film series)", "Horror crossover films", "Universal Pictures films" ]	House of Frankenstein is a 1944 American horror film starring Boris Karloff, Lon Chaney Jr. and John Carradine. Based on a story by Curt Siodmak, it was directed by Erle C. Kenton and produced by Universal Pictures. The film is about Dr. Gustav Niemann, who escapes from prison and promises to create a new body for his assistant Daniel. Over the course of the film, they encounter Count Dracula, Larry Talbot, the Wolf Man, and Frankenstein's Monster. Universal had initially planned a film titled Chamber of Horrors to include several of their horror-themed characters, but this project was halted with the idea later revived as House of Frankenstein. Filming began on April 4, 1944, with the highest budget set for a Universal Frankenstein film at that time. Filming ended in early May with screenings starting in New York on December 15, 1944. It was not among the highest-grossing films for Universal that year, but it managed to outgross other Universal horror-related output such as Ghost Catchers (1944) and The Invisible Man's Revenge (1944). Upon its release, film historian Gregory W. Mank notes that the critics "made mincemeat" out of it. Retrospective reviews focused on the absurdity of connecting the monsters together and the lack of scares in the film. A sequel titled House of Dracula that involved much of the same cast and crew was released in 1945. ## Plot Dr. Gustav Niemann escapes from prison along with his hunchbacked assistant Daniel, for whom he promises to create a new, beautiful body. The two murder Professor Lampini, a traveling showman, and take over his horror exhibit, which includes the recovered corpse of Count Dracula. To exact revenge on Burgomaster Hussman for putting him in prison, Niemann revives the Count. Dracula seduces Hussman's granddaughter-in-law Rita and kills Hussman. In a subsequent chase, Niemann disposes of Dracula's coffin. As the vampire scrambles to get back inside, the sun rises and kills him. Niemann and Daniel move on to the flooded ruins of Castle Frankenstein in Visaria, where they find the bodies of Frankenstein's Monster and Larry Talbot, the Wolf Man, preserved in the frozen cavern beneath the castle. Niemann thaws their bodies and promises to find Talbot a cure for his werewolf curse. Niemann, however, is more interested in reviving the Monster and exacting revenge on two traitorous former associates than in keeping his promises. Talbot transforms into a werewolf and kills a man, sending the villagers into a panic. Niemann and Daniel save a gypsy girl named Ilonka, whom Daniel falls in love with. It is unrequited, however, as Ilonka falls in love with Talbot. Daniel tells Ilonka that Talbot is a werewolf, but she is undeterred and promises Talbot that she will help him. There is suddenly a crisis when Niemann revives the Monster, and Talbot again turns into a werewolf. Talbot, as a werewolf, attacks and fatally wounds Ilonka, but she manages to shoot and kill him with a silver bullet before she dies. Daniel blames Niemann for Ilonka's death and turns on him. The Monster intervenes, throws Daniel out of the window, and carries the half-conscious Niemann outside, where the villagers chase them into the marshes. There, both the Monster and Niemann drown in quicksand. ## Cast Cast sourced from the book Universal Horrors: ## Production ### Background and pre-production On June 7, 1943, a film production titled Chamber of Horrors was announced by The Hollywood Reporter, noting that the cast would include Boris Karloff, Lon Chaney Jr., Bela Lugosi, Peter Lorre, Claude Rains, George Zucco, and James Barton with characters such as the Invisible Man, the Mad Ghoul, the Mummy and "other assorted monsters". Chamber of Horrors never went into production. Curt Siodmak spoke little on developing the story for the film, stating that "the idea was to put all the horror characters into one picture. I only wrote the story. I didn't write the script. I never saw the picture". The screenplay was written by Edward T. Lowe, who had previously written scripts for The Hunchback of Notre Dame (1923) and The Vampire Bat (1933). Lowe's script changed parts of Siodmak's story, including removing the mummy Kharis. The film's producer Paul Malvern began assigning a cast that included Karloff, who Universal had on for a two-picture deal, Lon Chaney Jr., John Carradine and J. Carrol Naish. The cast was officially assembled in February 1944. On discussions with the cast, Anne Gwynne confided later in an interview with Michael Fitzgerald that she did not think Karloff was happy with his mad scientist role in the film. In an interview in early 1944, Karloff stated he would "never play Frankenstein's Monster again [...] Other people have taken similar roles and the edge is off of it. I am through with it.... I made these horror films. They were of little importance in anybody's scheme of things, including my own, and though I did make a disgraceful amount of money, I was getting nowhere." The role of the Monster was given to Glenn Strange who over the previous 12 years spent his time in Western films and had played small parts in Universal's The Mummy's Tomb (1942), as well as Producers Releasing Corporation's The Mad Monster (1942) and The Monster Maker (1944). Prior to Strange's casting, Lane Chandler tested for the role. Strange was unaware that he was being called to play the Monster and only found out when he was reported to Jack Pierce's make-up studio to have a scar applied to him. After which, Pierce phoned producer Paul Malvern stating they had found their new Monster. ### Filming and post-production Preparations for House of Frankenstein began in August 1943 under the title The Devil's Brood. The film's budget was \$354,000. This was the highest budget set for a Universal Frankenstein film at that time, though Frankenstein (1931) and Bride of Frankenstein exceeded this amount by running over-budget. It was given a 30-day shooting schedule with initial shooting to begin on April 4, 1944 using the sets from Green Hell (1940) and Pittsburgh (1942). Other sets from Gung Ho! (1943) and Tower of London (1939) were also used. On set, Carradine treated those on set to recitations from the works of Shakespeare and Chaney would occasionally prepare lavish lunches for his dressing room co-stars. Strange noted the Monster-make up was uncomfortable on set, making him feel like he had water on the brain and that he was not allowed into the studio commissary, having to eat a sack lunch away from others, leading to Strange to recall "I guess they didn't want me to turn the stomachs of stars and starlets." Accidents occurred on set, such as when Strange was in a glass case and found he could not breathe, forcing him to push a panic button to escape from its confines. Strange also had a scene where he throws J. Carrol Naish through a window and onto a prop mattress to land on. Strange misjudged his throw, leading to Naish missing the mattress and landing on the cement floor. Naish was wearing his large padded hunchback, which cushioned his fall sufficiently. Director Erle C. Kenton set the scenes involving Count Dracula to be shot last. Filming was completed on May 8. The music score was a collaborative effort between Hans J. Salter, Paul Dessau and Charles Previn. Most of the film's score was written specifically for House of Frankenstein, as opposed other films of the period that re-used older musical cues. After filming was completed in May and prior to its premiere, the film's title was changed to House of Frankenstein. ## Release House of Frankenstein was shown at the 594-seat Rialto Theatre in New York City on December 15, 1944. The film was so popular that it ran all night and then played at the theatre for three weeks. On December 22, House of Frankenstein and The Mummy's Curse opened at the 1,100-seat Hawaii Theatre in Hollywood. The film continued screening there for six weeks. On February 20, the film had a week-long run at Los Angeles's 2,200-seat Orpheum Theatre. The film was distributed theatrically by Universal Pictures. The film was released nationally on February 16, 1945, following the initial in New York premieres in December 1944. According to the National Box Office Digest, the film grossed between \$200,000 to \$500,000. It was not among the highest grossing films for Universal that year which included Can't Help Singing (1944) and Ali Baba and the Forty Thieves (1944), as well as the studio's other horror outings with The Climax (1944). It managed to outgross similar horror-related output from Universal such as Ghost Catchers (1944) and The Invisible Man's Revenge (1944). The first news of a follow-up to House of Frankenstein appeared in Hollywood trade papers in April 1944 with the announcement of a film titled The Wolf Man vs. Dracula. This sequel would become House of Dracula (1945), albeit with a different script. Bernard Schubert was hired to write the script and turned in his first draft on May 19, 1944. House of Dracula is a continuation of the film House of Frankenstein and used much of that film's crew. Actors John Carradine, Glen Strange, and Lon Chaney Jr. reprise their roles as Count Dracula, Frankenstein's Monster, and the Wolf Man, respectively. It was released on December 7, 1945. House of Frankenstein was released on home video in 1992 by MCA Home Video. The film was released on DVD as part of The Monster Legacy Collection and Frankenstein: The Legacy Collection on April 27, 2004. House of Frankenstein was released on Blu-ray on August 28, 2018. ## Reception Film historian Gregory W. Mank declared that, on the film's premiere in New York City, critics "made mincemeat" out of it. Wanda Hale of the New York Daily News gave the film a two-and-a-half star rating, commenting that "settings, lighting and costumes, impressively eerie and horrendous, will help you enter into the sinister proceedings", while noting that audiences should "be sure and check your credulity outside". A. H. Weiler of The New York Times stated that as a film "this grisly congress doesn't hit hard; it merely has speed and a change of pace. As such, then, it is bound to garner as many chuckles as it does chills". The New York Herald Tribune gave a negative review stating the "plot stumbles along endlessly in its top-heavy attempt to carry on its shoulders too many of yesterday's nightmares" concluding that the film "is only a little more terrifying than the house that Jack built". Harrison's Reports called it "only a mild horror picture, more ludicrous than terrifying. The whole thing is a rehash of the fantastic doings of these characters in previous pictures and, since they do exactly what is expected of them, the spectator is neither shocked nor chilled". A reviewer for the Motion Picture Herald deemed the picture an "excellent horror film", complimenting the acting, makeup, clever photography, lighting and score, also noting that at their screening at the Rialto Theatre in New York the "matinee audience was more than satisfied". In 1946 Boris Karloff, referred to the film as "the monster clambake", while working on Val Lewton-produced pictures for RKO, referring to Lewton as "the man who rescued me from the living dead and restored my soul." Gwynne spoke of her role later in her career stating that "the part was nice but not great, I had fun with it, but I'm only in the first 25 minutes and then zap, I'm off for the rest of the film!" In retrospective reviews, Carlos Clarens wrote about Universal's character cross-over films, also known as the Monster Rally films, in his book An Illustrated History of the Horror Film summarizing that "the sole charm of these films resides in the very proficient contract players that populated them, portraying gypsies, mad scientists, lustful high priests, vampire-killers, or mere red herrings". Kim Newman discussed the Monster Rally films in his book The Definitive Guide to Horror Movies, stating that they were endearing in trying to find ways around the monsters seemingly permanent deaths but that they also "don't even try to be terrifying, and seem to be entirely pitched at children's matinees." In his book Horror!, Drake Douglas commented that "The Monster became a clumsy automation", noting that Strange's monster "had chubby cheeks and dead eyes and the face of a mindless somnambulist rather than a vibrantly living, evil creature". In his book overviewing Universal's Frankenstein series, Gregory W. Mank stated that, despite virtues of a "beautiful score and its grand cast", the film "never succeeded in transcending its ignoble purpose: to cram together as many horrors as 70 minutes allow. Nor has it ever been forgiven by the more discriminating terror film aficionados for taking another giant step in the degradation of Frankenstein's monster". A review in Phil Hardy's book Science Fiction (1984) declared that "the film's cheap-skate opportunity verges on surrealism at times as it moves from monster to monster with bewildering rapidity" while finding the film less ludicrous than its follow-up, House of Dracula. ## See also - List of horror films of the 1940s - List of Universal Pictures films (1940–1949)	[ "## Plot", "## Cast", "## Production", "### Background and pre-production", "### Filming and post-production", "## Release", "## Reception", "## See also" ]	2,961	36,076
11,371,883	Crag martin	1,165,593,800	Genus of birds	[ "Ptyonoprogne", "Taxa named by Ludwig Reichenbach" ]	The crag martins are four species of small passerine birds in the genus Ptyonoprogne of the swallow family. They are the Eurasian crag martin (P. rupestris), the pale crag martin (P. obsoleta), the rock martin (P. fuligula) and the dusky crag martin (P. concolor). They are closely related to each other, and have formerly sometimes been considered to be one species. They are closely related to the Hirundo barn swallows and are placed in that genus by some authorities. These are small swallows with brown upperparts, paler underparts without a breast band, and a square tail with white patches. They can be distinguished from each other on size, the colour shade of the upperparts and underparts, and minor plumage details like throat colour. They resemble the sand martin, but are darker below, and lack a breast band. These are species of craggy mountainous habitats, although all three will also frequent human habitation. The African rock martin and the south Asian dusky crag martin are resident, but the Eurasian crag martin is a partial migrant; birds breeding in southern Europe are largely resident, but some northern breeders and most Asian birds are migratory, wintering in north Africa or India. They do not normally form large breeding colonies, but are more gregarious outside the breeding season. These martins build neat mud nests under cliff overhangs or in crevices in their mountain homes, and have readily adapted to the artificial cliffs provided by buildings and motorway bridges. Up to five eggs, white with dark blotches at the wider end, may be laid, and a second clutch is common. Ptyonoprogne martins feed mainly on insects caught in flight, and patrol cliffs near the breeding site with a slow hunting flight as they seek their prey. They may be hunted by falcons and infected with mites and fleas, but their large ranges and populations mean that none of the crag martins are considered to be threatened, and all are classed as Least Concern on the IUCN Red List. ## Taxonomy The four Ptyonoprogne species are the Eurasian crag martin (P. rupestris) described as Hirundo rupestris by Italian naturalist Giovanni Antonio Scopoli in 1769, the pale crag martin (P. obsoleta), described by Jean Cabanis in 1850, the rock martin (P. fuligula), described by German zoologist Martin Lichtenstein in 1842, and the dusky crag martin (P. concolor) formally described in 1832 as Hirundo concolor by British soldier and ornithologist William Henry Sykes. They were moved to the new genus Ptyonoprogne by German ornithologist Heinrich Gustav Reichenbach in 1850. The genus name is derived from the Greek ptuon (πτύον), "a fan", referring to the shape of the opened tail, and Procne (Πρόκνη), a mythological girl who was turned into a swallow. These are members of the swallow family of birds, and are placed in the subfamily Hirundininae, which comprises all swallows and martins except the very distinctive river martins. DNA sequence studies suggest that there are three major groupings within the Hirundininae, broadly correlating with the type of nest built. The groups are the "core martins" including burrowing species like the sand martin, the "nest-adopters", which are birds like the tree swallow that utilise natural cavities, and the "mud nest builders". Ptyonoprogne species construct a mud nest and therefore belong to the last group; They resemble the Hirundo species in that they make open cup nests, whereas Delichon martins build closed cups, and the Cecropis and Petrochelidon swallows, have retort-like closed nests with an entrance tunnel. The genus Ptyonoprogne is closely related to the larger swallow genus Hirundo into which it is often subsumed, but a DNA analysis showed that a coherent enlarged genus Hirundo should contain all the mud-builder genera. Although the nests of the Ptyonoprogne crag martins resembles those of typical Hirundo species like the barn swallow, the DNA research showed that if the Delichon house martins are considered to be a separate genus, as is normally the case, Cecropis, Petrochelidon and Ptyonoprogne should also be split off. The small, pale northern subspecies of crag martin found in the mountains of North Africa and the Arabian peninsula is now usually split as the pale crag martin, Ptyonoprogne obsoleta. The remaining birds are now identified as Eurasian crag martin. ### List of crag martin species ## Description These martins are 12–15 cm (4.7–5.9 in) long with drab brown or grey plumage and a short square tail that has small white patches near the tips of all but the central and outermost pairs of feathers. The eyes are brown, the small bill is mainly black, and the legs are brownish-pink. The sexes are similar, but juveniles show pale edges to the upperparts and flight feathers. The species differ in plumage shades and size, Eurasian crag martin being significantly larger than the others. The flight is slow, with rapid wing beats interspersed with flat-winged glides. The songs of these birds are simple twitterings, and contact calls include a high-pitched twee or chi, chi, and a tshir or trrt call like that of the house martin. These drab martins can only be confused with each other, or with sand martins of the genus Riparia. Even the smaller Ptyonoprogne species are slightly larger and more robust than the sand martin and brown-throated sand martin, and have the white tail spots which are absent from the Riparia martins. Where the ranges of Ptyonoprogne species overlap, the Eurasian crag martin is darker, browner and 15% larger than the rock martin, and larger and paler, particularly on its underparts, than the dusky crag martin. The white tail spots of the Eurasian crag martin are significantly larger than those of both its relatives. In the east of its range, the rock martin always has lighter, more contrasted underparts than the dusky crag martin. ## Distribution and habitat These are exclusively Old World species. The rock martin breeds throughout Africa and through the Middle East as far as Afghanistan and Pakistan, and is replaced by the dusky crag martin further east in India and Indochina. The Eurasian crag martin breeds from Iberia and northwesternmost Africa through southern Europe, the Persian Gulf and the Himalayas to southwestern and northeastern China. Northern populations of the Eurasian crag martin are migratory, with European birds wintering in north Africa, Senegal, Ethiopia and the Nile Valley, and Asian breeders going to southern China, the Indian subcontinent and the Middle East. Some European birds stay north of the Mediterranean, and, like populations in warmer areas such as India, Turkey and Cyprus, just move to lower ground after breeding. The dusky crag martin and rock are largely resident apart from local movements after breeding, when many birds descend to lower altitudes, although some pale northern rock martins from North African and southern Arabian may winter further south alongside the local subspecies in Ethiopia, Mali and Mauritania. The crag martins mainly breed on dry, warm and sheltered cliffs in mountainous areas with crags and gorges, and the Eurasian crag martin reaches 5,000 m (16,500 ft) in Central Asia. The use of buildings as artificial cliffs has enabled breeding expansion into lowland areas, particularly for the two tropical species, and the rock martin breeds in desert towns. In South Asia, migrant Eurasian birds sometimes join with flocks of the dusky crag martin and roost communally on ledges of cliffs or buildings in winter. ## Behaviour ### Breeding Martin pairs often nest alone, although where suitable sites are available small loose colonies may form. These are more common south of the Sahara, where up to 40 rock martin pairs together have been recorded. Crag martins aggressively defend their nesting territory against conspecifics and other species. The nest, built by both adults over several weeks, is made from several hundred mud pellets and lined with soft dry grass or sometimes feathers. It may be a half-cup when constructed under an overhang on a vertical wall or cliff, or shaped as a bowl like that of the barn swallow when placed on a sheltered ledge. The nest may be built on a rock cliff face, in a crevice or on a man-made structure, and is re-used for the second brood and in subsequent years. Usually two broods are raised, and the rock martin may nest for a third time in a season. The clutch is two to five eggs that are white with brownish, ruddy or grey blotches particularly at the wide end. The egg size ranges from an average 20.2 x 14.0 mm (0.80 x 0.55 in) with a weight of 2.08 g (0.073 oz) for the Eurasian crag martin to 17.7 x 13.0 mm (0.70 x 0.51 in) with a weight of 1.57 g (0.06 oz) for the dusky crag martin. Both adults incubate the eggs for 13–19 days to hatching, and feed the chicks at least ten times an hour until they fledge 24–27 days later. The fledged young continue to be fed by the parents for some time after they can fly. ### Feeding Ptyonoprogne martins feed mainly on insects caught in flight, although they will occasionally feed on the ground. When breeding, birds often fly back and forth along a rock face catching insects in their bills and usually feeding close to the nesting territory. To maintain the high frequency with which the young are fed, the adults mainly forage in the best hunting zones in the immediate vicinity of the nest, since the further they have to fly to catch insects, the longer it would take to bring food to the chicks in the nest. At other times, they may hunt low over open ground. The insects taken depend on what is locally available, but may include mosquitoes and other flies, aerial spiders, ants and beetles. Martins often feed alone, but sizeable groups may congregate if food is abundant, such as where insects are fleeing grass fires. The Eurasian crag martin may take aquatic species such as stoneflies, caddisflies and pond skaters. Cliff faces generate standing waves in the airflow which concentrate insects near vertical areas. Crag martins exploit the area close to the cliff when they hunt, relying on their high manoeuvrability and ability to perform tight turns. ## Predators and parasites The crag martins may be hunted by fast, agile birds of prey such as the African hobby or Eurasian hobby that specialise in catching swallows and martins in flight, and by other falcons such as the peregrine and Taita falcons. Crows may attack migrating Eurasian crag martins, and that species also treats common kestrels, Eurasian sparrowhawks, Eurasian jays and common ravens as predators if they approach the nesting cliffs. The dusky crag martin has been recorded in the diet of the greater false vampire bat, Megaderma lyra. Crag martins may host parasites, including blood-sucking mites of the genus Dermanyssus such as D. chelidonis, and the nasal mite Ptilonyssus ptyonoprognes. Invertebrate species first found in nests of crag martin species include the tick Argas (A.) africolumbae from a rock martin nest and the fly Ornithomya rupes and the flea Ceratophyllus nanshanensis from European crag martin nests. ## Status All four species have extensive ranges and large populations, and the increasing use of artificial nest sites has enabled range expansion. The rock martin often breeds in lowland and desert towns, the Eurasian crag martin's range is expanding in Austria, Switzerland, the former Yugoslavia, Romania, and Bulgaria, and the dusky crag martin is spreading northeastwards into Guangxi, south into lowland Laos, and westwards to the hills and plains of Sindh. There is also a recent unconfirmed report from Cambodia. Their large ranges and presumed high numbers mean that none of the crag martins are considered to be threatened, and all are classed as Least Concern on the IUCN Red List. ## Cited texts [Ptyonoprogne](Category:Ptyonoprogne "wikilink") [Taxa named by Ludwig Reichenbach](Category:Taxa_named_by_Ludwig_Reichenbach "wikilink")	[ "## Taxonomy", "### List of crag martin species", "## Description", "## Distribution and habitat", "## Behaviour", "### Breeding", "### Feeding", "## Predators and parasites", "## Status", "## Cited texts" ]	2,744	1,731
22,240,876	D-class cruiser (Germany)	1,165,409,946	Pair of German cruisers, classified as Panzerschiffe	[ "Cruisers of the Reichsmarine", "Proposed ships of Germany" ]	The D-class cruisers were a pair of German heavy cruisers, classified as panzerschiffe ("armored ships") by the Reichsmarine (Navy of the Realm). The ships were improved versions of the preceding Deutschland-class cruisers, authorized by Adolf Hitler in 1933. They were intended to counter a new French naval construction program. Displacement increased to 20,000 long tons (20,000 t), but Hitler allowed only increases to armor, prohibiting additions to the ships' main battery armament. Only one of the two ships was laid down, but work was canceled less than five months after the keel was laid. It was determined that the designs should be enlarged to counter the new French Dunkerque-class battleship. The construction contracts for both ships were superseded by the Scharnhorst-class battleships. ## Design The ships were designed as follow-ons to the Deutschland-class cruisers. In 1933, the rise of the Nazi Party brought Adolf Hitler to power in Germany. At the time, he opposed a large-scale naval rearmament program, but decided to allow limited construction to counter French naval expansion. He therefore authorized the Reichsmarine (Navy of the Realm) to build two additional panzerschiffe (armored ships) to supplement the three Deutschlands. He stipulated that displacement be limited to 19,000 long tons (19,305 t) and the primary battery would remain two triple gun turrets mounting 28 cm (11 in) guns. Admiral Erich Raeder, the commander in chief of the Reichsmarine, advocated increasing the armor protection for the new panzerschiffe and inquired about the possibility of including a third triple turret. It was determined, however, that a third turret could not be added to the ship and still remain within the 19,000 ton limit prescribed by Hitler. The ships were designed under the contract names D and E, and designed under the provisional names Ersatz Elsass and Ersatz Hessen as replacements for the old pre-dreadnought battleships SMS Elsass and SMS Hessen. The contract for the first ship, D, was awarded on 25 January 1934 to the Reichsmarinewerft in Wilhelmshaven. The ship's keel was laid on 14 February. That month, the Reichsmarine decided to alter the designs to counter the new Dunkerque-class battleships building in France. Displacement was increased to 26,000 long tons (26,000 t) and a third 28 cm triple-turret was added. Construction on D was therefore halted on 5 July, and E was never laid down. The construction contracts were canceled and reallocated for the two battleships of the Scharnhorst class. ### Characteristics The ships were 230 meters (754 ft 7 in) long overall, and 225 m (738 ft 2 in) at the waterline. The ships would have had a beam of 25.5 m (83 ft 8 in) and a draft of 8.5 m (27 ft 11 in). The finalized design displaced 20,000 long tons (20,321 t) at the designed displacement. "D" was to have been fitted with accommodations to serve as a fleet flagship. The ships would have been turbine-powered; the engines were designed to provide 125,000 metric horsepower (123,000 shp) and a top speed of 29 knots (54 km/h; 33 mph). The number of and type of boilers for the turbines is unknown, but they would have been vented through two large funnels. The ships would have been similarly equipped to the preceding Deutschland-class ships. The ships would have mounted a main battery of six of the same 28 cm (11 in)/52 C/28 quick-firing guns in the same triple turret mounts, though eight guns were considered, had there been a quadruple turret available. The guns had an actual bore diameter of 28.3 cm (11.1 in), and fired both armor-piercing and high-explosive shells; both shells weighed 300 kg (661.4 lb). The guns used two sets of propellant charges: a 36.0 kg (79.4 lb) fore charge in a silk bag and a 71.0 kg (156.6 lb) main charge in a brass case. The shells were fired at 910 meters per second (2,986 fps), and at maximum elevation of 40 degrees, a range of 36,475 m (39,890 yards). The guns had a rate of fire of 2.5 rounds per minute. The guns were supplied by a total of 900 shells, for a total of 150 rounds per gun. The design's secondary battery comprised eight 15 cm (5.9 in)/55 SK C/28 quick-firing guns in four twin turrets, two abreast the conning tower and the other pair abreast the rear funnel. The guns fired a 45.3 kg (100 lb) shells at a muzzle velocity of 875 m/s (2,870 ft/s). With a maximum elevation of 40°, the guns could fire out to 23,000 m (75,000 ft). These guns had already been ordered by the time construction of the ships was canceled; their availability influenced the design of the Scharnhorst class, which mounted eight of their twelve 15 cm guns in dual turrets. The heavy anti-aircraft battery consisted of eight 10.5 cm (4.1 in) SK C/33 guns in twin mountings. The mounts were the Dopp LC/31 type, originally designed for earlier 8.8 cm (3.5 in) SK C/31 guns. The LC/31 mounting was triaxially stabilized and capable of elevating to 80°. This enabled the guns to engage targets up to a ceiling of 12,500 m (41,000 ft). Against surface targets, the guns had a maximum range of 17,700 m (58,100 ft). The guns fired fixed ammunition weighing 15.1 kg (33 lb); the guns could fire HE and HE incendiary rounds, as well as illumination shells. A number of various other anti-aircraft guns were also to be fitted, but the details were not determined before the class was canceled. The ships were also armed with an unknown number of 53.3 cm (21.0 in) torpedo tubes. The D-class ships used steel manufactured by Krupp for their armor. The ships' upper deck armor was 35 mm (1.4 in) thick. The main armored deck was 70 mm (2.8 in) forward, 80 mm (3.1 in) amidships, and decreased to 70 mm towards the stern. The conning tower was quite heavily armored, with side armor 300 mm (12 in) thick. The main armored belt was 220 mm (8.7 in) thick, and the upper citadel armor was 50 mm (2.0 in) thick.	[ "## Design", "### Characteristics" ]	1,465	32,643
17,877,312	The Sea Urchin (1913 film)	1,168,949,394	1913 film	[ "1910s American films", "1910s English-language films", "1913 films", "1913 lost films", "1913 romantic drama films", "1913 short films", "American black-and-white films", "American silent short films", "English-language romantic drama films", "Films directed by Edwin August", "Lost American romantic drama films", "Silent American romantic drama films", "Universal Pictures short films" ]	The Sea Urchin is a 1913 American silent short romantic drama film directed by Edwin August and starring Jeanie MacPherson and Lon Chaney. The film was the earliest known character role by Lon Chaney and the first screenplay by MacPherson. The story follows a hunchback fisherman who finds a young girl and raises her into womanhood with the intention of marrying her. The film was released on August 22, 1913, and was played across the United States. The film is presumed lost. ## Plot A hunchback fisherman named Barnacle Bill finds a young girl tied to a mast, the sole survivor of a shipwreck, and raises her into womanhood with the intention of making her his wife. Ten years pass and the woman, out of gratitude, promises to marry him. The hunchback hires a handsome stranger named Bob. The boy and the girl fall in love, but the girl refuses to marry him. The hunchback sees the two embrace and threatens Bob with a knife. The next day, the three go fishing in the boat and an argument breaks out. During the argument, the boat tips over and the girl is washed away. The hunchback and the boy search for her, until the boy becomes exhausted and collapses on the shore. The hunchback finds the girl on a rock and brings her ashore. When the two young people reunite, he sees how happy they are together and decides to walk out of their lives. ## Cast - Jeanie MacPherson as The Girl - Lon Chaney as Barnacle Bill / Barnacle Ben (a hunchbacked fisherman) - Robert Z. Leonard as The Boy / Bob ## Production The film was a Powers Picture Plays directed by Edwin August and distributed by the Universal Film Manufacturing Company. The film's production number was 0101. The screen play was written by Jeanie MacPherson who also played the role of The Girl. Simon Louvish, author of Cecil B. DeMille: A Life in Art, states this uncredited screenplay was the first one to be authored by MacPherson. Louvish also refers to this film as a two-reeler. Lon Chaney and Robert Z. Leonard had previously worked together for the Ferris Hartman Troupe. Three years prior to the release of the film, the two were involved in the production of musical comedies for the Troupe. In 1918, Leonard would later direct his wife, Mae Murray, and Lon Chaney in Danger, Go Slow. ## Release and legacy The film was released on August 22, 1913. The Moving Picture World said the film was a memorable offering that contained vivid scenes along a picturesque coast. In an advertisement in Rushville, Indiana the film as billed as the "story of a Hunchback's Love and Renunciation". The film was also advertised, perhaps alternatively or erroneously, as Sea Urchins. Advertisements for the film included theaters in Pennsylvania, Texas, Kansas, Louisiana, Indiana, Utah, and New York. The film is important as the first known character role by Lon Chaney. Martin F. Norden, author of The Cinema of Isolation: A History of Physical Disability in the Movies, describes the plot as following the prevailing industry standards of disabled characters, where the figure "nobly" withdraws from the relationship after plotting revenge and then saving his beloved. Norden cites a quote from Chaney, saying this film made Chaney realize that "the screen was more interesting than the stage". The film is now considered lost. It is unknown when the film was lost, but if it was in Universal's vaults it would have been deliberately destroyed along with the remaining copies of Universal's silent era films in 1948.	[ "## Plot", "## Cast", "## Production", "## Release and legacy" ]	779	25,429
3,208,727	Hustler's Ambition	1,147,460,195	null	[ "2005 singles", "50 Cent songs", "Music videos directed by Anthony Mandler", "Songs written by 50 Cent", "Songs written by Frankie Beverly", "Trap music songs" ]	"Hustler's Ambition" is a song by American rapper 50 Cent. Written by 50 Cent and produced by B-Money "B\$", the song was released as the first single from the soundtrack to the film Get Rich or Die Tryin' (2005). Built around a soul–influenced production sampling the Frankie Beverly and Maze song "I Need You", "Hustler's Ambition" features lyrics regarding 50 Cent's rise to fortune and fame, intended to mirror the experience faced by 50 Cent's character in the film: it marks a shift from influence of hardcore hip hop present in 50 Cent's earlier work. "Hustler's Ambition" was released to digital retailers in the United States in October 2005 via Interscope Records, with a CD release following in February 2006. The song received generally favorable reviews from music critics, many of whom complimented the soulful production and 50 Cent's delivery. Some also found the song to be more musically diverse than the music 50 Cent recorded at the beginning of his career. The song achieved commercial success on a number of music charts, reaching the top 25 of charts across Europe and Australasia, although it only reached number 65 on the US Billboard Hot 100, making it one of 50 Cent's least successful songs in the country. A music video for "Hustler's Ambition" was directed by Anthony Mandler, and shows 50 Cent performing the song inside a warehouse whilst preparing for a boxing match. ## Background and recording In late 2003, following the commercial success achieved by 50 Cent's debut studio album Get Rich or Die Tryin', Interscope Records head Jimmy Iovine asserted that 50 Cent had a high enough profile to move into making films. Plans for a film were revealed the following year, when 50 Cent revealed that he would be writing and directing his first motion picture, a semi-autobiographical work based on his difficult childhood experiences, with the Oscar-nominated director Jim Sheridan assisting in the production of the film. The film was originally known under the title Locked and Loaded, although this later became Get Rich or Die Tryin'. Get Rich or Die Tryin' was released to cinemas in 2005, and received generally mixed reviews from contemporary film critics. 50 Cent wrote the whole of "Hustler's Ambition" during a break from filming Get Rich or Die Tryin' in his trailer on the set of the film. The song's title was to match that of the film, which had the other working title of Hustler's Ambition at the time, although the then upcoming release of the film Hustle & Flow, which featured Terrence Howard, a co-star of Get Rich or Die Tryin', in its cast led 50 Cent to change the title of the film. American soul singer Frankie Beverly is also credited as having written "Hustler's Ambition", as a sample of his song "I Need You" – a collaboration with funk group Maze from their 1978 album Golden Time of Day – is included in the song's introduction. The production for "Hustler's Ambition" was provided by record producer Brian Hughes under his production name B-Money "B\$", with recording carried out by Ky Miller at G-Unit Studios – a recording studio in New York City. The song's mixing process was carried out by Pat Viala, with mastering handled by Brian "Big Bass" Gardner. ## Composition and lyrics "Hustler's Ambition" is a hip hop song of three minutes and fifty-seven seconds in length. After opening with a sample of the Frankie Beverly and Maze song "I Need You", the instrumentation provided by B-Money "B\$" is built around a "solid bassline", and features background vocals that harmonize with 50 Cent's voice. As with much of the material from earlier in 50 Cent's career, the song follows a rags to riches theme of "getting rich or dying trying", according to Azeem Ahmad of musicOMH. 50 Cent's lyrics muse "exactly how far he wants to go" in the entertainment business following his rapid rise to fame over the preceding two years, as well as his believed superiority to other contemporary artists: "Look at me, this is the life I chose / Niggaz around me so cold, man my heart done froze... I'm just triple beam, dreamin / niggaz be, schemin". Writing for The Michigan Daily, Andrew Kahn noted the "old-school, pre-fame hunger" present in "Hustler's Ambition" due to the use of the "I Need You" sample. Steve Juon of RapReviews commented on 50 Cent's enunciation on the song, observing how the background vocals "never distract from 50's words" and that his "skills as an orator helped him rise to his current station in life". ## Reception "Hustler's Ambition" received generally favourable reviews from music critics. David Jeffries of AllMusic called the song "a clever number" and compared it to the material found on 50 Cent's debut album, Get Rich or Die Tryin', commenting that it "recall[s] the looser moments of his debut". Although Azeem Ahmad noted "Hustler's Ambition" to be more musically diverse that 50 Cent's previous work in his review of the song for musicOMH, he also wrote that "it's hardly inspiring to those expecting a slice of raw hip-hop", although he concluded that the song sounded better after repeated listenings and that 50 Cent had "once again hit the jackpot". Andrew Kahn of The Michigan Daily felt the song to be "by far [his] best solo song on the album", and also wrote that it sounded "superior to most of The Massacre's tracks". In his review for the Get Rich or Die Tryin' soundtrack for PopMatters, Mike Schiller observed that "Hustler's Ambition" effectively represents the struggles that 50 Cent's character faces in the corresponding film, pointing out that it emphasizes his "hunger for money" and also noted the song to be a "subtle shift in perspective" of 50 Cent's music, in that it had moved from "club bangers that serve no particular purpose other than to get people dancing" to "raps... spit through the voice of a fictionalized version of his own younger self". ## Chart performance Despite being released in the wake of several commercially prosperous singles from 50 Cent's preceding studio album, The Massacre (2005), including "Candy Shop" and "Just a Lil Bit", "Hustler's Ambition" did not match the chart success of previous 50 Cent singles. In the United States, the song first appeared at number 4 on the US Bubbling Under R&B/Hip-Hop Singles chart for the week ending October 22, 2005, and debuted at number 22 on the US Bubbling Under Hot 100 Singles chart the following week. It debuted at number 73 on the US Billboard Hot 100 for the chart dated November 5, 2005, and went on to peak at number 65, making it 50 Cent's second lowest peaking song at the time, behind only the 2004 single "If I Can't", which reached number 76. It also reached a peak of number 64 on the US Hot R&B/Hip-Hop Songs chart, and number 49 on the now-defunct US Pop 100 chart. Outside the United States, "Hustler's Ambition" was also modestly commercially successful, although it achieved little longevity on the charts. It debuted and peaked at number 23 in Australia for the week dated March 5, 2006, charting for a total of seven weeks, and appeared at number 17 in New Zealand on March 20 in its first of five chart appearances. The song made appearances on several singles charts in mainland Europe, peaking at number 41 in Austria, number 22 in Germany and number 40 in The Netherlands. The song's highest peak position was achieved in Switzerland, where it debuted and reached its peak of number 10, and charted at number 39 in the Flanders region of Belgium and number 25 in the Wallonia region. In the British Isles, "Hustler's Ambition" reached number 11 on Ireland and peaked at number 13 in the United Kingdom. ## Music video A music video for "Hustler's Ambition" was directed by Anthony Mandler, and is of four minutes and 54 seconds in length. It opens with an off-camera monologue from 50 Cent, explaining the hardships often faced by those in poorer communities, whilst – on-camera this time – he enters a warehouse, passing two men as he arrives, containing several pieces of recording equipment. Shots of 50 Cent travelling around the warehouse are then interspersed with those of him performing "Hustler's Ambition" into a microphone: after arriving in one room, he is shown to be repeatedly hitting a punching bag and lifting weights, as he trains for an upcoming boxing match. Other members of G-Unit Records, including singer Olivia, are then shown to be present in the warehouse as 50 Cent continues to perform the song. Arriving at another boxing match and watching it from a balcony, 50 Cent recognizes a member of the crowd as one of the men he saw outside the warehouse: he then leaves the warehouse, with the video concluding with the fight ending and 50 Cent facing the camera on the street outside the warehouse. ## Track listing - Digital download (United States) 1. "Hustler's Ambition" – 3:58 2. "Hustler's Ambition" (Clean Version) – 3:58 - CD single (Germany) 1. "Hustler's Ambition" – 3:58 2. "In da Club" (Live Glasgow Version) – 3:06 3. "P.I.M.P." (Live Glasgow Version) – 2:42 4. "Hustler's Ambition" (UK Edit Version) (Video) – 4:55 ## Credits and personnel The credits for "Hustler's Ambition" are adapted from the liner notes of the soundtrack to Get Rich or Die Tryin'. Recording - Recorded at G-Unit Studios, New York City. Personnel - 50 Cent – songwriting, vocals - B-Money "B\$" – songwriting, production - Frankie Beverly – songwriting - Ky Miller – recording - Pat Viala – mixing - Brian "Big Bass" Gardner – mastering Samples - Contains a sample of "I Need You", as written by Frankie Beverly and performed by Frankie Beverly & Maze. ## Charts ### Weekly charts ## Certifications ## Release history	[ "## Background and recording", "## Composition and lyrics", "## Reception", "## Chart performance", "## Music video", "## Track listing", "## Credits and personnel", "## Charts", "### Weekly charts", "## Certifications", "## Release history" ]	2,269	20,668
13,402,363	Hay Castle	1,168,517,834	Ruined castle in Hay-on-Wye, Powys, Wales	[ "Castles in Powys", "Grade I listed buildings in Powys", "Grade I listed castles in Wales", "Registered historic parks and gardens in Powys" ]	Hay Castle (Welsh: Castell y Gelli) is a medieval fortification and 17th-century mansion house in the small town of Hay-on-Wye in Powys, Wales. Originally constructed as part of the Norman invasion of Wales, the castle was designed as a ringwork overlooking the town in either the late 11th or the early 12th centuries. It was rebuilt in stone around 1200 by the de Braose family and then had a turbulent history, being attacked and burnt several times during the First and Second Barons' Wars, the wars with the Welsh princes, the rebellion of Owain Glyndŵr and the Wars of the Roses. In the 17th century a Jacobean mansion house was built alongside the medieval keep and the property became a private home. Serious fires in 1939 and 1977 gutted the castle and, despite repairs in the 1980s, by the early 21st century much of the building was derelict and unstable. Since 2011 it has been owned by Hay Castle Trust who have restored the property to form a centre for arts, literature and learning. Following the restoration, partly funded by grants from the National Lottery Heritage Fund of over £5m, the castle opened to the public on 26 May 2022. ## History ### 11th–16th centuries The Normans began to make incursions into South Wales from the late 1060s onwards, pushing westwards from their bases in recently occupied England. Their advance was marked by the construction of castles and the creation of regional lordships. The Norman adventurer Bernard de Neufmarché conquered Brecknock in 1091 and assigned the manor of Hay to one of his followers, Philip Walwyn. The first castle in Hay, later abandoned, was built by St Mary's church outside the main settlement, where a motte known as Hay Tump still survives. The English lordship of Hay, known as Hay Anglicana, became a wealthy walled town and the lands passed by marriage to Miles of Gloucester and then into the de Braose family. In the late 11th or early 12th century, a new fortification was built inside Hay itself, on high ground around 200 metres (660 ft) from the old motte, taking the form of an earth ringwork with a stone gate tower. The de Braose dynasty expanded Hay Castle in stone around 1200 with a curtain wall reinforced by intramural timbers, turning the gate tower into a keep. The castle tenants used the chapel of St John in the town for their worship. During the First Barons' War, Reginald de Braose joined the alliance against King John who successfully attacked the castle in 1215. The Welsh prince Llywelyn ab Iorwerth attacked and burnt the town and castle in 1231 and the castle was then rebuilt by Henry III in 1233. During the Second Barons' War, Prince Edward captured the castle in 1263 but it was recaptured and burnt by Simon de Montfort and Llywelyn ap Gruffudd the following year. It was further damaged by the Welsh rebellion led by Owain Glyndŵr around 1401 and in 1460 during the Wars of the Roses. By the time the antiquarian John Leland visited in the 16th century, the town of Hay was "wonderfully decaied" although the castle was described as having once "bene right stately". ### 17th–19th centuries Hay Castle was substantially expanded in the 17th century, creating a Jacobean mansion. Two explanations have been offered by historians for this redevelopment. One possibility is that during the first half of the 17th century Howell Gwynne built a manor house to the west of the old keep, which was replaced by a new mansion in 1660 by James Boyle of Hereford. Another reverses this sequence, suggesting that James Boyle left the castle to Howell Gwynne in 1603, and that the mansion was built at the beginning of the century. In either case, the Jacobean building was two storeys tall, three with its facade included, and featured seven dormer gables in a Dutch style and a large staircase. It was built from stone and incorporated the upper floors of the old keep into its design. Formal gardens were constructed outside the keep either around the start of the 17th century or after 1660. In 1702, the house was divided up among different tenants, and passed into the hands of the local Wellington family. Until 1812, the basement of the keep was used to supplement the town gaol. In 1809, the industrialist Sir Joseph Bailey leased the castle, going on to purchase it outright in 1844, and established a walled kitchen garden known as Castle Gardens to the south-west of the main castle. It was used as a vicarage from 1825 onwards, including by Archdeacon William Bevan. The terraced gardens were maintained during the 19th century, with various trees planted behind the castle in the 1860s and 1870s, and a stable block was built within the grounds. ### 20th–21st centuries Between 1904 and 1906 the castle was rented by the Morell family, after which it was occupied by the Dowager Lady Glanusk. The architect W. D. Caröe was employed to restore the house in 1910 and it was sold to the banker Benjamin Guinness in 1937. A major fire then destroyed the interior of the eastern side of the castle in 1939. Around 1961, the castle was acquired by Richard Booth who used it as a bookstore and as a location for parties, with a holiday cottage in the grounds. Much of the walled garden was sold for development in 1975, and another fire in 1977 destroyed the interior of the western half of the castle: repairs were carried out from the 1980s onwards. In 2011 the castle was sold for around £2 million to Hay Castle Trust, which acquired it to restore the building for use as a centre for arts, literature and learning. The firm of Rick Mather Architects was appointed to design the restoration, to include an art gallery and a viewing point at the top of the keep. The restoration was funded by grants of over £5 million from the National Lottery Heritage Fund, together with additional funding from trusts, foundations, individuals and the Welsh Government. The castle opened to the public for the first time in its history on 26 May 2022. The castle site is now approximately 110 by 100 metres (360 by 330 ft) across. The Jacobean mansion has been restored to create the centre for arts, literature and learning. The earlier buildings have been stabilised. None of the earthworks or curtain wall survive, except for a small portion next to the gateway; this fragment of wall is 6 feet (1.8 m) thick and shows the original bank to have been as much as 25 feet (7.6 m) high when viewed from the outside, but is in poor condition. The wooden door on the left side of the gateway probably dates from around 1300, and the right door from the early 17th century. There are some limited remains of the old walled garden interspersed in the modern housing estate. The main castle site is protected under law as a Grade I listed building. The castle gardens are listed Grade II on the Cadw/ICOMOS Register of Parks and Gardens of Special Historic Interest in Wales. ## See also - List of castles in Wales - Castles in Great Britain and Ireland	[ "## History", "### 11th–16th centuries", "### 17th–19th centuries", "### 20th–21st centuries", "## See also" ]	1,601	32,202
24,853,152	Love Me (Justin Bieber song)	1,165,540,077	null	[ "2000s ballads", "2009 songs", "Dance-pop songs", "Justin Bieber songs", "Song recordings produced by DJ Frank E", "Songs written by Ari Levine", "Songs written by Bruno Mars", "Songs written by Nina Persson", "Songs written by Peter Svensson", "Songs written by Philip Lawrence (songwriter)", "Synth-pop ballads" ]	"Love Me" is a song by Canadian singer Justin Bieber. It was written by Bruno Mars, Philip Lawrence, Ari Levine, Peter Svensson and Nina Persson, and produced by DJ Frank E. The song was released exclusively to iTunes as the first promotional single from Bieber's debut studio album, My World, on October 26, 2009. An electropop song which also contains dance-pop and R&B elements, the chorus interpolates the 1996 single "Lovefool" by the Swedish band the Cardigans. "Love Me" was one of the most well-received tracks on the album, with critics complimenting its electro and club feel and its usage of the "Lovefool" sample. The song peaked in Canada and in the U.S. at twelve and thirty-seven, respectively. The song also charted in the United Kingdom on its main chart and R&B chart, and in Australia. The music video for the song was released on August 3, 2010 and serves as a "tribute to his worldwide fans, thanking them for their support". The dominant scenes are made of up of live performances, behind-the-scenes footage, and Bieber standing in front of a blue and white backdrop dancing. Bieber opened every show on his My World Tour with the song. ## Background The song was produced by DJ Frank E at Side 3 Studios in Denver, Colorado. It was recorded by Bill Malina at Serenity Sound Studio in Hollywood, California. Mixing was done by Dave Pensado and Jaycen-Joshua Fowler, at Larrabee Studios in North Hollywood, California. Taylor Graves and Bonnie McKee provided background vocals. Bieber originally stated that the third single from his debut album to be released exclusively on iTunes would be an acoustic remix of his lead single, "One Time", and that it would be released on October 27, 2009. However plans were changed, and a week before the release, Bieber announced that a new song, "Love Me" would be released. It was released a day early on October 26. Bieber took to Twitter with his shock saying that he was surprised himself. ## Composition "Love Me" is a pop song, which makes use of guitars/bass and drums sounds. The chorus interpolates the song "Lovefool" by the Swedish band the Cardigans. According to the sheet music published at Musicnotes.com by Universal Music Publishing, Ltd., "Love Me" is set in common time. The song is composed in the key of C minor with Bieber's vocals spanning from the low-note of B<sub>3</sub> to the high-note of E<sub>5</sub>. The song follows in the chord progression of Cm–A–E–B ## Reception The song was one of the most well-received on the album. Mikael Wood of Entertainment Weekly said "Bieber's better on "Love Me", where he riffs on the Cardigans' "Lovefool" atop a killer electro-glam groove." Mark Hirsh The Boston Globe, which was one of the few reviewers that gave the album a mixed analysis, said that "Love Me" was the essential song on the set. Washington Post also cited the song as one of the album's best, referring to it as a "modest club track." The New York Times said the track is "probably the only release in recent memory that owes debts to both the Cardigans." Mike Diver of BBC Music called the song an "electro-infused reinterpretation of The Cardigans' Lovefool, where Bieber exhibits the right kind of attitude, playful and endearing." Diver preferred Bieber in the song and wanted more of "the cheeky chap rightfully having the time of his young life", rather than the "adolescent playboy". "Love Me" had debuted on the Canadian Hot 100 and Billboard Hot 100 at twelve and thirty-seven. It spent twelve non-consecutive weeks on the Canadian chart and four in the United States. On the week ending January 10, 2010, "Love Me" entered the UK Singles Chart at eighty-two, and later peaked at seventy-one. It also debuted and peaked on the UK R&B chart at twenty-three, remaining on the chart for three weeks. It debuted and peaked in Australia at 100. ## Music video The music video for "Love Me" was directed by Alfredo Flores with Bieber as co-director. It was released on August 3, 2010. Bieber said the video serves as a "tribute to his worldwide fans, thanking them for their support". The dominant scenes are made of up of live performances. Other scenes of the video feature behind-the-scenes footage such as; rehearsal sessions, fan meet and greets, making radio appearances, jokingly walking around with toilet paper sticking out of his pants, and scenes with friends and family. Bieber's mentor, Usher, also makes an appearance in the video. The video also incorporates Bieber standing in front of a "simple [white] backdrop" dancing and "draw[ing] hearts in the air, presumably directed at his loving fanbase" relative to the songs theme, "Love Me". ## Promotion Bieber performed the song several times including at the new Microsoft Store grand opening in Mission Viejo, California, on the Fearless Tour, on his radio promotion tour and Jingle Ball tour, and CBS's The Early Show as a part of their Super Bowl programming. He also performed it in an unaired segment of VH1's Pepsi Super Bowl Fan Jam, and at the 2010 Houston Rodeo with Selena Gomez. Bieber performed the song at a concert at the Hollywood Palladium. In a review of the performance, August Brown of the Los Angeles Times, said commended the song, saying the song "tacks the indie-pop chorus from the Cardigans’ "Lovefool" onto en-vogue trance synthesizers and martial dance beats." ## Credits and personnel - Songwriting – Bruno Mars, Philip Lawrence, Ari Levine, Peter Svensson, Nina Persson - Production – DJ Frank E - Background vocals – Taylor Graves, Bonnie McKee - Vocal production and recording – Bill Malina and DJ Frank E, assisted by Paul Bailey and JP "The Specialist" Negrete - Mixing – Jaycen Joshua-Fowler and Dave Pensado, assisted by Giancarlo Lino ## Charts	[ "## Background", "## Composition", "## Reception", "## Music video", "## Promotion", "## Credits and personnel", "## Charts" ]	1,313	17,614
32,709,998	Cyclone Fay	1,166,466,615	Category 5 Australian region cyclone in 2004	[ "2003–04 Australian region cyclone season", "2004 in Australia", "Category 5 Australian region cyclones", "Retired Australian region cyclones", "Tropical cyclones in 2004" ]	Severe Tropical Cyclone Fay was an intense late-season tropical cyclone which struck Western Australia during the 2003–04 Australian region cyclone season. Forming from an area of low pressure on 12 March, Fay was the only Category 5 cyclone during the season. The system had a minimum pressure of 910 mbar (hPa; 26.87 inHg) and maximum sustained winds of 210 km/h (130 mph). Moving towards the southwest and eventually towards the south, Fay gradually strengthened as it paralleled the northwestern coast of Australia, and made landfall on the Pilbara coast on the morning of 27 March as a Category 4 cyclone. While no fatalities were reported, the cyclone brought record-breaking rainfall to Australia, which led to a sharp decrease in the country's gold output. The cyclone also caused minor damage in the Pilbara region of Western Australia. In the spring of 2005, the Australian Bureau of Meteorology retired the name Fay from use, and it will never be used again as a cyclone name. ## Meteorological history The low-pressure system that later developed into Fay formed in the Gulf of Carpentaria on 12 March 2004. Through 15 March satellite imagery indicated increasing convection and organisation of the system, as well as decreasing wind sheer aloft, adding to the favourable conditions for strengthening. On 16 March, the system was designated Tropical Cyclone 18S by the Joint Typhoon Warning Center, with winds of 30 km/h (20 mph). The system then crossed Melville and Bathurst Islands and moved into the Timor Sea, where it intensified, and was given the name Fay by the Australian Bureau of Meteorology. Fay began to turn southward on 17 March; simultaneously, the cyclone continued to intensify due to a weakening of vertical wind shear, and well-defined outflow became apparent on satellite imagery. The following day, a steering ridge to the south of the system strengthened and pushed the cyclone away from the coast and to the northwest. At the same time, the system continued to intensify due to the favourable environment in the upper atmosphere. However, hot, dry air flowing into the system from the south, combined with vertical wind sheer, kept the storm from strengthening as much at its maximum potential rate. By 19 March Fay's track had turned to the west-southwest, and over the next day it continued to strengthen in due to favourable upper-level outflow and weak vertical sheer. On 21 March, Fay became a Category 5 cyclone on the Australian Region Tropical Cyclone Intensity Scale. A mid-latitude trough caused the steering ridge to weaken, and subsequently, Fay to turn to the south. Over the next two days, the environmental shear around the cyclone decreased, which would normally have led to intensification; however, as the shear decreased, the cyclone also moved over an area of dry air, weakening the system. By 23 March, Fay had moved in a loop, and the system weakened to a Category 2. Over the next day, favourable outflow counteracted the dry air that had weakened the system, and a banding eye feature was observed on satellite imagery. Fay then encountered moister air as it moved southward, leading it to re-intensify on 25 March. A weak eye of 10 nm was observed on 26 March which grew to 15 nm as the day went on. Strengthening into a Category 4 system early on 27 March, Fay made landfall on the Pilbara coast between 8 am and 9 am AWST (0000 and 0100 UTC) with winds of 170 km/h (105 mph), weakening below cyclone strength somewhere between the towns of Nullagine and Telfer. ## Preparations and impact Evacuation centres were set up in the Kimberley region of Western Australia. Schools and businesses were also closed, and flights in and out of the area were cancelled. Shelters were set up for people who could not take shelter in their own homes. Residents of the Bidyadanga Aboriginal community were warned of particularly dangerous storm tide as the centre of the cyclone passed to their west. The communities of Sandfire and Pardoo were also warned of dangerous storm tide. Cyclone warnings were issued for areas threatened by the system, and communities in the path of the system were warned of expected high rainfall, as amounts greater than 200 mm (7.9 in) were expected. Minor damage to buildings and limited tree damage were reported in the vicinity of Port Hedland. In the town of Nullagine, 120 residents were evacuated to the town's police station, as heavy rain caused flooding. Flooding of the De Grey and Oakover Rivers led to the town being segmented into 4 sections. As the system passed near the Yarrie mine 200 workers were forced to go under lockdown for 8 hours. The cyclone overturned accommodation units, "shredded" water tanks, cut power lines, and damaged the rail line connecting the mine to Port Hedland. Heavy rainfall was reported along the track of the cyclone, with a two-day total of 701 mm (27.6 in) reported at the Nifty Copper Mine and 359 mm (14.1 in) reported in Telfer. The rain from the cyclone delayed the construction of a gas pipeline at the mine for over 7 months, while the pipeline company waited for the floodwaters to dissipate. According to Newcrest Mining, the rainfall amounts at Telfer exceeded the records going back at least 100 years. The heavy rainfall from both Cyclone Monty in February and Cyclone Fay caused gold output in Australia for the quarter to be the lowest in 10 years. A survey performed by the Australian Institute of Marine Science discovered that the Scott Reef suffered "severe damage," and many coral colonies were uprooted or damaged. Because of the record-breaking rainfall produced across northwestern Australia, the Bureau of Meteorology retired the name Fay after its usage. ## See also - 2003–04 Australian region cyclone season - Cyclone Chris - Cyclone Kirsty	[ "## Meteorological history", "## Preparations and impact", "## See also" ]	1,269	414
196,839	Blues for the Red Sun	1,162,293,912	null	[ "1992 albums", "Albums produced by Chris Goss", "Albums recorded at Sound City Studios", "Kyuss albums" ]	Blues for the Red Sun is the second studio album by American rock band Kyuss, released in 1992. While the album received mainly favorable reviews, it fared poorly commercially, selling only 39,000 units. It has since become a very influential album within the stoner rock genre. It was the last Kyuss album to feature bassist Nick Oliveri, who was replaced by Scott Reeder shortly after recording had been completed. ## Touring, promotion, and release In support of the album, Kyuss went on tour with such established groups as Faith No More, White Zombie, and Danzig. In early 1993, the band was chosen by Metallica to be an opening act for nine shows in Australia. After their first show with Metallica, the group was only allowed to use half the P.A. system for the other eight concerts. The music videos for the songs "Green Machine" and "Thong Song" received moderate rotation on MTV's Headbangers Ball and on MuchMusic in Canada. The album also received airplay on album-oriented radio stations such as KNAC, KISW, WYSP, and KIOZ. The album was released by the independent record label Dali, which was later bought out by Elektra Records. It ended up selling only 39,000 copies. ## Musical style and influence Blues for the Red Sun incorporates stoner rock and desert rock, and has been compared to such acts as Black Sabbath, Hawkwind, Blue Cheer, and Alice in Chains. Daniel Bukszpan, the author of The Encyclopedia of Heavy Metal, has written that the album has influenced "countless" bands. Many consider Blues for the Red Sun "the template for 21st-century bands that have followed in the pioneering wake of Kyuss". Martin Popoff similarly credits the band with the creation of a "certain core sample" of stoner rock, in part due to an "uncompromising bassquake" that was composed of more than "tar-pitted Sabbath riffs". Exclaim! credited the album for opening "the way for bands like Monster Magnet and a whole host of other desert grunge practitioners". Melissa Auf der Maur has said that she attempted to "knock-off" Blues for the Red Sun for her single "Followed the Waves", to the point that she recruited the band's rhythm section to play on the track and Chris Goss to produce. Other fans of the album include Dave Grohl and Metallica. Steve Taylor, the author of A to X of Alternative Music, wrote that, in comparison to the music, "lyrics can't really compete", and went on to call the album's lyrics "stoned immaculate phrases". Rolling Stone described the lyrics of "Thong Song" — a song about flip-flops — as "deathless". Guitarist Josh Homme plugged down-tuned guitars into Marshall amplifiers with Ampeg cabinets for the distortion featured on the album. Wah-wah pedals were also used by Homme on Blues for the Red Sun. Wayne Robins of Newsday described Homme's riffs as "post-Hendrix guitar flurries". Several of the songs on Blues for the Red Sun have slow tempos and groove-laden rhythms. "Green Machine" features a bass guitar solo, and the album features several instrumental tracks. A number of songs on the album also credit lyrics to John Garcia, but have no discernible lyrics or even vocals. It is possible that the only word written by Garcia is the uttered "yeah" at the very end of the album. ## Reception The album received acclaim from both fans and critics. Steve Taylor considers it the best album Kyuss ever made. AllMusic's Eduardo Rivadavia gave the album four and a half out of five stars and called the album "a major milestone in heavy music". In particular, he praised producer Chris Goss for its "unique heavy/light formula". Debaroh Frost of Entertainment Weekly gave the album a B+. Rolling Stone considered "Green Machine" and "Thong Song" to be the album's highlights and also thought that the production had greatly improved from the band's previous album, Wretch. Kerrang! also gave the album a favorable review. College Music Journal claimed that the album was "raw and unorthodox" and, like Rivadavia, complimented Chris Goss for the production. Q called it "one of the landmark metal albums of the '90s", and rewarded it a perfect five out of five stars. Guitar Player magazine added the song "Green Machine" in their 1995 article titled "50 Heaviest Riffs of All Time". Spin ranked Blues for the Red Sun 10th on their list of the "10 Best Albums You Didn't Hear in '92". In 2002, Spin put the album in 36th place on their list of the "40 Greatest Metal Albums of All Time". IGN listed the album as an honorable mention on their list of the "Top 25 Metal Albums". Chad Bowar of About.com named the album the 8th best heavy metal album of 1992 and went on to write that Blues for the Red Sun "was a landmark album that influenced a lot of bands". MusicRadar included the album on "The 50 Greatest Heavy Metal Albums of All Time" and ranked it in 48th place. In 2017, Rolling Stone ranked Blues for the Red Sun 41st on their list of "The 100 Greatest Metal Albums of All Time". ## Track listing Writing credits adapted from the album's liner notes. ## Personnel Credits adapted from the album's liner notes. Kyuss - John Garcia – lead vocals on all tracks except "Mondo Generator", producer - Josh Homme – guitar, producer - Nick Oliveri – bass, lead vocals on "Mondo Generator", producer - Brant Bjork – drums, album concept, producer Production - Chris Goss – producer - Joe Barresi – recording engineer, mixing engineer - Brian Jenkins – drum tracking engineer - Jeff Sheehan – assistant engineer - Mike Bosely – additional mixing - Howie Weinberg – mastering engineer Artwork - Skiles – art director - Art Industria – design - Marc Rude – cover illustration - Big Bear Solar Observatory – cover photography - Michael Anderson – additional photography	[ "## Touring, promotion, and release", "## Musical style and influence", "## Reception", "## Track listing", "## Personnel" ]	1,312	3,370
1,781,561	MNM (professional wrestling)	1,165,368,360	American wrestling stable	[ "Independent promotions teams and stables", "WWE teams and stables" ]	MNM (Mercury, Nitro, and Melina) were a professional wrestling stable in World Wrestling Entertainment (WWE) and Ohio Valley Wrestling (OVW) who consisted of Joey Mercury (previously Joey Matthews), Johnny Nitro, and their manager Melina Perez. Mercury and Nitro first began teaming together in 2004 in OVW, WWE's developmental territory in Louisville, Kentucky. Melina, who at the time was Nitro's actual girlfriend, joined them as their manager in February 2005. While working in OVW, Mercury and Nitro captured the OVW Southern Tag Team Championship on one occasion. MNM were called up to the SmackDown! roster in April 2005, in which Mercury and Nitro went on to win the WWE Tag Team Championship. While in WWE, their ring personas was that of a trio of Hollywood celebrities, complete with a red carpet ring entrance, that had them accompanied by "paparazzi". The duo lost the title in July 2005. After their third and final reign ended in May 2006, Nitro and Melina blamed Mercury for the loss and attacked him, splitting the team. Nitro and Melina were let go from the SmackDown! roster and debuted on the Raw brand. In November 2006, MNM reunited for a brief period, before Mercury was released from his contract in March 2007. ## Concept Partly inspired by Paris Hilton, the concept behind the group was that they were Hollywood celebrities. Upon their debut on SmackDown!, they claimed to be the "it team on the scene", because of their good looks and celebrity status. As part of their in-ring personas, MNM had a distinctive ring entrance. They walked to the ring on a red carpet, while members of the "paparazzi" took photos of them. The male members of MNM usually wore fur coats to the ring. As they took them off, Melina suggestively rubbed their abs while removing the title belts from their pants, where they hung in an exaggerated phallic fashion. Melina had a signature entrance which involved her doing a split on the ring apron—from the floor—then bending forward and crawling under the bottom rope. ## History ### Ohio Valley Wrestling (2004–2005) MNM was formed in the former World Wrestling Entertainment (WWE) "farm territory" Ohio Valley Wrestling (OVW). Melina Perez, Johnny Nitro's real-life girlfriend, was introduced into the company in 2004 as his ex-girlfriend, an ally of Matt Cappotelli with whom Nitro was engaged in a scripted rivalry. Almost immediately, however, Perez betrayed Cappotelli and sided with Nitro. Together they introduced Joey Matthews to become MNM. While in OVW, Nitro and Matthews won the OVW Southern Tag Team Championship once, holding it for over two months. ### Tag Team Championship reigns (2005–2006) MNM was called up to WWE's SmackDown! roster in April 2005, with Matthews undergoing a name change to "Joey Mercury". They made their debut during Carlito's interview segment Carlito's Cabana, where they interrupted an interview between Carlito and Rey Mysterio, and attacked Mysterio. This provoked a feud between MNM and Mysterio and his partner, Eddie Guerrero, over the WWE Tag Team Championship. Two weeks later, in their debut match on the SmackDown! brand, they defeated Mysterio and Guerrero to win the WWE Tag Team Championship after Guerrero refused to tag into the match. While Nitro and Mercury held the championship, Melina was placed in an angle with Heidenreich. She publicly mocked him and was the impetus for an attack on him by Nitro and Mercury. In July, MNM were scheduled to face Heidenreich in a two-on-one handicap match, but attacked him before the match started. Road Warrior Animal saved Heidenreich from the attack and as a result, Heidenreich and Road Warrior Animal challenged Mercury and Nitro for the WWE Tag Team Championship at The Great American Bash. MNM lost the match and the championship to Heidenreich and Animal at The Great American Bash. The loss of the WWE Tag Team Championship was seen as "bad publicity" by Melina so she introduced Jillian Hall, a storyline spin doctor to repair their image. Hall got them a cover article in SmackDown! magazine, and began to introduce the team before and aid them during matches. In September 2005, Hall left the group to join John "Bradshaw" Layfield (JBL), who had lost a match to Rey Mysterio. On the October 28 episode of SmackDown!, Mercury and Nitro were placed into a tag team title fatal four-way match against the teams of the Mexicools (Super Crazy and Psicosis), William Regal and Paul Burchill, and the WWE Tag Team Champions Legion of Doom 2005 (Heidenreich and Road Warrior Animal). During the match, Mercury and Nitro were able to perform the Snapshot on Heidenreich, to win the championship for a second time. MNM successfully defended the championship against Eddie Guerrero and Batista on the November 4 episode of SmackDown!. In December, they began a feud with the Mexicools, who earned the right to face MNM at Armageddon for the WWE Tag Team Championship. Before Armageddon however, on the December 16 episode of SmackDown!, MNM lost the WWE Tag Team Championship to Batista and Rey Mysterio. A storyline was begun before the match, where Melina attempted to seduce Batista into forfeiting the match. The storyline played over to the December 30 episode of SmackDown! when, before MNM invoked their rematch clause, Melina held a press conference in the ring where she claimed that Batista had sexually harassed her. During the tag team match, Mark Henry aided MNM in winning back the WWE Tag Team Championship. The following week, MNM defeated Batista and Mysterio in a steel cage match to retain the championship, Henry's aid. Henry was only with the group a short time before his contract was sold to Daivari in storyline. They went on to successfully defend the championship against The Mexicools and the team of Matt Hardy and Tatanka in early 2006. ### Dissolution (2006–2007) In April 2006, MNM were placed in an angle in which they found themselves in a losing streak against the team of Paul London and Brian Kendrick. In non-title tag team matches, singles matches, and even a six-man tag match, London and Kendrick defeated the duo every time. At the Judgment Day pay-per-view in May 2006, MNM lost the tag team championship to London and Kendrick. After the match, Nitro and Mercury started brawling, disbanding the group. Later that night, Melina lost a singles match against Jillian Hall and after slapping General manager Theodore Long in anger, she and Nitro were fired from the SmackDown! brand in storyline. Off-screen, Nitro and Mercury did not get along, and WWE management decided to split the tag team and send Nitro and Melina to the Raw brand. In addition, Mercury was about to begin serving a suspension for violating the WWE Wellness program. After the team split, Nitro, alongside Melina, was quickly placed into the Intercontinental Championship picture, winning the title twice. In November, after serving his suspension and a brief stint back in OVW, Mercury returned to WWE, reuniting MNM to answer an open challenge put out by The Hardys (Matt and Jeff) for the December to Dismember pay-per-view. At December to Dismember, MNM lost to the Hardys. MNM and the Hardys met again at Armageddon as part of a four-way ladder match, which also included the teams of Dave Taylor and William Regal and Paul London and Brian Kendrick. During the match, which saw London and Kendrick retain the WWE Tag Team Championship, Mercury was legitimately injured when he was struck in the face with a ladder, necessitating a trip to the emergency room where his broken nose received 15 stitches. The facial injury was worked into the angle, and when Mercury returned wearing a protective covering on his face, the rivalry between the teams intensified with MNM actively seeking to injure one or both of the Hardys, even going so far as to attack and perform a Snapshot on Matt on exposed concrete following a match. MNM lost to The Hardys at the Royal Rumble, and again at the No Way Out pay-per-view in February, which concluded the feud. ### Post-breakup After their feud with the Hardys was over, Nitro and Melina continued to team on Raw, while Mercury wrestled in singles competition on SmackDown!. On March 26, 2007, through WWE's official website, it was announced that Mercury had been released from his contract. Melina and Nitro's association began to fizzle out when Melina became the WWE Women's Champion and began garnering attention as a singles performer. Melina was released from her contract in 2011. During the 2007 supplemental draft, Nitro moved to the ECW brand, was renamed John Morrison and would go on to capture the ECW World Championship. Morrison formed a partnership with The Miz, capturing both the WWE Tag Team Championship and the World Tag Team Championship, as well as becoming a two-time Slammy Award winner. He also gained his third WWE Intercontinental Championship shortly after his alliance with The Miz, before leaving WWE in 2011. Mercury returned to WWE in 2010, first as a member of CM Punk's Straight Edge Society, and later began working as a trainer in Florida Championship Wrestling (later renamed NXT). He most recently appeared on television alongside The Authority and as part of J&J Security, former WWE World Heavyweight Champion Seth Rollins's "personal security". Nitro and Melina had a brief reunion when Melina made an appearance in Lucha Underground at Ultima Lucha, attacking Alberto El Patron during his match with Nitro, now known as Johnny Mundo, allowing Nitro to pick up the win. On September 22, 2017, Nitro, under his John Morrison ring name, and Mercury reunited for the first time in ten years at an All Pro Wrestling event, defeating Reno Scum. ### Associates ## Championships and accomplishments - Ohio Valley Wrestling - OVW Southern Tag Team Championship (1 time) - Pro Wrestling Illustrated - Tag Team of the Year (2005) - World Wrestling Entertainment - - WWE Intercontinental Championship (2 times) – Johnny Nitro - WWE Tag Team Championship (3 times) - WWE Women's Championship (1 time) – Melina	[ "## Concept", "## History", "### Ohio Valley Wrestling (2004–2005)", "### Tag Team Championship reigns (2005–2006)", "### Dissolution (2006–2007)", "### Post-breakup", "### Associates", "## Championships and accomplishments" ]	2,245	32,313
61,178,801	1992 Football League Third Division play-off final	1,170,272,584	Association football match	[ "1992 Football League play-offs", "1992 sports events in London", "EFL League One play-off finals", "Football League Third Division play-off finals", "May 1992 sports events in the United Kingdom", "Peterborough United F.C. matches", "Stockport County F.C. matches" ]	The 1992 Football League Third Division play-off Final was an association football match which was played on 24 May 1992 at Wembley Stadium, London, between Peterborough United and Stockport County to determine the third and final team to gain promotion from the Football League Third Division to the Second Division. The top two teams of the 1991–92 Football League Third Division, Brentford and Birmingham City, gained automatic promotion, while the teams placed from third to sixth place took part in play-off semi-finals; the winners of these semi-finals competed for the final place in the Second Division for the 1992–93 season. Peterborough and Stockport beat Huddersfield Town and Stoke City, respectively, in the semi-finals. The match was refereed by Martin Bodenham in front of 35,087 spectators. The first half ended goalless but in the 52nd minute, a corner from Bobby Barnes found Ken Charlery at the near post who beat two defenders to head the ball onto the frame of the goal from where it bounced down; the linesman ruled it had crossed the line and the goal was awarded, making it 1–0 to Peterborough. Fifteen minutes later, Kevin Francis scored with a header from an Andy Preece pass, but the linesman raised his flag to signify offside and the goal was disallowed. With three minutes of the match remaining, Francis scored when Peterborough goalkeeper Fred Barber failed to catch a 15-yard (14-metre) strike from Preece. Peterborough took the lead back within two minutes, with Charlery scoring his second. A long pass from Marcus Ebdon was headed on by Charlery who ran past Tony Barras and shot past Neil Edwards in the Stockport goal. Peterborough ended their following season in tenth position in League Division 1 (the renamed Second Division). Stockport finished their next season in sixth place in League Division 2 (the renamed Third Division) and qualified for the 1993 Football League play-offs, where they lost 2–1 on aggregate to Port Vale. ## Route to the final Stockport County finished the regular 1991–92 season in fifth place in the Football League Third Division, the third tier of the English football league system, one place ahead of Peterborough United. Both therefore missed out on the two automatic places for promotion to the Second Division and instead took part in the play-offs to determine the third promoted team. Stockport County finished five points behind Birmingham City (who were promoted in second place) and six behind league winners Brentford. Peterborough United ended the season two points behind Stockport County. Stockport's opposition for their play-off semi-final was Stoke City with the first match of the two-legged tie taking place at Edgeley Park in Stockport on 10 May 1992. Cynthia Bateman, writing in The Guardian, suggested "the football was as poor and malevolent as the atmosphere" in a match which saw Stoke's captain Carl Beeston sent off seven minutes before half-time after an altercation with Jim Gannon following an argument over a free kick. Three minutes later, Stockport County took the lead through Peter Ward's curling free kick from 25 yards (23 metres). The home side had several chances but failed to increase their lead; Stoke, according to Bateman, "did hardly anything worthy of favourable comment" and the match ended 1–0. The second leg was held three days later at the Victoria Ground in Stoke-on-Trent. Chris Beaumont opened the scoring for the away side within a minute of the start of the match, with Mark Stein equalising in the 81st minute at 1–1. At the final whistle, Stockport supporters invaded the pitch and were forced back by police with dogs. Stockport progressed to the final with a 2–1 aggregate victory. Peterborough United faced Huddersfield Town in their semi-final, with the first leg at London Road in Peterborough on 11 May 1992. Iffy Onuora put the visitors ahead in the 28th minute from close range after Peterborough goalkeeper Fred Barber had made a double-save. Ken Charlery equalised 15 seconds after half-time and midway through the second half, Huddersfield again took the lead as David Robinson an own goal after deflecting a Phil Starbuck cross past Barber. In the final minute, Mick Halsall scored the equaliser with a shot from around 18 yards (16 metres) which went in off the underside of the crossbar; the match ended 2–2. The second semi-final leg was played at Leeds Road in Huddersfield three days later. Starbuck scored with a volley from a Ronnie Robinson cross to give the home side the lead in the second minute before Worrell Sterling equalised mid-way through the second half. After coming on as substitute, Steve Cooper scored a late winner for Peterborough after he dived to head in a cross from Bobby Barnes, to see them win 2–1 and progress to the final 4–3 on aggregate. The match was marred by a late pitch invasion coupled with violence outside the stadium, during which around 30 Huddersfield fans were arrested. ## Match ### Background Stockport County had featured in the play-offs once before, a 6–0 aggregate loss to Chesterfield in the 1990 play-off semi-finals. Stockport were seeking to be promoted to the Second Division, where they last participated in the 1937–38 season, and had been promoted to the Third Division the previous season as runners-up on goal difference to champions Darlington. Peterborough had never participated in the play-offs and had also been promoted to the Third Division the season before. They were aiming to play in the second tier of English football for the first time since joining the English Football League in 1960. During the regular season, Peterborough won both matches between the sides with a 3–0 victory at Edgeley Park in December 1991 and a 3–2 win at London Road the following February. Stockport had most recently played at Wembley Stadium eight days before the play-off final when they played semi-final opponents Stoke City in the Associate Members' Cup Final, losing 1–0. Peterborough were making their first appearance at the national stadium. The referee for the match was Martin Bodenham. Before the match, Halsall spoke confidently of Peterborough's chances, saying that "Wembley will suit our style ... We can run all day and hopefully run Stockport into the ground ... But they won't want to lose at Wembley twice running". Stockport's Gannon suggested the experience would stand them in good stead: "We had a chance to take in the atmosphere last week. Now it's time to play some football. We learned plenty in our first visit; it's up to us to put that into practice". Before the kick off, the Parachute Regiment's Red Devils demonstration team landed in the centre circle. As a result of the foundation of the Premier League for the beginning of the 1992–93 football season, the lower three tiers of English football were re-branded accordingly: the Second Division became the Third Division, the Third Division was renamed the Second Division and the Fourth Division retitled the Third Division. Consequently, the winners of the final would be promoted from the Third Division to the "new" First Division. ### Summary The match kicked off around 3 p.m. on 24 May 1992 at Wembley Stadium in front of 35,087 spectators. Five minutes into the game, a cross from Barnes was headed on by Sterling, then controlled by Charlery with his chest; his shot went over the Stockport crossbar. Before half-time, Stockport's -tall striker Kevin Francis won a number of corners, one of which was headed wide of the Peterborough goal by Tony Barras. The first half ended goalless. Neither side made any changes to their personnel during the interval. In the 52nd minute, a corner from Barnes found Charlery at the near post. Charlery outjumped two defenders and headed the ball towards the goal, where it ricocheted off the top of the frame and bounced down; the linesman ruled it had crossed the line and the goal was awarded, making it 1–0 to Peterborough. Fifteen minutes later, Francis scored with a header from an Andy Preece pass, but the linesman deemed him offside and disallowed the goal. In the 75th minute, Peterborough made the first substitution of the game with Lee Howarth coming on to replace Steve Welsh, and a minute later, Stockport's Paul Wheeler was brought on in place of Ward. With three minutes of the match remaining, Preece struck the ball from 15 yards (14 metres). The ball went through the hands of Peterborough goalkeeper Fred Barber, and was struck by Francis to level the game. Within two minutes, however, Charlery scored his second to take the lead back for Peterborough. A long pass from Marcus Ebdon was headed on by Charlery, who ran past Barras and shot past Neil Edwards in the Stockport goal. The match ended 2–1 and Peterborough secured promotion to the newly branded League Division 1. ### Details ## Post-match The Peterborough manager Chris Turner described the decision-making surrounding the opening goal as a "Russian linesman job" while his counterpart Danny Bergara called it a "travesty". With regard to Francis' disallowed goal, Bergara suggested the linesman had "seen a ghost ... There is no way [Francis] is offside." Keith Blackmore, writing in The Times, described the match as "one of the most dramatic and controversial matches since the play-off finals moved to Wembley in 1990". Turner said: "It's a lovely thought that next year we will be playing teams like Derby and West Ham. Fifteen or sixteen months ago we were nothing. Now the Premier League is only one division away." Bergara suggested that a review system should be put in place: "I'm not criticising the referee ... he had a difficult job and everyone makes mistakes ... I think it's time we tried television replays." Peterborough ended their following season in tenth position in League Division 1 (the renamed Second Division). Stockport finished their next season in sixth place in League Division 2 (the renamed Third Division), qualifying for the 1993 Football League play-offs, where they lost 2–1 on aggregate to Port Vale.	[ "## Route to the final", "## Match", "### Background", "### Summary", "### Details", "## Post-match" ]	2,180	36,720
41,905,500	Charles Henry Smyth Jr.	1,150,865,729	American geologist, professor of economic geology, Princeton University, New Jersey	[ "1866 births", "1937 deaths", "American geochemists", "Columbia School of Engineering and Applied Science alumni", "Deaths from pneumonia in New Jersey", "Economic geologists", "Fellows of the American Association for the Advancement of Science", "Fellows of the Geological Society of America", "Hamilton College (New York) faculty", "Members of the American Philosophical Society", "People from Oswego, New York", "Petrologists", "Princeton University faculty", "Scientists from New York (state)" ]	Charles Henry Smyth Jr. (/smaɪθ/; March 31, 1866 – April 4, 1937) was an American geologist. Born to a prominent family in Upstate New York, he studied geology at Columbia University before becoming a professor of geology at Hamilton College and Princeton University. At Princeton he strengthened the Department of Geology's graduate program. Smyth specialized in petrology, chemical geology, and economic geology. He showed the sedimentary origin of iron ore deposits near his native Clinton, New York, mapped the geology of the western Adirondack Mountains, and published a well known monograph on the origins of alkaline igneous rocks. He was a fellow of the American Association for the Advancement of Science, a member of the American Philosophical Society, and a fellow of the Geological Society of America. ## Family Smyth was born March 31, 1866, in Oswego, New York, the second son of Alice DeWolf Smyth and Charles Henry Smyth Sr. In 1873, he moved with his family to nearby Clinton, New York. His mother belonged to a well known Oswego banking and manufacturing family. His father was a prominent local businessman, holding executive positions at the Franklin Iron Works, Clinton Bank, and the company that managed the Niagara Falls Suspension Bridge. He also served on the vestry of the local Episcopal church and was a brigadier general in the New York Guard. The family was considered among the local elite in Clinton. Katharine Blunt was a first cousin. On July 30, 1891, the younger Charles Smyth married Ruth Anne Phelps, originally of Shreveport, Louisiana. They had two children, Charles Phelps Smyth (1895–1990) and Henry DeWolf Smyth (1898–1986). Both became professors of science at Princeton University. ## Education Smyth studied at Clinton Grammar School in his youth. He became interested in geology at a young age: his native region of Upstate New York had many fossils, and his family's business involved extracting the local iron ore. In 1884, he entered Hamilton College in Clinton, where he studied science. After a year he transferred to the School of Mines at Columbia University. At Columbia he was president of the Glee Club. He graduated in 1888 as one of the top three students in his class. Smyth continued his studies at Cornell University under James Furman Kemp and Harvard University under Nathaniel Shaler. He also worked as an analytical chemist at the Franklin Iron Works, his father's company. He earned his Ph.D. in geology from Columbia in 1890, writing a dissertation titled "The Origin of the Clinton Type of Iron Ore". He then spent an additional year studying petrology at Heidelberg University under Harry Rosenbusch, the world expert in the field. ## Career In 1891 Smyth returned to Hamilton College to become the Stone Professor of Natural History. In addition to his teaching duties at Hamilton, Smyth spent each summer from 1892 to 1903 doing field work for the New York State Museum in the western Adirondack Mountains, which had been studied very little in the fifty years prior. He collaborated with his old advisor Kemp, who specialized in the eastern Adirondacks, and Henry Platt Cushing, who claimed the northern and northeastern sections. He returned to field work a final time in 1908; ill health prevented further expeditions. In 1905 Woodrow Wilson, then President of Princeton University, convinced Smyth to join the Princeton faculty, where Smyth remained until retiring in 1934. He strengthened the graduate program in the Department of Geology, which awarded only two advanced degrees before 1912; during his 29 years, another 31 degrees were awarded. Among his students were Arthur Francis Buddington and Albert Orion Hayes. His courses in petrology and chemical geology introduced students to subjects that were relatively new in the United States. Smyth was a fellow of the American Association for the Advancement of Science, a member of the American Philosophical Society, and a fellow of the Geological Society of America. He was also a member of the Society of Economic Geologists, the American Institute of Mining and Metallurgical Engineers, the Washington Academy of Sciences, Phi Beta Kappa, and Sigma Xi. ## Research Smyth's research was in the subfields of petrology, chemical geology, and economic geology. When he began his research most American geologists who used chemistry were mineralogists, volcanologists, or specialists in ore. Smyth was a pioneer in chemical petrology, applying chemistry to ordinary rocks, in the United States. In his dissertation he argued that the iron ore near Clinton was a primary sediment; at the time the deposits were believed to be secondary nodules formed by replacement of primary limestone. His Princeton graduate student Hayes proved a similar result about the iron ores of his native Wabana, Newfoundland and Labrador. In 1919, Smyth showed that a green mineral in the Clinton ores was chamosite and also a primary sediment. Smyth, Kemp, and Cushing's field work in the Adirondacks yielded detailed geologic maps of the challenging region. Smyth described the nature and origins of the area's rocks and mineral deposits. His conclusions were still largely accepted at the time of his death in 1937. His two best known contributions were his work on the Clinton iron ore and a 1927 monograph about the origins of alkaline igneous rocks. ## Later life and legacy In his later years Smyth suffered from poor health, which an obituary in Princeton Alumni Weekly blamed on "overwork in certain rugged inaccessible wilderness portions of the Adirondacks." He contracted tonsilitis during his 1898 expedition to the Adirondacks and suffered heart and digestive troubles thereafter. He died April 4, 1937, at Princeton Hospital. The cause was pneumonia and complications from a recent hip fracture. The mineral smythite is named after him. Its properties resemble those of pyrrhotite samples Smyth studied in Upstate New York.	[ "## Family", "## Education", "## Career", "## Research", "## Later life and legacy" ]	1,281	32,288
23,910,835	2009 Hudson River mid-air collision	1,171,542,192	2009 aviation incident	[ "2009 in New Jersey", "2009 in New York City", "August 2009 events in the United States", "Aviation accidents and incidents caused by air traffic controller error", "Aviation accidents and incidents in New York City", "Aviation accidents and incidents in the United States in 2009", "Hudson River", "Mid-air collisions", "Mid-air collisions involving airliners", "Mid-air collisions involving helicopters" ]	On August 8, 2009, at 11:53 a.m. (15:53 UTC), nine people died when a tour helicopter and a small private airplane collided over the Hudson River near Frank Sinatra Park in Hoboken, New Jersey, United States. The aircraft were in an area known as the "Hudson River VFR Corridor", which extends from the surface of the river to altitudes of 800 to 1,500 ft (240 to 460 m) at various locations along the Hudson River in the immediate area of New York City. Within this corridor, aircraft operate under visual flight rules (VFR), under which the responsibility to see and avoid other air traffic rests with the individual pilots rather than with the air traffic controller. Because of the heavy commercial air traffic into Newark, LaGuardia, and Kennedy airports, an air traffic control clearance is required to operate in much of the airspace around the city. Since ATC is often unwilling to grant this discretionary VFR clearance because of traffic volume, many airplanes that need to transit the New York metro area use the VFR corridor as an alternative to going east of the city (over water) or west (toward Pennsylvania). The corridor is also heavily used by helicopter tour companies, which take passengers on sight-seeing tours of the New York skyline. ## Background Visual flight rules on the river corridors by Manhattan have been subject to considerable debate since the 2006 New York City plane crash, in which New York Yankees pitcher Cory Lidle crashed into an apartment building while flying using visual flight rules on the East River. This was the first aircraft collision over the Hudson River since 1976. The collision, which occurred opposite 14th Street in Manhattan, was about 2 mi (3.2 km) south of where US Airways Flight 1549 ditched in the Hudson River on January 15, 2009, with no loss of life, after the plane suffered a complete loss of thrust following a bird strike. ## Collision The light aircraft was a 6-seat Piper PA-32R-300 Cherokee Lance built in 1976 and piloted by Steven Altman with two passengers. Altman was given clearance from the tower at Teterboro Airport in Teterboro, New Jersey, at 11:48 a.m. to take off. It departed at 11:49 a.m. and was headed for Ocean City, New Jersey. The helicopter, a Eurocopter AS350 carrying five Italian tourists and its pilot, took off from the West 30th Street Heliport at 11:52 a.m. At about the same time, Teterboro tower radioed Altman in the Piper at take-off requesting him to pick his flight path towards Ocean City, and indicate whether he wished to head there via the Hudson River, or take a southwest tack. Altman replied "Either". "Let me know" was the response from the tower, with Altman answering "OK, tell you what, I will take down the river." Altman was then instructed to contact Newark Liberty International Airport, a directive he agreed to. However, he did not contact the tower at Newark. It later transpired that, in acknowledging the instruction to contact Newark, Altman had read back the wrong frequency (127.8 MHz instead of 127.85), an error that the controller did not correct. Soon after, a controller at Newark who was concerned about aircraft in the Piper's path contacted the Teterboro controller and asked him to attempt to re-establish contact. All attempts to contact Altman and change his aircraft's heading were unsuccessful. After the failure to contact Altman, a radar alert about a possible collision occurred in both the Newark and Teterboro towers. However, the two controllers did not remember seeing or hearing this alert. While heading south down river, the airplane was seen to be behind the sightseeing helicopter, which was going about half the speed of the airplane. The pilot of another helicopter (who was refueling at the heliport) saw the impending accident, and attempted to warn both the airborne helicopter and the plane by radio, but received no response. At 11:53:14 a.m., the Piper's left wing crashed into the Eurocopter, severing the left wing of the airplane and rotor blades from the helicopter. Most witnesses reported the plane entering a nose dive while spiraling into the river, while the helicopter dropped into the water. The collision occurred at approximately 1,100 ft (340 m) MSL altitude and was caught on tape by an Italian tourist. Less than a minute after the collision occurred, the Teterboro controller contacted the Newark tower to inquire about the airplane, and was told that the airplane had not contacted Newark. Nine people died in the collision. All recovered victims died from blunt trauma to the head, torso and extremities, according to the NYC medical examiner's office. National Weather Service weather conditions at noon in New York City stations on the day of the collision were described as "sunny" or "partly sunny" with a temperature of between 73 and 75 °F (23 and 24 °C) and variable wind speed of 3–10 mph (5–16 km/h; 3–9 kn). Authorities said the Piper's "low wing" design made it difficult to see below the aircraft and the helicopter's rotors make it difficult to see above. In addition, neither small aircraft was required to have a flight data recorder or cockpit voice recorder. ## Emergency response ### Rescue Immediately following the accident, the Coast Guard had reported that the New York City Fire Department (FDNY) had rescued one survivor from the Hudson River; however, this report was shown to be incorrect. In addition to FDNY, six rescue boat crews from Coast Guard Station New York, a Coast Guard rescue helicopter crew from Coast Guard Air Station Atlantic City, several Coast Guard Auxiliary assets, the New York City Police Department (NYPD), New Jersey State Police, and local emergency services all participated in the rescue effort. The Red Cross and the New York Harbor Police also assisted in the efforts. At about 3:00 p.m., Michael Bloomberg, the mayor of New York, addressed questions in a press conference. Calling the crash "an accident which we do not believe was survivable," Bloomberg announced that the mission was no longer a rescue mission, but rather a recovery mission. On the night of August 8, 2009, the US Coast Guard maintained a 2 miles (3 km) safety zone from the Holland Tunnel to the Lincoln Tunnel, requiring vessels to move slowly and stay within 400 yards (400 m) of the Manhattan side while passing through the area. The safety zone was maintained by the Coast Guard cutter Penobscot Bay. ### Recovery On the afternoon of the crash, divers had recovered two bodies from the water. By the next morning, a total of four bodies had been found, while the other five victims were presumed dead. Meanwhile, the helicopter's wreckage was found in about 30 ft (10 m) of water, far from the wreckage fields of the plane. Aided by a sonar, investigators attempted to discover the plane's debris in deeper water near the mid-channel point of the Hudson. Their efforts were hindered, however, by poor visibility underwater and a storm on August 9. The efforts succeeded on August 10, when the plane's wreckage was discovered in approximately 60 ft (20 m) of water, and was recovered from the river on the afternoon of August 11. Additionally, the last few bodies were found in the wreckage of the plane, ending the search for bodies. The recovery effort was led by the United States Army Corps of Engineers with the aid of NYPD boats, New Jersey State Police divers, and the FDNY. ## Investigation On August 14, 2009, the National Transportation Safety Board released a report regarding the incident. The report discussed several aspects of the collision, including locations of origin of the aircraft, planned destination, and air traffic control communications. In addition, the report discussed how one of the controllers at Teterboro Airport was on a phone call and did not warn the airplane pilot of the potential conflict. The National Air Traffic Controller's Union (NATCA) then issued their own press release disputing some of the phrasing in the NTSB's report. The NTSB then retracted some of its statements regarding the controller's part in the crash, saying that the controller could not have warned the plane about the tour helicopter because the tour helicopter was not on the controller's radar. The NTSB also removed NATCA as a party to the investigation as a result of NATCA's press release, as parties to NTSB investigations agree to let the NTSB control publicity during the investigation. NATCA may still submit information to the board regarding the accident, but they will not hold a seat on the investigation board. Due to the accident, the FAA put the Teterboro controller and his supervisor on leave and made comments about the phone call, which was deemed improper behavior. However, the NTSB rebuked the FAA for doing so, stating that only the NTSB has the authority to determine the controller's contribution to the incident. On September 14, 2010, the NTSB released its final report on the incident. The report cited two primary causes of the accident: (1) the "inherent limitations" of the see-and-avoid concept, which meant that from the airplane pilot's point of view, the helicopter would have appeared as a small, stationary object against a backdrop of the New York City skyline until the final seconds before the collision; and (2) the Teterboro controller's personal phone call, which distracted him from his air traffic control duties and prevented him from correcting the airplane pilot's incorrect readback of the Newark control tower's radio frequency. ## Aftermath ### Reaction Reaction from government officials, aviation industry groups, and individuals has been widespread. The FAA convened a "New York Airspace Working Group" on August 14, 2009. The group will solicit comments from helicopter and aircraft operators, and will review the operating procedures of the Hudson and East River VFR corridors. They will report to FAA administrator Babbitt on August 28. A NOTAM issued on August 11, 2009, advises pilots flying in the area to turn on their lights, use the designated self-announce radio frequencies, and fly at a speed of 140 knots or less. Fifteen members of Congress, led by Representative Jerrold Nadler (D-New York), sent a letter to FAA administrator J. Randolph Babbitt calling for "immediate action to provide greater oversight of small aircraft operations". In a press conference on August 8, 2009, New York City Mayor Michael Bloomberg (an airplane and helicopter pilot himself) stated that "Until the National Transportation Safety Board makes a determination, nothing is a fact", and stressed that the investigation will take weeks or months before those facts are known. Representatives from the Aircraft Owners and Pilots Association (AOPA), including AOPA President Craig Fuller, have appeared on numerous news programs and collaborated with news sources to explain the workings of the Hudson River VFR corridor and the safety record of flights in that area. ### NTSB recommendations The NTSB issued a "Safety Recommendation" to the FAA on August 27, 2009. Because of the accident airplane's intended flight path, the NTSB believes that the pilot may have wanted to climb out of the uncontrolled VFR corridor into the controlled Class B airspace above. However, for reasons unknown as yet, he was not in communication with any air traffic controllers after he switched frequencies from Teterboro tower. He also apparently was not communicating on the Corridor's self-announce frequency. The NTSB recommended that the FAA revise the procedures for ATC facilities in the area to facilitate the process for VFR traffic that wishes to transit Class B airspace. This included establishing procedures to coordinate such requests between facilities; requiring controllers to instruct pilots to self-announce on the VFR corridor frequency if they are unable to immediately enter Class B airspace; adding information to area Automatic Terminal Information Service (ATIS) broadcasts reminding pilots to use the self-announce frequency; and ensuring that pilots are provided with traffic advisories if they are in contact with a controller. Additionally, the NTSB recommended that ATC controllers and supervisors be briefed in the circumstances of this accident; that a Special Flight Rules Area (SFRA) be established for the location requiring special training for pilots transiting the area; and that helicopters be required to operate at lower altitudes than airplanes in the corridor to minimize the speed differences. ### FAA changes On September 2, 2009, the FAA announced a plan to improve safety of flights in the corridor. The proposed changes include standardizing the height of the VFR corridor to 1,300 ft (400 m). In addition, many existing procedures that have been treated as "Suggested" items for flying the corridor will now be mandatory, including operating landing lights; maintaining a speed of 140 kn (160 mph) or less while flying in the corridor; monitoring and announcing on the area Common Traffic Advisory Frequency; and travelling along the west shore when southbound and along the east shore when northbound. Pilots will be required to have appropriate charts available, and to familiarize themselves with the applicable rules before flying in the corridor. Additionally, pilot training courses for both transient pilots and charter helicopter pilots will be developed. An implementation timeline was not initially announced. The FAA instituted new rules for the Hudson River corridor beginning November 19, 2009, establishing three air traffic zones. Under 1,000 ft (300 m), planes and helicopters for sightseeing and lingering would be allowed. From 1,000 to 1,300 ft (300 to 400 m), aircraft would be allowed to fly without air traffic control handling. Above 1,300 ft (400 m), aircraft would be allowed to traverse the corridor under the handling of air traffic control. ## Dramatization The episode is dramatized in the episode "Chopper Down" of Why Planes Crash. ## See also - List of civilian mid-air collisions	[ "## Background", "## Collision", "## Emergency response", "### Rescue", "### Recovery", "## Investigation", "## Aftermath", "### Reaction", "### NTSB recommendations", "### FAA changes", "## Dramatization", "## See also" ]	2,929	9,253
2,533,036	Lesotho at the 1972 Summer Olympics	1,137,376,450	null	[ "1972 in Lesotho", "Lesotho at the Summer Olympics by year", "Nations at the 1972 Summer Olympics" ]	Lesotho sent a delegation to compete in the 1972 Summer Olympics in Munich, West Germany from 26 August to 11 September 1972. This was the African country's first time participating at the Olympic Games. Lesotho's delegation consisted of a single sprinter, Motsapi Moorosi. He competed in two events, being eliminated in the first round of the 100 meters, and advancing to the quarter-finals of the 200 meters. ## Background The Lesotho National Olympic Committee was recognized by the International Olympic Committee on 1 January 1972. These Munich Olympics were their first appearance in Olympic competition, they have gone on to participate in every Summer Olympic Games since except the 1976 Montreal Games. The nation has yet to make its debut at the Winter Olympic Games, and they have never won an Olympic medal. The 1972 Summer Olympics were held from 26 August to 11 September 1972; a total of 7,134 athletes representing 121 National Olympic Committees took part in the Games. Track and field athlete Motsapi Moorosi was the only competitor Lesotho sent to Munich, and he was chosen as the flag-bearer for the opening ceremony. ## Athletics Motsapi Moorosi was 27 years old at the time of the Munich Olympics, and was making his only Olympic appearance. On 31 August, he participated in the first round of the men's 100 meters, and was drawn into heat six. He finished the race with a time of 10.74 seconds, sixth out of seven in his heat, and he was unable to advance further in the competition. The gold medal was eventually won in 10.14 seconds by Valeriy Borzov of the Soviet Union, the silver medal was earned by Robert Taylor of the United States, and the bronze was taken by Lennox Miller of Jamaica. The men's 200 meters was held over 3–4 September. In the first round, Moorosi was drawn into heat three, which he finished with a time of 21.15 seconds, fourth out of seven competitors in that heat, which was sufficient to advance him to the quarter-finals. For the quarter-finals, he was drawn into heat four, and finished with a time of 20.90 seconds. This put him fifth out of seven competitors in the heat, and he was eliminated as only the top three from each heat, and the fastest fourth-place finisher overall could advance. Borzov eventually won the gold medal in a time of 20 seconds flat, the United States' Larry Black won the silver medal, and the bronze medal was earned by Pietro Mennea of Italy.	[ "## Background", "## Athletics" ]	547	37,034
30,872,528	Banjo-Pilot	1,168,268,953	2005 kart racing video game for the Game Boy Advance	[ "2005 video games", "Banjo-Kazooie", "Game Boy Advance games", "Game Boy Advance-only games", "Kart racing video games", "Multiplayer and single-player video games", "Rare (company) games", "THQ games", "Video games about bears", "Video games about birds", "Video games developed in the United Kingdom", "Video games scored by Robin Beanland" ]	Banjo-Pilot is a 2005 kart racing video game for the Game Boy Advance (GBA) and the fourth instalment in Rare's Banjo-Kazooie series. It plays similarly to the Mario Kart series by Nintendo: the player races one of nine playable characters around tracks, attacking other racers with bullets and collecting power-ups. The game features a number of single-player and multiplayer modes, such as time attack and item hunts. Unlike other kart racing games, characters control airplanes instead of go-karts. Rare and Nintendo announced Banjo-Pilot at E3 2001 under the title Diddy Kong Pilot. At this point, it was the sequel to Rare's Diddy Kong Racing (1997), and featured characters from Nintendo's Donkey Kong and Mario series. However, company politics and Nintendo's concerns about quality delayed Diddy Kong Pilot past its planned release date in March 2002. After Microsoft acquired Rare in September 2002, it lost the rights to the Nintendo characters and replaced them with characters from its Banjo series. THQ, which made a deal with Microsoft to publish Rare's GBA projects, released Banjo-Pilot in January 2005 to mixed reviews. Although critics praised its visuals, they felt it lacked originality and labelled it an inferior clone of Mario Kart. ## Gameplay Banjo-Pilot is a kart racing game featuring characters and environments from the Banjo-Kazooie series of platform games. It plays similarly to the Mario Kart series by Nintendo: the player, controlling a character in their vehicle, must race opponents around tracks. The player views the gameplay from behind the character's back, and must manoeuvre their character throughout the race. All races are three laps long and feature elements that confer advantages, such as offensive power-ups. Collectible, golden music notes, an element from the Banjo platformers, are scattered around tracks as well. Banjo-Pilot is distinguished from other kart racing games because the player controls airplanes instead of go-karts, allowing them to move up and down. However, the planes do exhibit behaviours normally associated with karts, such as slowing down over rough ground. The planes are equipped with bullets that can be shot at other players; they can also do a barrel roll to avoid attacks from others. The game features a total of nine player characters; Banjo, Kazooie, Mumbo Jumbo, and a purple Jinjo are initially available, while Humba Wumba, Gruntilda, Klungo, Bottles, and Jolly Roger can be unlocked through gameplay. The game features 16 tracks accessible through four different game modes for a single-player. In Grand Prix, players race opponents through a series of four consecutive tracks and earn points based on their finishing position. At the end of Grand Prix, players must participate in a Champion Challenge—an aerial dogfight against a boss. Jiggy Challenge retains the emphasis on collecting items from the Banjo platformers: the player must look for and collect puzzle pieces called Jiggies for points while racing Bottles the mole. Quickrace allows the player to choose from any of the game's tracks to race on, while time trial challenges players to finish a course in the fastest time possible. The game also features multiplayer modes for up to four players: a multiplayer version of Grand Prix, a one-on-one race, and a dogfighting game. Competing in races will earn players "Cheato pages", loose book pages which serve as a form of currency. How many they earn is based on their race placement and how many musical notes they collect. These pages can be given to the anthropomorphic book Cheato in exchange for various bonuses, such as new game modes and characters. ## Development Rare developed Banjo-Pilot for the Game Boy Advance (GBA) for nearly five years. At the beginning, Rare was a second-party developer for Nintendo and was known for creating games in Nintendo's long-running Donkey Kong franchise. As such, the game was originally titled Diddy Kong Pilot, a sequel to Rare's 1997 game Diddy Kong Racing, and would feature characters from Nintendo's Donkey Kong and Mario franchises. While it could be played using the GBA D-pad, Diddy Kong Pilot allowed players to control the characters by tilting the system, as the cartridge contained the same accelerometer technology used in Kirby Tilt 'n' Tumble (2000). Rare chose to focus on planes rather than cars because it wanted the game to stand out against other GBA racers. Nintendo and Rare announced the game at E3 in May 2001, and presented demos to attendees there and at Nintendo Space World in August. Journalists reacted positively to the demos, with particular praise for the visuals. Nintendo aimed to release Diddy Kong Pilot on 4 March 2002, but became concerned with its quality around the time of Space World. One programmer recalled that Nintendo felt the tilt was not working well, that the GBA LCD only functioned as intended when aligned with a light source, and that a racing game with planes was pointless without a 3D world. Rare was expected to finish the game by October 2001 although it still had to implement numerous game modes; the programmer believed it should have been cancelled instead. Company politics also complicated development. According to the programmer, Rare was "micro-managing us into different directions, disregarding any hardware or cartridge space limitations". By September 2002 the game was still unreleased and Nintendo rival Microsoft acquired Rare. As Microsoft did not compete in the handheld market, the buyout did not affect Rare's plans to produce GBA games, but it lost access to Nintendo's Mario and Donkey Kong intellectual property (IP). After developing the GBA port of Donkey Kong Country 2, Rare staff were told they needed to finish Diddy Kong Pilot, but would have to retool it using elements from the Banjo series. Banjo was one of the IPs Rare retained after the Microsoft buyout, so the project was retitled Banjo-Pilot. The IP change came to light in July 2003 when Microsoft trademarked the Banjo-Pilot title. Rare's Paul Rahme said the retooling took five months. The game underwent "radical changes" during the transition; the graphics and presentation were altered, and different racetracks were added. Rare also removed the tilt controls as they were unable to improve them. The soundtrack, composed by Robin Beanland and Jamie Hughes, was unaltered as Rare was unable to implement new music. Staff who developed the Nintendo 64 (N64) Banjo games had little involvement, but the lead designer supervised to make sure the content was in line with the N64 games. Both the Diddy Kong Pilot prototypes and the final game use a Mode 7-style game engine, but at one point Rare switched to one that rendered environments using voxels. Rare quickly discarded the voxel engine due to frame rate problems that arose when characters and weapons were added. On 11 August 2003, Microsoft announced it would collaborate with THQ to publish Rare's GBA projects, including Banjo-Pilot, Banjo-Kazooie: Grunty's Revenge (2003), Sabre Wulf (2004), and It's Mr. Pants (2005). THQ released Banjo-Pilot in North America on 11 January 2005 and in Europe on 18 February. A prototype of Diddy Kong Pilot leaked online in 2011. ## Reception According to Metacritic, a video game review aggregator, Banjo-Pilot received "mixed or average reviews". Many reviewers thought the game lacked originality and believed placing the characters in planes was not enough to set it apart from other kart racing games on the GBA. GameSpy and Nintendo World Report (NWR) noted the planes still had behaviours traditionally associated with go-karts, such as slowing down when not on the track. NWR also argued the manoeuvres the planes could do were worthless and did not add anything to the experience. Eurogamer thought the planes made the game feel more 3D but reduced it to favouring luck over skill. Additionally, NWR believed Banjo-Pilot lacked what made Rare's prior racing games R.C. Pro-Am (1988) and Diddy Kong Racing great, while VideoGamer.com wrote that removing Nintendo characters and the tilt controls prevented the game from bringing innovation to the kart racing genre. The game was often labelled a clone of Nintendo's Mario Kart games. While critics generally felt Banjo-Pilot was one of the better Mario Kart clones—Cubed3 and IGN both called it the second-best GBA racer after Mario Kart: Super Circuit (2001)—they wrote that players would be better off playing a game from that series. Eurogamer thought players should try Banjo-Pilot before deciding to buy it, and GameSpy and VideoGamer.com said there was no reason to have it when better games like Mario Kart and Konami Krazy Racers (2001) were already available on the GBA. IGN, on the other hand, argued that the similarities to Mario Kart were not necessarily a bad thing as it allowed for balanced game design, and GameSpot called the game entertaining and favorably compared it to the original Super Mario Kart (1992). Eurogamer and VideoGamer.com also questioned how appealing the game would be to players, noting characters such as Banjo were relatively obscure and would likely only be recognised by those who played the N64 Banjo games. Reviewers said that Banjo-Pilot, as a Mario Kart clone, was fine gameplay-wise, but disagreed over whether this was enough to make it a successful game. While IGN argued Banjo-Pilot improved upon the kart racing formula because of its new features and believed its planes controlled better than go-karts, VideoGamer.com said the game modes were unfulfilling. Reviewers from Cubed3, GameZone, IGN, and NWR praised the controls as intuitive and simple, although IGN believed they "scream[ed]" for compatibility with an analogue stick. However, GameSpy called the controls overly sensitive and noted they were set to those of a standard airplane, which they called counter-intuitive. Eurogamer characterised the controls as hard to get used to. Reviewers singled out the multiplayer mode as a highlight, with GameSpot and GameZone respectively calling it the game's strongest feature and the GBA's best since The Legend of Zelda: Four Swords (2002), although Eurogamer wrote it was challenging to find others who owned the game. Boss fights received criticism for their inconsistent difficulties and some felt they distracted from the overall experience, although Cubed3 and GameSpy praised Rare's effort to innovate. The difficulty of opponent AI enraged VideoGamer.com. Critics were more generous towards the presentation; many praised the amount of detail in the visuals and animations. Cubed3 and GameSpot respectively compared them to that of a low-end N64 game and a Mode 7 Super NES game, Eurogamer felt they were impressive and used the GBA's otherwise subpar 3D capabilities to the fullest and GameZone called them eye-catching. The steady frame rate was also praised. One of the only problems IGN noticed was pop-up that occurred when weapons were picked up. Visual perception was an area many reviewers faulted, as they noted sometimes other racers would block their line of sight. VideoGamer.com and GameZone both praised the audio, which they called one of the bearable aspects of the game and humorous. IGN felt the music was well-composed and fit the Banjo theme, although they did note similarities the tracks bore to those from other games and films like Aladdin.	[ "## Gameplay", "## Development", "## Reception" ]	2,402	20,822
23,264,799	Ephesto	1,109,446,795	Mexican luchador enmascarado	[ "1965 births", "20th-century professional wrestlers", "21st-century professional wrestlers", "CMLL World Light Heavyweight Champions", "CMLL World Trios Champions", "Living people", "Masked wrestlers", "Mexican National Tag Team Champions", "Mexican National Trios Champions", "Mexican male professional wrestlers", "People from Gómez Palacio, Durango", "Professional wrestlers from Durango", "Unidentified wrestlers" ]	Ephesto (born June 10, 1965) is a Mexican luchador enmascarado (Spanish for "masked professional wrestler"). Ephesto's real name has not been officially documented, a tradition in Mexican lucha libre where masked wrestlers' real names often are not a matter of public record. The wrestler currently known as Ephesto made his debut in 1982 and worked for almost 20 years as Pantera del Ring with limited success. He later worked under the name Safari where he won the Mexican National Trios Championship on two occasions. His current ring name "Ephesto" is derived from the Spanish name for Hephaestus, the Greek god of fire, Hefesto; in fact, his name is sometimes spelled Hefesto in print sources. Ephesto is a founding member of the stable Los Hijos del Infierno (Spanish for the Sons of the Inferno) with Averno and Mephisto. Ephesto is a former CMLL World Light Heavyweight Champion, Mexican National Trios Champion, and CMLL World Trios Champion. ## Professional wrestling career The wrestler later known as Ephesto made his debut in 1982 at the age of 16, after being trained by Halco Suriano, Asterión, El Satánico and Blue Panther. His first ring persona was Pantera del Ring (Spanish for the Panther of the Ring), a masked luchador character (or enmascarado) with a panther inspired mask and trunks, in part as an homage to his trainer Blue Panther. As Pantera del Ring, sometimes referred to as "Panterita del Ring" ("Little Panther of the ring"), he signed with Consejo Mundial de Lucha Libre (CMLL; "World Wrestling Council") in the early 1990s and began working as a low card tecnicó (the Lucha Libre term for a "Good guy"). When Antonio Peña, the head booker of CMLL at the time broke off to form the rival wrestling company Asistencia Asesoría y Administración (AAA), Pantera del Ring was one of the CMLL workers that left CMLL to follow Peña in 1992. In AAA he teamed up with Latin Lover to win the Mexican National Tag Team Championship from the team of Fuerza and Juventud Guerrera on June 1, 1995. The team only held the tag team titles for three and a half months before losing them back to the Guerrera family. By 1997.. Panterita del Ring was working for the newly formed Promo Azteca promotion, this time as a rudo (the Lucha Libre term for "bad guy"). He won the tournament to crown the first ever Aztecas Middleweight Champion defeating Ángel Azteca and Black Dragon in the finals. He eventually lost the title but kept working for Promo Azteca as an upper card worker until Promo Azteca folded in the late 1990s. In 2000, he returned to CMLL and began working under the ring persona Safari, a mid-level tecnicó. Safari did not gain much momentum, generally working random tag matches until he was teamed up with Mr. Niebla and Olímpico and defeated the team of Blue Panther, Fuerza Guerrera and El Signo to win the Mexican National Trios Championship on March 30, 2001. The team had a rather uneventful title reign that lasted 15 months but rarely saw the team defended the title until Los Nuevos Infernales (Averno, Mephisto and El Satánico) won the titles from them on June 23, 2001. In late 2003, Safari teamed up with El Felino and Volador Jr. to win a tournament for the vacant Mexican National Trios Championship, defeating Alan Stone, Super Crazy, and Zumbido in a tournament final to claim the title. Safari's second run with the title proved to be about as long as the first one, 16 months, but once again did not result in many memorable matches or a sustained push for Safari. When Pandilla Guerrera ("Gang of Warriors"; Doctor X, Nitro, and Sangre Azteca) defeated Safari's team for the titles it signaled the last time the Safari character was given the spotlight. In late 2005, only months after losing the trios titles Safari transitioned into working as El Hombre sin Nombre (Spanish for "The Man without name"), a ring persona and name that indicates that the wrestler is a "blank slate", as he has no name and wrestles in plain black trunks and mask. CMLL started a contest for the fans to come up with a new name and ring persona for this wrestler. As Hombre sin Nombre he worked as a Rudo with no public reference given to the fact that he was previously known as Safari. By the end of 2007, it was announced that El Hombre Sin Nombre finally had a name, Ephesto as suggested by a fan, named after the Greek God of fire Hephaestus. ### Ephesto (2007–present) Along with the new name came a new look, dressing mainly in black with a mask with a ram's horn design and a new group of allies. Ephesto joined forces with Averno and Mephisto to form the stable La Triada del Terror (Spanish for the Trio of Terror), and although he was considered the low man in the group associating with two of CMLL's top Rudo acts meant he got more exposure as Ephesto than he ever did as Safari or El Hombre Sin Nombre. When Averno and Mephisto formed Los Hijos del Averno (Spanish for the Sons of Hell) Ephesto was one of the first to join up with them. In late 2008, Ephesto received a couple of shots at La Sombra's NWA World Welterweight Championship, his first chance at a singles title in CMLL. While he did not win the title the matches with La Sombra were very competitive and well received. In mid-2009 Ephesto began targeting rival Rey Bucanero, challenging him for the CMLL World Light Heavyweight Championship. At first the storyline between the two saw Rey Bucanero turn down the challenge, only to later accept after Ephesto brought a ringside ticket for a show where Bucanero was in the main event and interfered in the match. On May 26, the two met with the title on the line, after each winning one fall the match was stopped by the referee as Rey Bucanero had suffered a serious knee injury. The referee awarded the match and the title to Ephesto, his first CMLL singles title. By virtue of holding the CMLL World Light Heavyweight Championship Ephesto participated in the 2010 Universal Championship tournament. He was part of "Block A" that competed on the July 30, 2010, Super Viernes show. He co-won the eight-man seeding battle royal, but was eliminated from the tournament when he lost to El Texano, Jr. in the first round of the actual tournament. On August 16, 2010, it was announced that Ephesto was one of 14 men putting their mask on the line in a Luchas de Apuestas steel cage match, the main event of the CMLL 77th Anniversary Show. Ephesto was the third man to leave the steel cage as all three members of Los Hijos del Averno quickly left the cage keeping their masks safe. The match came down to La Sombra pinning Olímpico to unmask him. On February 22, 2011, Ephesto lost the CMLL World Light Heavyweight Championship to Rush, ending his reign at 637 days. On July 15, Los Hijos del Averno defeated La Generación Dorada (Máscara Dorada, La Máscara and La Sombra) to win the CMLL World Trios Championship. They would lose the title to El Bufete del Amor (Marco Corleone, Máximo and Rush) on February 19, 2012. In March 2013, Ephesto was paired up with tecnicó wrestler for the 2013 Torneo Nacional de Parejas Increibles ("National Incredible Pairs Tournament") a tag team tournament where the concept was that rivals would be forced to work together to win the tournament. While the two managed to work together they still lost their first round match to the team of Diamante Azul and Euforia. On August 9, 2015, Los Hijos del Infierno defeated Los Reyes de la Atlantida ("The Kings of the Atlantis"; Atlantis, Delta and Guerrero Maya Jr.) to win the Mexican National Trios Championship, Ephesto's third trios title reign but the first under the "Ephesto" ring character. With the championship victory, Ephesto was eligible for the 2015 Universal Championship, where he was defeated by his tag team partner Mephisto. During Los Hijos del Infierno's championship reign they successfully defended the championship against both tecnicó trios (such as Ángel de Oro, Dragon Lee and Stuka Jr.) and rudo teams (such as Los Invasores; Olímpico, Kraneo and Ripper). In the 2016 Universal Championship tournament Ephesto was eliminated in the first round by La Máscara. In late 2016 Ephesto started a storyline rivalry with Guerrero Maya Jr. as the two found themselves on opposite sides in various six-man tag team matches. As the rivalry grew news outlest began speculating on if the two would put their masks on the line in a Lucha de Apuestas match. In January 2017, Ephesto made his Japanese debut by taking part in Fantastica Mania 2017, the annual tour co-produced by CMLL and New Japan Pro-Wrestling (NJPW). ## Personal life Ephesto's brother, Jesús Parra Ramírez, also works for CMLL under the name "Lucifierno" and has previously worked under ring names such as Hooligan, El Hombre Sin Nombre (years after Ephesto used the same name) and Último Rebelde. For years there was a common misconception among lucha libre fans that Ephesto, Último Guerrero, and Hooligan were all brothers. All three come from the "Lagunero" area in Mexico and early in their professional wrestling career, the three stuck together to try to break into wrestling. This shared experience caused them to sometimes refer to each other as "Brother" even though no familiar relationship exists between Último Guerrero and the Parra brothers. Ephesto's nephew made his CMLL debut in 2014 under the name "El Rebelde". ## Championships and accomplishments - Asistencia Asesoría y Administración - Mexican National Tag Team Championship (1 time) – with Latin Lover - Consejo Mundial de Lucha Libre - CMLL World Light Heavyweight Championship (1 time) - CMLL World Trios Championship (1 time) – with Averno and Mephisto - Mexican National Trios Championship (3 times) – with Olimpico and Mr. Niebla (1), and Volador Jr. and El Felino (1), Lucifierno and Mephisto (1) - Promo Azteca - Aztecas Middleweight Championship (1 time) - Pro Wrestling Illustrated - PWI ranked him \#152 of the 500 best singles wrestlers of the PWI 500 in 2007 ## Luchas de Apuestas record	[ "## Professional wrestling career", "### Ephesto (2007–present)", "## Personal life", "## Championships and accomplishments", "## Luchas de Apuestas record" ]	2,492	12,008
25,529,280	At the Movies (Rugrats)	1,154,458,693	null	[ "1991 American television episodes", "Rugrats and All Grown Up! episodes" ]	"At the Movies" is the first segment of the third episode of the animated television series Rugrats. It originally aired on the television network Nickelodeon on August 25, 1991, during the series' first season. In the episode, The Rugrats go to a movie theatre to see The Dummi Bears and the Land Without Smiles, but Tommy is infatuated with seeing a monster movie, Reptar!. He and the babies sneak out of the theater room to catch a showing of Reptar! while leaving a wake of accidental mayhem and destruction as they do. "At the Movies" was written by Craig Bartlett and series co-creator Paul Germain and directed by Dan Thompson. The episode introduced the characters of the Dummi Bears and Reptar. The Dummi Bears were inspired by non-violent children's characters such as the Care Bears and Disney's Adventures of the Gummi Bears, whereas Reptar was heavily inspired by the Japanese monster Godzilla and satirized the ever growing domination of Japanese culture into children's society. The character appeared in countless media tie-ins for the series, including a cereal brand, t-shirts, and video games, and would be reused in several other episodes of the series throughout its run. Author Jan Susina gave a generally positive review of "At the Movies" in the book, The Japanification of Children's Popular Culture: From Godzilla to Miyazaki. In 1997, it became available on the VHS Rugrats: Return of Reptar, which was nominated for Video Software Dealers Association's Home Entertainment Award in the "Outstanding Marketing Campaign for a Major Direct-to-Video Release" category in 2000. ## Plot Tommy wants to see Reptar, but his parents take him to see The Dummi Bears and the Land Without Smiles at Westside Octoplex. They decide it would be perfect as Tommy's first movie, and also invite their friends so they can all see the movie together. At the movie theater, Tommy tells his friends about Reptar. This causes them to want to see the movie about Reptar instead. As the film starts, they walk out of the Dummi Bears movie (which Grandpa Lou derisively refers to as The Land Without Brains) and try to find Reptar. While searching they walk into a theater featuring a romantic film. As they watch a couple kissing on the big screen, their silhouettes block some of the screen, as a man shouts at them "Hey! Down in front!" An usher comes in as the Rugrats hide around the seats to avoid being caught, inadvertently interrupting a couple having a date in the process. They leave with Lil stating that she doesn't like kissing movies, because "Nothing ever happens." They then wander to the concessions stand. There the babies find popcorn, orange and grape sodas, lids, napkins, cups, candy bars, ketchup, mustard and straws (the two teenage employees in charge, Larry and Steve, don't notice the babies because they're arguing over comic books). Tommy checks the popcorn booth for Reptar, while Phil and Lil take interest in the soda dispensers, pushing the buttons and spilling the soft drinks on the counters and floors until eventually they get stuck continuously pouring soda. Meanwhile, Chuckie, after sampling some candy, notices some stairs leading up while Phil and Lil start playing with the ketchup and mustard dispensers by the hot dog sections. Phil & Lil play with straws and spill all the straws. After Chuckie points out the stairs, Tommy concludes they'll find Reptar upstairs. As soon as the babies leave, the two teenagers notice the massive mess and scream. They climb up into the projection booths, perceiving the film projectors as "spaghetti merry-go-rounds". They check each movie until they find the right one, and are awed by the movie. Lou goes to the concession stand to get some snacks. As Phil tries to get a look because the others are crowding the window, Phil falls onto one of the film projectors and starts riding it around. Soon the rest of the babies start riding them. Then they grab the films and run around with them, tangling them up together as the films begin to unravel and break. Seeing the damage they've done, the babies quickly rush back downstairs as the projectionist notices the incredible mess and tries to save the film unsuccessfully. Grandpa Lou finds them after getting some snacks from the concession stand (he comments on the mess the babies caused, telling Larry and Steve how in his time they knew how to keep a work place clean). Grandpa Lou takes them back with him to the Dummi Bears movie, which catches in the projector and melts The Land Without Smiles at the climax, leaving most of the audience groaning. The babies smile at each other at this, while Grandpa Lou eats some popcorn. The Westside Octoplex theater was closed due to disasters as the patrons leave for not receiving a refund, the pictures going black when they were getting to important scenes and the guys thinking about if they saw a ghost, and complain about the taste of the popcorn (due to the mess the babies have made in the concession stand and destroyed the film projectors), Stu is angry at the fact that The Land Without Smiles went out at the climax. Didi tells him that they will have to wait until The Land Without Smiles comes out on video. But at least they think that Tommy can go through a whole movie without any fuss. Because they didn't see the ending, Didi and Stu decide to go out to see the movie again next week, but at a different theater. As Grandpa Lou eats a candy bar in the back seat, Tommy takes notice of a flashing Reptar billboard as they drive by. ## Production "At the Movies" was written by Craig Bartlett and Paul Germain—creator of Rugrats along with Arlene Klasky and Gábor Csupó—and directed by Dan Thompson. Germain additionally served as animation director, a role he played for all early episodes of the series. Recording sessions for the episode, located in Hollywood, California, for each actor individually took one day to complete, taking anywhere from fifteen minutes to four hours depending on the scene or role. The episode marked the first appearance of the character Reptar. Reptar was modeled visually to resemble a Tyrannosaurus rex, but his mannerisms and actions were meant to parody that of the fictional monster, Godzilla, who first appeared in the 1954 film Godzilla, released in Japan as Gojira. Though he is portrayed comically, his name was based on a child's mispronunciation of Velociraptor, a ferocious dinosaur made iconic for its appearance in the Steven Spielberg film Jurassic Park. As noted by W. J. T. Mitchell in his book The Last Dinosaur Book, children generally begin fascination with dinosaurs between ages four and seven, while at other times during pre-school and elementary school. This demographic was the general age of Rugrats' viewers, and likely the reason behind Reptar's species. "At the Movies" became available on the VHS release entitled Rugrats: Return of Reptar in 1997. The release included several other Reptar themed episodes, including "Reptar 2010" and "Reptar on Ice." It was released both as part of a special promotional deal between Paramount Home Entertainment and Oral-B and as a re-promotion of Rugrats videos during the holiday season. On June 2, 2009, "At the Movies" was released on the Rugrats: Season 1 DVD by Amazon.com. On May 2, 2017, "At the Movies" was released on the Rugrats: Season 1 DVD by Paramount Home Media Distribution. ## Cultural impact and references "At the Movies" introduced characters such as Reptar and the Dummi Bears—each of whom would become recurring characters throughout the series—and marked the first time in the series that the rugrats had seen a movie. Reptar, in particular, would appear in several episodes throughout the series in different manifestations. During different episodes, he has appeared as a toyline, a focal point in a marketing campaign, cereal brands, and a character in a television series. In The Rugrats Movie, released in 1998, Reptar appears as a mechanical wagon built by Stu, voiced by rapper Busta Rhymes. In its sequel, Rugrats in Paris: The Movie, released in 2000, the central setting is located at a vast Reptar theme park in France called "EuroReptarland," similar to Disneyland Paris, which features a stage production with a robotic Reptar created by Stu. Reptar himself became an actual merchandising piece and became the basis of several Rugrats promotional works. Several videos, books, toylines, and clothing have been marketed by Nickelodeon, serving as both a high-profit margin and a parody of the character's fictional success in the series. Bed sheets, lamps, and a cereal brand have all become available in stores and feature Reptar. A Rugrats video game entitled Rugrats: Search for Reptar, followed Tommy looking for missing pieces of a Reptar puzzle. The game was widely successful and become a part of PlayStation's "Greatest Hits" label in 1999. The Dummi Bears are parodies of the Care Bears franchise, and the film they are featured in, The Land Without Smiles, is a parody of the feature length 1985 film The Care Bears Movie based on the franchise, while the title of the film is a reference to the Care Bears' first TV special from 1983, The Care Bears in the Land Without Feelings. The Dummi Bears' name is a reference to the TV series Disney's Adventures of the Gummi Bears. One scene in The Land Without Smiles details the Dummi Bears firing valentines from the clouds for all the sad, bullied and lonely, teased children in the world references a similar scene from The Care Bears Movie. ## Reception "At the Movies" was originally broadcast on the television network Nickelodeon on August 25, 1991. It was paired with the episode "Slumber Party." In 2000, Rugrats: Return of Reptar, in which the episode featured, was nominated for Video Software Dealers Association's Home Entertainment Award for "Outstanding Marketing Campaign for a Major Direct-to-Video Release. In 2001, Nickelodeon allowed viewers to vote for their favorite Rugrats episode on Nick.com as part of the series 10th anniversary. When the poll results were announced, "At the Movies" ranked at number 39. The episode received a generally positive response. In the book The Japanification of Children's Popular Culture: From Godzilla to Miyazaki, Jan Susina opted that it was "appropriate" to introduce Reptar in the episode via a television commercial, as "Throughout the series, Reptar's power and popularity increases, so that by Rugrats in Paris a Euro-Reptarland exists." Susina also noted that his existence in the series was "one of the more unexpected" treatments of Japanese culture in "contemporary American children's culture."	[ "## Plot", "## Production", "## Cultural impact and references", "## Reception" ]	2,324	29,650
6,583,963	Vermont Route 17	1,145,423,691	State highway in western Vermont, US	[ "State highways in Vermont", "Transportation in Addison County, Vermont", "Transportation in Chittenden County, Vermont", "Transportation in Washington County, Vermont" ]	Vermont Route 17 (VT 17) is a 40.409-mile-long (65.032 km) state highway in western Vermont in the United States. The western terminus of the route is at the New York state line in Addison, where it connects to New York State Route 185 (NY 185) by way of the Lake Champlain Bridge. Its eastern terminus is at a junction with VT 100 in Waitsfield. VT 17 was initially much shorter than it is today, extending from the Champlain Bridge to Addison upon assignment. It was extended east through the Green Mountains to Waitsfield in 1965. ## Route description The routing of VT 17 varies greatly on opposite sides of the Bristol town center. West of Bristol, the route passes through generally level terrain and connects multiple communities. East of Bristol, VT 17 is more mountainous and more rural in nature. ### West of Bristol VT 17 begins at the New York state line over Lake Champlain, where it connects to NY 185 at the midpoint of the Lake Champlain Bridge. The route heads northeastward from the state line, descending the eastern bridge approach and intersecting VT 125 adjacent to the Chimney Point State Historical Site at Chimney Point. It continues northward along the lakeshore of Addison County and the town of Addison for roughly 2 miles (3 km) (passing D.A.R. State Park) before turning eastward toward the village of Addison. In the center of Addison, situated 6 miles (10 km) from Lake Champlain, VT 17 intersects VT 22A. VT 17 continues east from Addison, crossing over the Otter Creek and intersecting VT 23 near Weybridge prior to curving to the northeast toward Waltham. Midway between Waltham and New Haven, VT 17 briefly overlaps with U.S. Route 7 (US 7), before continuing eastward through New Haven to Bristol. As the route approaches the village of Bristol, it meets VT 116 at an intersection just west of the community. VT 116 turns east here, joining VT 17 through Bristol along Main Street. ### East of Bristol Outside Bristol, VT 17 and VT 116 are joined by the New Haven River, here marking the northern boundary of the Green Mountain National Forest. The roadway and waterway head east, following a winding route through the Green Mountains. When New Haven splits off to the southeast shortly afterward, VT 17 and VT 116 continue north along Baldwin Creek up to the point where VT 17 and VT 116 diverge. While VT 116 continues north along Beaver Brook, VT 17 remains in the vicinity of Baldwin Creek as it heads northeast through the Green Mountains. Midway between Bristol and Waitsfield, VT 17 intersects Gore Road, a local road that leads toward Burlington 15 miles (24 km) to the north. The route crosses into Chittenden County, as well as the Camel's Hump State Park, shortly afterward. The route leaves Chittenden County and passes into Washington County 2 miles (3 km) later upon traversing the Appalachian Gap, a mountain pass located to the north of Mount Ellen. East of the gap, VT 17 continues through the eastern Green Mountains for 6 miles (10 km) to Waitsfield, where it terminates at VT 100. ## History The road connecting the ferry landing at Chimney Point to the town center of Addison was designated as VT F-7 ca. 1927. The ferry crossed Lake Champlain into Port Henry. VT F-7 was extended eastward to US 7 in New Haven by 1929. In 1929, the Champlain Bridge opened, connecting Chimney Point to Crown Point. By the following year, the segment of VT F-7 west of VT 30A (now VT 22A) in Addison was renumbered to VT 17, which now began on the Champlain Bridge at the New York state line. In 1933, all of VT 17 and the portion of VT F-7's former routing between Addison and New Haven were added to the state highway system. Prior to this time, maintenance of both roads was performed by the towns through which they passed. VT 17 was subsequently extended eastward to New Haven along VT F-7's former routing. As part of the 1935 state highway expansion, additional mileage was added to VT 17, which was extended 4.3 miles (6.9 km) to VT 116 in Bristol. In 1936, a 2.7-mile (4.3 km) portion of the McCullough Turnpike in Fayston, which was chartered in 1933 but proved unprofitable, was deeded back to the state of Vermont and renamed to McCullough State Highway. The road, which extended eastward from the Chittenden–Washington county line, was paved during the period of 1936 and 1940. The rest of the McCullough Turnpike to VT 100 in Waitsfield became part of the state highway system in 1956. In 1965, the state legislature authorized the extension of VT 17 from Bristol to the Addison–Chittenden county line, connecting it to the McCullough State Highway by way of Chittenden County's section of the former McCullough Turnpike. The VT 17 designation was extended eastward through Chittenden County and along the McCullough State Highway at this time. VT 17's connection to the state of New York was temporarily severed in October 2009 when the Champlain Bridge was closed due to safety concerns. The bridge was demolished two months later, truncating VT 17 to the eastern shoreline of Lake Champlain until its replacement, the Lake Champlain Bridge, opened to traffic on November 7, 2011. ## Major intersections ## See also	[ "## Route description", "### West of Bristol", "### East of Bristol", "## History", "## Major intersections", "## See also" ]	1,223	31,385
15,824,196	Imaginative Tales	1,160,065,120	American science fiction magazine	[ "Defunct science fiction magazines published in the United States", "Magazines disestablished in 1958", "Magazines established in 1954", "Science fiction magazines established in the 1950s" ]	Imaginative Tales was an American fantasy and science fiction magazine launched in September 1954 by William Hamling's Greenleaf Publishing Company. It was created as a sister magazine to Imagination, which Hamling had acquired from Raymond A. Palmer's Clark Publishing. Imaginative Tales began as a vehicle for novel-length humorous fantasy, early issues featuring stories by Charles F. Myers and Robert Bloch. After a year, Hamling switched the focus to science fiction and it became similar in content to Imagination, publishing routine space operas. In 1958, with public interest in space high, Hamling changed the title to Space Travel, but there was little effect on sales. Magazine circulation was suffering because of the rise of the paperback, and the liquidation in 1957 of American News Company, a major magazine distributor, made it even harder for small magazines to survive. Hamling eventually ceased publication of both Imaginative Tales and Imagination in 1958, preferring to invest the money in Rogue, a men's magazine he had started in imitation of Playboy in 1955. ## Publication history American science fiction (sf) magazines first appeared in the 1920s with the launch of Amazing Stories, a pulp magazine published by Hugo Gernsback. World War II and its attendant paper shortages interrupted the expanding market for the genre, but by the late 1940s, the market had begun to recover again. From a low of eight active magazines in 1946, the field expanded to 20 in 1950, and a further 22 had commenced publication by 1954. One of these new titles was Imagination, launched at the end of 1950 by Raymond Palmer, who had recently left Ziff-Davis, where he had edited Amazing Stories. In September 1950, Ziff-Davis made the decision to move to New York from Chicago, and Palmer quickly sold Imagination to William Hamling, a Ziff-Davis editor who did not want to relocate and who, like Palmer, chose instead to become an independent publisher. In 1954, Hamling started a fantasy magazine as a companion to Imagination. He titled it Imaginative Tales; science fiction historian Mike Ashley comments that this was surprisingly late for Hamling to start a second title since it might have been more profitable earlier in the sf magazine boom, which was fading by late 1954. When Hamling announced the magazine, in an editorial in Imagination, he said "We actually don't know whether it's a magazine or paperback in magazine form", adding that it would usually carry book-length works. The format of the magazine was initially similar to that of Galaxy Science Fiction Novels, a series of digest-sized novels started in 1950 as a companion to Galaxy Science Fiction. Frank M. Robinson, a science fiction writer who was friends with Hamling, suggested changing the title from Imaginative Tales to Caravan and printing men's adventure fiction. Hamling knew Hugh Hefner, the publisher of Playboy, and Hefner set up a lunch with Playboy's distributor to talk over the idea. The distributor was unimpressed, and Hamling instead pitched the idea of a magazine that would compete with Playboy. The result was Rogue, which was more profitable than either of Hamling's science fiction titles. By the late 1950s, paperbacks were displacing magazines on newsstands, and there was widespread resistance among dealers to stocking new magazines. A further blow came in 1957 with the collapse of American News Company, the most important US magazine distributor. The resulting disruption spelled the end for many sf titles. Hamling retitled Imaginative Tales to Space Travel with the July 1958 issue, hoping to cash in on public interest in the early years of the space program. There was no impact on sales, though Ashley attributes this to the lack of interest among book dealers in new magazines. At the end of 1958, both the science fiction titles were axed, and Hamling invested the money in Rogue instead. ## Contents and reception While at Ziff-Davis, Hamling had become familiar with Fantastic Adventures, the fantasy companion to Ziff-Davis's Amazing Stories, and he was a fan of Charles F. Myers' "Toffee" stories, which had appeared in Fantastic Adventures from the late 1940s. These were humorous stories about a man and his beautiful imaginary girlfriend, Toffee, with what sf historian Joe Sanders calls an "exaggerated pose of naughtiness": nakedness was implied but never directly described, and sex was only hinted at. Hamling printed several "Toffee" stories in Imagination, and when he launched Imaginative Tales, he reprinted Shades of Toffee, a book-length story that had appeared in the June 1950 Fantastic Adventures, in the first issue. The first six issues included novels in the same vein by either Charles Myers or Robert Bloch, and short fiction soon began to appear. With the seventh issue, dated September 1955, Hamling converted Imaginative Tales to more closely resemble Imagination, printing science fiction rather than fantasy. Mike Ashley describes the contents from this point on as "unremarkable space opera"; regular contributors included some of the same writers who wrote for Imagination, including Geoff St. Reynard and Dwight V. Swain. Hamling obtained stories from Edmond Hamilton, who Sanders considers "the most readable of the novelists", but he also printed Raymond Palmer's "The Metal Emperor"—"a dreadful Shaveristic adventure" according to Ashley, and "possibly the worst story published in either of Hamling's magazines", according to Sanders. Henry Slesar's first sale, "The Brat", appeared in the November 1955 issue. Other writers included many authors who had been regular contributors to Amazing Stories—Hamling was familiar with these writers from his time at Ziff-Davis. Non-fiction features appeared once Hamling gave up on the novels-only format: a letter column, editorials, and an sf movie news column, "Scientifilm Marquee", contributed by Forrest Ackerman. With the title change to Space Travel, science articles by Henry Bott and Guenther Schmidt were added. ## Bibliographic details All 26 issues were digest-sized, edited by William Hamling and published by Hamling's Greenleaf Publishing Company, based in Evanston, Illinois. The schedule was bimonthly and was completely regular. Issues were initially labelled with a number only, and no volume; from the sixth issue this changed to a volume/number format. There were five volumes, all with six issues except the second volume, which had two. The first issue was 160 pages, and all remaining issues were 128 pages. The price was 35 cents throughout the run.	[ "## Publication history", "## Contents and reception", "## Bibliographic details" ]	1,393	43,820
1,821,374	Bergen Air Transport	1,054,448,380	Former Norwegian airline	[ "2017 disestablishments in Norway", "Airlines disestablished in 2017", "Airlines established in 1998", "Companies based in Bergen", "Defunct airlines of Norway", "Norwegian companies established in 1998", "Transport companies of Vestland" ]	Bergen Air Transport AS was an airline based at Bergen Airport, Flesland in Norway. In addition to charter aviation and an aviation workshop, it offered until 2017 a scheduled service between Bergen and Notodden Airport, Tuven. The airline operated two Beechcraft B200 King Air aircraft and one Cessna Citation CJ2. The airline was established in 1998, offering seaplane charter flights using Cessna 421 aircraft. The service to Notodden started in 2000; a Cessna 441 was acquired in 2003, and from 2006 the company used two Beechcraft. The company is owned by Geir Hellsten and Håkon Lie-Nielsen. This airline is not to be confused with Bergen Air Transport (1961), which operated from approximately 1961 to 1977 with Douglas DC-3, DC-4 und DHC-2 Beaver aircraft. ## History Bergen Air Transport was founded in 1998 by Geir Hellsten and Håkon Lie-Nielsen, and commenced operations the following year. Initial operations consisted of charter services, using a Cessna 421B. In 2000, the company replaced this aircraft with a Cessna 421C, and started the scheduled route between Bergen and Notodden using the six-seat aircraft. In 2000, the company had eleven employees and in revenue. To begin with, it made four round trips per week, but in 2001 it chose to increase to five, after experiencing high cabin loads. It transported 1,000 passengers in 2000, and 1,500 the following year. During the summer of 2002, the company also attempted to fly from Notodden to Kristiansund Airport, Kvernberget, but was forced to give up due to lack of passengers. A hangar was built at Bergen Airport in 2003, and at the same time the airline was certified as a mechanical aviation workshop. The following year, the Cessna 421 was replaced with a Cessna 441 Conquest II. In 2006, two Beechcraft King Air were bought, and the last Cessna sold. On 20 November 2003, Notodden Airport was closed for all scheduled traffic by the Norwegian Civil Aviation Authority, due to a lack of safety requirements. Bergen Air Transport was forced to reroute all its aircraft to Skien Airport, Geiteryggen. Following an investment of NOK 500,000 from the airline and NOK 1.2 million from the municipality, which owns the airport, scheduled services commenced again. From 1 October 2004, NOK 250,000 was invested at Notodden Airport. Starting in October 2004, the airline also introduced security control of all passengers at Notodden Airport. In 2005, the company had a revenue of NOK 10.3 million; this increased to NOK 20.1 million in 2006, giving a profit of NOK 2.8 million, when the airline transported 2,841 passengers. In September 2007, the company bought a new hangar at Notodden, giving it ample space for expansion, and new arrival and departure facilities., At the same time, the airline bought its first jet, a Cessna Citation CJ2. That year saw the airline transport 3441 passengers on 552 flights on the Bergen–Notodden route. The airline ceased operation of the route in 2017 and ceased all operative services the same year.	[ "## History" ]	744	14,933
61,129,045	1992 Football League Fourth Division play-off final	1,170,273,054	Association football match	[ "1992 Football League play-offs", "1992 sports events in London", "Blackpool F.C. matches", "EFL League Two play-off finals", "May 1992 sports events in the United Kingdom", "Scunthorpe United F.C. matches" ]	The 1992 Football League Fourth Division play-off Final was an association football match which was played on 23 May 1992 at Wembley Stadium, London, between Blackpool and Scunthorpe United to determine the fourth and final team to gain promotion from the Football League Fourth Division to the Third Division. The top three teams of the 1991–92 Football League Fourth Division, Burnley, Rotherham United and Mansfield Town, gained automatic promotion, while those placed from fourth to seventh place took part in play-offs. The winners of the play-off semi-finals competed for the final place in the Third Division for the 1992–93 season. Blackpool and Scunthorpe United beat Barnet and Crewe Alexandra, respectively, in the semi-finals. The match was refereed by Keith Hackett in front of 22,741 spectators. In the 40th minute, Tony Rodwell won the ball from Scunthorpe's Paul Longden and his cross found Dave Bamber at the far post who scored through the legs of goalkeeper Mark Samways with a low header. Scunthorpe equalised in the 52nd minute. Tony Daws received a pass from John Buckley which he volleyed past Steve McIlhargey in the Blackpool goal to make it 1–1. No further goals were scored and with the score level, the game went into extra time. Both sides had chances to score in the additional period but the game headed to a penalty shootout. The first six penalties were converted, making it 3–3, before the two Scunthorpe substitutes Graham Alexander and Jason White failed to score, and Blackpool won the shootout 4–3, securing promotion to the third tier of English football. Blackpool's next season saw them finish in eighteenth in the newly renamed Second Division (still the third tier of English football). Scunthorpe ended their following season in thirteenth position in the newly renamed Third Division (which remained the fourth tier of English football). ## Route to the final Blackpool finished the regular 1991–92 season in fourth position in the Football League Fourth Division, the fourth tier of the English football league system, one place and four points ahead of Scunthorpe United. Both therefore missed out on the three automatic places for promotion to the Third Division and instead took part in the play-offs to determine the fourth promoted team. Blackpool finished one point behind Mansfield Town and Rotherham United (who were promoted in third and second place respectively, the latter with superior goal difference), and seven behind league winners Burnley. Scunthorpe United's opponents for their play-off semi-final were Crewe Alexandra with the first match of the two-legged tie taking place at Gresty Road in Crewe on 10 May 1992. Craig Hignett gave Crewe the lead after six minutes with a strike from the edge of the Scunthorpe penalty area before Ian Helliwell equalised from close range eleven minutes later. He then scored his and Scunthorpe's second with a header ten minutes before half-time. In the 39th minute, Hignett's shot rebounded off the Scunthorpe goal-post and fell to Tony Naylor who scored to level the score. The second half was goalless and the match ended 2–2. The second leg was held three days later at Glanford Park in Scunthorpe. After a goalless first half, Dean Martin put the home side ahead in the 83rd minute before Ian Hamilton added a second one minute before full time to give Scunthorpe a 2–0 win and a 4–2 aggregate victory. Blackpool faced Barnet in the other semi-final and the first match was played on 10 May 1992 at Underhill in London. Mark Carter scored from close range in the 27th minute when Carl Hoddle's shot was not gathered by Blackpool's goalkeeper Steve McIlhargey to give Barnet the lead. With the second half goalless, the match ended 1–0. The second leg took place three days later at Bloomfield Road in Blackpool. Both Dave Bamber and Mitch Cook made goal-line clearances for Blackpool after McIlhargey failed to clear crosses, but in the 41st minute, the home side took the lead. Bamber headed a corner from David Eyres back across goal for Paul Groves who scored with a header from close range. After McIlhargey had made a save to deny a diving header from Jonathan Hunt, Andy Garner doubled Blackpool's lead from the penalty spot after Mick Bodley was penalised for handball. Blackpool won the match 2–0 and progressed to the final with a 2–1 aggregate victory. ## Match ### Background This was Blackpool's second appearance in the play-offs and their second final: they had lost to Torquay United on penalties in the 1991 Football League Fourth Division play-off final at the old Wembley Stadium. Blackpool had been relegated to the fourth tier of English football in the 1989–90 season. Scunthorpe United were participating in their fourth play-offs in five seasons but were appearing in the final for the first time. They had been relegated to the Fourth Division in the 1983–84 season. The two sides had faced one another in the 1991 Football League play-offs, with Blackpool securing a 3–2 aggregate victory. During the regular 1991–92 season, both sides won their home matches 2–1, Blackpool winning at Bloomfield Road in August 1991 and Scunthorpe victorious at Glandford Park the following December. The referee for the match was Keith Hackett. Both sides adopted a 4–4–2 formation for the final. ### Summary The match kicked off around 3 p.m. on 23 May 1992 at Wembley Stadium in hot conditions with 22,741 spectators in attendance. Scunthorpe made the better start, although in the 30th minute, Tony Rodwell made an opportunity for Bamber to score but he missed. In the 39th minute Hamilton sliced the ball over the Blackpool goal from around 8 yards (7.3 m) and a minute later, Blackpool took the lead. Rodwell won the ball from Scunthorpe's Paul Longden and his cross found Bamber at the far post who scored through the legs of Mark Samways with a low header. Neither side made any personnel changes at half time. In a much more open second half, Scunthorpe equalised in the 52nd minute. Tony Daws received a pass from John Buckley which he volleyed past McIlhargey in the Blackpool goal to make it 1–1. In the 68th minute, Blackpool made their first substitution of the match with Jamie Murphy coming on to replace Mike Davies. No further goals were scored and with the score level, the game went into extra time. During the additional time, Bamber's shot passed just outside the Scunthorpe post and Samways made a save to deny a strike from Rodwell. Scunthorpe made a double-substitution at the beginning of the second half of extra time with Jason White and Graham Alexander, two 20-year-olds, coming on in place of Daws and Buckley. With no change to the scoreline after 120 minutes, the match went to a penalty shootout. The first six spot-kicks were converted, making it 3–3, before Alexander's weak shot was saved by McIlhargey. Eyres then made it 4–3 to Blackpool before White struck his penalty over the crossbar. Blackpool won the shootout 4–3 and secured promotion to the third tier of English football. ### Details ## Post-match Bill Green, the Scunthorpe manager, described it as "a very, very sad way to lose". His counterpart, Billy Ayre, was sympathetic: "It is like judging a marathon on a 40-yard sprint ... It is not a fair way of doing it and now I can say that without it sounding like sour grapes." Bamber suggested that Blackpool were worthy winners: "We finished higher in the League ... We deserved it. Justice was done." Blackpool's next season saw them finish in eighteenth in the newly renamed Second Division (which remained third tier of English football). Scunthorpe ended their following season in thirteenth position in the newly renamed Third Division (which remained the fourth tier of English football).	[ "## Route to the final", "## Match", "### Background", "### Summary", "### Details", "## Post-match" ]	1,805	3,174
30,969,697	Big Thunder Ski Jumping Center	1,114,193,493	Architectural structure	[ "Ski jumping venues in Canada", "Sports venues in Thunder Bay" ]	Big Thunder Ski Jumping Centre was a twin ski jumping hill located in Thunder Bay in Northwestern Ontario, Canada. It constitutes part of Big Thunder National Training Centre. The first hills were built by Knute and Thor Hansen and opened in 1963. They were originally known as Lille Norway Ski Area, then Mt. Norway Ski Area, and Sundance Northwest Resort before taking the current name. The large and normal hills were built in 1974 and the venue was taken over by the provincial government in 1985. The hills hosted 29 FIS Ski Jumping World Cup and 50 Canadian Ski Jumping Championships tournaments between 1975 and 1995, climaxing with the FIS Nordic World Ski Championships 1995. Funding was then cut and the venue has since been closed and unmaintained. ## History The location was first identified by Knute Hansen, a ski jumper who felt that a location on Mount McRae in Lakehead would be ideal for a ski jumping hill. He and Thor Hansen built the first jumps, which were opened in 1963 and named Lille Norway Ski Area. In 1969, after the Hansens had fallen into financial difficulties, the venue was sold and renamed Mt. Norway Ski Area. Additional land for the complex was also leased, and the provincial government provided funding to construct the main twin hill. Construction of the 70 meter and 90 meter (current K-90 and K-120) hills was completed in 1974. The following year, the venue hosted its first Canadian Ski Jumping Championships. Three years later, the venue was again sold, this time being named Sundance Northwest Resort. In 1981, the Provincial Government of Ontario started redeveloping the site to transform it into a national training center. In 1985, the Ontario Ministry of Tourism and Recreation bought the site. In the course of five years, they built a K-64 hill, as well as Little Thunder, which consisted of K-10, K-20 and K-37 hills. The two largest of these were equipped with porcelain in-runs and plastic landing slopes, allowing for their use during summer. In 1990, the venue was awarded the hosting of the 1995 Nordic World Ski Championships. This required a major upgrade to the infrastructure, including floodlights. World Cup tournaments were placed on hold after 1991 for the upgrades. The venue hosted the Pre-World Championships, part of the World Cup, in 1994. In the final jumping event in the 1995 World Championships, Tommy Ingebrigtsen set a hill record of 137.0 meters (449 ft), 9 meters (30 ft) beyond the previous hill record. During the campaigning for the 1995 Ontario provincial election, Conservative Party leader Mike Harris deemed Big Thunder a "cash cow" as part of his Common Sense Revolution. Following the party's victory in the election, the venue was closed. Even though the venue closed, it still costs the province several hundred thousand dollars per year. The citizens group Friends of Big Thunder Bay announced on 1 March 2010, following the 2010 Winter Olympics in Vancouver, that they had sent a letter of intent to the provincial government where they stated that they wished to re-open the sports park. They intend to not only reopen the hill, but also the associated sports area and provide year-round training of ski jumping, freestyle skiing, cross-country skiing, mountain biking, event hosting and hiking. Ski Jumping Canada has asked the province to establish a training facility for ski jumping in Ontario, stating that lack of facilities make it difficult for Canada to produce ski jumpers for the world scene, and that this among other things will result in poor performances in the Olympics. ## Events Big Thunder was a regular site for the FIS Nordic Ski Jumping World Cup, and arranged a world cup round, typically with two jumps, every season from 1980 through 1991. Nordic combined was, in addition to the World Championships, hosted twice, in 1989 and in 1994. The last World Cup tournament was held in 1994 as a Pre-World Championship tournament. Contested between 9 and 19 March 1995, the FIS Nordic World Ski Championships is the hallmark of the venue, and the only major world championship to be contested in Northern Ontario. The Nordic combined individual took place on 9 March, and was won by Fred Børre Lundberg ahead of Jari Mantila. The following day saw Japan win ahead of Norway and Finland in the Nordic combined team event. In ski jumping, the individual normal hill event took place on 12 March, which saw a double Japanese victory with Takanobu Okabe winning ahead of Hiroya Saito. The team event in the large hill on 16 March saw Finland win ahead of Germany and Japan. In the large hill individual event on 18 March, Tommy Ingebrigtsen set a new hill record and won ahead of Andreas Goldberger. ## Results The following is a list of all FIS Ski Jumping World Cup and FIS Nordic World Ski Championship tournaments held at Big Thunder, with the date, hill and top three finishing athletes or teams.	[ "## History", "## Events", "## Results" ]	1,070	33,135
42,856,003	Wrexham A.F.C. 2–1 Arsenal F.C.	1,158,931,772	null	[ "1991–92 FA Cup", "1991–92 in Welsh football", "Arsenal F.C. matches", "FA Cup matches", "January 1992 sports events in the United Kingdom", "Wrexham A.F.C. matches" ]	The 1991–92 FA Cup third-round match between Wrexham and Arsenal was played at the Racecourse Ground, Wrexham on 4 January 1992. Billed as a potential cup upset by the media, the visitors went into the match as favourites given the gulf in divisions that separated the two teams. Arsenal entered the FA Cup in the third round, as they participated in the Football League First Division, while Wrexham of the Fourth Division won their first two ties to reach this stage of the competition. Watched by a near-capacity crowd, the visitors Arsenal began the tie more strongly, but failed to convert their chances. They took the lead minutes before half-time when Alan Smith scored from a Paul Merson cross. Wrexham's performance improved the longer the match went, and they equalised through Mickey Thomas's free kick in the 82nd minute. Two minutes later, the home side went ahead after Steve Watkin collected the ball from his teammate Gordon Davies and diverted it past goalkeeper David Seaman. A pitch invasion occurred once the whistle blew for full-time; the Wrexham players and staff joined in celebrations with their supporters. Wrexham's reward was a fourth-round tie against West Ham United which they lost in a replay. Referred to as one of the greatest FA Cup "giant-killings" of all time, Arsenal manager George Graham described Wrexham's win as his "lowest moment in football." Graham recovered to guide his team to glory in the competition the following season, as they beat Sheffield Wednesday in the 1993 Cup final. ## Background Arsenal were the reigning champions of England having won the Football League First Division title in 1990–91. The team had only lost one match in their successful league campaign, to Chelsea in February 1991. Arsenal's opponents Wrexham had finished bottom of the entire Football League the previous season. In normal circumstances this meant the club would have been relegated to the Football Conference, but The Football League's plan to expand its competition in time for the 1991–92 season meant there was to be no demotion. Both clubs met once previously in all competitions – an FA Cup quarter-final played on 11 March 1978 which Arsenal won by three goals to two. Wrexham qualified for the third round of the 1991–92 FA Cup after beating Winsford United 5–2 in the first round and Telford 1–0 in the second round. Arsenal, like the other top division clubs, entered the competition in the third round. They went into the match as strong favourites; Vinnie Wright's pools forecast in The Times predicted an away win, though Wrexham manager Brian Flynn noted: "On paper they should murder us, but the match isn't being played on paper." Indeed, a match preview compiled by Times journalist Clive White warned against complacency for the visitors: "Wrexham are no push-overs at home and may be encouraged by the absence of Limpar, Wright and Bould in the Arsenal team." Wrexham's precarious league position was covered in a The Guardian feature piece, which examined the feasibility of the club's ambitious redevelopment project. As part of a £42 million plan, Wrexham secretary David Rhodes proposed a new 5,000 all-seater stadium, while its Racecourse Ground would be converted into a supermarket. The FA Cup tie between Wrexham and Arsenal was not televised live in the United Kingdom, though regular updates were broadcast on BBC Radio 5, Final Score and ITV's Results Service. The match was the featured game on BBC One's Match of the Day: The Road to Wembley, a highlights programme presented by Des Lynam. Commentary was provided by Tony Gubba. ## Match ### Summary Wrexham's squad included three Welsh internationals, Mickey Thomas, Gordon Davies and substitute Joey Jones. The first eleven was mostly composed of youth graduates, aged 20 years or under. By comparison, Arsenal's squad was greatly experienced with seven England internationals. Manager George Graham named a strong first eleven: David O'Leary came in for Bould to partner Tony Adams in defence, while Jimmy Carter made his second start for the club since joining in late 1991. Arsenal got the game underway and won the first corner of the match. Taken by Paul Merson, the ball was flicked on at the near post by O'Leary and reached Alan Smith. The forward's header was obstructed by a Wrexham player, who proceeded to clear it out. It did not take long for Arsenal to create another chance; Nigel Winterburn played the ball down the left side of the pitch, finding Merson who ran in towards the penalty area and produced a cross. The ball was cleared, but reached Carter whose effort near the penalty spot went wide of the right-side post. Wrexham managed to get into the opposition's area and create half-chances, but then Arsenal broke forward again with Kevin Campbell having a shot on target. Gareth Owen nearly scored the opener, when he controlled the ball from a flick on and instinctively took a shot that whistled past the post. Two minutes before the interval, Arsenal took the lead. Merson surged forward into the penalty area and his cross was met Smith who slid the ball past goalkeeper Vince O'Keefe. Wrexham almost equalised immediately from the restart, but David Seaman denied Steve Watkin by rushing towards the midfielder and obstructing him. In the second half, Arsenal struggled to overrun Wrexham as the home side limited their time on the ball and closed players down quickly. Long ball tactics from Arsenal however still saw chances, as Winterburn hit the bar and Campbell had a shot blocked by O'Keefe. In the 82nd minute, Wrexham were awarded free kick from 25 yards (23 m). Having faked to take it quickly, Thomas lined up the shot which arrowed into the top corner past Seaman. The Arsenal goalkeeper had got fingertips from his right-hand to the effort, but not enough to stop it flying in. Within two minutes of the equaliser, Wrexham went ahead: a poor clearance by Winterburn resulted in Davies latching onto the ball over the top and, instead of volleying an effort on goal, he squared it for Watkin. Adams went across the midfielder in an attempt to intervene, but fumbled. An outstretching Watkin poked the ball past Seaman which went beneath the goalkeeper. Arsenal responded by dominating the final minutes with repeated attacks, but Wrexham's defence stood firm. Carter had the ball in the net late on, but the referee ruled the goal out for offside; the final whistle was blown moments later and sparked a pitch invasion from the joyous home fans. ### Details ## Aftermath and legacy A jubilant Thomas described the free kick as the most crucial goal of his career, and believed Wrexham had every chance of causing another upset in the next round, despite an unfavourable away draw: "We are disappointed not to be at home but after beating the champions we're not afraid of anyone." He credited the club for their conditioning programme but also attributed the good form to casual drinking: "I always have two pints of Guinness on a Friday, sometimes more. It gives me energy, I feel stronger and believe in it." His manager Flynn admitted Thomas "trains when he wants to train," and added: "I will take whatever he's taking to keep him going. And if he was 10 years younger I'd be able to sell him for £5m." Days after the win, Thomas was charged by North Wales Police for his involvement in a counterfeit currency scam. He was arrested a year later, and following a trial was sentenced to 18 months in jail. Graham offered no complaints and told reporters: "I thought they played very well. We just didn't finish them off. It's a thin dividing line between success and failure." He went on to call the defeat his "lowest moment in football." Wrexham midfielder Davies accused Arsenal of underestimating their opponents and felt their unrest at having conceded the equaliser worked to the home side's advantage: "I thought they were going to be a lot more professional when they were leading and tighten it up. They treated it as a training match. We've got a team of youngsters and two old men and perhaps our desire to win was greater than theirs." Wrexham were drawn to play West Ham United in the fourth round, where they secured a 2–2 draw at the Boleyn Ground thanks to goals from Wayne Phillips and Lee Jones. The replay was played on 4 February with a solitary West Ham goal coming from defender Colin Foster, securing a 1–0 win in front of 17,995 fans at the Racecourse Ground. Arsenal's league form in the meantime stuttered as they recorded no wins in January. The team ended the campaign strongly, putting together a sequence of 16 games unbeaten to finish fourth. In the cup competitions the following season Arsenal performed better; Graham guided his team to success in the Football League and FA Cup finals. On the 20th anniversary of the match, Thomas recalled the goal as "...the one people talk about. I don’t mind, though. It's still my best ever." He disclosed that his teammates never thought Wrexham had a chance of progressing into the fourth round, rather "we just wondered how many they were going to score." Cited as one of the greatest upsets in Cup history, commentator John Motson described the Wrexham-Arsenal tie as a "giant killing which has stood the test of time." In 2013, the match featured in a list of greatest ever FA Cup upsets, as voted for by ESPN viewers. ## See also - Hereford United 2–1 Newcastle United - Norwich City F.C. 0–1 Luton Town F.C. - Chelsea F.C. 2–4 Bradford City A.F.C.	[ "## Background", "## Match", "### Summary", "### Details", "## Aftermath and legacy", "## See also" ]	2,068	17,753
6,562,473	Wär Gott nicht mit uns diese Zeit, BWV 14	1,158,507,291	Church cantata by Johann Sebastian Bach	[ "1735 compositions", "Chorale cantatas", "Church cantatas by Johann Sebastian Bach", "Psalm-related compositions by Johann Sebastian Bach" ]	Johann Sebastian Bach composed the church cantata Wär Gott nicht mit uns diese Zeit (Were God not with us at this time), BWV 14, in Leipzig in 1735 for the fourth Sunday after Epiphany and first performed it on 30 January 1735, a few weeks after his Christmas Oratorio. The cantata, in Bach's chorale cantata format, is based on Martin Luther's hymn "Wär Gott nicht mit uns diese Zeit". Its text paraphrases Psalm 124, focussing on the thought that the believers' life depends on God's help and is lost without it. Bach composed the cantata as a late addition to his chorale cantata cycle of 1724/25. In 1725, Easter had been early and therefore no fourth Sunday after Epiphany happened. The text was possibly prepared already at that time. Ten years later, Bach wrote an advanced unusual chorale fantasia as the first section of it, combining elements of a motet with complex counterpoint. The hymn tune is played by instruments, freeing the soprano to interact with the lower voices. In the inner movements, sung by three soloists, Bach depicts in word painting terms such as flood, waves and fury. The closing chorale resembles in complexity the chorales of his Christmas Oratorio. ## History and words Bach held the position of Thomaskantor (director of church music) in Leipzig from 1723. During his first year, beginning with the first Sunday after Trinity, he had written a first cycle of cantatas for the occasions of the liturgical year. In his second year he composed a second annual cycle of cantatas, which was planned to consist exclusively of chorale cantatas, each based on one Lutheran chorale. As Easter was early in 1725, there was no Fourth Sunday after Epiphany that year. In 1735, shortly after the first performance of his Christmas Oratorio, Bach seems to have desired to fill this void and complete his cycle of chorale cantatas. Bach scholar Christoph Wolff found it evident that Bach reprised the second cycle in 1735, performing the new cantata between Was mein Gott will, das g'scheh allzeit, BWV 111, for the third Sunday after Epiphany and Ich hab in Gottes Herz und Sinn, BWV 92, for Septuagesima. The prescribed readings for the fourth Sunday after Epiphany were taken from the Epistle to the Romans, "love completes the law" (), and from the Gospel of Matthew, Jesus calming the storm (). The Neu Leipziger Gesangbuch, which was the standard hymnal in Leipzig since the late 17th century, specifies Luther's "Wär Gott nicht mit uns diese Zeit" as one of five hymns for the occasion. The cantata text is based on this hymn in three stanzas, a paraphrase of Psalm 124, published in Johann Walter's hymnal Eyn geystlich Gesangk Buchleyn of 1524. According to John Eliot Gardiner, this hymn "apparently, had been sung on this Sunday in Leipzig from time immemorial". In Bach's typical format of the chorale cantata cycle, the text of the outer stanzas is retained unchanged, while an unknown librettist paraphrased the inner stanzas, in this case to three movements, two arias framing a recitative. According to Wolff, the librettist may have been Andreas Stübel, writing previously in 1724/25. The theme of the chorale is connected to the gospel in a general way: the believer's life depends on God's help and is lost without it. A connection is also provided by the image of flooding water that the psalm conveys, which begins "If it had not been the Lord who was on our side" (), and continues "then the waters had overwhelmed us, the stream had gone over our soul, then the proud waters had gone over our soul" (). The poet paraphrased it in the central recitative to "Es hätt uns ihre Wut wie eine wilde Flut und als beschäumte Wasser überschwemmet" ("Their fury would have, like a raging tide and like a foaming wave, flooded over us"). Bach first performed the cantata on 30 January 1735. It is one of his latest extant church cantatas. The only other extant Bach cantata for the fourth Sunday after Epiphany is his first cycle cantata BWV 81. ## Music ### Scoring and structure Bach structured the cantata in five movements. In the format typical for his chorale cantatas, the first and last movements are set for choir as a chorale fantasia and a closing chorale respectively. They frame a sequence of aria / recitative / aria which the librettist derived from the middle stanza of the hymn. Bach scored the work for three vocal soloists (soprano (S), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: corno da caccia (Co), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo (Bc). In the following table of the movements, the scoring, keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown. ### Movements #### 1 The opening chorus, "Wär Gott nicht mit uns diese Zeit" (Were God not with us at this time), is a chorale fantasia on the hymn tune. Luther's hymn is sung to the same melody as "Wo Gott der Herr nicht bei uns hält" by Justus Jonas, which Bach had treated to a chorale cantata, Wo Gott der Herr nicht bei uns hält, BWV 178. The opening chorus is an unusual composition that does not follow the scheme of instrumental ritornellos with a cantus firmus, sung line by line by the soprano in long notes. In a setting resembling a motet, the strings play colla parte with the voices, and each line of the chorale is prepared by a complex four-part counter-fugue, in which the first entrance of a theme is answered in its inversion. After preparing entrances, the chorale melody is not sung but played by the horn and the oboes in long notes, creating a five-part composition, which is unique in Bach's cantata movements. The only other piece of similar complexity, also giving the cantus firmus to the instruments, is the opening chorus of Ein feste Burg ist unser Gott, BWV 80, but it is not conceived as a counter-fugue. #### 2 The first aria, "Uns're Stärke heißt zu schwach" (Our strength itself is too weak), is sung by the soprano, accompanied by the strings and the horn, which illustrates the text's "stark" (strong) and "schwach" (weak) in combination with the voice. Gardiner notes that the horn supports the voice "in its highest register (referred to in the autograph part as Corne. par force and tromba)". #### 3 The central recitative, "Ja, hätt es Gott nur zugegeben" (Yes, if God had only allowed it), is sung by the tenor as a secco recitative accompanied only by the continuo. The dangers of flooding waters are illustrated in fast passages of the continuo on words such as "Wut" ("fury"), "Flut" ("flood") and "überschwemmet" ("inundate"), making the movement almost an arioso. #### 4 The bass aria, "Gott, bei deinem starken Schützen sind wir vor den Feinden frei." (God, under Your strong protection we are safe from our enemies.), is accompanied by the two oboes. The middle section shows similar word painting, picturing "Wellen" (waves) in octave leaps and fast downward scales. #### 5 The closing chorale, "Gott Lob und Dank, der nicht zugab, daß ihr Schlund uns möcht fangen" (Praise and thanks to God, who did not permit that their maw might seize us), is a four-part setting with "contrapuntally animated bass and middle voices", similar to the chorales of the Christmas Oratorio, first performed a few weeks before. Wolff comments on the maturity of Bach's late church cantatas caused by "the experience accumulated by the composer between 1723 and 1729, which lends the later cantatas an especial ripe character". ## Recordings Instrumental groups playing period instruments in historically informed performances are highlighted green under the header "Instr.".	[ "## History and words", "## Music", "### Scoring and structure", "### Movements", "#### 1", "#### 2", "#### 3", "#### 4", "#### 5", "## Recordings" ]	1,871	17,608
11,846,219	Sally (Flight of the Conchords)	1,163,914,048	null	[ "2007 American television episodes", "American television series premieres", "Flight of the Conchords episodes", "Television episodes directed by James Bobin", "Television episodes written by Bret McKenzie", "Television episodes written by James Bobin", "Television episodes written by Jemaine Clement" ]	"Sally" is the pilot episode of the American television sitcom Flight of the Conchords. It first aired on HBO on June 17, 2007. In this episode, New Zealanders Jemaine Clement and Bret McKenzie of the band Flight of the Conchords have moved to New York City to try to make it in the United States. At a party, Jemaine falls for, and subsequently begins dating, Sally—Bret's former girlfriend. As Jemaine's attentions focus on Sally, a lonely Bret is forced to deal with the advances of Mel (Kristen Schaal), the band's obsessed—and only—fan. Meanwhile, Murray (Rhys Darby), the band's manager, helps the band film their first music video, although they cannot afford decent costumes or proper video equipment. "Sally" received largely positive reviews from critics. According to Nielsen Media Research, "Sally" drew over 1.2 million viewers. Several of the songs from the episode, most notably "Robots", "Not Crying", and "Most Beautiful Girl (In the Room)" received critical acclaim. All three songs were released on the band's EP The Distant Future, although "Robots" appeared in a live form. "Robots" later was re-recorded and released on the band's debut album Flight of the Conchords, along with "Most Beautiful Girl (In the Room)." The latter was later nominated for an Emmy Award for Outstanding Original Music And Lyrics. ## Plot Jemaine (Jemaine Clement) and Bret (Bret McKenzie) attend a party thrown by their friend Dave (Arj Barker). In the crowd Jemaine spots a beautiful woman, Sally (Rachel Blanchard), inspiring him to sing "Most Beautiful Girl (In the Room)". Jemaine and Sally leave the party and eventually go back to the band's apartment, but just as they begin kissing, Bret disturbs them by turning on the light, and an embarrassed Sally leaves. The next morning, Jemaine blames her departure on "the whole situation with the light". However, Bret suggests it was because he used to date her himself. Bret and Jemaine go to a band meeting with their manager Murray (Rhys Darby) in his office in the New Zealand Consulate. Murray criticizes Jemaine for dating his bandmate's ex, and discusses the need to increase the group's fan base, which currently consists of only one person: the obsessive Mel (Kristen Schaal). Bret suggests they film a music video. However, unable to afford real video equipment and robot costumes like Daft Punk, they are forced to rely on a camera phone and disappointing cardboard costumes made by Murray. Regardless, they manage to film a video for "Robots". Over the following week, Jemaine spends more time with Sally, leaving Bret feeling lonely and neglected. When Bret suggests hanging out sometime, Jemaine invites him along on a dinner date with Sally, but they all feel a "bit weird" and Bret leaves early. On the way home, Mel tries to cheer him up but fails miserably. Immediately after dinner, Sally breaks up with Jemaine, leading him to sing "Not Crying" with Bret. ## Production "Sally" was written by series co-creators James Bobin, Jemaine Clement, and Bret McKenzie, the latter two starring as the titular Flight of the Conchords. Bobin directed the episode. The episode is the first of the series to feature Rachel Blanchard as Sally. The character returns to disrupt Bret and Jemaine's lives in the fifth episode, "Sally Returns". In "Sally", the character Mel shows Bret that she carries around a picture of Jemaine's lips in her wallet. This was inspired by an incident that happened to the band during the filming of their documentary A Texan Odyssey which covered their trip to the 2006 South by Southwest (SXSW) festival in Austin, Texas. The incident was caught on camera and is included in the documentary. Judah Friedlander has a cameo appearance in this episode, playing the role of the man who tries to sell Dave a cake. The episode contains several cultural references. Murray is wearing a New Zealand All Blacks rugby shirt when the band is in Dave's pawn shop obtaining a camera. In the same scene, Murray and Bret have a conversation about the band Fleetwood Mac and their album "Rumours". Rhys Darby, who played Murray, later asked Mick Fleetwood, the drummer for the band, if he heard the joke and whether or not he enjoyed it. Fleetwood admitted that he "appreciate[d]" the joke. During the filming of the video for "Robots", Jemaine tells Murray that he wanted robot costumes "like Daft Punk" rather than the amateur versions hand-crafted by Murray. Murray replies with a characteristic lack of musical knowledge: "I don't know who he is." ### Songs The first song featured in the episode is "The Most Beautiful Girl (In the Room)." The song, also known as "Part-Time Model", was based on the conceit of a man "who's not very good at compliments." The song begins after Jemaine sees Sally from across the room at Dave's party. Jemaine details his seduction of Sally, describing her as being so beautiful she could be a "part-time model". This song was voted number 60 in the 2008 Triple J Hottest 100. Later, the song was nominated for an Emmy award for Outstanding Original Music And Lyrics. The second song featured in the episode is "Robots". The song, also known as "Humans Are Dead", is sung by both Bret and Jemaine. It is set in a post-apocalyptic "distant future", humorously stated to be the year 2000, where all humans are dead and robots have taken over the world. Within the context of the plot of the show, it is the band's first music video. Since the band has very limited funds, Murray constructs the robot costumes himself and films the video using a cell phone. The third and final song featured is "Not Crying". The song begins as Sally breaks up with Jemaine. Jemaine denies that he is crying by offering excuses such as "it's just been raining on my face". All three of the songs were released on The Distant Future EP in 2007, however, "The Most Beautiful Girl (In the Room)" and "Robots" appeared in live form. The two were subsequently re-recorded in studio form for the band's debut album, Flight of the Conchords in 2008. ## Broadcast and reception "Sally" debuted on the internet, a month before the show premiered on HBO. The network, in conjunction with MySpace, iTunes, Yahoo! TV, Movielink, Comcast.net and Roadrunner.com, allowed a promotional version of the episode to be streamed as part of an online marketing campaign to build up word-of-mouth for the series. On television, "Sally" debuted on the HBO in the United States at 10:30 PM on Sunday, June 17, 2007, in the time slot preceded by Entourage, and vacated by the last episode of the final season of The Sopranos. The episode received over 1.2 million viewers. The episode received largely positive reviews from critics. IGN, in an advanced review of the episode, awarded "Sally" an "amazing" 9.2 out of 10 rating and called the series "The funniest show you haven't seen yet." The review noted that, "Flight of the Conchords deserves the buzz it is slowly building. This is a very funny show." Blogcritics reviewer Daniel J. Stasiewski noted that the series was different for HBO, writing, "Flight of the Conchords isn’t Entourage or Sex in the City or even Extras. It’s different. And sometimes different is just good." Stasiewski, however, did note that the availability of the band's music on video sites like YouTube meant that watching the series was not worth the cost of a cable subscription. Further more, Stasiweski noted that while "the fun, quirky music videos that pop-up can make this long half-hour worth watching [...] the 10 or so minutes in between numbers aren’t groundbreaking comedy." Chris Schonberger from Entertainment Weekly gave the episode a largely positive review. He called the new series "the funniest hour of comedy on television" and noted that the performance of Rhys Darby as Murray Hewitt was excellent, calling his character "scene-stealing". Finally, Schonberger positively compared the episode to the 2004 comedy film Napoleon Dynamite, writing, "Indeed, the whole pilot vaguely reminded me of Napoleon in the way that the characters just sort of lurk around and pour their limited energy into absurd activities".	[ "## Plot", "## Production", "### Songs", "## Broadcast and reception" ]	1,843	18,040
48,886,896	French submarine Amiral Bourgois	1,146,028,467	Experimental French Navy vessel	[ "1912 ships", "Submarine classes", "World War I submarines of France" ]	Amiral Bourgois was one of four experimental submarines ordered for the French Navy in 1906. Each boat was built to a different design and Amiral Bourgois was intended to test a novel powerplant. The experimental diesel engines took over six years to build and greatly delayed the boat's completion until 1913. Although engine problems plagued the submarine throughout her service, she was commissioned shortly after the start of the First World War in 1914, but never made an operational patrol. Amiral Bourgois was under repair when the war ended in 1918, but the work was cancelled shortly afterwards. The boat was struck the following year and offered for sale in 1920. There were no offers and she was used for torpedo testing in 1924–1926. The submarine was sold for scrap in 1927. ## Background and description The Board of Construction (Conseil des travaux) intended to order 20 submarines for the 1906 naval program, including two large long-range experimental boats, one of which was a design by naval constructor Pierre Marc Bourdelle using an unproven Sabathé-cycle diesel engine. The board was preempted by Navy Minister (Ministre de la Marine) Gaston Thomson who opened a competition for submarines that were faster on the surface and with longer range than the preceding Pluviôse class on 6 February 1906. Surfaced requirements were for a maximum speed of 15 knots (28 km/h; 17 mph), a range of 1,250 nautical miles (2,320 km; 1,440 mi) without using an auxiliary fuel tank, and a range of 2,500 nmi (4,600 km; 2,900 mi) with the extra fuel. Submerged, the boats had to have a maximum speed of 10 knots (19 km/h; 12 mph) and a range of 100 nmi (190 km; 120 mi) at 5 knots (9.3 km/h; 5.8 mph). Four designs were submitted, including Bourdelle's Amiral Bourgois, all of which were authorized by the board, along with 16 Brumaire-class submarines. The submarine was an enlarged version of the twin-hulled Brumaire design with a surfaced displacement of 580 metric tons (570 long tons) and a submerged displacement of 746 t (734 long tons). The boat had an overall length of 56.2 metres (184 ft 5 in), a beam of 5.52 meters (18 ft 1 in) and a draft of 3.7 m (12 ft 2 in). She had a metacentric height of 0.852 m (2 ft 10 in) when surfaced. Her crew numbered three officers and 26 sailors. The submarine's inner hull was divided into seven watertight compartments. The boat had two rudders, one at the stern and the other below the forward torpedo room. She had three sets of diving planes, fore, aft, and amidships, to control her depth below the water. The boat was fitted with 16 ballast tanks in the space between the inner and outer hulls, plus a single interior tank. Amiral Bourgois carried 15,420 liters (3,390 imp gal; 4,070 U.S. gal) of kerosene. On the surface, the boat was powered by a pair of four-cylinder Sabathé-cycle diesel engines built by Schneider et Cie, each driving one three-bladed, 1.7 m (5 ft 7 in) propeller. The engines were designed to develop a total of 1,400 metric horsepower (1,000 kW) and a speed of 13.5 knots (25.0 km/h; 15.5 mph). When submerged the propellers were driven by two 500-metric-horsepower (493 shp; 368 kW) electric motors using electricity from two 120-cell batteries. During her sea trials Amiral Bourgois reached 13.85 knots (25.7 km/h; 15.9 mph) from 1,354 PS (996 kW) on the surface and 8.65 knots (16.0 km/h; 10.0 mph) underwater. The boat demonstrated a range of 1,500 nmi (2,800 km; 1,700 mi) at 10 knots (19 km/h; 12 mph), submerged, she had a range of 89 nmi (165 km; 102 mi) at 4.2 knots (7.8 km/h; 4.8 mph). Internally, Amiral Bourgois was armed with two superimposed 45 cm (17.7 in) torpedo tubes in the bow. Externally, the boat had one tube at the stern and two pairs of rotating Drzewiecki drop collars, one pair each fore and aft of the sail. The submarine was equipped with Modèle 1911V torpedoes. These had a 110-kilogram (240 lb) warhead and a range of 2,000 meters (2,200 yd) at a speed of 36 knots (67 km/h; 41 mph). ## Construction and career Amiral Bourgois, named for the naval architect and admiral, Siméon Bourgois, who had designed the first French submarine Plongeur, was ordered on 31 December 1906 from the Rochefort Naval Base (Arsenal de Rochefort). She was laid down on 19 May 1908 and was launched on 25 November 1912. Her diesels had been ordered on 15 January 1906, but did not arrive until 4 May 1912 and proved very unreliable in service, seriously delaying completion. Sea trials of her electric motors on the surface began on 21 July 1913 and testing of her diesels began on 19 August and lasted through 4 March 1914. The submarine had made a test dive down to a depth of 25 m (82 ft) on 27 February. Underwater testing of her electric motors was conducted on 7–10 July. At some point during her trials a "walking deck" was installed over her outer hull to improve surface operations. The boat was commissioned on 7 August, shortly after the beginning of the First World War, and was assigned to the 2nd Light Squadron (2<sup>e</sup> Escadre légère) defending the English Channel. By the time Amiral Bourgois was transferred from Rochefort to Cherbourg a month later, her diesel engines had only run for nine hours. The boat made no operational patrols and did not conduct the endurance trials of her diesels until 17 December 1916. The vice admiral commanding the squadron commented on 11 April 1917 that the submarine was never available for operations and recommended that she be disposed of. Amiral Bourgois struck a rock on the approaches to Brest on 15 May 1917 and a 65-millimetre (2.6 in) deck gun was installed on 10 August. The submarine was transferred to the Normandy submarine squadron in January 1918, but was reassigned to the School of Underwater Navigation at Toulon on 13 May to get her engines repaired. The work was ordered to be stopped on 25 November and she was struck from the navy list on 12 November 1919. Although she was subsequently listed for sale, Amiral Bourgois was taken off the list and reserved for torpedo testing on 21 March 1924. The submarine was sold for scrap at a price of 176,135 francs on 25 June 1927.	[ "## Background and description", "## Construction and career" ]	1,614	15,655
2,612,854	Rochus Misch	1,173,066,524	German SS non-commissioned officer (1917–2013)	[ "1917 births", "2013 deaths", "German prisoners of war in World War II held by the Soviet Union", "German torture victims", "Military personnel from the Province of Silesia", "People from Opole", "Personal staff of Adolf Hitler", "Recipients of the Iron Cross (1939), 2nd class", "SS non-commissioned officers", "Shooting survivors", "Waffen-SS personnel" ]	Rochus Misch (29 July 1917 – 5 September 2013) was a German Oberscharführer (sergeant) in the 1st SS Panzer Division Leibstandarte SS Adolf Hitler (LSSAH). He was badly wounded during the Polish campaign during the first month of World War II in Europe. After recovering, from 1940 to April 1945, he served in the Führerbegleitkommando (Führer Escort Command; FBK) as a bodyguard, courier, and telephone operator for German dictator Adolf Hitler. Misch was widely reported in the media as being the last surviving former occupant of the Führerbunker when he died in September 2013. ## Early life and education Misch was born on 29 July 1917 in Alt-Schalkowitz near Oppeln (Opole) in the Province of Silesia (now Stare Siołkowice, Poland). His father, a construction worker, died of wounds sustained in World War I. His widowed mother died of pneumonia when he was two and a half, and he grew up with his grandparents. His older brother Bruno died following a swimming accident in 1922. Over the objections of the school director, his grandfather took him out of school after eight years as he thought Rochus needed to learn a trade. After several years, Misch moved to Hoyerswerda and became an apprentice with the firm of Schmüller & Model. There he trained as a painter. In 1935, after working as a journeyman painter, Misch attended the Masters' School for Fine Arts in Cologne. After six months, he returned to Hoyerswerda to continue his training. Misch met Gerda, his wife-to-be, in July 1938. They later married on New Year's Eve, 1942. They had a daughter, Brigitta Jacob-Engelken, who, after the end of World War II, supported Jewish causes. ## Military service In 1937, Misch received a call-up notice for military service. In Offenberg, he joined the SS-Verfügungstruppe (SS-VT), the predecessor to the Waffen-SS, instead of the German Army as the SS-VT did not require Reichsarbeitsdienst (National Labour Service) time. Along with eleven others, he was selected for Hitler's personal bodyguard unit, the Leibstandarte SS Adolf Hitler (LSSAH). In August 1939, he was promoted to the rank of SS-Rottenführer. ### World War II For the invasion of Poland in September 1939, his regiment was attached to the XIII Army Corps, a part of the 8th Army. Near Warsaw on 24 September, he was one of four men selected by his company commander, then SS-Hauptsturmführer Wilhelm Mohnke, to negotiate the surrender of Polish troops during the Battle of Modlin. He was picked because of his ability, although very limited, to speak Polish. After the negotiations failed, the Germans headed back to their lines. When they were about 80 metres from the fort, firing began. Several rounds struck Misch, who fell down and lost consciousness. Some German soldiers carried him to an aid station. Later, he was transferred to two different hospitals. Thereafter, he spent six weeks at a convalescent home. For his actions, Misch was awarded the Iron Cross, Second Class. As Misch was the last living member of his Lower Silesian family, Mohnke recommended him for the SS-Begleitkommando des Führers (Führer Escort Command; FBK). This was made up of SS members, including men from the LSSAH, who were not serving on the front lines. Misch was transferred to the FBK in early May 1940. As a junior member of Hitler's permanent bodyguard, Misch travelled with Hitler throughout the war. When not serving as bodyguards, Misch and the others in the unit served as telephone operators, couriers, orderlies, valets, and waiters. When on duty, the FBK members were the only armed men Hitler allowed to be near him. They never had to surrender their weapon and were never searched when they were with Hitler. It did cause Misch some concern that they were armed only with Walther PPK 7.65 pistols. On 16 January 1945, following the Wehrmacht's defeat in the Battle of the Bulge, Misch and the rest of Hitler's personal staff moved into the Führerbunker and Vorbunker under the Reich Chancellery garden in Berlin. His FBK commanding officer, Franz Schädle, appointed Misch to be the bunker telephone operator. Misch handled all of the direct communication from the bunker. He did not leave it for any significant period of time until the war ended in May 1945. On 22 April 1945, Schädle called him on the phone and told him there was a place reserved for his wife and young daughter on one of the last planes out of Berlin. Misch was temporarily released from duty and drove to pick up his family to take them to the aircraft. However, his wife refused to take their daughter and leave him and her parents in Berlin. Upon returning to the Reich Chancellery, Misch learned Hitler was releasing most of the remaining staff to leave Berlin. By that date, as the Red Army was entering Berlin, propaganda minister Joseph Goebbels and his wife Magda brought their six young children to stay in the Vorbunker. Joseph Goebbels moved into the room next to Misch's telephone exchange in the lower level of the Führerbunker. The Goebbels children would play in the corridor around Misch's post. On 30 April, the Soviets were less than 500 metres (1,600 ft) from the bunker. That afternoon, Hitler and Eva Braun committed suicide less than 40 hours after they were married. Misch witnessed the discovery of the bodies of Hitler and Braun. He followed Otto Günsche and Hitler's chief valet Heinz Linge to the door of Hitler's private room. After the door was opened, Misch only took a quick "glance". He saw Eva, with her legs drawn up, to Hitler's left on the sofa. Her eyes were open and she was dead. Hitler was also dead. He was either sitting on the sofa or in the armchair by it; his head "had fallen forward slightly". Misch started to leave to report the events to Schädle, then stopped and returned to the door of Hitler's study. Misch then observed Hitler's corpse had been removed from inside the study and wrapped in a blanket. Several men then picked it up and carried it past him. Misch left and reported the events to Schädle, who instructed him to return to his duty station. After returning to the telephone exchange, Misch later recalled Unterscharführer Retzbach proclaiming "So they're burning the boss now!" Retzbach asked Misch if he was going upstairs to watch the events, but Misch declined to go. Thereafter, Günsche came down and told Misch that the corpses of Hitler and Braun had been burned in the garden of the Reich Chancellery. Misch was present in the bunker complex when Magda Goebbels poisoned her six children and then committed suicide with her husband Joseph on 1 May 1945. According to Misch, this act by the Goebbels' of murdering their children was most unsettling. Years later he stated that event was the "most dreadful thing" he experienced in the bunker. Prior to his suicide, Joseph Goebbels finally released Misch from further service; he was free to leave. Misch and mechanic Johannes Hentschel were two of the last people remaining in the bunker. They exchanged letters to their wives in case anything happened to either of them. Misch then went upstairs through the cellars of the Reich Chancellery to where Schädle had his office to report one last time. According to Hentschel, by that time Schädle's shrapnel leg wound had turned gangrenous. Misch told Schädle that Goebbels had released him. Schädle told Misch what route he should take in order to avoid the Soviet encirclement of the Berlin area. Thereafter, Schädle shot himself. Misch fled the bunker in the early morning of 2 May, only hours before the Red Army seized it. He met up with some other soldiers and travelled north through the U-Bahn tunnels. Shortly thereafter, they were taken prisoner by Red Army soldiers. Misch was brought to Lubyanka Prison in Moscow, where he was tortured by Soviet NKVD officers in an attempt to extract information regarding Hitler's last days. Soviet leader Joseph Stalin was extremely interested in learning of Hitler's fate and theories about possible escape. Misch spent eight years in Soviet forced labour camps. ## Later life and death After his release from captivity, Misch returned to what was then West Berlin on 31 December 1953. At the time, Misch's wife Gerda worked as a teacher in Neukölln. Misch struggled for several years with what to do with his life after captivity. He was offered various odd jobs, among others as a porter in a hospital and as a driver. Most of these job offers were through his wartime contacts, and required moving away from Berlin, which his wife refused to do. He finally obtained a loan backed by wealthy German philanthropists to buy out a painting and interior decorating shop from a retiree in Berlin. He ran this modest business successfully, and during the early Allied occupation of Berlin also became involved in the making of peanut butter for US soldiers. The business had been started by Misch's old friend, Adolf Kleinholdermann. This sideline business became so successful Misch considered leaving his shop. His wife Gerda convinced him to remain in the painting and interior decorating business. In 1975, Gerda was elected to the parliament of West Berlin in which she served for several years. Years later, Gerda developed Alzheimer's and died in 1998. Misch continued to manage his shop until his retirement in 1985 at the age of 68. Misch was loyal to Hitler to the end of his life, stating in Nazi apologia, "He was no brute. He was no monster. He was no superman", "...very normal. Not like what is written", and "[h]e was a wonderful boss". Misch's daughter, Brigitta, learned through her maternal grandmother that Gerda was of Jewish descent. However, Gerda never mentioned it and her father refused to acknowledge it. Brigitta became an architect and has supported Jewish causes. She stated that she was disappointed by her father's lack of remorse after the war. After the release of the 2004 German film Downfall (Der Untergang) in France, French journalist Nicolas Bourcier interviewed Misch on a number of occasions in 2005. The resulting biography was published in French as J'étais garde du corps d'Hitler 1940–1945 ("I was Hitler's bodyguard 1940–1945") in March 2006, . Translations were released in South America, Japan, Spain, Poland, Turkey, and Germany in 2006 and 2007. Misch served as consultant to writer Christopher McQuarrie on the 2008 film Valkyrie, a Hollywood depiction of the 20 July plot. In a 2005 interview, Misch called Downfall "Americanized" while comparing what happened in the film to what happened in real life, stating that although it portrayed the important facts accurately, it exaggerated other details for dramatic effect, such as the film's characters screaming and shouting when in his recollection most people in the bunker spoke quietly. In the interview he also expressed some skepticism regarding Hitler's role in Nazi atrocities, stating that "Neo-Nazis" did not exist but were rather just patriotic people who cared about their country's well-being, and that the US invaded Iraq in 2003 to enrich Israel. After listening to an 11-minute recording of Hitler in private conversation with Finnish Field Marshal Carl Gustaf Emil Mannerheim, Misch opined: "He is speaking normally, but I'm having problems with the tone; the intonation isn't quite right. Sometimes it seems okay, but at other points not. I have the feeling it's someone mimicking Hitler. It really sounds as if someone is mimicking him." With the deaths of Bernd von Freytag-Loringhoven on 27 February 2007, Armin Lehmann on 10 October 2008, and Siegfried Knappe on 1 December 2008, Misch was said to be the last survivor of the Führerbunker. His memoir in German, Der letzte Zeuge ("The Last Witness"), was published in 2008. The English edition was published in 2014 with an introduction by historian Roger Moorhouse. Misch lived in Berlin in the same house he moved into when he was released by the Soviets. The house is in the district of Rudow in south Berlin. Misch regularly received visitors who wished to speak to or interview him. Misch died in Berlin on 5 September 2013 aged 96. ## Books - J'étais garde du corps d'Hitler 1940–1945 (I was Hitler's bodyguard 1940–1945), with Nicolas Bourcier. Le Cherche Midi 2006, . - Rochus Misch: Der letzte Zeuge. Ich war Hitlers Telefonist, Kurier und Leibwächter. Mit einem Vorwort von Ralph Giordano. 11. Auflage, Piper-Verlag 2013, . - Hitler's Last Witness: The Memoirs of Hitler's Bodyguard. Frontline Books 2014, . ## See also - The Bunker - ''Downfall (Der Untergang) - Die Letzte Schlacht (The Last Battle)	[ "## Early life and education", "## Military service", "### World War II", "## Later life and death", "## Books", "## See also" ]	2,954	37,451
3,221,143	Warner and Swasey Observatory	1,170,146,947	null	[ "Astronomical observatories in Ohio", "Astronomy institutes and departments", "Buildings and structures in Geauga County, Ohio", "Case Western Reserve University", "East Cleveland, Ohio", "Kitt Peak National Observatory" ]	The Warner and Swasey Observatory is the astronomical observatory of Case Western Reserve University. Named after Worcester R. Warner and Ambrose Swasey, who built it at the beginning of the 20th century, it was initially located on Taylor Road in East Cleveland, Ohio, USA. The observatory, which at that time housed a 9.5-inch (24 cm) refractor, was donated in 1919 to the Case School of Applied Science. The newer 24-inch (61 cm) Burrell Schmidt telescope was built in 1939. Due to rising light pollution in Cleveland, a new station in Geauga County's Montville Township was established in 1950s. Named after Jason John Nassau, the station initially housed the Burrell telescope, which was later moved to Kitt Peak National Observatory. Instead of Burrell the station was equipped with the 36-inch robotic telescope. In 2008 Nassau Station was sold to the Geauga Park District and subsequently incorporated into its Observatory Park. The observatory currently operates the old 9.5-inch refractor (now known as the rooftop telescope) at the university's University Circle campus, and the Burrell Schmidt telescope at Kitt Peak National Observatory in Arizona. The old site on Taylor Road was sold in 1983. ## History The observatory was originally built by Worcester R. Warner and Ambrose Swasey, owners of Warner & Swasey Company, which made precision instruments and telescopes in the late 19th and early 20th centuries. They became trustees of the Case School of Applied Science (later renamed to Case Institute of Technology), and built an observatory in East Cleveland, which they gave to the school in 1919. This original observatory building was located on Taylor Road four miles east of the university campus and housed a 9.5-inch refractor, and was dedicated in 1920. The building was designed by the firm of Walker and Weeks. In subsequent years the observatory grew to house several more telescopes and instruments, such as the 24-inch Burrell Schmidt telescope, as well as an astronomical library and public lecture hall. In the 1950s, it became apparent that the light pollution from Cleveland was beginning to make cutting-edge research impossible from the East Cleveland site. A new site was constructed 30 miles to the east in Geauga County, known today as the Nassau Station, and the Burrell Schmidt telescope was moved to this location. In order to compensate for the move, a 36-inch telescope was soon installed at the Taylor Road facility. In 1978, the Astronomy Department of Case Western Reserve University made a deal with the Association of Universities for Research in Astronomy (AURA) to build a new observatory at Kitt Peak National Observatory to house the Burrell Schmidt. The telescope was moved from Ohio to Arizona in May 1979, and in 1980 the 36-inch reflector on Taylor Road was moved to the Nassau Station. This meant no further astronomical work was done at the Taylor Road facility, and as a result the faculty and resources of the original observatory were moved to the main campus of Case Western Reserve University in 1982. The Taylor Road facility was sold in 1983, was abandoned, and remained neglected until 2005 when it was sold to a couple who planned to convert the building into a residence. The plans stalled when its new owner was convicted of mortgage fraud and sent to prison in 2007. Currently, the observatory building is abandoned. ## Telescopes ### Burrell Schmidt Telescope The 24-inch Burrell Schmidt Telescope was originally built in 1939 by Warner & Swasey Company of Cleveland, Ohio and was housed at the Taylor Road facility. It is currently housed at Kitt Peak National Observatory near Tucson, Arizona. The telescope recently had its optics upgraded with a very wide field of view CCD array, which is much more sensitive than the photographic plates. It is the instrument used today by the Case astronomers. ### Nassau Station Robotic Observatory The Nassau Station, originally constructed in the 1950s, currently houses a 36-inch reflecting telescope. It is named after observatory director Jason John Nassau, who was a prominent astronomer at the time. Work was carried out in the 1990s to make the telescope capable of remote viewing, making it one of the first telescopes to be used in this manner. However, it was seldom used by Case astronomers due to increased light pollution from Cleveland and the enhanced capabilities of the Burrell Schmidt. As a result, the observatory was left unused for several years until 2008, when it was sold to the Geauga Park District. The park district reopened the facility as part of its Observatory Park on June 16, 2012. The park was designated as a dark sky park by the International Dark Sky Association. ### Rooftop Telescope The Rooftop Telescope is a 9.5-inch refractor that was originally constructed in 1894 by Warner and Swasey for their own use. The telescope was the first instrument of the Warner and Swasey Observatory and was originally used at the Taylor Road facility, but was put into storage when the Astronomy Department of Case Western Reserve University was relocated to the A. W. Smith building on the main campus. In 1986 the telescope was reinstalled in a new dome on the roof of the A. W. Smith building. The telescope remains in excellent condition today and is available for use by all students, faculty, and staff at CWRU once they go through a seminar on proper telescope use. It is also often used for public observing nights by the university's Physics and Astronomy Club. ## Research Observers using the Warner and Swasey Observatory have made important contributions to astronomical research. An early example is work carried out by the observatory's then director, Jason Nassau, on the classification of carbon stars and M-type stars in 1949; more recently, observations made using the Burrell Schmidt telescope led to the discovery of the galaxy Andromeda VIII in 2003. This galaxy orbits the more famous Andromeda Galaxy, and was previously undiscovered due to its position in front of the bright disk of the parent galaxy. The Burrell Schmidt has also recently been used to image the intracluster light in the Virgo Cluster. The intracluster light is a thousand times fainter than the night sky, and was observed after combining seventy images of the cluster which were taken with the Burrell Schmidt telescope. ## See also - List of astronomical observatories - Sidney Wilcox McCuskey	[ "## History", "## Telescopes", "### Burrell Schmidt Telescope", "### Nassau Station Robotic Observatory", "### Rooftop Telescope", "## Research", "## See also" ]	1,367	21,803
16,701,759	MILF Island	1,151,998,196	null	[ "2008 American television episodes", "30 Rock (season 2) episodes", "Sexuality and age", "Television episodes written by Tina Fey" ]	"MILF Island" is the eleventh episode of NBC's second season of 30 Rock and thirty-second episode overall. It was written by the series' creator, executive producer and lead actress Tina Fey, and producer Matt Hubbard. The director of the episode was Kevin Rodney Sullivan. It aired on April 10, 2008 on the NBC network in the United States. Guest stars in this episode include Timothy Adams, Rob Huebel, John Lutz and Maulik Pancholy. The episode revolves around the season finale of Jack Donaghy's (Alec Baldwin) reality television show hit, MILF Island, which parallels the "real world" incidents happening in the office. Someone tells a reporter for The New York Post that Jack is a "Class A Moron" and that he can "eat my poo." The writers of TGS with Tracy Jordan argue as they suspect one of them made the comment. ## Plot The cast and crew of TGS with Tracy Jordan gather to watch the season finale of Jack's summer reality show hit MILF Island, a series the plot of which is described as "25 Super-Hot Moms, 50 eighth grade boys, no rules." The staff soon discover that one of them told a reporter for The New York Post that Jack was a "Class A Moron" and that "He can eat my poo." They then spiral into an argument as they try to find out who made the statement. Kenneth Parcell (Jack McBrayer) later recalls that he heard Liz, in an elevator, making the statement to the journalist. Liz makes a false promise that she will tell Jack that it was her to avoid him hearing the truth from Kenneth. Liz finally reveals the truth to Jack only to find out that he already knew it was she who said it, and he's not going to fire her—instead, she has to put together a new TV series for MILF Island'''s manipulative competitor Deborah. Meanwhile, as he is planning to watch the season finale of MILF Island alone in his office, Pete Hornberger (Scott Adsit) gets stuck in a vending machine while trying to steal a candy bar. Pete's many attempts to break free from the machine end in failure when the machine ends up falling on him. ## Production "MILF Island" was filmed in early March 2008. The episode of 30 Rock which aired the following week, "Subway Hero," was originally expected to air on April 10, 2008 in place of this episode, but for unknown reasons "MILF Island" aired on that date instead. This marked the only time in the series' first four seasons that completed episodes were not broadcast in the same order as they were produced. Confusion was caused prior to the broadcast of this episode when many critics speculated about how the episode would tackle the use of the word MILF without actually explaining that it is an acronym for "Mother I'd Like to Fuck", as that would have broken Federal Communications Commission rules. The situation was compared to the episode of Seinfeld called "The Contest" which features the subject of masturbation but the characters could never actually say the word "masturbation" and did so via metaphors. "MILF Island" was the first episode of 30 Rock to be broadcast since "Episode 210," on January 10, 2008, due to the 2007–2008 Writers Guild of America strike. The Writers Guild of America (WGA) went on strike at 12:01 am Eastern Standard Time on November 5, 2007. Filming of 30 Rock's final written episode concluded on November 9, 2007. Members of Writers Guild of America, East and Writers Guild of America, West voted to end the 100-day strike on February 12, 2008. Writers were allowed to return to work on the same day. The WGA allowed for show runners to return to work on February 11, in preparation for the conclusion of the strike. The show runner for 30 Rock is executive producer Robert Carlock. The writers returned to work on February 13. During the strike, executive producer, writer and star of 30 Rock Tina Fey had to balance her duties in order not to breach WGA strike rules. Fey took to the picket lines along with co-star Jack McBrayer, while Alec Baldwin also blogged on The Huffington Post website in support of the WGA writers. ## Reception "MILF Island" brought in an average of 5.7 million American viewers, performing similarly to previous episodes of the second season. This episode achieved a 2.7/7 in the key 18–49 demographic; the 2.7 refers to 2.7% of all 18- to 49-year-olds in the U.S. while the 7 refers to 7% of all 18- to 49-year-olds watching television at the time of the broadcast in the U.S. Jeff Labrecque of Entertainment Weekly wrote that "after three months of strike-enforced exile, [this episode of] 30 Rock generated the expectations and excitement normally reserved for a season premiere," also saying that "the show [is] in midseason form." Matt Webb Mitovich of TV Guide said that he would "be lying if [he] said this was a super-great episode." Webb Mitovich went on to say that "[He] did like, though — and thought they should have done a lot more with — the "parallels" between the MILF events and the strategizing staff." Bob Sassone of AOL's TV Squad thought that "It's almost as if this was the season opener" and that this episode was "ambitious." Michael N of Television Without Pity awarded the episode a grade of B. Robert Canning of IGN said that "the overall story arc was less than what we had anticipated from this critical favorite making its post-writers-strike return, the episode was still pretty damn funny." Canning also said that this was "an episode that was divided between a less-than-average story and many hilarious moments." Canning criticized how "30 Rock has never really given [Pete Hornberger and Scott Adsit] (the character or the actor) the showcase that he deserves." ## See also - The Cougar (TV series) - MILF Manor'', a real television program that began airing on TLC in 2023	[ "## Plot", "## Production", "## Reception", "## See also" ]	1,305	10,940
22,399,151	Mount Gareloi	1,150,188,495	Stratovolcano in the Aleutian Islands of Alaska, U.S.	[ "Holocene stratovolcanoes", "Landforms of Aleutians West Census Area, Alaska", "Pleistocene stratovolcanoes", "Stratovolcanoes of the United States", "VEI-3 volcanoes", "Volcanoes of Alaska", "Volcanoes of Unorganized Borough, Alaska", "Volcanoes of the Aleutian Islands" ]	Mount Gareloi, or Gareloi Volcano, is a stratovolcano in the Aleutian Islands of Alaska, United States, about 1,259 miles (2,026 km) from Anchorage. Gareloi is located on Gareloi Island, and comprises most of its land mass. The island also has two small glaciers which protrude to the northwest and southeast. The volcano is 6 miles (10 km) by 5 miles (8 km) at its base, possessing two summits. The southern crater is far greater in size, 984 feet (300 m) wide with fumaroles, which can be attributed to edifice failure in the southern wall, while Gareloi's northern crater is enclosed. ## Discovery and accessibility Vitus Bering had been a prominent sailor in Russia. After successful expeditions in 1725, 1728, and 1730, Bering was sent to explore what is now the Bering Sea area of the Pacific in 1740. He soon settled on Kamchatka, where he started a settlement and built two additional vessels, dubbed St. Peter and St. Paul. In 1741 Bering and his company started towards North America, but were stalled by a storm and in being delayed were forced to take land. During the storm they could not make out the Alaskan coast. The storm proved too powerful so the ships turned around, along the way charting several of the Aleutians, including Gareloi. Since then, it has been barely studied, resulting in a fragmentary knowledge of its eruptions and possibly even unrecorded episodes. Gareloi Island is uninhabited and is part of the Alaska Maritime National Wildlife Refuge managed by the U.S. Fish and Wildlife Service. ## Geography and geology Gareloi is the northernmost volcano of the Delarof Group, a subgroup of the Aleutian Islands. It is composed of two craters, the older of which is covered by lava flows running to the northwest and southern coasts. The northern crater is small, with a feature suggesting dome collapse in its northwest flank. The southern flank, higher up and considerably larger, contains fumarolic activity. A fissure created by Gareloi's 1929 eruption runs along the southern summit of the volcano. Steep sea cliffs on the southwest side of the island cut into the older caldera. Three masses offshore of the island were produced by debris flows from the volcano. Gareloi is of lava flows and pyroclastic origin. Two main episodes contributed to its creation. Lava deposits on the mountain vary from 3 feet (1 m) to 20 feet (6 m) in thickness. Some of them extend from external vents on the volcano, suggesting that activity during the Pleistocene took place. There are two large lava valleys on the island's southwest side which are u-shaped. The oldest of these flows are of Pleistocene age composed of basaltic trachyandesite and basaltic andesite, with smaller amounts of plagioclase, clinopyroxene, olivine, and hornblende. ### Rock The rock that makes up Gareloi Island and its volcano is estimated to be of Pleistocene age. Several factors contribute to this inference, mainly the presence of glaciers and edifice failure (landslide) debris. The rock, which comprises dissected lava flows and pyroclastic masses, has been shaped by glacial retreat that began around 10,000 years past and fleshed out newly formed rocks. Other landslides have been generated on the north and east flanks of the volcano. ### Mapping The Alaska Volcano Observatory proceeded to map the volcano and its surrounding area in 2003, in addition to implementing seismic monitors in June. ## Eruptive history Gareloi has an extensive eruptive history, dating back to at least 1760. At least 12 eruptions have occurred at the summit, accompanied by lava and pyroclastic flows. Typically they have been characterized by a central vent eruption followed by an explosive eruption, and sometimes a phreatic explosion. All have been of Volcanic Explosivity Index (VEI) of 1 to 3. Such eruptions have occurred in 1790, 1791, 1792, 1873, 1922, April 1929, 1950, January 17, 1952, August 7, 1980, January 15, 1982, September 4, 1987, and August 17, 1989. Uncertain eruptions occurred in 1760, 1828, 1927, and 1996. ### 1929 In 1929, Mount Gareloi underwent a major explosive eruption where it generated four lava flows, andesitic tuff, volcanic glass, and scoria of red tone. Thirteen craters, all located in the fissure, contributed to this episode. All are most likely phreatic. During the eruption, pyroclastic flows convened with tephra, as suggested by deposits. Lahar also streamed from the summit. ### 1980s–1990s On August 8, 1980 Gareloi erupted for the first time in records since 1929, sending ash plumes over 35,000 feet (10,668 m) into the atmosphere. Precursor earthquakes occurred on August 8 and 9, both west of the Adak seismic network. A similar episode took place in 1982 when an ash cloud exceeding 23,000 feet (7,010 m) appeared on satellite images on January 15. 1987 marked a milestone in Gareloi's eruptive history, when a flow, likely to be of volcanic origin, was observed by a commercial airplane pilot. The mass extended for 1,312 feet (400 m) down the volcano. Steam reportedly emanated from the volcano, but volcanologists were unable to verify an eruption. In 1989 an employee of the US Fish and Wildlife Service spotted another ash plume covering the caldera and climbing 2,300 feet (701 m) from the summit on August 17. A minor eruption occurred on September 27, 1996 was reported to the National Weather Service Aviation Weather Unit in nearby Anchorage. The plume, consisting of ash and steam, rose 5,000 feet (1,524 m) from the volcano's summit. ## Threat Proximal volcanic hazards pose a significant threat to human life near Gareloi. If Gareloi were to erupt unexpectedly, ash clouds, falling volcanic ash, pyroclastic flows, and debris avalanches (such as lahars) could easily spawn deadly hazards such as tsunamis. As volcanic ash can induce engine failure, it puts commercial airplanes in particular at high risk. Inhalation of volcanic ash, also known as tephra, creates respiratory complexities and irritation of the eye. Pyroclastic flows from an eruption would destroy much wildlife about the volcano. Gareloi has historically produced several pyroclastic flows, which can travel extremely fast. Future flows at Mount Gareloi could travel off the island into the Pacific Ocean and, if large enough, could fall into the ocean and generate tsunamis, though unlikely. ## See also - List of mountain peaks of North America - List of mountain peaks of the United States - List of mountain peaks of Alaska - List of Aleutian Island volcanoes - List of Ultras of the United States - List of volcanoes in the United States	[ "## Discovery and accessibility", "## Geography and geology", "### Rock", "### Mapping", "## Eruptive history", "### 1929", "### 1980s–1990s", "## Threat", "## See also" ]	1,582	30,551
17,848,093	Hymns for the Amusement of Children	1,145,210,833	Poem by Christopher Smart.	[ "1770s children's books", "1771 poems", "1771 poetry books", "18th-century British children's literature", "British poems", "Children's poetry books", "Christian children's books", "Christian poetry", "Poetry by Christopher Smart" ]	Hymns for the Amusement of Children (1771) was the final work completed by English poet Christopher Smart. It was completed while Smart was imprisoned for outstanding debt at the King's Bench Prison, and the work is his final exploration of religion. Although Smart spent a large portion of his life in and out of debt, he was unable to survive his time in the prison and died soon after completing the Hymns. Smart's Hymns are one of the first works of hymns dedicated to children, and they are intended to teach Christian virtues. Unlike some of the other works produced by Smart after his release from a mental asylum, such as A Song to David or Hymns and Spiritual Songs, this work was a success and went into many immediate editions. Part of the success of this work lies in the simplicity and accessibility of the text. However, Smart died before he ever saw the proceeds of the work and never learned of the book's success. ## Background Smart was released from asylum in 1763 and published two religious works, A Song to David and Hymn and Spiritual Songs, soon after. These were quickly attacked by critics that declared Smart was still "mad" and subsequently failed to become popular. Smart continued to work on religious works as he struggled to publish and support himself. However, he quickly fell into debt and, on 20 April 1770, he was arrested and sent to Debtors' prison. On January 11, 1771, he was recommended to the King's Bench Prison. Although he was in prison, Charles Burney purchased the "Rules" (allowing him some freedom) in order to help make Smart's final weeks peaceful although pathetic. In his final letter, written to Rev. Mr. Jackson, Smart begged for three shillings in order to purchase food. Soon after, Smart died, May 20, 1771, from either liver failure or pneumonia, after completing his final work, Hymns, for the Amusement of Children. It is unknown how many poems published in the Hymns were written before Smart was imprisoned or during his final days, but at least one, titled "Against Despair" was produced during this time. A different version of the poem was published after his death in the Gentleman's Magazine. This version included a note claiming, "Extempore by the late C. Smart, in the King's-Bench," which verifies that he was writing hymns throughout this time, or, at least, editing them to create a better version. Although five editions of the Hymns were published in the 18th century, only one edition was published before Smart died. This edition was published by his brother-in-law, Thomas Carnan, and was announced in the Public Advertiser 27 December 1770. However, this edition did not list Smart as the author. It is possible that there was a sixth edition of the Hymns, but that has since "disappeared"; there is also a possible pirated edition produced by Thomas Walker. Although the work made it as far as Boston, Massachusetts, as shown by an advertisement for selling the work in 1795, no Boston editions have been found, but such editions could exist in addition to the Philadelphia, Pennsylvania edition. Smart's first children's hymn was "A Morning Hymn, for all the little good boys and girls" in the Lilliputian Magazine in 1751. During this time, there were only two models for him to base his children's hymns on: the works of Isaac Watts and of Charles Wesley. Watts's work attempted to amuse children while Wesley's attempted to simplify morality for them. It is possible that Smart's Hymns were not modelled on Watts's or Wesley's actual hymns or songs, but instead after a note in Watts's work the Divine Songs which says: > A Slight Specimen of Moral Songs, such as I wish some happy and condescending genius would undertake for the use of children, and perform much better... The sense and subjects might be borrow'd plentifully from the Proverbs of Solomon, from all the common appearances of nature, from all the occurrences in the civil life, both in city and country: (which would also afford matter for other Divine Songs.) Here the language and measures should be easy and flowing with chearfulness, and without the solemnities of religion, or the sacred names of God and holy things; that children might find delight and profit together. The work was dedicated "to his Royal Highness Prince Frederick, Bishop of Osnabrug, these hymns, composed for his amusement, are, with all due Submission and Respect, humbly inscribed to him, as the best of Bishops, by his Royal Highness's Most Obedient and Devoted Servant, Christopher Smart." Although the prince, the second son of King George III, was only seven at the time, Smart was given special permission to dedicate the work to the boy through the intervention with the royal family by either Richard Dalton or the King's Chaplain, William Mason. ## Hymns for the Amusement of Children In essence, the Hymns for the Amusement of Children is intended to teach children the specific virtues that make up the subject matter of the work. While trying to accomplish this goal, Smart emphasizes the joy of creation and Christ's sacrifice that allowed for future salvation. However, he didn't just try to spread joy, but structured his poems to treat valuable lessons about morality; his subjects begin with the three Theological Virtues (Faith, Hope, and Charity), then the four Cardinal Virtues (Prudence, Justice, Temperance, and Fortitude) and adds Mercy. The next six hymns deal with Christian duties and are followed by ten hymns on the Gospels. The final works introduce the miscellaneous Christian virtues that were necessary to complete Christopher's original self-proclaimed "plan to make good girls and boys." All but three of the hymns were provided with a corresponding woodblock illustration. The original illustrations either represented the scene of the hymn or a symbolic representation of the hymn. However, later editions of the work sometimes included illustrations that did not match the corresponding hymn, which was the fault of "a general deterioration of standards in book production". With such possibilities, it is hard to justify an exact relationship between any particular hymn and illustration. There are thirty-nine hymns included in Hymns for the Amusement of Children: - I. Faith - II\. Hope - III.Charity - IV\. Prudence - V. Justice - VI\. Mercy - VII\. Temperance - VIII\. Fortitude - IX\. Moderation - X. Truth - XI\. Beauty - XII\. Honesty - XIII\. Elegance - XIV\. Loveliness - XV\. Taste - XVI\. Learning - XVII\. Praise - XVIII\. Prayer - XIX\. Patience - XX\. Watching - XXI\. Generosity - XXII\. Gratitude - XXIII\. Peace - XXIV\. Melancholy - XXV\. Mirth - XXVI\. Mutual Subjection - XXVII\. Good-nature to Animals - XXVIII\. Silence - XXIX\. Long-suffering of God - XXX\. Honour - XXXI\. Immortality - XXXII\. Against Despair - XXXIII\. For Saturday - XXIV\. For Sunday - XXXV\. At Dressing in the Morning - XXXVI\. At Undressing in the Evening - XXXVII\. Pray remember the Poor - XXXVIII\. Plenteous Redemption - XXXIX\. The Conclusion of the Matter ### Mirth Besides the hymns that are "expected" in a book of hymns, Arthur Sherbo points out that the collection contains hymns "on learning and on 'good-nature to animals'." In particular, he emphasizes Hymn XXV "Mirth" as "showing anew the love for flowers that is a recurring characteristic of his poetry" as it reads: If you are merry sing away, : And touch the organs sweet; This is the Lord's triumphant day, Ye children in the gall'ries gay, : Shout from each goodly seat. It shall be May to-morrow's morn, : A field then let us run, And deck us in the blooming thorn, Soon as the cock begins to warn, : And long before the sun. I give the praise to Christ alone, : My pinks already shew; And my streak'd roses fully blown, The sweetness of the Lord make known, : And to his glory grow. To Sherbo, this poem is "a good example of the artless quality" of the whole collection of Hymns. ### Long-Suffering of God According to Moira Dearnley, Hymn XXIX "Long-Suffering of God" is "one of the more pathetic poems in Hymns for the Amusement of Children." As a poem, it "restates Smart's certainty that the long-suffering God will eventually bestow his grace upon the barren human soul" as it reads: Thus man goes on from year to year, And bears no fruit at all; But gracious God, still unsevere, Bids show'rs of blessing fall. The beams of mercy, dews of grace, Our Saviour still supplies- Ha! ha! the soul regains her place, And sweetens all the skies. This final poem fittingly ends in "manic exultation" and shows "that for Smart, presentiments of the grace and mercy of God were inseparable from madness." ### The Conclusion of the Matter Smart's final poem of the work, XXXIX "The Conclusion of the Matter", demonstrates to Neil Curry that the "joy and optimism of [Smart] are unwavering." Smart "does not look back, he looks forward and the sequence ends on a note of triumph" as it reads: Fear God - obey his just decrees, And do it hand, and heart, and knees; For after all our utmost care There's nought like penitence and prayer. Then weigh the balance in your mind, Look forward, not one glance behind; Let no foul fiend retard your pace, Hosanna! Thou hast won the race. However, as Curry claims, "in this world Smart himself had won nothing." Instead, Curry believes what Christopher Hunter stated about his uncle: "I trust he is now at peace; it was not his portion here." ## Critical response Although he wrote his second set of hymns, Hymns for the Amusement of Children, for a younger audience, Smart cares more about emphasizing the need for children to be moral instead of "innocent". These works have been seen as possibly too complicated for "amusement" because they employ ambiguities and complicated theological concepts. In particular, Mark Booth questions "why, in this carefully polished writing.... are the lines sometimes relatively hard to read for their paraphrasable sense?" Arthur Sherbo disagreed with this sentiment strongly and claims the Hymns "are more than mere hack work, tossed off with speed and indifference. They were written when Smart was in prison and despairing of rescue. Into these poems, some of them of a bare simplicity and naiveté that have few equals in literature of merit anywhere..." However, he does admit some of the argument when he claims that "Generosity", along with a handful other hymns, was "not so simple and surely proved too much for the children for whom they were bought." Not all critics agree that the work is too complex for children, and some, like Marcus Walsh and Karina Williamson, view that the works would have fit the appropriate level for children in the 18th century, especially with the short length of each hymn and a small illustration of the scene proceeding each one. This is not to say that the works are "simple", because many words are complex, but, as Donald Davie explains, there is a "naiveté" in the work that allow them to be understood. In particular, Moira Dearnley claims that the hymns contain a "high-spirited delight in the day-to-day life of children, the joy that characterizes the best the Hymns for the Amusement of Children." ## See also - Hymns and Spiritual Songs - Divine Songs Attempted in Easy Language for the Use of Children by Isaac Watts, 1715 - Hymns in Prose for Children by Anna Laetitia Barbauld, 1781 - Hymns for Little Children by Cecil Frances Alexander, 1848	[ "## Background", "## Hymns for the Amusement of Children", "### Mirth", "### Long-Suffering of God", "### The Conclusion of the Matter", "## Critical response", "## See also" ]	2,641	23,826
153,669	Robert Burnell	1,167,469,740	13th-century English Chancellor and bishop	[ "1230s births", "1292 deaths", "13th-century English Roman Catholic archbishops", "13th-century English Roman Catholic bishops", "13th-century regents", "Bishops of Bath and Wells", "Burials at Wells Cathedral", "Clergy from Shropshire", "Lord chancellors of England", "Regents of England", "Year of birth uncertain" ]	Robert Burnell (sometimes spelled Robert Burnel; c. 1239 – 25 October 1292) was an English bishop who served as Lord Chancellor of England from 1274 to 1292. A native of Shropshire, he served as a minor royal official before entering into the service of Prince Edward, the future King Edward I of England. When Edward went on the Eighth Crusade in 1270, Burnell stayed in England to secure the prince's interests. He served as regent after the death of King Henry III of England while Edward was still on crusade. He was twice elected Archbishop of Canterbury, but his personal life—which included a long-term mistress who was rumoured to have borne him four sons—prevented his confirmation by the papacy. In 1275 Burnell was elected Bishop of Bath and Wells, after Edward had appointed him Lord Chancellor in 1274. Burnell was behind the efforts of the royal officials to enforce royal rights during his term of office as chancellor, including the implementation of the Quo warranto procedures. He also helped with the legislative and legal reforms of Edward's reign. During Burnell's tenure the chancellor's office and records became fixed in London rather than travelling with the king. Burnell went abroad on diplomatic missions for Edward, and for a time governed Gascony. He continued to enjoy the king's trust until his death in 1292; one historian has suggested that Burnell may have been the most important royal official of the 13th century. ## Early life By 1198 Burnell's family had bestowed its name on Acton Burnell in Shropshire, where Burnell was born probably in about 1239, as he was close in age to King Edward. His father was probably Roger Burnell, who died in about 1259. He had three brothers, two of whom died fighting the Welsh at the Battle of Moel-y-don in 1282; the third, Hugh, died in 1286. Hugh's son Philip was Robert's eventual heir. Burnell worked as a clerk in the royal chancery, the office responsible for the writing of documents, before moving to the household of Prince Edward, later King Edward I of England. By 1257 Burnell was spending most of his time with the prince and the prince's household. After Simon de Montfort's victory at the Battle of Lewes in 1264, Burnell continued to serve Edward, and was named the prince's clerk in December 1264. As a reward for his service, Burnell was given the prebend of Holme in the diocese of York some time before 1267, and was named Archdeacon of York in December 1270. He also held the office of chancellor to Edward from the time of the Battle of Evesham in 1265 until 1270, when Edward left on crusade. Prince Edward tried to have Burnell elected to the Archbishopric of Canterbury in 1270, but was frustrated by the Canterbury cathedral chapter's members, who instead elected their prior, William Chillenden. Eventually Pope Gregory X set Chillenden aside and installed his own choice in the see, Robert Kilwardby. Burnell did not accompany the prince on crusade in late 1270, although he had originally planned to do so. Instead, he was appointed one of the four lieutenants who looked after Edward's interests while the prince was away. Thus he was still in England when Henry III died in November 1272. Burnell acted as one of the regents of the kingdom until August 1274, when the prince, now king, returned from Palestine. During the regency Burnell supervised a parliament, dealt with raids on the Welsh Marches and resolved a trade conflict with Flanders. After the king's return to England Burnell was made chancellor. The historian Richard Huscroft considers that Burnell gained valuable experience governing England during Edward's absence, ensuring Burnell's dominance in the English government after Edward's return. ## Chancellor and bishop On 23 January 1275 Burnell was elected to the see of Bath and Wells. He received the temporalities of the see on 19 March 1275 and was consecrated on 7 April 1275. Three years later Edward once more tried to secure the see of Canterbury for his favourite. Burnell was elected to the archbishopric in June or July 1278, but the election was quashed by Pope Nicholas III in January 1279. King Edward sent a deputation, including the eventual appointee, John Peckham, to secure Nicholas' confirmation of the election. The pope named three cardinals as investigators, and then appointed Peckham instead. The bishop's second failure to obtain the archbishopric was probably a consequence of his lifestyle, which included keeping a mistress. Edward made one final attempt to promote his friend to a wealthier see in early 1280, when Burnell was nominated to become Bishop of Winchester, but Pope Nicholas III quashed the election on 28 June 1280. Burnell was the chief and most influential of Edward I's advisers during the first half of his reign. As part of his duties Burnell spent most of his time in attendance on the king. He heard many requests and petitions from those who desired patronage or other advancements, and was diligent and active in dealing with routine business. Burnell played a leading role in the legislation introduced by King Edward. The king's major legislative acts mainly date to Burnell's tenure of the office of chancellor, from 21 September 1274 until Burnell's death in 1292. Burnell was instrumental in the enforcement of royal writs and enactments, including the Statutes of Westminster, enacted in 1275, 1285, and 1290. Those of 1275 attempted to deal with the usurpation of royal rights. Keeping the peace in the realm and the extension of royal jurisdiction to cover rape was dealt with in the statutes from 1285, along with a number of other issues. The last statute, from 1290, regulated land law, the result of pressure from the magnates, the leading laymen of England. During Burnell's time in office Edward and his royal officials made great efforts to reassert royal rights that were felt to have been usurped by the king's subjects. These efforts were made under writs of Quo warranto, which asked the recipient what royal grant or warrant gives the recipient the authority to exercise a right or a power. They were first issued in 1278, after earlier attempts to recover royal rights through parliament unintentionally resulted in too much work for that body. Through these writs, attempts were made to enforce the rule that the only correct way to receive a privilege or grant of land was through a written charter, which might have deprived most of the magnates of England of their lands and rights. Most lands at that time were held not by documentary grants, but by the force of custom. By the 1290s the government was forced to back down and permit rights as they had been allowed from "time out of mind". The distinction between the king's personal household department of the Wardrobe and the governmental department of the Chancery, which was headed by the chancellor, disappeared almost entirely during Burnell's period of office. The Wardrobe had developed as a less formal department for the collection and distribution of money, but under Edward had effectively become a treasury for warfare. There was no rivalry between the holders of the Great Seal, the official seal of government and used for formal documents, and the Privy Seal, used to authenticate the king's less formal letters. During Burnell's time in office the king only used a Privy Seal warrant, or an informal set of instructions for the chancellor to issue a letter from the Chancery under the Great Seal, when the king and Burnell were apart; after Burnell's death the number of Privy Seal warrants increased greatly. Edward had such trust in his chancellor and the chancellor's clerks that Burnell and the clerks were allowed to dispense with the hanaper system, which required fees for sealing charters to be paid into the hanaper department of the Chancery for disbursal. Robert and his clerks were permitted to enjoy the profits from the fees of their office. Burnell was also responsible for the decision to force the Court of Chancery to settle in London, rather than following the king and his court around the country. A Chancery memorandum of 1280 records that the chancellor, along with the other ministers, now had the duty of sorting the many petitions that came into the government and only passing on the most urgent to the king. As bishop, Burnell had a wall built around the cathedral at Wells, which helped to improve the security of the cathedral and its outlying buildings. He left the court each year at Lent, when he returned to his diocese and attended to its affairs. Peckham appointed Burnell to be his deputy when the archbishop went to Wales in 1282. It was probably Burnell who suggested a compromise in 1285 over the jurisdictions of the royal and ecclesiastical courts, which allowed royal officials to return cases involving only religious matters to the church courts. ## Foreign service Burnell was active in the king's foreign policy, especially towards France, Scotland and Wales, and undertook a number of diplomatic missions to those countries. Burnell served as the royal spokesman on several of these occasions, one of them being at Paris in 1286 when he made a speech detailing the history of English–French relations since the Treaty of Paris of 1259. The speech was a prelude to discussions, successfully concluded, involving the homage that Edward owed to King Philip IV of France, for Edward's land in France. Burnell was employed in Gascony during the late 1280s, helping to administer that duchy and to reorganise its government. He showed himself sensitive to the Gascon desire for independence and did not attempt to impose the same systems of government that were used in England. The historian Michael Prestwich therefore argues that the first half of Edward's reign was the period when Gascony enjoyed its most successful government under the Plantagenets. Later, in June 1291, Burnell gave two speeches at the great council of English and Scottish nobles in Norham to decide the succession to the Scottish crown. Edward had been asked to mediate an end to the crisis over the succession, or the Great Cause as it was known in England. In Welsh affairs, Burnell attended a number of councils dealing with Llywelyn ap Gruffudd, Prince of Wales, and in 1277 he escorted Llywelyn to Westminster, where Llywelyn pledged homage to Edward. Burnell was present during Edward's conquest of Wales in the 1280s; he witnessed documents in Rhuddlan in 1282, and subsequently at Conwy and Caernarfon. Sometime before 1290 Burnell vowed to go on crusade to help reinforce the crusader city of Acre, which was threatened by Muslims in the late 1280s, but he never fulfilled his obligation. ## Death and legacy Burnell died in Berwick, on 25 October 1292. His body, without his heart, is interred in the nave of Wells Cathedral; his heart was buried at Bath Abbey. Although he was usually busy with royal business, Burnell managed to expand his bishopric and provide for his relatives. He amassed great wealth, and acquired numerous estates in Shropshire, Worcestershire, Somerset, Kent, Surrey and elsewhere. At his death, he owned 82 manors over 19 counties, most of them his personal property rather than that of the diocese of Bath and Wells. Even after he became a bishop Burnell kept a mistress, Juliana. Rumours circulated that they had four sons, and that he had a number of daughters, all of which Burnell denied. He kept a magnificent household, sufficient for him to be able to host a parliament at his home in Acton Burnell in autumn 1283. He married off a number of young female relatives, rumoured to be his daughters, to noblemen. Amabilla Burnell married a member of a royal justice's family, and a Joan Burnell was the subject of a guarantee to the bishop that the son of William of Greystoke would marry her. A William Burnell was dean of Wells Cathedral, and was named as one of the bishop's executors. Robert Burnell's eventual heir was his nephew, Philip. Burnell built extensively at Acton Burnell Castle, and large parts of his house have survived. It was substantially different in plan from the older hall-style houses, which had the private quarters at the back of a large hall. At Acton Burnell the bishop's quarters were well away from the building's main public spaces, and included a latrine. The house was not quite a castle, but it was designed to have some defensive capability. The overall form of the structure was of a fortified hall-house, much like the Norman-era hall-keeps. He also built the chapel and great hall in the Bishop's Palace in Wells. Burnell was a dominant figure during the first part of Edward's reign, and he controlled most aspects of royal administration. He was involved not only in domestic issues but also in foreign relations, a responsibility he retained for two decades after Edward's return to England in 1274. Huscroft argues that he may have been the most important royal administrator of the 13th century.	[ "## Early life", "## Chancellor and bishop", "## Foreign service", "## Death and legacy" ]	2,816	40,869
30,840,882	Rǫgnvaldr Óláfsson (died 1249)	1,163,992,020	null	[ "1249 deaths", "13th-century murdered monarchs", "13th-century rulers of the Kingdom of the Isles", "Crovan dynasty", "Monarchs of the Isle of Man", "Year of birth unknown" ]	Rǫgnvaldr Óláfsson (died 30 May 1249) was a mid-thirteenth-century King of Mann and the Isles who was assassinated after a reign of less than a month. As a son of Óláfr Guðrøðarson, King of Mann and the Isles, Rǫgnvaldr Óláfsson was a member of the Crovan dynasty. When his father died in 1237, the kingship was assumed by Haraldr Óláfsson. The latter was lost at sea late in 1248, and the following year Rǫgnvaldr Óláfsson succeeded him as king. Only weeks after gaining the kingship, Rǫgnvaldr Óláfsson was slain by a knight named Ívarr and his accomplices. The kingship was then seized by Haraldr Guðrøðarson, Rǫgnvaldr Óláfsson's first cousin once removed, suggesting that the killers and the new king had colluded together. The assassination, therefore, appears to have been a continuation of the vicious family feud that had engulfed the Crovan dynasty since the late twelfth century, when Rǫgnvaldr Óláfsson's father and Haraldr Guðrøðarson's grandfather first contested the kingship of the Isles. ## Background Rǫgnvaldr Óláfsson was one of several sons of Óláfr Guðrøðarson, King of Mann and the Isles, and thus a member of the Crovan dynasty. Although Óláfr is known to have had two wives, and no contemporaneous source names the mother of his children, there is evidence suggesting that their mother may have been Óláfr's second wife: Cairistíona, daughter of Fearchar mac an tSagairt, Earl of Ross. Specifically, the thirteenth- to fourteenth-century Chronicle of Mann states that, when Óláfr died in 1237, he was succeeded by his fourteen-year-old son, Haraldr Óláfsson. This source therefore dates Haraldr Óláfsson's birth to 1223, about the time when Óláfr and Fearchar allied themselves in marriage. The ancestral origins of Fearchar's family are unknown, although he appears to have been a native of eastern Ross. The Norse-Gaelic Crovan dynasty, founded by Rǫgnvaldr Óláfsson's paternal great-great grandfather, held royal power in the Isles from the late eleventh to the mid thirteenth century. This realm was known in Old Norse as Suðreyjar, a term that means "Southern Islands", in reference to the Hebrides and Mann. Various documentary sources, in the form of contemporary chronicles and sagas, reveal that during the dynasty's tenure of power, the kings of the Isles tended to acknowledge the authority of the kings of Norway. From the later twelfth- to the mid thirteenth century, the dynasty suffered from bitter factionalism and vicious kin-strife. Rǫgnvaldr Óláfsson's father, Óláfr, was a younger son of Guðrøðr Óláfsson, King of Dublin and the Isles. According to the chronicle, before his death in 1187, Guðrøðr Óláfsson instructed that Óláfr should succeed to the kingship. The latter was only a child at the time, however, and the Islesmen instead inaugurated Rǫgnvaldr Guðrøðarson, Guðrøðr Óláfsson's eldest albeit illegitimate son. As the first quarter of the thirteenth century began to wane, contentions between the half-brothers broke out into outright war. By the turn of the first quarter of the century, Óláfr managed to put aside the wife that Rǫgnvaldr Guðrøðarson had assigned him; and afterwards married Cairistíona, thereby gaining her father's military assistance. As time wore on, Óláfr gained the upper-hand in the struggle, and at one point had Rǫgnvaldr Guðrøðarson's son, Guðrøðr Dond, blinded and castrated. The bitter conflict between the half-brothers ended with Rǫgnvaldr Guðrøðarson's treacherous death in 1229. For a brief period in 1230/1231, Óláfr co-ruled the kingdom with Guðrøðr Dond. When the latter was slain in 1231, Óláfr ruled the entire kingdom without any internal opposition until his own death in 1237. The main documentary source for the kings of the Crovan dynasty is the Chronicle of Mann, the only contemporary indigenous narrative-source concerning these men. The source itself survives in the form of a fourteenth-century Latin manuscript, which is in turn a copy of a chronicle probably first commissioned and composed during the reign of Magnús Óláfsson, King of Mann and the Isles. About fifteen percent of the chronicle is devoted to the strife between the half-brothers, and much of the rest of this source deals with the after-effects of the conflict. Although the chronicle's account of the half-brothers' struggle appears to be somewhat neutral, its treatment of their descendants is clearly slanted in favour of Óláfr's sons. In fact, it was only during the reign of Óláfr's son Magnús, that the former's sons finally overcame Rǫgnvaldr Guðrøðarson's descendants once and for all. The chronicle, therefore, may have been composed to further legitimise king's descended from Óláfr. In consequence, even the chronicle's claim that Óláfr's father had chosen him as his successor may be suspect. ## Ascension and assassination Having succeeded his father, the chronicle reveals that Haraldr Óláfsson was soon ousted from power by representatives of Hákon Hákonarson, King of Norway. After unsuccessfully repulsing these men, Haraldr Óláfsson voyaged to Norway, where he stayed for about three years, and thus reconciled himself with Hákon, who in turn reinstalled him as king in the Isles. In 1247, the thirteenth-century Hákonar saga Hákonarsonar states that Haraldr Óláfsson again journeyed to Norway, where he married Hákon's daughter, Cecilía, in the winter of 1247/1248. On the newly-weds' return voyage in the autumn of 1248, the chronicle and saga report that their ship foundered off Shetland, with all aboard lost. Upon learning of the catastrophe, Hákon immediately directed Eóghan Mac Dubhghaill to temporarily take up the kingship of the Isles on his behalf. According to the Chronicle of Mann, Rǫgnvaldr Óláfsson assumed the kingship of the Isles on 6 May 1249. This could mean that he and Eóghan shared a degree of authority in the Isles. In any case, Rǫgnvaldr Óláfsson's reign was an extremely short one, lasting hardly a month, as the chronicle states that he was slain on 30 May 1249. Rǫgnvaldr Óláfsson's body was then interred at Rushen Abbey, the site of his father's final resting place. Following the killing, the chronicle reports that the kingship was seized by Haraldr Guðrøðarson, a grandson of Rǫgnvaldr Guðrøðarson. Although the chronicle names Rǫgnvaldr Óláfsson's killers as a knight named Ívarr and his followers, the precise identity of Ívarr is uncertain. One man bearing the same name was Rǫgnvaldr Óláfsson's paternal uncle, Ívarr Guðrøðarson. Although the latter is noted by the chronicle, in an entry concerning his father's demise, nothing more is known of him, and it is unlikely that someone born before 1187 would have been active in 1249. The chronicle's Latin designation of "milite" ("knight") to Rǫgnvaldr Óláfsson's killer may be evidence that he was a member of the elite. The fact that this Ívarr is not accorded a patronym of any sort, however, suggests that he was not a member of a prominent family (such as the Crovan dynasty). In fact, he appears to be identical to the "domino Yuor' de Mann" ("Lord Ívarr of Mann"), who witnessed a Latin charter of Haraldr Óláfsson in 1246. Ívarr's identity aside, the chronology of events surrounding Rǫgnvaldr Óláfsson's killing suggests that Haraldr Guðrøðarson and Ívarr were allies. A particular letter of Henry III, King of England, dated April 1256, commanding his men not to receive Haraldr Guðrøðarson and Ívarr—the men whom the letter states "wickedly slew" Rǫgnvaldr Óláfsson—further evidences an alliance between the two. In light of Ívarr's possible collusion with Haraldr Guðrøðarson, the slaying of Rǫgnvaldr Óláfsson may be evidence that the continuing strife between the rival branches descended from the half-brothers, Rǫgnvaldr Guðrøðarson and Óláfr, continued well into the mid thirteenth century. In fact, the killing is the last recorded example of regicide in the Norse-Gaelic realm, and may partly evidence the Europeanisation of the peripheral regions of the British Isles during the twelfth- and thirteenth centuries. As it turned out, the reign of Rǫgnvaldr Óláfsson's successor was short-lived, since Haraldr Guðrøðarson was recalled to Norway in 1250, for having unjustly seized the kingship. Once in Norway, the latter was detained from returning to the Isles, and is not heard of again. Within two years, Rǫgnvaldr Óláfsson's brother, Magnús, was installed in the kingship. The latter reigned until his death in 1265, and was the last member of the Crovan dynasty to rule as king in the Isles. An after-effect of the inter-dynastic warring within the Crovan dynasty was the partitioning of the kingdom between rival factions. For example, from about 1187 to 1226, and for a brief period in 1229, the kingdom was divided between the half-brothers; and for a brief period in 1230/1231 it was divided between Óláfr and his nephew, Guðrøðr Dond. Although Haraldr Óláfsson appears to have reigned over a united kingdom, the years between his death and the installation of Magnús in 1252 is a murky period indeed, and it is possible that the kingdom was divided between rival factions during this brief span of years. Rǫgnvaldr Óláfsson was evidently survived by a daughter, Maria. In 1305, a grandson of this woman pursued a claim to Mann. ## Ancestry	[ "## Background", "## Ascension and assassination", "## Ancestry" ]	2,517	360
37,409,107	Mitchell Gourley	1,173,051,033	Australian Paralympic alpine skier	[ "1991 births", "21st-century Australian people", "Alpine skiers at the 2010 Winter Paralympics", "Alpine skiers at the 2014 Winter Paralympics", "Alpine skiers at the 2018 Winter Paralympics", "Alpine skiers at the 2022 Winter Paralympics", "Australian male alpine skiers", "Congenital amputees", "Living people", "Paralympic alpine skiers for Australia", "Sportsmen from Victoria (state)", "Sportspeople from Geelong" ]	Mitchell Gourley (born 2 June 1991) is an Australian Paralympic alpine skier who competed for Australia in the downhill, super-G, giant slalom, slalom and super combined events at four Winter Paralympics - 2010 to 2022. He was Australian team co-captain with Joany Badenhorst at the 2018 Winter Paralympics. At the 2022 Winter Paralympics, he and Melissa Perrine carried the Australian flag in the opening ceremony. At the 2017 IPC Alpine Skiing World Championships in Tarvisio, Italy he won the gold medal in the men's Super Combined Standing. ## Personal Mitchell Gourley was born just outside Geelong, Victoria, on 2 June 1991. He was born a congenital amputee, with his left forearm ending a few inches below his elbow. Mitchell can move the tiny stump of his forearm and uses it to hold and manipulate objects by gripping them in his elbow. He plays a variety of sports including cricket, Australian rules football, basketball, road cycling and rock-climbing. He attended at Geelong College. In 2014, he completed a Bachelor of Commerce at the University of Melbourne and in 2019 completed a Master of Business (Sport Management) at Deakin University. ## Skiing Gourley became involved in high level Paralympic skiing as a result of Australian talent identification efforts, taking up the sport competitively in 2002 as an eleven-year-old. He was classified as LW6/8-2, the classification for athletes with an impairment to one arm, and made his Australian national team début in 2006, as a fifteen-year-old. He has held scholarships with the Victorian Institute of Sport and the Australian Institute of Sport. At the 2009 Norm Cup, Gourley finished first in the men's standing class giant slalom event. In the same year, he competed in the IPC Alpine Skiing Nor Am Cup in Colorado. He was officially named to the Australian 2010 Winter Paralympics team in November 2009. A ceremony was held in Canberra with Australian Paralympic Committee president Greg Hartung and Minister for Sport Kate Ellis making the announcement. Gourley competed at the 2010 IPC Alpine Skiing World Cup in Italy and World Cup in Austria. Going into the 2010 Winter Paralympic Games, his best ever world ranking was 17th. He attempted to bulk up and put on additional weight by eating six to eight meals a day. He arrived in the Paralympic village with the rest of Australia's Para-alpine team on 9 March 2010. Coached by Steve Graham, he competed in the downhill, super-G, giant slalom, slalom and super combined events. In the super-G standing event, he finished 10th. He also finished 27th in the slalom. He came 30th in the giant slalom event. At the December 2011 IPC Nor Am Cup, Gourley won his first gold medal in international competition in the giant slalom, but was beaten by New Zealand's Adam Hall and Australian teammate Toby Kane in the slalom. He competed at a February 2012 World Cup event in Italy in the slalom, but did not place in the event. After sitting in fourth place after his first run, he missed a gate in his second run and was disqualified. He won a gold medal in the giant slalom with a combined run time of 2:03.15, 0.43 seconds faster than the silver medallists. It was the first gold medal he had won at a World Cup. Gourley started the 2013/14 World Cup season with strong results, with two gold, three silver and one bronze medal. At the 2014 Winter Paralympics in Sochi, he competed in five events. He finished 5th in the men's super combined standing, 7th in the men's downhill standing, and failed to finish in three events. At the 2015 IPC Alpine Skiing World Championships in Panorama, Canada, Gourley competed in five Men's Standing events. He finished fourth in the giant slalom and fifth in the Super-G. He finished the 2015/16 World Cup season on a high, placing third on the overall rankings after a successful run of events that saw him podium nine times. Gourley won the gold medal in the men's Super Combined Standing at the 2017 IPC Alpine Skiing World Championships in Tarvisio, Italy. Gourley was in sixth place after the super-G, but put on a masterclass in the slalom to secure the gold. His results at the 2018 Winter Paralympics, his third Games, were: fifth in the men's Super Combined Standing, sixth in the men's slalom Standing, eighth in the men's giant slalom Standing, 12th in the men's Super-G Standing and did not finish in the men's Downhill Standing. At the 2019 World Para Alpine Skiing Championships in Kranjska Gora, Slovenia, he won the bronze medal in Men's slalom Standing and finished fourth in the men's giant slalom Standing. At the 2022 Winter Paralympics in Beijing, he finished 10th in the giant slalom Standing, 13th in Super Combined Standing and 20th in Downhill Standing. He did not finish in the slalom Standing and Super G Standing. Gourley indicated that the Beijing Games would be his last Winter Paralympics. In 2022, he is a member of the Athlete Commission for World Para Alpine Skiing and Paralympics Australia Athlete Commission. ## Recognition - 2016 – Ski and Snowboard Australia Para-athlete of the Year - 2017 – Ski and Snowboard Australia Para-athlete of the Year - 2017 – Victorian Disability Sport and Recreation Awards – Male Sportsperson of the Year - 2017 – Victorian Institute of Sport Elite Athlete with a Disability Award - 2017 – Australian Institute of Sport Para Performance of the Year. - 2018 – Co-captain with Joany Badenhorst of the Australian Team at 2018 Winter Paralympics - 2019 - Victorian Institute of Sport William Angliss Performance Lifestyle Award. - 2022 - Carried Flag at Opening Ceremony of 2022 Winter Paralympics with Melissa Perrine.	[ "## Personal", "## Skiing", "## Recognition" ]	1,361	17,942
21,679,139	1920 Muncie Flyers season	1,154,495,615	APFA football season	[ "1920 American Professional Football Association season by team", "1920 in sports in Indiana", "Muncie Flyers seasons", "National Football League winless seasons" ]	The 1920 Muncie Flyers season was the franchise's inaugural season in the American Professional Football League (APFA)—later named the National Football League. The Flyers entered the season coming off a 4–1–1 record in 1919. Several representatives from the Ohio League wanted to form a new professional league; thus, the APFA was created. The 1920 team only played in one game that counted in the standings: a 45–0 loss against the Rock Island Independents. This game and the Columbus Panhandles–Dayton Triangles on the same date is considered to be the first league game featuring two APFA teams. The Flyers tried to schedule other games, but the opponents canceled to play better teams. As a result, the Flyers had to play the rest of the season's game versus local teams. In week 10, the Flyers won a game against the Muncie Offers More AC for the Muncie City Championship. No players from the 1920 Muncie Flyers were listed on the 1920 All-Pro Team, and no player has been enshrined in the Pro Football Hall of Fame. ## Offseason The Muncie Flyers, playing as the Muncie Congerville Flyers, finished 4–1–1 as an independent team in 1919. They concluded this season with a win over Avondale AA and won the Muncie City Championship. Representatives of four Ohio League teams—the Canton Bulldogs, the Cleveland Tigers, the Dayton Triangles, and the Akron Pros—called a meeting on August 20, 1920, to discuss the formation of a new, professional league. At the meeting, they tentatively agreed on a salary cap and pledged not to sign college players or players already under contract with other teams. They agreed on a name for the circuit: the American Professional Football Conference. Earl Ball, the Flyers' manager, heard about this gathering on August 29 and was interested in participating. The original four representatives then invited other professional teams to a second meeting on September 17. At that meeting, held at Bulldogs owner Ralph Hay's Hupmobile showroom in Canton, representatives of the Rock Island Independents, the Flyers, the Decatur Staleys, the Racine Cardinals, the Massillon Tigers, the Chicago Cardinals, and the Hammond Pros agreed to join the league. Representatives of the Buffalo All-Americans and Rochester Jeffersons could not attend the meeting but sent letters to Hay asking to be included in the league. Team representatives changed the league's name slightly to the American Professional Football Association and elected officers, installing Jim Thorpe as president. Under the new league structure, teams created their schedules dynamically as the season progressed, and representatives of each team voted to determine the winner of the APFA trophy. ## Regular season The Flyers hosted a practice game against the Muncie Tigers on September 26, 1920, but the result of the game is unknown. The Flyers' first game of the season was against the Rock Island Independents. The Independents beat the Flyers 45–0. As a result, the Staleys, who were supposed to play the Flyers the next week, cancelled because they wanted to play a better team. The Flyers tried to schedule game for the next few weeks but were unsuccessful. Since there were no rules to keep players on teams, several Flyers' players left and played for other teams. The Flyers scheduled a game against the Cleveland Tigers three weeks later, but the game was cancelled because the Tigers decided to play against the Panhandles instead. The same result happened next week against the Dayton Triangles. The Flyers were challenged by the Gas City Tigers and Muncie Offers More AC—two teams of Muncie. These games are not counted in the APFA standings. ### Schedule The table below was compiled using information from The Pro Football Archives and The Coffin Corner, both of which used various contemporary newspapers. A dagger () represents a non-APFA team. For the results column, the winning team's score is posted first followed by the result for the Flyers. For the attendance, if a cell is greyed out and has "N/A", then that means there is an unknown figure for that game. The green-colored cells indicates a win; and the red-colored cells indicate a loss. The games against the local teams are listed, but are not counted in the final APFA standings. ## Game summaries ### Week 2: at Rock Island Independents October 3, 1920, at Douglas Park In their only APFA game counted in the standings, the Muncie Flyers played against the Rock Island Independents. It is considered to be one of the first games played with two APFA teams. Since kickoff times were not standardized, it is unknown if the Muncie–Rock Island or Columbus–Dayton game is the first game. In the first quarter, the Independents scored three touchdowns: two from Arnold Wyman and one from Rube Ursella. In the second quarter, Ursella kicked a 25-yard field goal, and Wyman scored from an 86-yard kickoff return. In the third quarter, Sid Nichols had a 5-yard rushing touchdown, and Waddy Kuehl scored a 7-yard rushing touchdown, en route to a final score of the game was 45–0. ### Week 10: at Gas City Tigers November 25, 1920, in Gas City, Indiana It took the Flyers eight weeks in order to have a game played; they accepted the Gas City Tigers' challenge to play in Gas City, Indiana, on November 18. The Tigers were 9–0 and outscored their opponents 443–9 this season. Halfback Mickey Hole scored a 45-yard rushing touchdown three minutes into the game. On the next possession, the Flyers scored again; Kenneth Huffine scored the touchdown, and Cooney Checkaye kicked the point after, which made the score 13–0. Near the beginning of the second quarter, Checkaye scored, but the extra point was missed. The Tigers scored their only touchdown in the game in the third quarter. The final score of the game was 19–7. ### Week 10: at Muncie Offers More AC November 28, 1920, at Walnut Park After their first victory of the season, the Flyers were challenged by the Muncie Offers More AC. The game was labelled as the Muncie City Championship. Since most of the other local teams' seasons were finished, both Muncie teams hired as many as 20 players for the game. The field was muddy, which caused Offers More AC to fumble the ball several times. In the third quarter, the Flyers scored two touchdowns to give them a 14–0 lead going into the fourth quarter. The Flyers added 10 more points—a touchdown and a field goal—in the final quarter to win the Championship 24–0. ### Week 11: at Gas City Tigers December 5, 1920, in Gas City, Indiana The Flyers last game of the 1920 season was against the Gas City Tigers. The Tigers signed up several players to help them defeat the Flyers. The first quarter was scoreless, as the only near score was from a failed drop kick from the Flyers. The first score of the game came in the second quarter. Weaver of the Tigers returned a punt 85 yards for a touchdown. On the Tigers' next possession, they dropped a pass in the endzone on fourth down. Early in the third quarter, a member of the Tigers fumbled, and the Flyers recovered it on the 5-yard line. Huffine score a rushing touchdown on that possession to tie the game 7–7. The last score of the game came from the Flyers; Checkaye returned a punt 60 yards for a touchdown to give the Flyers a 13–7 victory. The Tigers almost scored on their final possession on the game but fumbled. ## Post-season Without any APFA wins, the Flyers could not contend for the APFA Championship. However, with wins against the Gas City Tigers and the Muncie Offers More AC, the Flyers claimed to have won the Indiana State Championship. Sportswriter Bruce Copeland compiled the All-Pro list for the 1920 season, but no player from the Flyers was on the list. Ken Huffine decided to be affiliated with the Chicago Stayles after the 1920 season, and Cooney Checkaye took over the role the following season. It did not help, and the Flyers' final year in the APFA was 1921. As of 2012, no players from the 1920 Muncie Flyers have been enshrined into the Pro Football Hall of Fame. ## Standings ## Roster	[ "## Offseason", "## Regular season", "### Schedule", "## Game summaries", "### Week 2: at Rock Island Independents", "### Week 10: at Gas City Tigers", "### Week 10: at Muncie Offers More AC", "### Week 11: at Gas City Tigers", "## Post-season", "## Standings", "## Roster" ]	1,805	20,175
36,447,938	Malcolm Jardine	1,160,964,981	English Amateur cricketer and barrister	[ "1869 births", "1947 deaths", "Alumni of Balliol College, Oxford", "Cricketers from Himachal Pradesh", "English cricketers", "Europeans cricketers", "Marylebone Cricket Club cricketers", "Members of the Middle Temple", "Middlesex cricketers", "Oxford University cricketers", "People educated at Fettes College" ]	Malcolm Robert Jardine (8 June 1869 – 16 January 1947) was an English first-class cricketer who played 46 matches, mainly for Oxford University. Although his first-class record was not impressive, he scored 140 in the University Match of 1892 using an unorthodox batting method. He played a few matches for Middlesex but later went to work in India, in effect ending his English first-class career. He played first-class cricket in India for the Europeans and after a successful legal career, returned to England. His son Douglas went on to play cricket for Oxford, Surrey and England, captaining the latter two and being associated with the use of Bodyline bowling. ## Early life Jardine was born in Simla, British India on 8 June 1869 to a family which had been connected with India for many years. He was the second son of William Jardine, a barrister and later a judge in Allahabad who had a successful legal career before he died from cholera aged 32. He was educated at Fettes College, a boarding school in Edinburgh, making it into the school cricket team for four consecutive years. He established a good reputation and was appointed captain of the side in 1888. That year, his batting average was 77.70, and he took 24 wickets at an average of 6.30, coming top of both sets of averages for the school. ## First-class cricketer ### Career at Oxford In 1889, Jardine went to Balliol College, Oxford. He made his first-class debut for Oxford University against the Gentlemen of England. In his third match, against Lancashire, he passed fifty for the first time. Although his next highest score in fifteen innings was just 33, and he failed to reach double figures eight times, he was awarded his Blue. He had some success with his bowling, taking five wickets for 78 in a Surrey total of 614. He played in the University Match but failed to score in either innings and Oxford lost heavily. In total, he scored 198 runs at an average of 13.20. The following season, Jardine scored more runs at a higher average, but failed to pass fifty in an innings. He scored 218 runs at an average of 14.53 and did not bowl. Although he was more successful in the University Match, scoring 3 and 24, Oxford lost again after being bowled out for 42 in their first innings. In 1891, Jardine was appointed captain of the university. He further improved his aggregate and average with 255 runs at an average of 18.21, and took two wickets for five runs in the only innings in which he bowled. In the second and third matches, he scored 62 not out and 70 in consecutive innings against the Gentlemen of England and H Phillipson's XI, but did not pass fifty again. Playing in the University Match, he scored a duck in the first innings and 15 in the second, and Oxford lost their third successive match, although they took eight wickets before Cambridge reached their target of 93. Jardine's final season at Oxford was his most successful; he recorded his highest aggregate and average despite playing only four matches for the club. At the start of the season, Lionel Palairet took over the captaincy. Jardine's studies preventing him from playing in any of Oxford's home games, and he did not appear in the team until June. He only took part in three games before the University Match, although in the last of these he scored 60 against Marylebone Cricket Club (MCC) at Lord's. ### 1892 University Match In his final University Match, Oxford batted first and Jardine's innings began after his team had lost two wickets without scoring any runs. He batted for 285 minutes, scoring 140. Before lunch, he played very carefully but increased his scoring rate afterwards. In total, he hit 21 fours and The Times described his innings as faultless. Wisden noted his strong defence and his powerful leg glance. Critics noted that he frequently hit Stanley Jackson to the leg side, a method of play which was unusual at the time. Players educated at Public School generally considered hitting to leg highly unorthodox and almost unfair. K. S. Ranjitsinhji, who was in the crowd at Lord's, would develop the leg glance and make it respectable within a few years, but he had not yet made his first-class debut in 1892. It is likely that Jardine was one of the first players to use this shot. Jackson refused to depart from the orthodox methods of the time, continuing to bowl with seven fielders on the off side and only two on the leg side, making it easier for Jardine to score runs. The Times commented that Cambridge "appeared a little slow to grasp the idea of putting a man on the leg side for [Jardine]". Jardine also hit 39 in the second innings as Oxford chased down a target to win for the only time in his University career. Jardine's first innings remained his only first-class century. ### Other first-class cricket In the remainder of the 1892 season, Jardine played for Middlesex. He played six matches, but scored just 102 runs and averaged 12.75 with the bat; hitting a highest score of 32 not out. Subsequently, Jardine's work as a barrister took him to India, and he played just four more first-class matches in England. These were for the MCC at the beginning of the 1897 season, where he scored 185 runs at an average of 23.12 with two fifties and a highest score of 85. His only other first-class cricket was for the Europeans cricket team in India. He played in the annual Presidency Match against the Parsees between 1894 and 1902, only missing the 1899 and 1901 games. He scored just one fifty in eight matches, but his batting was admired by critics. Although Jardine did not have an impressive first-class record, critics including Ranjitsinjhi, and Plum Warner considered him a good batsman. C. B. Fry believed that if Jardine had played regular county cricket, he would have played for England. Fry described him as a superb fielder and as "a beautiful player, with a perfect back-stroke and a perfect cut and neat late off drive." He did not bowl regularly after 1889, saving his energy for fielding. In 46 first-class matches, he scored 1,439 runs at an average of 17.76, took 15 wickets at an average of 14.40 and held 42 catches. ## Legal career In 1893, Jardine was called to the Bar by the Middle Temple in 1893. He returned to India, where he practised at the Bombay Bar until 1916. At the time, British barristers dominated the Indian legal system, finding considerable financial reward, but causing resentment among the Indian legal profession. At the same time, Jardine held positions of increasing influence in India. He was Perry Professor of Jurisprudence and Roman Law from 1898 to 1902 and then Principal of the Government Law School until 1903. Subsequently, he was Clerk of the Crown, before being appointed Advocate General of Bombay in 1915 before retiring from India in 1916. In 1898, he married Alison Moir and they had one son, Douglas in 1900, who went on to play first-class and Test cricket for Surrey and England. Eventually, Douglas became a controversial England captain, introducing a form of hostile bowling known as Bodyline. The family lived in a wealthy area of Bombay and were well known in its social and sporting circle. With Douglas at Public School, Jardine and his wife returned to England in 1916. He took an interest in the Surrey team, becoming a member and later a vice-president. His wife died in 1936 while Jardine died in South Kensington on 16 January 1947.	[ "## Early life", "## First-class cricketer", "### Career at Oxford", "### 1892 University Match", "### Other first-class cricket", "## Legal career" ]	1,706	13,502
52,157,472	Elspeth Reoch	1,171,320,711	Scottish cunning woman; alleged witch (d. 1616)	[ "1616 deaths", "Cunning folk", "Executed Scottish women", "People executed by Scotland by burning", "People from Orkney", "Scottish people executed for witchcraft" ]	Elspeth Reoch (died Kirkwall 1616) was an alleged Scottish witch. She was born in Caithness but as a child spent time with relatives on an island in Lochaber prior to travelling to the mainland of Orkney. At that time the Orkney archipelago was under the legal jurisdiction of Scotland which, with the implementation of the Scottish Witchcraft Act of 1563, made witchcraft a capital offence, therefore punishable by death. The early years of the 17th century were a time of political turmoil on the islands as the transition of power between Patrick Stewart, 2nd Earl of Orkney and the staunch episcopalian Bishop James Law took place. Once in control, Bishop Law instigated court reforms in 1614 that academics considered had a significant impact on witchcraft trials in Orkney. Any references to a fairy in statements given to interrogators by alleged witches were routinely changed to read devil or demon. At her trial in Kirkwall on 12 March 1616 Reoch confessed to charges of witchcraft and deceiving islanders by pretending she was mute. Asserting she had received instructions on how to acquire magical powers when she was twelve years old while she was staying with an aunt in Lochaber, she claimed to have clairvoyance abilities. She also professed to being able to induce or cure illness by reciting chants while plucking petals from the melefour herb. Her lifestyle was that of a wanderer or vagabond who used her magic to support herself. Reoch was found guilty and executed by strangulation; her body was burned that afternoon. ## Background The islanders of Orkney had a long tradition of belief in broadly construed forms of witchcraft, sorcery and supernatural creatures. Magical powers were accepted as part of the general lifestyle and were not questioned. Witch hunts in Scotland began in about 1550; the parliament of Mary, Queen of Scots passed the Scottish Witchcraft Act in 1563, making witchcraft convictions subject to capital punishment. Although the Orkney archipelago was officially under Norwegian law until 1611, it had been held by Scotland from 1468 under the rule of Scottish earls. Patrick Stewart, 2nd Earl of Orkney, known as Black Patie, had control of the islands in 1594 at the time of the initial witch trials but the early years of the 17th-century were a period of political turmoil. Black Patie was incarcerated and eventually executed after he enraged King James who appointed James Law, a staunch Episcopalian, as Bishop of Orkney. Law took on the role of sheriff and oversaw later trials. The historian Liv Helene Willumsen considers the court reforms instigated by Bishop Law around 1614 and the restoration of the bishops impacted significantly on the witch trials but failed to improve the neutrality of the proceedings. ## Personal life Reoch's father, Donald Reoch, was a piper in the service of the Earl of Caithness. She had a sister and a brother. Although born in Caithness she stayed on an island in Lochaber, where at least two of her aunts lived, before arriving in Orkney. No clear records of Reoch's marital status exist, but she bore at least two children to two men. After the birth of her first child Reoch maintained she was unable to speak. By this time her father had died leaving her brother as her most senior relative. She was violently beaten by him in his attempts to force her to talk. Using a form of torture that was similar to one later utilised by Graham of Claverhouse, he tightened a bowstring around her head; he also used a bridle with an iron bit to beat her. The beatings proved unsuccessful so he made her attend church with him to pray for help curing her; Reoch however remained mute for a lengthy period. Orcadian historian Ernest Marwick describes her lifestyle as that of a wanderer, a person with nomadic tendencies or a beggar, whose claims of extrasensory perception provided her with an income. He considered her to be "harmless", a "poor deluded creature much abused by men whom she took to be fairies". She may have suffered from a type of sleep paralysis and also have been subjected to some form of trauma, possibly rape or incest, memories of which formed the basis of the story she relayed to her inquisitors. Historian Diane Purkiss speculates that Reoch's brother may have been her incestuous partner although this opinion is not shared by other academics. ## Charges and confession Under interrogation Reoch stated that when she was twelve years old she was staying in Lochaber with one of her aunts. While she was standing at the side of the loch, waiting for a boat, she was approached by two men, one dressed in black the other in a plaid of green tartan. The man in green told her he thought she was pretty; despite protests from his companion, who felt Reoch would be unable to keep a secret, the man suggested he could tell Reoch how to know anything she wanted. Keen to possess mystical powers, Reoch pressed him to tell her what to do. He told her to boil an egg but she must not eat it. Instead she was to use the condensation from cooking the egg to rub on her eyes with unwashed hands, which would give her the power to see and know everything she wanted. She said the man dressed in green told her to go to the house of another one of her aunts who had a widow and her granddaughter either lodging or visiting. The family were unaware that the child, who was a similar age to Reoch, was pregnant by a married man until Reoch confronted her about it in front of them. After initially denying the accusation, the child pleaded with Reoch to help abort the pregnancy but she refused, telling her to ask Allan McKeldow who also declined to become involved. Less than two years later, after Reoch produced her own illegitimate child, one of the men appeared again at her bedside in her sister's house. She admitted that she had sexual intercourse with the "Farie man" after he had visited her on three nights in succession; this was the man who had been dressed in black when she first encountered them at the lochside. She claimed he was a relative named Johne Stewart, who had been fatally attacked, and that he informed her "he was neither dead nor alive but was forever trapped between heaven and earth". He told her that to retain her magic skills "she should henceforth be dumb". Reoch confessed that by using her clairvoyance skills she had foreseen a group of men at an afternoon drinking session in the house of Edmond Callendar. These men included Patrick Traill, a man who she was pregnant by, and Robert Stewart, the illegitimate son of Black Patie; they all had ropes around their necks. The prediction had been made before the Earl of Caithness arrived in Orkney. She also admitted creating a magic spell to cure illness by chanting "In nomine Patris, Filii, et Spiritus Sancti" while pulling the petals from the melefour herb between her thumb and finger. ## Trial In contrast to the Scottish mainland, where the Privy Council managed trials, there are no records of it having any involvement on Orkney where, from 1615, the Procurator Fiscal instigated hearings in the Sheriff Court or they were heard by the church elders. It was common for inquisitors to transcribe the word devil or demon in place of any appellation for a fairy an alleged witch may have used in their statement. The charges were brought against Reoch by Robert Coltart, the Procurator Fiscal appointed by Bishop Law. She was accused of deceiving the King's subjects with her charade of being unable to speak and committing the "abominable and divilesch cryme of witchcraft". At her trial on 12 March 1616 in Kirkwall, Reoch admitted to having had several rendezvous with the Devil, who had assumed the form of a fairy; she said one of the meetings occurred on Halloween. At one of their assignations he informed her that "Orkney was Priestgone, as there were too many ministers in it". Reoch was found guilty and executed; she was strangled and then her body was burned that afternoon. ## See also - Allison Balfour	[ "## Background", "## Personal life", "## Charges and confession", "## Trial", "## See also" ]	1,752	18,775
2,739,802	John Hervey, 7th Marquess of Bristol	1,151,482,786	British aristocrat (1954–1999)	[ "1954 births", "1999 deaths", "20th-century English LGBT people", "20th-century English criminals", "20th-century English nobility", "Deaths from multiple organ failure", "English expatriates in France", "English expatriates in Monaco", "English expatriates in the United States", "English prisoners and detainees", "Hervey family", "LGBT peers", "Marquesses of Bristol", "People educated at Harrow School" ]	Frederick William John Augustus Hervey, 7th Marquess of Bristol (/ˈhɑːrvi/ "Harvey"; 15 September 1954 – 10 January 1999), also known as John Jermyn and John Bristol, was a British hereditary peer, aristocrat and businessman. Although he inherited a large fortune, he died almost penniless from funding a chronic and persistent drug addiction. John was the eldest child of Victor Hervey, 6th Marquess of Bristol. He was distant from his father, who treated him harshly, and did not get on well with him, though he was close to his first stepmother, Lady Juliet. After spending time in London, Monte Carlo, Paris and New York in the 1970s, he settled in part of the family seat, Ickworth House in Suffolk, becoming the 7th Marquess in 1985. Despite inheriting a large fortune of up to £35 million, the Marquess spent most of it during his lifetime. He struggled with addiction to cocaine and other drugs, serving several jail sentences for possession, and was known for his flamboyant lifestyle and homosexuality. His brief marriage in the mid-1980s did not last because of this, and he became increasingly depressed as he lost money and faced bankruptcy, culminating in the sale of the remainder of Ickworth House to the National Trust. He died in early 1999 of complications resulting from his drug addiction, and was succeeded by his half-brother, Frederick Hervey, 8th Marquess of Bristol. ## Early years and family Frederick William John Augustus Hervey was born on 15 September 1954, five years into the marriage between Victor Hervey, Earl Jermyn, the heir to the Marquessate of Bristol, and Pauline Bolton, daughter of a Kent businessman. He was their only child and his parents divorced when he was five years old in 1959. He grew up in the family home, Ickworth House, Bury St Edmunds, Suffolk, and was a ward of court for some time after his mother left Ickworth. In April 1960, his father inherited the Marquessate of Bristol following the death of the 5th Marquess; John Hervey in turn gained the courtesy title of Earl Jermyn. The 6th Marquess, who had been jailed for jewel theft in his youth, behaved harshly towards his eldest son, according to friends of the family. He did not show John love or affection, and was strict to the extent that John was required to wear long white gloves during dinner. "He treated his son and heir with indifference and contempt," said Anthony Haden-Guest. Jamie Spencer-Churchill, a school friend, summed up the relationship: "Victor created the monster that John became." His mother remarried giving him Teddy Lambton, a Newmarket racehorse trainer, for a stepfather, and then a half-brother, George, who became a Conservative councillor. In 1960, his father married secondly Lady Juliet Wentworth-Fitzwilliam, the only child of Peter Wentworth-Fitzwilliam, 8th Earl Fitzwilliam. One son, Lord Nicholas Hervey, was born to this marriage. John Hervey was close to both his step-parents, whom he later recalled as being warm and generous. His father's final marriage was to his private secretary, Yvonne Marie Sutton, in 1974, giving him three more half-siblings: the incumbent Frederick Hervey, 8th Marquess of Bristol, media personality Lady Victoria Hervey, and Lady Isabella Hervey. John Hervey did not get on well with Yvonne, whom he referred to as "Miss Crimplene", and he reportedly hurled a glass at the wall when he received a telegram from his father announcing the marriage. Around this time, his father attempted to prove that John was an illegitimate child, so could not inherit his titles and estates, but was unsuccessful. He also stripped Ickworth House of its contents while John was away, and he came home one weekend to find everything suddenly missing. Along with his half-brother Nicholas, Earl Jermyn attempted to sue his father's estate after Yvonne and her children were named the principal beneficiaries in the 6th Marquess's will, but failed. ## Later years The Earl was educated at Harrow School and the University of Neuchâtel. He modelled himself on Oscar Wilde and began to use drugs and alcohol; the Oxford Dictionary of National Biography designates him a "wastrel". He inherited a million pounds when he was 16 years old, and another four million five years later. He eventually acquired a personal fortune worth up to £35 million, including oil wells in Louisiana and a 57,000-acre (23,000 ha) sheep farm in Australia. In his early 20s, he lived in a small flat and sold second-hand Bentley cars; friends recall he was at his happiest during this time. He moved to Monte Carlo shortly after his father had relocated there in 1975 as a tax exile, but did not enjoy living there and moved to Paris, settling in a flat on the Rue de Bellechasse [fr]. While there, he became openly gay and had a partner, which was picked up by the tabloid gossip columns. He had moved to Manhattan by the end of the decade, and enjoyed throwing parties. The Earl was frequently depicted in the British tabloids for his drug use, wild parties and homosexuality. In May 1983, he was arrested on suspicion of trafficking \$4 million of heroin and moved from New York back to Ickworth House. While there, on at least one occasion, the Earl piloted his helicopter without radar while snorting cocaine off the map he was using for navigation. On another, while accompanying his secretary Angela Barry, he crash-landed the helicopter in a field, and walked to the nearest farmhouse, demanding to use the phone while leaving mud everywhere. He became known for his dark sense of humour; on one occasion he allowed a young woman to ride a rubber dinghy into the middle of the lake at Ickworth and then shot at it with an air rifle, sinking it. On another, he was accused of opening a fridge door to retrieve a bottle of champagne by blasting it with a shotgun. He once drove along the hard shoulder of the M11 motorway at 140 miles per hour (230 km/h) to avoid traffic congestion. Though the Earl had come out as homosexual, on 14 September 1984 he married Francesca Fisher, then 20, the day before his 30th birthday. In sharp contrast to the Earl, Fisher was a teetotaler and a vegetarian, and he hoped she would be a calming influence on his life. He also wanted to give up drug use and homosexuality and produce an heir. His father refused to attend the wedding, going as far as to place an advertisement in The Times that he had a prior engagement. The marriage lasted for three years, but quickly fell apart after he started freebasing cocaine and using rent boys. During the marriage, the Earl accidentally drove a car halfway over a cliff while Francesca was a passenger. They had no children. He later formed a close friendship with James Whitby, who became a companion for most of the remainder of his life. The Earl inherited the title of Marquess of Bristol after his father died on 10 March 1985. Although Ickworth House had been given to the Treasury in lieu of death duties in 1956, and then handed over to the National Trust, he continued living there in the house's East Wing as part of the conditions. Following the collapse of his marriage, the Marquess became increasingly volatile. He blamed some of his difficulties on what he called "bad blood" and a "family disposition to depression". According to the Marquess, his father and mother both suffered from manic depression (now known as bipolar disorder) and he felt the same, though he appreciated that years of cocaine abuse had not helped matters. During this time, he saw his mother regularly, who was living in nearby Newmarket, using a helicopter to travel between there and Ickworth. In 1988, the Marquess was imprisoned for a year in Jersey for cocaine possession and trafficking; a contemporary report said he was spending around £25,000 a year on the drug. He served seven months of the sentence and was released in April 1989. The National Trust were unimpressed with the Marquess' behaviour, including dangerous driving around the estate and lack of control over his wolfhounds. They attempted to evict him from Ickworth House in 1994 but withdrew the threat because of the Marquess' ill health. In turn, the Marquess was upset about having to share Ickworth House with public visitors to the gardens; he fired a shotgun repeatedly into the air, shouting "fucking peasants, fucking National Trust!" at people. The House of Lords, by then under threat of reform, generally disliked the Marquess as his behaviour was damaging the House's reputation. ## Final years and death By the early 1990s, friends were concerned about the Marquess's addiction to drugs, particularly since multiple prison sentences had done nothing to alleviate it. He was deported from Australia in April 1990 and charged with drug possession in November 1991 and March 1992. That October, his estate company was liquidated with debts over £650,000. In June 1993, he avoided a jail sentence by being ordered to attend a rehabilitation clinic, but travelled to the South of France instead and was sentenced to 10 months in an open prison, whence he was released after five. He was arrested again in September 1994 for possession. Facing bankruptcy, the Marquess sold most of the contents of Ickworth House at auction in March 1994 for £2.3 million. He sold the remaining lease on the house back to the National Trust in April 1998, moving into Little Horringer Hall, a small house on the grounds. On 9 January 1999, he complained of a stomach ache and dizziness, and spent most of the day in bed. He was found dead the following morning. While there were rumours that the Marquess had died from AIDS, having apparently contracted HIV in 1986, the coroner recorded that he died of "multiple organ failure due to chronic drug abuse". A post-mortem examination showed traces of cocaine, as well as several legal drugs, in his system. His agent said that despite years of ill health through drug abuse, he was greatly shocked by his death. The Marquess's funeral took place on 23 February at Bury St Edmunds Cathedral. He was buried at St Mary’s Church, Ickworth, as is traditional for all peers of the Hervey family. ## Legacy The 7th Marquess was succeeded by his half-brother, Frederick. His other paternal half-brother, Nicholas, had died a year before him, while his mother had died in 1996. The new Marquess did not attend his half-brother's funeral but expressed sadness at what had happened. He also said he was angry at being unable to live at Ickworth, as the remaining lease had been sold to the National Trust. His half-sister Victoria shared similar sentiments, and stated that she has avoided drugs as a result of her relationship with John. The 7th Marquess's maternal half-brother, George Lambton, said he had no hard feelings about the disappearance of the money, and that the Marquess had "packed more in his 44 years than most people do in their whole lives". The £5,000 left in his estate was quickly taken up by expenses, mostly for his funeral. His will stipulated that £100,000 should be left to Whitby and £25,000 each to his butler, Thomas Foley, and his chauffeur; however it is unknown whether they were ever paid. A trust fund had been set up for Frederick, but his half-sisters received nothing. The House of Lords Act 1999 abolished most hereditary peers' rights; consequently, as well as having no residence at Ickworth, the 8th Marquess does not have a seat in the House. Following the 7th Marquess's death, his agent hoped that the story would serve as a warning about the dangers of drug addiction. Ickworth Church, which the 7th Marquess had bought in 1986 after commissioners declared it redundant, was inherited by the 8th Marquess and restored with a Heritage Lottery grant. The East Wing of Ickworth House was converted by the National Trust into a luxury hotel in 2002.	[ "## Early years and family", "## Later years", "## Final years and death", "## Legacy" ]	2,686	10,733
2,748,304	Mulder and Scully (song)	1,173,290,051	1998 single by Catatonia	[ "1997 songs", "1998 singles", "Blanco y Negro Records singles", "Catatonia (band) songs", "Songs written by Cerys Matthews", "Songs written by Mark Roberts (singer)", "The X-Files music" ]	"Mulder and Scully" is a song by Welsh alternative rock band Catatonia, released as a single by Blanco y Negro Records from the band's second album, International Velvet (1998). The song makes direct reference to fictional FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson), the two main characters of the popular American sci-fi TV series The X-Files who work on cases linked to the paranormal, called X-Files. In an interview Cerys Matthews, co-writer of the song, explained that while she was not a serious fan of the show, the basic premise of the series matched the concept of what she was trying to express. "Mulder and Scully" was released as the second single from International Velvet on 19 January 1998. Originally, it was supposed to be the first single but was delayed due to circumstances beyond the band's control. The song was Catatonia's first single in the United States. "Mulder and Scully" became the group's break-out hit and received a mixed to positive response from the music press; many critics felt that, musically, the song was well played, but that the track's pop culture references were out of place. The song reached number three on the UK Singles Chart, making it Catatonia's highest-charting UK song. It also became a hit in Iceland, reaching number two, and in Ireland, where it peaked at number 17. A music video was released that featured the band performing the track while Mulder and Scully, played by look-alikes, search the concert venue with torches. ## Lyrics and composition The song makes direct reference to FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson), the two main characters of the popular sci-fi TV series The X-Files who work on cases linked to the paranormal, called X-Files. Although the title and refrain reference the popular show, the song has little to do with the two characters. Instead, the reference to Mulder and Scully is a metaphor for a relationship being so "strange" that it could be "a case for Mulder and Scully", a reference to the paranormal cases—the titular X-Files—the two investigate on the show. Cerys Matthews, the co-writer of the song, explained that the conceit of the song was "about asking Mulder and Scully to figure out this thing called love. I like the idea of two people going round the planet investigating odd phenomena, in this case love". Matthews later admitted that she was not a serious fan of the show, but that she only used the line because it adequately described the type of relationship she was singing about. In an interview with the Daily Record, she explained, "I'm not a big fan of [The X-Files] but I got the line about things getting strange for Mulder and Scully from watching the odd episode". After questioning, she later said that she would "prefer to go out for a night on the town with Gazza and Chris Evans than meet [The X-Files] stars Gillian Anderson and David Duchovny". Matthews also related that "I'm sure loads of people bought the record by mistake, but who cares? They should be flattered we wrote a song about [The X-Files] anyway". ## Release and acclaim The song was met with mixed to positive reviews from critics; many reviewers lauded the band's musical composition, but maligned the track for its heavy reliance on pop culture references. The Sunday Mirror wrote positively of the song and called it "hard rockin'". Ben Myers from the now-defunct music magazine Melody Maker named the song the "Single of the Week" and called it "fantastic". He noted that "they've damn near written a perfect pop song. The first best single of the year". Music Week gave the song five out of five, remarking that "the Welsh indie-popsters take their inspiration from The X-Files rather than The Mob this time around and are certain to hit the charts with this clever grower of a track. Spooky but spiky." Jerry Rubino, host of the popular radio show "Left of Center", named the song one of his favorite "Brit Things". Sarah Zupko from PopMatters noted that the song was built around "somewhat silly X-Files references", but that it possessed "hooks to die for". Stephen Thomas Erlewine from AllMusic gave the song a relatively positive review and singled it out as an "AllMusic Pick". He also praised the song's "terrific [hook]" but was slightly critical of the "self-conscious pop culture references". Despite this, he noted the band was successfully able to "bring memorable melodies to the [song]". A subsequent review by AllMusic awarded the single, by itself, two-and-a-half stars out of five. NME called the song "little more than fodder for nostalgia TV", written by a "lazy television researcher's imagination". Cerys Matthews and the band were extremely pleased with the final product, calling it a "better song" than "All Around the World" by Oasis, the single's main competitor at the time. Matthews later said that the lyrics for "Mulder and Scully" were "good, top to bottom". Catatonia later released the song as part of their 2002 greatest hits album, And the song was later included on various Britpop compilations, including the Common People: The Britpop Story album, and the 100 Hits of the 90s album, released by the BBC. ## Chart performance Originally, Catatonia wished to release "Mulder and Scully" during mid-1997. However, due to complications, these plans were scrapped and the song "I Am the Mob" was released instead. "Mulder and Scully" was eventually released on 19 January 1998, and, due to heavy promotion via BBC Radio 1, soon became the band's break-out hit, propelling them "into the limelight [...] numerous interviews and television appearances". The band's record label, Blanco y Negro Records, promoted the single with a press release that described the song as "[s]pooky but spiky" and a "clever grower of a track". The song debuted on the United Kingdom chart on 31 January 1998 and made its last appearance on 4 April 1998. During its first week of release, the single performed exceptionally well. Music stores reported that the physical release of "Mulder and Scully" was selling slightly fewer copies than Usher's single "You Make Me Wanna...". Cerys Matthews later told Melody Maker that the single out-sold Oasis "for two days". During its first week, "Mulder and Scully" peaked on the chart at number three and spent a total of 10 weeks on the chart. The song also charted on the Irish Singles Chart, entering the charts on 2 May 1998. It peaked at number 17 and spent five weeks charting. Later, a Japanese EP was released under the name "Mulder and Scully EP". It combined tracks from the title single, as well as the "I Am the Mob" and "Road Rage" singles. ## Music video The music video for "Mulder and Scully" was directed by Gerald McMorrow and features the band performing at a venue intercut with scenes of life on a tour bus at night. All the while, Mulder and Scully—played by look-alikes—investigate the area around the concert with torches. Eventually, the agents begin passionately kissing while Catatonia plays their song on a stage. The video was filmed at T.J.'s, a rock concert venue in Newport, Wales. A call was made for fans of the band to arrive and play the part of the audience. While actor Rhys Ifans, one year before his breakout performance in Notting Hill, features prominently. The entire video shoot took a full day to film. The video for "Mulder and Scully" was popular; according to Billboard magazine, the video for "Mulder and Scully" received "heavy rotation" and was played "30 to 35" times weekly in the United Kingdom. The video was heavily promoted in the United States, due in part to its direct allusion to The X-Files, and it received decent airplay. ## Track listings - UK CD single 1. "Mulder and Scully" – 4:10 2. "No Stone Unturned" – 3:28 3. "Mantra for the Lost" – 2:47 4. "Mulder and Scully" (The Ex-Files) – 4:53 - UK 7-inch and cassette single 1. "Mulder and Scully" – 4:10 2. "No Stone Unturned" – 3:28 - Japanese EP 1. "Mulder and Scully" (album version) – 4:10 2. "Road Rage" (radio edit) – 5:10 3. "Jump or Be Sane" – 4:00 4. "No Stone Unturned" – 3:28 5. "Mantra for the Lost" – 2:47 6. "I'm Cured" – 2:55 7. "Blow the Millennium Pt.2" – 2:30 8. "I Am the Mob" (Luca Brasi mix) – 3:41 9. "Mulder and Scully" (The Ex-Files mix) – 4:53 10. "Road Rage (Ghia)" – 5:10 ## Personnel - Cerys Matthews – vocals - Mark Roberts – guitar - Paul Jones – bass - Owen Powell – guitar - Aled Richards – drums ## Charts ### Weekly charts ### Year-end charts ## Certifications ## See also - The X-Files franchise - Music of The X-Files	[ "## Lyrics and composition", "## Release and acclaim", "## Chart performance", "## Music video", "## Track listings", "## Personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications", "## See also" ]	2,105	26,092
2,531,062	One More Chance (Madonna song)	1,162,739,123	1996 single by Madonna	[ "1990s ballads", "1995 songs", "1996 singles", "Madonna songs", "Maverick Records singles", "Pop ballads", "Song recordings produced by David Foster", "Song recordings produced by Madonna", "Songs written by David Foster", "Songs written by Madonna", "Warner Records singles" ]	"One More Chance" is a song by American singer Madonna for her ballads compilation album, Something to Remember (1995). Written and produced by Madonna and David Foster, it was released on March 7, 1996 by Maverick Records as the album's second single in Australia and Japan, and the third single in the European countries. An acoustic pop ballad, the song lyrically talks about attempting to win a lost lover back. The song was inspired by Madonna's real life experience, but she wrote it from the opposite point of view. The song received positive response from music critics, who praised its musical simplicity and Madonna's vocal delivery. "One More Chance" peaked at number two in Italy and charted within the top forty in Australia, Finland, Sweden, and the United Kingdom. Since Madonna was busy filming the musical Evita, the song received little promotion and no accompanying music video. ## Background and writing In November 1995, Madonna released a compilation album, Something to Remember, featuring a selection of her ballads over a decade of her career and three new songs. "One More Chance" was one of the new songs she composed alongside Canadian musician David Foster. It was released as the album's second single in Australia and Japan, and the third single in the European countries on March 7, 1996. The Spanish version of "You'll See", titled "Verás", appeared as the B-side of the single release. Foster initially did not expect Madonna would collaborate with him, as he believed that his music was not "really [be] hip enough for her." Madonna and Foster worked on the song during the writing and recording session for Something to Remember, in the third weekend of September 1995. According to biographer Barbara Victor in the book Goddess: Inside Madonna, Madonna wrote the song during her six-month vocal training with vocal coach Joan Leder in preparation of her role in the musical Evita. In a January 1996 interview with Spin magazine, Madonna said that the song was inspired by a happy moment in her life, when she gave a chance to a man she knew, and he was able to fulfill it to her needs. She reversed the situation and wrote the song. Madonna explained, "Often in my songwriting, I take things people say to me and turn them around, and put it in the first person. So it's actually something that was said to me." Madonna did not reveal the name of the person who became the main subject of the song. ## Recording and composition "One More Chance" was produced and arranged by Madonna and David Foster. Recording process of the song was done in Brooklyn Studios and assisted by Ronnie Rivera. It was engineered and mixed by David Reitzas, who also produced the remix of "Love Don't Live Here Anymore" for the same album. Simon Franglen provided synclavier programming for the song. Only three instruments were used for the song—acoustic guitar played Dean Parks, cello played by Suzie Katayama and keyboard played by David Foster. "One More Chance" is an acoustic pop ballad. It is set in the time signature of common time, having a tempo of 92 beats per minute. The song is played in the key of F major, with a basic sequence of Cmaj7–Bm7–Am7–Bm7 as its chord progression, while piano and guitar are used to play the background music. Madonna's voice spans from G<sub>3</sub> to B<sub>4</sub>. The verses start off with F major and then the chorus leans towards D minor, the bridge and the ending sections changes to D major. Louis Virtel from Idolator said on the song "[Madonna] begs for forgiveness, and her only accompaniment is stark acoustic strumming." Madonna utilized her vocal lessons for Evita during the recording of "You'll See" and "One More Chance". She said "If you listen to those songs, you can hear how I was trying to absorb and utilize what I was learning for the recording of Evita." The song begins with the sound of a finger-picked acoustic guitar, reminiscent of "More Than Words" (1991) by American rock band Extreme. The composition has an organic arrangement, devoid of any synths and sequencing, and only based on guitars and subdued strings. A number of chord changes happen throughout the song as Madonna sings the lyrics, accompanied by an interval gap after the end of each chorus with the line "if you care for me". The bridge section portrays a combination between the harmonies and the guitars, as the key changes. "One More Chance" ends with a brief pause of Madonna's solo vocals, couple of guitar chords and then it dissipates with a final strung of a major chord on the instrument. ## Critical reception Ken Tucker of Entertainment Weekly wrote that "One More Chance" is just one of the "consumer enticements that just add to the allure." Billboard critic Timothy White called it "bittersweet serenade." J. D. Considine from The Baltimore Sun called the song "the album's greatest surprise". He explained, "this David Foster song is quite demanding vocally, requiring a wider range and more power than anything else on the album. Yet Madonna more than lives up to the challenge, showing enough power and polish to make even Madonna-phobes admit she can sing. Louis Virtel from music website Idolator wrote, "No other Madonna song sounds quite like it, and it holds up as a melancholic statement against grander compositions like 'You'll See' and 'I'll Remember'." J. Randy Taraborrelli, author of Madonna: An Intimate Biography, called the song, along with "You'll See", as one of "the most sombre songs [Madonna] has ever recorded." Tirzah Agassi from The Jerusalem Post felt the song is "much more shallow" than "You'll See". Adam Graham from The Detroit News called the song "a sparse acoustic ballad" on which Madonna warmed up her pre-Evita pipes. Writing for the website TheBacklot.com in 2012, Louis Virtel ranked the song at number 84 on "The 100 Greatest Madonna Songs", saying that the song is "nothing more than a guitar and Madonna's torch-song trilling, and it's more effective than anything you've heard out of Taylor Swift's mouth in the past five years". Rikky Rooksby, author of The Complete Guide to the Music of Madonna was critical of the song. He panned the lyrics, saying they were "bland" and felt that Madonna's singing "lacked confidence and improvisation needed to make this kind of [song] really come alive". Also critical was The Guardian's Jude Rogers, who wrote that "there are better cuts on her "Something to Remember" anthology"; nonetheless, she placed the song at number 62 on her ranking of Madonna's singles, in honor of her 60th birthday. Writing for Slant Magazine, Paul Schrodt opined that "due in part to her limited vocal range, Madonna’s ballads are often refreshingly understated compared to those of her contemporaries [...] on 'One More Chance' [...] however, she sounds downright pitiable". ## Chart performance "One More Chance" entered the UK Singles Chart at number 11 on March 23, 1996. It dropped to number 29 in its second week and stayed on the top 100 for four weeks. According to the Official Charts Company, the single had sold 56,851 copies in the United Kingdom as of August 2008. In Australia, the song debuted at number 43 on the ARIA Singles Chart on March 24, 1996. It peaked at number 35 on the chart and stayed within the top 50 for five weeks. In Italy, "One More Chance" debuted at number ten on the FIMI Singles Chart on April 6, 1996. The next week, the single reached a peak of number two on the chart, staying there for one week before descending the chart. In Finland, the song entered the singles chart at number 14 in the 13th week of 1996. It appeared on the chart for four weeks with peak position at number 12. In Sweden, the song debuted and peaked at number 39 on March 29, 1996, staying on the chart for three weeks. Due to its weak performance in European countries, "One More Chance" only managed to peak at number 50 on the European Hot 100 Singles chart on April 13, 1996. ## Promotion and cover version Released while Madonna was busy filming the musical Evita, the song had barely any promotion and no official music video was shot. A video was shown on MTV combining the music videos for "Rain", "You'll See", I Want You", "Take a Bow" and "La Isla Bonita". Madonna has also never performed the song live since its release. In 2000, the song was covered in Spanish by Mexican pop duo Sentidos Opuestos with the title "Hoy que no estás" (English: "Today That You're Not Here"). The Spanish lyrics were written by Donato Póveda. It was included in their fifth studio album, Movimiento perpetuo, released October 10, 2000, by EMI Latin. Selena Gomez covered this song for a tribute album dedicated to David Foster, titled "Love Affair Revisited" in 2012. ## Track listings and formats - UK CD single and Japanese CD maxi-single 1. "One More Chance" (Album Version) – 4:25 2. "You'll See" (Spanish Version) – 4:20 3. "You'll See" (Spanglish Version) – 4:20 - UK 7-inch and cassette single 1. "One More Chance" (Album Version) – 4:25 2. "You'll See" (Spanish Version) – 4:20 ## Credits and personnel Credits are adapted from the album's liner notes. - Madonna – songwriter, producer, arranger, vocals - David Foster – songwriter, producer, arranger, keyboards - Simon Franglen – synclavier, programming - Suzie Katayama – cello - Dean Parks – acoustic guitar - David Reitzas – engineer, mixing - Ronnie Rivera – assistant ## Charts	[ "## Background and writing", "## Recording and composition", "## Critical reception", "## Chart performance", "## Promotion and cover version", "## Track listings and formats", "## Credits and personnel", "## Charts" ]	2,159	9,390
57,887,837	2017 YE5	1,118,532,163	Binary near-Earth asteroid	[ "Apollo asteroids", "Binary asteroids", "Minor planet object articles (unnumbered)", "Near-Earth objects in 2018", "Radar-imaged asteroids" ]	'''' is a binary pair of asteroids of approximately equal size and mass, each about 0.9 km (0.56 mi) in diameter. Classified as a near-Earth asteroid and potentially hazardous object of the Apollo group, was discovered by amateur astronomer Claudine Rinner at the Oukaïmeden Observatory on 21 December 2017. On 21 June 2018, the pair of asteroids passed within 15.5 lunar distances or approximately 6 million km (3.7 million mi) from Earth. During the close encounter, was resolved in high detail by concurrent radar observations by the Arecibo and Green Bank observatories, along with individual observations by the Goldstone Solar System Radar. is likely an extinct or dormant comet due to its distant elliptical orbit and dark red surface. ## Discovery `was discovered on 21 December 2017, by French amateur astronomer Claudine Rinner at the Oukaïmeden Observatory in Marrakesh, Morocco. The discovery formed part of the Morocco Oukaïmeden Sky Survey (MOSS) directed by Zouhair Benkhaldoun at the Cadi Ayyad University. The MOSS survey was designed for searching and characterizing the orbits of small Solar System bodies such as near-Earth asteroids and comets. As the sixth near-Earth asteroid discovered by the MOSS survey, was found in images taken by the Oukaïmeden Observatory's 0.5-meter reflecting telescope, which was remotely operated by Rinner. At the time of discovery, was about 1.1 AU (160 million km; 100 million mi) away from Earth, located in the constellation of Gemini at an apparent magnitude of 19.8.` The discovery of was subsequently reported to the Minor Planet Center's Near-Earth Object Confirmation Page (NEOCP), where a preliminary orbit was calculated from additional observations conducted at multiple observatories. Follow-up observations of spanned six days starting from its discovery, and the object was formally announced in a Minor Planet Electronic Circular issued by the Minor Planet Center on 27 December 2017. Precovery observations of were first identified and reported to the Minor Planet Center in February 2018. These observations were from the Mount Lemmon Survey, which had observed on 14 December 2017, seven days prior to its discovery by the Oukaïmeden Observatory. Earlier precovery observations by the Pan-STARRS1 survey on 12 December 2017 were later identified in May 2018, and are now known to be the earliest reported observations of . ## Nomenclature Upon discovery, the asteroid was given the temporary internal designation tltv005''. After follow up observations confirming the object, it was then given the provisional designation by the Minor Planet Center on 27 December 2017. The provisional designation signifies the object's discovery date and year, with the second letter and numbers indicating that it is the 130th object discovered during the second half of December 2017. has not yet been issued a permanent minor planet number by the Minor Planet Center due to its short observation arc of 270 days, which is insufficient for an orbit to be accurately determined. is expected to receive a minor planet number once it has been observed for over at least four oppositions, which would take several years. Once it receives a minor planet number, it will be eligible for naming. ## Orbit and classification `orbits the Sun at an average distance of approximately 2.82 astronomical units (0.422×10^`<sup>`9`</sup>` km; 0.262×10^`<sup>`9`</sup>` mi), taking 4.73 years to complete one orbit. The orbit of is slightly inclined to the ecliptic plane by 6.2 degrees, with its farthest apsis oriented below the ecliptic. has a highly elongated orbit with an orbital eccentricity of 0.71. Over the course of its orbit, approaches 0.82 AU from the Sun at perihelion and recedes 4.82 AU from the Sun at aphelion, beyond the outer extent of the asteroid belt.` At aphelion, approaches close to Jupiter's orbit, with a minimum orbital intersection distance (MOID) of 0.42 AU. At such close proximity to Jupiter's orbit, has likely been gravitationally perturbed by Jupiter, indicated by its Tisserand parameter of 2.877, which is considered to be characteristic of comets. Because of its comet-like Tisserand parameter and relatively large orbit for a near-Earth object, has been suspected to be an extinct or dormant Jupiter-family comet. Additional evidence for its cometary origin was found by optical and infrared spectroscopy in 2018, which revealed a reddish and low-albedo surface, consistent with the D-type spectral classification. As a near-Earth object, the orbit of crosses that of Earth's, which leads to occasional close approaches to the planet. It has a semi-major axis (orbital distance) greater than 1 AU and a perihelion distance within that of Earth's, therefore it is formally classified under the Apollo group of near-Earth asteroids. 's Earth MOID is approximately 0.021 AU (3.1 million km; 2.0 million mi), or about 8 lunar distances. Given a small Earth MOID, is considered a potentially hazardous asteroid (PHA) by the Minor Planet Center, under the definition that PHAs have Earth MOIDs less than 0.05 AU and absolute magnitudes brighter than 22. Despite being considered potentially hazardous, there is no risk of impact by , as it will not make any close Earth encounters within 12 lunar distances or 0.03 AU (4.5 million km; 2.8 million mi) over the next 200 years. was removed from the JPL Sentry Risk Table on 6 January 2018, after extensive observations and refinements of its orbit ruled out future possibilities of Earth impacts. ### 2018 Earth approach On 21 June 2018 at 20:53 UTC, made its closest approach to Earth from a distance of 0.03986 AU (5.96 million km; 3.71 million mi), or 15.52 lunar distances. During the encounter, approached Earth at a rate of 15.5 km/s (35,000 mph) and its apparent visual brightness peaked around magnitude 15, too faint to be seen with the naked eye. At closest approach, 's apparent motion in the sky was 0.51 degrees per hour and was in the constellation of Andromeda, with an apparent magnitude of 16.6 and an angular separation of 66 degrees from the Sun. After the close encounter with Earth, continued its approach to aphelion, passing by Mars from a distance of 0.0441 AU (6.6 million km; 4.1 million mi) on 30 July 2018. #### Observations The June 2018 encounter with provided an opportunity for radar observatories to study the asteroid's characteristics in detail. On 17 June 2018, the first radar observations of were attempted by the monostatic Goldstone Solar System Radar (GSSR) in California, but failed to detect the asteroid due to uncertainties in the radar pointing position. was later successfully imaged and observed with the GSSR on 21 June 2018, revealing the asteroid's binary nature. Led by radar astronomer Marina Brozović, GSSR observations of spanned four days, lasting until 24 June 2018. During these observations, the GSSR's preliminary findings were alerted to astronomers at the Arecibo Observatory in Puerto Rico for further study. Arecibo radar observations of began on 23 June 2018. The binary system was observed using a bistatic radar system where the Arecibo Observatory transmitted a radar signal to the pair of asteroids while the Green Bank Observatory in West Virginia received the signal reflected from the asteroids. Led by Arecibo radar astronomers Anne Virkki, Flaviane Venditti, Sean Marshal, along with Patrick Taylor at the Green Bank Observatory, bistatic radar observations resolved at a resolution of 7.5 meters per pixel. Radar observations of ended on 26 June 2018 after it had moved out of Arecibo's view. Concurrently, optical observations were also carried out by various observatories in order to compile a light curve of the binary system. Optical observations of continued after the June 2018 encounter and detected possible mutual events or eclipses occurring between the components of the binary system. ### Future approaches Over the course of its orbit in the next 200 years, will continue to pass by Earth, though it will not make any approaches as close as the June 2018 encounter. The next Earth encounter by will be on 15 April 2037, when it will pass by Earth from a nominal distance of approximately 0.238 AU (35.6 million km; 22.1 million mi). In the next 100 years, will make three Earth encounters within 0.2 AU (approximately 80 lunar distances), which will occur in February 2051, July 2088, and May 2107. The expected nominal approach distances for these dates are 0.123 AU, 0.179 AU, and 0.145 AU, respectively. ## Binary system The secondary component of was discovered in Goldstone radar observations conducted by Marina Brozović on 21 June 2018. From the first Goldstone radar images, the two components appeared to be contact binary lobes as the components were viewed in front of each other. Additional radar observations by the Arecibo and Green Bank observatories resolved the system in high resolution, confirming that the two components were indeed separate objects. Under satellite naming conventions by the International Astronomical Union, the satellite would be provisionally designated . ### Physical characteristics `is an equal-mass binary asteroid consisting of two components approximately 0.9 km (0.56 mi) in diameter. Equal-mass binary systems are relatively rare among the population of binary near-Earth asteroids as they constitute less than 1% of radar-observed near-Earth asteroids larger than 200 m (660 ft) in diameter. is one of only four systems of that kind known; the other three are , 69230 Hermes, and .` From their mutual orbit and measured diameters, both components are calculated to have low bulk densities less than 1 g/cm<sup>3</sup>, indicating a significant macroporosity of their internal structures. Given their measured diameters and absolute magnitudes, the optical albedos of their surfaces are calculated to be as dark as charcoal, reflecting less than 3% of incident light. Unlike other binary asteroid systems observed by radar, the components of appear to display a distinct difference in their shape, surface brightness and radar reflectivity. These differences imply that the two components may also have different densities, compositions, and surface roughnesses. ### Orbit and rotation The pair of asteroids orbit each other around a common center of mass (barycenter) between them. Their mutual orbital period is 22 hours (0.92 days), with an orbital separation of 1.8 km (1.1 mi) or 4 times the component radii. It is uncertain whether both components rotate synchronously with their mutual orbital period, as there is evidence of non-principal-axis rotation (or rotational precession) and axial misalignment of both components. Light curve measurements of taken between June and August 2018 show a secondary period of 14.88 hours and radar images suggest that the obliquities of the components are misaligned by a few degrees.	[ "## Discovery", "## Nomenclature", "## Orbit and classification", "### 2018 Earth approach", "#### Observations", "### Future approaches", "## Binary system", "### Physical characteristics", "### Orbit and rotation" ]	2,440	3,925
25,030,122	Yakovlev Yak-1000	1,126,754,592	Soviet supersonic fighter aircraft demonstrator model	[ "1950s Soviet experimental aircraft", "Abandoned military aircraft projects of the Soviet Union", "Delta-wing aircraft", "Single-engined jet aircraft", "Yakovlev aircraft" ]	The Yakovlev Yak-1000 was a Soviet supersonic technology demonstrator intended to evaluate the aerodynamic layout and field performance of the cropped delta wing discussed in captured German documents in combination with the new Lyulka AL-5 turbojet. The tandem undercarriage proved to be unsatisfactory and there were serious flight stability problems related to the delta wing, enough so that it never flew after an accident during taxiing tests. ## Background and description A June 1950 Council of Ministers directive ordered Yakovlev to develop a supersonic fighter that used the 50 kN (11,000 lbf) Lyul'ka AL-5 axial compressor turbojet. Based on a recommendation from one of TsAGI aerodynamicists, Yakovlev was directed to use the rhomboid or cropped delta-shaped wing covered in captured German research. The directive was extremely ambitious as it required the maximum speed to be Mach 1.7 at a time when the world speed record was barely over the sound barrier. This requirement had to be revised when the AL-5 was delayed and a substitute engine had to be chosen. No other Soviet turbojet offered the same sort of power as the AL-5 so the project was recast as a technology demonstrator to evaluate the novel wing aerodynamics. The 15.9 kN (3,600 lbf) Klimov RD-500 was chosen and the maximum speed was expected to be 1,100 km/h (680 mph) at a takeoff weight of 2,407 kg (5,307 lb). The Yak-1000 had a circular-section, semi-monocoque fuselage with the engine air intake in the nose. The engine was mounted behind the pressurized cockpit and exhausted through a long tailpipe in the rear fuselage. Two air brakes were fitted to the underside of the rear fuselage. Forward and rear fuel tanks held 430 litres (95 imp gal; 110 US gal) and 167 litres (37 imp gal; 44 US gal), respectively. The entire rear fuselage and tail could be removed to allow access to the engine. The small, three-spar wings were the most significant new feature on the Yak-1000. They had an aspect ratio of only 1.46 with 60° leading-edge sweepback with 51°11' sweepback at quarter chord. The thickness/chord ratio was 3.4% at the root and 4.5% at the tip. The trailing edge was swept forward 11° and consisted of a full-span flap with an inset ailerons. The delta-shaped horizontal stabilizer was set low on the tail and was shaped much like the wing, with 5% thickness. The rudder was tiny, as were the mass-balanced elevators. The tandem undercarriage legs, similar to those of the Yak-50, retracted aft, although the forward wheel remained exposed when retracted. Small outrigger struts retracted aft into underwing fairings set at mid-span. On the ground the Yak-1000 had a pronounced nose-high attitude, and the single nosewheel was steerable. ## Development The prototype was completed on 27 February 1951 and it began taxiing trials on 2 March. On the following day it was taxiing at speed up to 250 km/h (160 mph), but was blown off the runway when a strong crosswind caused the aircraft to bank which compressed the strut on the opposite side. This forced the aircraft to veer off the runway when the ailerons proved ineffective at countering the bank and the consequent damage forced the testing to be suspended. Some development was done to try to remedy the problems with instability already revealed, but Yakovlev was unenthusiastic about the whole project and it was cancelled in October 1951. The peculiar aerodynamics of delta wings would take the Soviets about another five years of experiments to validate in the Mikoyan-Gurevich Ye-4 prototype of the Mikoyan-Gurevich MiG-21 and the Sukhoi T-3 delta-winged aircraft which both first flew in 1955–1956. ## Specifications (estimated)	[ "## Background and description", "## Development", "## Specifications (estimated)" ]	863	10,376
1,422,536	Seungsahn	1,168,652,877	Korean Buddhist monk (1927–2004)	[ "1927 births", "2004 deaths", "20th-century Buddhist monks", "Chogye Buddhists", "Converts to Buddhism from Protestantism", "Korean Buddhist missionaries", "Kwan Um School of Zen", "People from South Pyongan", "Seon Buddhist monks", "Seon patriarchs", "South Korean Buddhist monks", "South Korean Zen Buddhists", "South Korean people of North Korean origin", "Zen Buddhism writers", "Zen Buddhist spiritual teachers" ]	Seungsahn Haengwon (, August 1, 1927 – November 30, 2004), born Duk-In Lee, was a Korean Seon master of the Jogye Order and founder of the international Kwan Um School of Zen. He was the seventy-eighth Patriarch in his lineage. As one of the early Korean Zen masters to settle in the United States, he opened many temples and practice groups across the globe. He was known for his charismatic style and direct presentation of Zen, which was well tailored for the Western audience. Known by students for his many correspondences with them through letters, his utilization of dharma combat and expressions such as "only don't know" or "only go straight" in teachings, he was conferred the honorific title of Dae Jong Sa in June 2004 by the Jogye Order for a lifetime of achievements. Considered the highest honor to have bestowed upon one in the order, the title translates "Great Lineage Master" and was bestowed for his establishment of the World Wide Kwan Um School of Zen. He died in November that year at Hwagaesa in Seoul, South Korea, at age 77. ## Early life and education Seung Sahn was born in 1927 as Duk-In Lee (modern romanisation: Yi Deog'in) in Sunchon (순천), South Pyongan Province of occupied Korea (now North Korea) to Presbyterian parents. In 1944, he joined an underground resistance movement in response to the ongoing occupation of Korea by the Empire of Japan. He was captured by Japanese police shortly after, avoided a death sentence, and spent time in prison. Upon his release, he studied Western philosophy at Dongguk University. One day, a monk friend of his lent him a copy of the Diamond Sutra. While reading the text, he became inspired to ordain as a monk and left school, receiving the prātimokṣa precepts in 1948. Seung Sahn then performed a one-hundred day solitary retreat in the mountains of Korea, living on a diet of pine needles and rain water. It is believed he attained enlightenment on this retreat. While seeking out a teacher who could confirm his enlightenment, he found Kobong, who told him to keep a not-knowing mind. In the fall of 1948, Seung Sahn learned dharma combat while sitting a one-hundred day sesshin at Sudeoksa—where he was known to stir up mischief, nearly being expelled from the monastery. After the sesshin was concluded, he received dharma transmission (inka) from two masters, Keumbong and Keum'oh. He then went to see Kobong, who confirmed Seungsahn's enlightenment on January 25, 1949, and gave him dharma transmission as well. Seung Sahn is the only person Kobong gave Dharma transmission to. He spent the next three years in observed silence. ## Career Drafted into the Republic of Korea Army in 1953, he served as an army chaplain and then as a captain for almost five years, taking over for Kobong as abbot of Hwagaesa in Seoul, South Korea in 1957. In the next decade, he would go on to found Buddhist temples in Hong Kong and Japan. While in Japan, he was acquainted with the kōan (Korean gong'an) tradition of the Rinzai school of Zen, likely undergoing kōan study with a Rinzai master. Coming to the United States in 1972, he settled in Providence, Rhode Island and worked at a laundromat as a repairman, spending much of his off time improving upon his English. Shortly after arriving, he found his first students at nearby Brown University, most of whom came by way of a recommendation from a professor there. Among these first students was Jacob Perl (Wubong), who helped to found the Providence Zen Center with the others. In 1974, Seung Sahn began founding more Zen centers in the United States—his school still yet to be established—beginning with Dharma Zen Center in Los Angeles—a place where laypeople and the ordained could practice and live together. That following year, he went on to found the Chogye International Zen Center of New York City, and then, in 1977, Empty Gate Zen Center. Meanwhile, in 1979, the Providence Zen Center moved from its location in Providence to its current space in Cumberland, Rhode Island. The Kwan Um School of Zen was founded in 1983 and, unlike more traditional practice in Korea, Seungsahn allowed laypersons in the lineage to wear the robes of full monastics, upsetting some in the Jogye Order by allowing lay Dharma teachers to wear long robes. Celibacy was not required and the rituals of the school are unique. Although the Kwan Um School does utilize traditional Seon and Zen rituals, elements of their practice also closely resemble rituals found often in Pure Land Buddhism, Chan Buddhism, and the Huayan school. In 1986, along with a former student and Dharma heir Dae Gak, Seungsahn founded a retreat center and temple in Clay City, Kentucky called Furnace Mountain—the temple name being Kwan Se Um San Ji Sah (or, Perceive World Sound High Ground Temple). The center functions independently of the Kwan Um organization today. Over his tenure as Guiding Teacher, Seungsahn appointed many Dharma heirs. He created the title Ji Do Poep Sa Nim (JDPSN) for those not ready for full dharma transmission but capable of teaching at a higher capacity. In 1977, Seungsahn was hospitalized for cardiac arrhythmia and it was then discovered that he had advanced diabetes. He had been in and out of hospitals for heart complications for years preceding his death, and in 1987 began spending much less time at his residence in the Providence Zen Center. Starting in 1990, and under invitation from Mikhail Gorbachev, Seungsahn began making trips to the Soviet Union to teach. His student, Myong Gong Sunim, later opened a practice center in the country (Novgorod Center of Zen Meditation). ### Teaching style Seungsahn implemented the use of simple phraseology to convey his messages, delivered with charisma, which helped make the teachings easier to consume for Western followers. Some of his more frequently employed phrases included "only go straight" or "only don't know". He even went so far as to call his teachings "Don't Know Zen", which was reminiscent of the style of Bodhidharma. Seungsahn used correspondences between him and his students as teaching opportunities. Back-and-forth letters allowed for a kind of dharma combat through the mail and made him more available to the school's students in his absence. This was another example of his skillful implementation of unorthodox teaching methods, adapting to the norms of Western culture and thus making himself more accessible to those he taught. He was a supporter of what he often termed "together action"—encouraging students to make the lineage's centers their home and practice together. Seungsahn also developed his own kōan study program for students of the Kwan Um School, known today as the "Twelve Gates". These twelve kōans are a mixture of ancient cases and cases which he developed. Before receiving inka to teach (in Kwan Um, inka is not synonymous with Dharma transmission), students must complete the Twelve Gates, though often they will complete hundreds more. One of the more well known cases of the Twelve Gates is "Dropping Ashes on the Buddha", the Sixth Gate, which is also the title of one of his books. In the book The Compass of Zen, this kong-an is transcribed as follows: "Somebody comes to the Zen center smoking a cigarette. He blows smoke and drops ashes on the Buddha." Seungsahn then poses the question, "If you are standing there at that time, what can you do?" Not included in this version of the kōan is the Kwan Um School of Zen's following side note on the case, "[H]ere is an important factor in this case that has apparently never been explicitly included in its print versions. Zen Master Seung Sahn has always told his students that the man with the cigarette is also very strong and that he will hit you if he doesn't approve of your response to his actions." When Seungsahn first began teaching in the United States, there was an underemphasis in his message on the significance of zazen. Under advice from some students, however, he soon came to incorporate zazen into the curriculum more frequently. More than a few of his earliest students had practiced Zen previously under the Sōtō priest Shunryū Suzuki, laying out a convincing argument about how zazen and Zen were seen as inseparable in the Western psyche. ## Later life Throughout the 1990s, Seung Sahn made trips to Israel, which led to the 1999 opening of the Tel Aviv Zen Center. His remaining years were spent in particularly poor health. He had a pacemaker put in his chest in 2000, followed by renal failure in 2002. In June 2004, he was given the honorific title Dae Jong Sa "Great Lineage Master" by the Jogye Order in commemoration of his accomplishments, the highest title the order can grant. ### Death Seung Sahn died on November 30, 2004, at the age of 77 in Seoul, South Korea at Hwagaesa, the first temple where he served as abbot. ## Controversies In 1988, Seung Sahn admitted to having sexual relationships with several students. Because Seung Sahn was understood to be a celibate monk, the revelation of the affairs caused some members to leave the school. Seung Sahn did two repentance ceremonies and the Kwan Um School of Zen has since developed an ethics policy that has guidelines for teacher/student relationships and consequences for unethical behavior. According to Sandy Boucher in Turning the Wheel: American Women Creating the New Buddhism: > The sexual affairs were apparently not abusive or hurtful to the women. By all accounts, they were probably strengthening and certainly gave the women access to power. (However, no one can know if other women were approached by Soen Sa Nim, said nothing, and may have been hurt or at best confused, and left silently.) No one questions that Soen Sa Nim is a strong and inspiring teacher and missionary, wholly committed to spreading the Dharma, who has helped many people by his teachings and by his creation of institutions in which they can practice Zen. In his organization he has empowered students, some of them women, by giving them the mandate to teach and lead. And he has speculated, in a positive vein, on the coming empowerment of women in religion and government. Even his critics describe him as a dynamic teacher from whom they learned a great deal. ## Seung Sahn's lineage The following list documents Seung-Sahn Haeng-Won's transmission lineage, starting with the Buddha and the First Patriarch. India China Korea ## Dharma heirs - Bo Mun - Bon Yeon - Dae Gak - Dae Kwang - Hae Kwang - Soeng Hyang - Su Bong - Won Gwang - Wu Bong - Wu Kwang - Ji Haeng ## Other media ### Audio - 2000 Chanting Instructional CD - Perceive World Sound Zen Chanting CD (from 1978) ### Video - 1992 Wake Up! On the Road with a Zen Master (DVD and VHS) - Watch on YouTube - 1993 Sun Rising East (VHS) ## See also - Buddhism in the United States - Buddhist Patriarch - The Compass of Zen - Timeline of Zen Buddhism in the United States	[ "## Early life and education", "## Career", "### Teaching style", "## Later life", "### Death", "## Controversies", "## Seung Sahn's lineage", "## Dharma heirs", "## Other media", "### Audio", "### Video", "## See also" ]	2,480	1,438
25,497,296	Million Dollar Maybe	1,154,846,738	null	[ "2010 American television episodes", "Coldplay", "The Simpsons (season 21) episodes" ]	"Million Dollar Maybe" is the eleventh episode in the twenty-first season of the American animated television series The Simpsons. It first aired on the Fox network in the United States on January 31, 2010. In this episode, Homer wins \$1 million in the lottery. Later fearing that Marge will discover that he missed a wedding reception while buying the winning ticket, Homer uses his windfall to buy the family anonymous gifts. Meanwhile, Lisa uses a Funtendo Zii to make life more interesting for Grampa Simpson and his friends at the retirement home. "Million Dollar Maybe" was written by Bill Odenkirk and directed by Chris Clements. The episode was well received by most television critics, who praised its humor and storyline. Upon its initial airing, the episode attained 5.11 million viewers and garnered a 2.4 rating in the 18-49 demographic. "Million Dollar Maybe" featured a guest appearance from Chris Martin of Coldplay, as well as appearances from recurring voice actors and actresses for the series. ## Plot Homer and Marge are scheduled to do a singing toast at Marge's cousin Valerie's wedding, causing Marge to become nervous, due to her fear of embarrassment. Homer tells her not to worry, saying that he will make sure they do not mess up. Homer gets a fortune cookie stating that today will be his lucky day, but he does not believe so. However, he starts to believe this occurs when he crashes into a vending machine causing all of the snacks to fall out on him, and finds an Emerson, Lake & Palmer CD in the parking lot. He sings along to "Lucky Man", driving recklessly to the synthesizer solo. He then goes to the Kwik-E-Mart for a lottery ticket, even though he's running late for the wedding. After a long wait, Homer gets his lottery ticket, only to find out the wedding has ended. When he takes his eyes off the road for a second, he crashes. Homer wakes up in the hospital, and realizes he won a million dollars in the lottery. Homer does not want Marge to know he missed the wedding to get a lottery ticket, and has Barney pose as the winner. So that Marge does not know he won the money, he secretly leaves gifts for his family members. When Bart discovers Homer's scheme, he threatens to tell Marge unless Homer publicly embarrasses himself. Eventually, Homer decides to tell Marge himself and get it over with. Taking Marge on a hot-air balloon, he reveals he won the lottery, causing Marge to become very glad; he then tells her he spent it all, leaving them poor as usual. However, Marge does not care, saying at least they have each other. Homer then reveals he spent the last of the money on a giant cherry blossom grove in the shape of Marge's face with the words "Love of my Life". They then sing the song they were supposed to sing at the wedding together, off in the sunset. In the sub-plot, Lisa discovers that the senior citizens at Grampa's nursing home do not have any entertainment, and decides to buy them a digital TV converter. However, while at the store to buy it, she discovers Mr. Burns feeling very happy playing Funtendo Zii Sports. She decides to buy this for the senior citizens. When playing the Zii, the senior citizens feel very happy and feel younger. This forces the nurses at the home to work extra hard after their workout, prompting them to destroy the machine. The senior citizens then return to their boring selves, staring at TV static. ## Production "Million Dollar Maybe" was written by Bill Odenkirk and directed by Chris Clements. In July 2009, it was announced that singer Chris Martin of the band Coldplay would guest star as himself in the episode. In an interview with Entertainment Weekly, showrunner Al Jean commented: "When Bart goes to the bathroom, Coldplay has to stop." The episode featured a new character created by the winner of the "Best. Character. Ever." contest, in which fans could submit their own ideas for a new, and possibly recurring, Simpsons character. Over 25,000 entries were sent in. The winner of the contest was Peggy Black from Orange, Connecticut, who created the character Ricardo Bomba. She described Ricardo as "someone that all the women love and all the men want to be". Black's inspiration for the character came from the fact that there were no characters like him on The Simpsons, and she thought Springfield needed "something like a Casanova". As part of the winning prize, Black was sent to work with the show's producers in Los Angeles. She worked with the animators to bring the character to life. In an interview with the Associated Press, Black stated she "described the character and they drew him so I could see if that was my vision of him". She continued, "It's amazing to see how they captured what I imagined. He's over the top." Executive producer Al Jean was one of the judges of the contest, which he described as "a thank you to loyal fans". Jean also noted that there is a possibility the Ricardo character might appear on the show again although this seems unlikely since the character appears to have been killed in a fiery car crash. This episode contains several references pertaining to music, media, film, and other pop cultural phenomena. "Million Dollar Maybe" is the second episode in the series to have a title that parodies that of the film Million Dollar Baby, the first being the seventeenth-season episode "Million Dollar Abie". The Funtendo Zii is a fictional console that parodies the Nintendo Wii. And Zii Sports is a fictional game that parodies the game that is bundled with most Wii consoles, Wii Sports. ## Reception "Million Dollar Maybe" was originally broadcast on January 31, 2010, in the United States as part of the animation television night on Fox. It was succeeded by episodes of The Cleveland Show, Family Guy, and American Dad!. The episode was viewed by 5.11 million viewers, despite simultaneously airing with the 52nd Grammy Awards on CBS, Desperate Housewives on ABC, and Dateline on NBC. It attained a 2.4 rating in the 18-49 demographic, according to Nielsen ratings, translating to 3.1 million viewers. Although it was the second highest rated program of the night, it was the lowest rated episode in the series' history up until the season twenty-two episode "The Great Simpsina". Total viewership and ratings for "Million Dollar Maybe" significantly declined from the previous episode, "Once Upon a Time in Springfield", which received 9.084 million viewers and garnered a 6.9 rating in the 18-49 demographic, according to Nielsen ratings. "Million Dollar Maybe" was well received by television critics. Emily VanDerWerff of The A.V. Club gave the episode a 'B' grade, the highest of the night. VanDerWerff was polarized with the plot, opining that it was convoluted and stated, "This was a completely stupid plot, but to the show's credit, it commented on this when Homer told Marge he won the lottery and she said she'd much rather have the money than the wedding reception performance he missed." Similarly, VanDerWerff was split with the subplot of "Million Dollar Maybe". In regards to the subplot, she wrote, "The Lisa gets the old people a Wii stand-in plot was one of those ones where the Simpsons writers have obviously noticed something in pop culture but have yet to wholly grasp what it is or why it's important." Robert Canning of IGN gave the episode an 8.1 out of 10, signifying a "great" rating. Canning felt that the episode was impressive, expressing that it was "a fun and funny episode focused on Homer and his always dysfunctional relationship with his family [...] just what we've come to love and expect after 20 years." Jason Hughes of TV Squad gave the episode a more mixed review, praising the episode's humor, but calling it "random". Hughes wrote, "A lot about this episode bothered me, and I think The Simpsons has been having a pretty strong season for the most part." He resumed, "This one just didn't hold together as strongly as most of the prior ones." He went on to criticize the character development of Ricardo, opining that it was a "slap to the face to the winner." He then commented: "Peggy Black created Ricardo Bomba as a new ladies man type of figure, so the writers had him drive into a cliff wall and subsequent fiery explosion right away upon his first appearance. He didn't even get to finish what was, I guess, going to be his catchphrase."	[ "## Plot", "## Production", "## Reception" ]	1,819	8,438
29,174,472	Mine Is Yours	1,166,128,267	null	[ "2011 albums", "Albums produced by Jacquire King", "Albums recorded at Sunset Sound Recorders", "Cold War Kids albums", "Downtown Records albums", "V2 Records albums" ]	Mine Is Yours is the third studio album by American indie rock band Cold War Kids. It was released on January 25, 2011, by Downtown Records. Following the releases of Loyalty to Loyalty (2008) and Behave Yourself (2010), the band sought to work on new material that spanned the course of three months in Nashville and California after two years of touring. Produced by Jacquire King, responsible for the mainstream success of fellow American rock band Kings of Leon, the album deviates from the band's dark blues rock-influenced folk tales heard in their previous records into a more mainstream sound with lyrics that talked about personal relationships. Mine Is Yours debuted at number 21 on the Billboard 200 and spawned four singles (two official and two promotional): "Louder Than Ever", "Skip the Charades", "Finally Begin" and "Royal Blue". The album received a mixed response from critics, with reviews divided by the band's change in sound and lyrical content. To promote the record, the band toured across North America and Europe with appearances at music festivals and talk shows. Mine Is Yours was the band's last album to feature lead guitarist Jonnie Russell, who left for personal reasons. ## Background and recording Cold War Kids released their sophomore album Loyalty to Loyalty on September 23, 2008. The album received a generally favorable reception but critics found it uneven in terms of songwriting and performance. To promote the record, the band spent the next two years touring across North America and Europe making appearances at music festivals and talk shows. After the release of their seventh EP Behave Yourself, the band went to Nashville to work on new material for their next album. Instead of writing and recording songs in a few days, they spent two months carefully working on the material. Lead singer Nathan Willett found this new experience to be "much more spread out, [it was] much more broken down and built up again." The band found the approach different than the one used on their previous record, with Willett saying that, "[A] lot of our good ideas went unfinished. Nobody was there to tell us, "This is good, but it could be better." The album was produced by Jacquire King, who previously did albums for Kings of Leon, Modest Mouse and Tom Waits. Willett was surprised by King, commenting how he would interject himself into the recording process with advice and allow his artists to brainstorm ideas until they come up with the answer. The production featured reverb-tinged guitars and drum machines that were considered new to the band when they came across them during recording. Critics gave note to the production being reminiscent of bands like U2 and Coldplay, with Willett also alluding to some White Stripes influences as well. ## Music and lyrics The album's lyrical content and overall sound differ strongly from the band's previous albums. In an interview with Rolling Stone, Willett said that he went back to Long Beach after two years of touring to perfect his voice and write lyrics that came from his personal life. He also said that one of the influences that inspired him was Michael Stipe and R.E.M. saying their initial lyricism was "more or less kind of just good-sounding words, and then kind of moved into really revealing something about themselves — that was my goal." Aside from Stipe, other influences that Willett was inspired by were Woody Allen (Husbands and Wives), John Cassavetes (A Woman Under the Influence) and Jonathan Franzen (The Discomfort Zone). Lyrically, Mine Is Yours uses a first-person narrative in its songs, whereas previous albums were more character-driven. Willett explained that Cassavetes' A Woman Under the Influence got him to write songs about men-women relationships. The opening title track was described by Willett as being more straightforward than the previous two albums and embodies the record's themes of relationships. The track begins with a minute-long intro that's inspired by U2's The Joshua Tree. Claire Suddath from Time described "Louder Than Ever" as a song that "isn't a breakup song so much as a we-need-to-talk anthem", and also gave note of "Royal Blue" being "a spirited, piano-and-guitar number about the redemptive quality of devotion." The overall sound of the track is reminiscent of funk. "Finally Begin" has drum work that's similar in style to Ringo Starr. "Out of the Wilderness" was described by Sputnikmusic's Rudy Klap as "a gently lilting ballad" that's backed up by drums and a combustible bridge that "coalesces into one of Willett's most fiery performances." It also utilizes guitar tones and a breakdown that's reminiscent of The Who. "Skip the Charades" was based on the idea of relationships using charades and the theatricality of it all. "Sensitive Kid" is about a son dealing with the separation of his parents by throwing a party in his empty house and being admonished for it when told to act more like a grown up. Willett explained that in high school, he would have parties at his house because it was empty and that his mother was out dating other people. The overall sound of the track utilizes "fractured stabs of piano, electronic percussion, and obtuse grooves" reminiscent of Spoon. "Bulldozer" is about starting over from a failed relationship. Willett said that the inspiration for the song came from the marital problems that some of his college friends had gone through in their relationships, but with more of a happy ending from the aftermath of it all. "Cold Toes on the Cold Floor" was described by critics as a return to the band's debut record Robbers & Cowards, specifically the track "Hang Me Up to Dry". Willett called the track one of his favorites off the album because of its similarity to their previous efforts and its playability live that allow for a lot of improvisation. ## Singles The lead single, "Louder Than Ever", was released digitally on December 14, 2010 (officially on January 24, 2011) and peaked at number 31 on the Alternative Songs chart, their fourth top 40 hit on that chart. A music video was created for it and premiered in January 2011. A second single, "Skip the Charades", was released on February 8, 2011, on SoundCloud, only making it on the Rock Digital Songs chart at number 43. A music video was created for the single and was released on iTunes on June 22, 2011. The song "Finally Begin" was released as the album's first promotional single on March 7, 2011, and peaked at number 99 in the Netherlands. A music video, directed by drummer Matt Aveiro, was created for the song and it premiered on March 15, 2011. The song "Royal Blue" was released as the album's second promotional single, peaking at number 24 on the Mexico Ingles Airplay chart and number 94 in the Netherlands. The title track, although not released as a single, managed to reach number 23 on the Rock Digital Songs chart. ## Promotion The band performed eight songs from the album at a Pioneertown concert on November 5, 2010. They followed that up with several talk show appearances to help promote the album; performing a medley of "Louder Than Ever" and "Royal Blue" on both Jimmy Kimmel Live! and Last Call with Carson Daly. They performed "Louder Than Ever" on the Late Show with David Letterman, gave a performance at Jack White's Third Man Records that was recorded and released in March 2011 and made festival appearances at Bonnaroo, Lollapalooza Chile and Coachella. ### Tour On November 30, the band performed a few UK tour dates to promote Mine Is Yours ahead of its release, beginning with Manchester Academy and finishing at London's KOKO club. On December 1, they went on a 24-city spring tour across North America to go along with both their UK and latter-half 2010 tour dates, beginning with Portland, Oregon's Crystal Ballroom and finishing at Oakland's Fox Theatre. ## Critical reception Mine Is Yours received mixed reviews from music critics, who were divided by the band's sound and lyrical content. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 55, based on 21 reviews. Ryan Reed of The Phoenix said "On Mine Is Yours, everything is bigger. King's reverb-tinged production puts the focus on the band's surprisingly tender melodies and slow-burn rock arrangements; the result is 11 melodic, economical tracks that deliver huge hooks without sacrificing instrumental dexterity." John Freeman of Clash found more enjoyment from the record than the "solid but oddly unsatisfying Loyalty to Loyalty," giving praise to Willett's songwriting for mining "fractured relationships for inspiration and the resultant openness," concluding that King's production of Willett's songs "has created the finest Cold War Kids album yet." Theo Krekis of Drowned in Sound was pleased by the band's new direction in sound without coming across as overly mainstream and removing their trademark piano-heavy tracks, saying they took the Arcade Fire's The Suburbs and added a slice of pop to it. Rudy Klap of Sputnikmusic commented on the quality of both the songwriting and production, finding unevenness on both throughout the album, but still found it to be "a damn good rock record through and through [...] there's an accomplishment to be praised." He also said that the album will divide fans. Mikael Wood of the Los Angeles Times also commented on the divisive take the fans will have with the album, as well as its lack of uniqueness. AllMusic's Heather Phares noted the album's newfound polish and maturity differing from the band's previous releases. Josh Modell of Spin was critical of Nathan Willett's performance, divided by the tone he used throughout the album, and the songs overall saying "[A] couple of songs succeed on their own terms, but most float unmemorably down the highway of not-quite-modern rock." In a negative review, Kevin Liedel of Slant Magazine considered the album to be a "crushing disappointment", calling it "a work of obviously borrowed ideas from a group highly capable of succeeding with their own." PopMatters contributor David Gassmann said that despite some strong hooks and instrumental choices, he felt the album lacked the idiosyncratic personality from the band's previous records and resembled more of The Script and Train due to King's production. He added that listeners will consider this as a gateway introduction to the band itself. Sean O'Neal of The A.V. Club gave the album a D+ grade. He found their sound to be "dulled for maximum accessibility" coupled with "uninspired melodies" and "formless" lyrics, calling it "the bland sound of a band trading identity for ambition." NME'''s Katherine Rodgers was very critical about the record, finding some of the tracks to be generic and found the highlights to be "asphyxiated in lubricious studio slime." ## Commercial performance Mine Is Yours debuted at number 21 on the Billboard 200, their second album to appear in the top 50 and in the same position as their previous album, despite selling 4,000 fewer copies. It additionally charted in several territories but was less successful chart wise than Loyalty to Loyalty. The record debuted at number 9 in Australia (whereas Loyalty to Loyalty reached number 20) and stayed there for an additional four weeks. It debuted at numbers 56 and 85 in Austria and Switzerland respectively before leaving the next week; their only charting album in those countries to date. However, it did poorly in Belgium, France and the United Kingdom, charting at numbers 54, 128 and 84 respectively (whereas the previous album charted at numbers 29, 48 and 68). ## Track listing ## Personnel Adapted from the liner notes of Mine Is Yours''. Cold War Kids - Nathan Willett – lead vocals, piano, rhythm guitar - Jonathan Russell – lead guitar, keyboards, backing vocals - Matthew Aveiro – drums, percussion - Matthew Maust – bass guitar Artwork - Maust – design - Lucy Hamblin – photography Production - Jacquire King – producer, recording, mixing - Brad Bivens – additional recording engineer - Morgan Stratton – assistant engineer - Joe Martino – assistant engineer - Adam Bednarik – assistant engineer - Justin March – assistant engineer ## Charts ## Release history	[ "## Background and recording", "## Music and lyrics", "## Singles", "## Promotion", "### Tour", "## Critical reception", "## Commercial performance", "## Track listing", "## Personnel", "## Charts", "## Release history" ]	2,653	655
53,224,953	U + Me (Love Lesson)	1,134,354,180	null	[ "2010s ballads", "2017 singles", "2017 songs", "Capitol Records singles", "Mary J. Blige songs", "Songs written by Mary J. Blige", "Soul ballads" ]	"U + Me (Love Lesson)" is a song by American singer Mary J. Blige from her 13th studio album, Strength of a Woman (2017). It was released on February 17, 2017, as the album's second single. Brandon "B.A.M." Hodge produced "U + Me (Love Lesson)" and co-wrote it with Charles Hinshaw, David D. Brown, and Mary J. Blige. It is a soul ballad, and its lyrics revolve around a breakup. Music critics identified its message as similar to that of Blige's previous single, "Thick of It" (2016). "U + Me (Love Lesson)" received positive reviews from critics for its composition and lyrics. The single charted on several Billboard charts, peaking at number one on the Adult R&B Songs chart. Blige promoted the song through live performances. ## Recording and release Brandon "B.A.M." Hodge produced "U + Me (Love Lesson)" and co-wrote it with Charles Hinshaw, David D. Brown, and Mary J. Blige. Hinshaw also provided background vocals. Jaymz Hardy-Martin III recorded and mixed the track, and David Kim worked as an assistant mixer. The vocals were recorded by Marshall Bryant, with assistance from Dexter Randall. The single was recorded at Windmark Recording in Santa Monica, California, engineered at the Marvin's Room, and mixed at the Chalice Recording Studio—both in Los Angeles. Capitol released "U + Me (Love Lesson)" as a digital download on February 17, 2017. It was the second single from Blige's 13th studio album, Strength of a Woman (2017). On May 2, 2017, she sang it at the iHeartRadio Theater in New York City. On May 19, 2017, Blige performed the song as part of a medley during Today'''s Citi Concert series. ## Composition and lyrics Lasting four minutes and 59-seconds, "U + Me (Love Lesson)" is a midtempo soul ballad. Michael Saponara of Vibe wrote that it contained elements of soul music, and Andy Kellman of AllMusic interpreted the composition as "a machine-soul ballad". Ammar Kalia of Clash described the instrumental as composed of "trap-influenced sub-bass and heavier drum programming", and Andy Gill of The Independent wrote that the song shared the same "skittish modern beats" as Blige's single "Love Yourself" (2017). Kyle Eustice of HipHopDX described the single as a "sultry breakup ballad" with lyrics referencing Blige's divorce from Kendu Issacs. Eustice wrote that the song revolves around "bouncing back from a devastating blow". Music critics compared the song's message to that of Blige's previous single "Thick of It" (2016). Andy Kellman felt that it "could not have been made at any other point in Blige's career". Lyrics include: "The lies you told to me make it easy for me to leave, You plus me wasn't the best thing" and "And I just can't deny the fact / we don't belong together / Guess it ain't the real thing." She talks about a relationship that does not add up to a happy ending singing: "You plus me was a love lesson / In too deep with our imperfections." Blige also sings about getting over a breakup with the lyrics: "Gotta keep on pushin' / Love myself through the hard times." ## Reception The song received a positive critical response. Praising how listeners could relate to the song's lyrics, a Jet writer said that Blige had "another vocal peak". Kylie Eustice wrote that Blige "turned [her] pain into art", and Michael Saponara described the song as "a therapeutic anthem to anyone going through a bad break up or tough times with a loved one". Ammar Kalia enjoyed how the single differed from the "orchestral swells" typically used in Blige's music, and referred to it as "refreshing". Soul Bounce's D-Money commended the song for its "undeniable head nod factor and empowering lyrics". "U + Me (Love Lesson)" charted on several Billboard charts. The song peaked at number 18 on the R&B Songs Billboard chart on May 27, 2017, and stayed on the chart for five weeks. It reached number 11 on the R&B/Hip-Hop Airplay Billboard chart on May 20, 2017, and remained on the chart for 20 weeks. The single peaked at number one on the Adult R&B Songs Billboard chart on May 6, 2017, and remained on the chart for 25 weeks. "U + Me (Love Lesson)" reached number eight on the Billboard'' Adult R&B songs year-end chart. The song received a nomination for Outstanding Song, Traditional at the 2018 NAACP Image Awards. ## Track listing ## Personnel - Backing Vocals – Charles "Prince Charlez" Hinshaw - Engineer [Additional] – Marshall Bryant, Michael Frenke - Mixed By [Assistant] – David Kim - Mixed By, Recorded By – Jaymz Hardy-Martin III - Producer – Brandon "B.A.M." Hodge - Recorded By [Additional, Assistant] – Dexter Randall - Recorded By [Additional] – Marshall Bryant - Written-By – Brandon Hodge, Charles Hinshaw, David D. Brown, Mary J. Blige ## Charts ### Weekly charts ### Year-end charts ## Release history	[ "## Recording and release", "## Composition and lyrics", "## Reception", "## Track listing", "## Personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Release history" ]	1,179	31,549
54,019,495	Countess Palatine Ingrid von Marburg	1,169,123,972	Fictional character on the American supernatural, horror television series Salem	[ "Drama television characters", "Female characters in television", "Fictional Satanists", "Fictional characters who have made pacts with devils", "Fictional characters with death or rebirth abilities", "Fictional characters with water abilities", "Fictional counts and countesses", "Fictional mass murderers", "Fictional telepaths", "Fictional witches", "Television characters introduced in 2015" ]	Countess Palatine Ingrid von Marburg is a fictional character on the American supernatural horror television series Salem, which aired on WGN America from 2014 to 2017. Created by the show's producers Brannon Braga and Adam Simon, Ingrid was played by Lucy Lawless in a recurring role during the second season and third season. The last and oldest of a line of Germanic witches, Ingrid is portrayed as a rival and foil to the witch Mary Sibley (Janet Montgomery). Her plans to resurrect the Devil and have sex with his human host to become his queen were stopped by her daughter Anne Hale (Tamzin Merchant). Lawless was attracted to the show due to its writing and the description of her role. She was prominently featured in promotional materials for Salem's second season. Lawless based her performance on historical accounts of witches and her childhood love of the horror genre. She avoided portraying Ingrid as a villain to focus on making her a more complex character. Critical response to Countess Palatine Ingrid von Marburg was largely positive, with the character's story arc with Mary and Lawless' performance praised as highlights. Following the character's apparent death in the season two finale, fans requested for Lawless to return for future episodes. Lawless was nominated for the Fangoria Chainsaw Award for Best TV Supporting Actress, losing to Gillian Anderson for her performance in the television series Hannibal (2013-2015). ## Arc The last and oldest in a line of Germanic witches, Countess Palatine Ingrid von Marburg is first shown looking for the identities of those behind the Grand Rite, a ritual involving the use of mass murder to elicit the rise of the Devil to Earth. Ingrid had attempted to complete the Grand Rite previously, but was thwarted by the witch hunter Increase Mather. While visiting Increase's son Cotton, she meets fellow witch Anne Hale and enters her soul through a kiss. During the exchange, she discovers that the witch Mary Sibley had instigated the ritual and exacerbated hysteria among the Puritans as part of the Salem witch trials. Ingrid also reveals that she lived for several centuries under various aliases, including Hecate, Medea, and Elizabeth Báthory. She is shown retaining her youthful appearance by bathing in the blood of virgins. While working with her son and lover Baron Sebastian von Marburg, she begins to plan a way to infiltrate Salem, Massachusetts and learn more about its local witch coven (known as the Essex Hive). By bewitching Mary's bathwater, Ingrid dispatches a specter to drown her. Even though the attempt is unsuccessful, Ingrid kisses Mary to steal information from her unconscious mind. Upon arriving at Salem by boat, Ingrid and Mary meet for the first time and threaten one another. To destabilize Mary's control of the town, Ingrid murders her husband George Sibley by transferring water inside his body and drowning him from the inside. Ingrid's arrival at Salem is received positively by the townspeople, as she delivers aid to those affected by a plague started by the completion of the Grand Rite. During her time in the city, she begins to act as a fairy godmother to the witch Mercy Lewis by teaching her magic and how to cleanse her body by bathing in the blood of virgins. She also convinces Anne to steal magistrate John Hale's Book of Shadows, telepathically telling the young witch that she plans to sacrifice the entire town to resurrect the Devil. Ingrid senses the truth behind Mary's son John Sibley, who was born to serve as the vessel for the Devil, and schemes to gain control over him. She orders Mercy to kidnap John, but Mary stops these plans temporarily by threatening to destroy the source of Ingrid's power. Mary hides her son's location to shield him from Ingrid's influence. Ingrid uses her connections with magistrate Wendell Hathorne and seduces Mary's love John Alden, leading him into an alternate dimension to uncover John Sibley's hiding place. To convince Anne to kidnap John Sibley, Ingrid reveals to the young witch that she is her real mother, and will pass down all of her powers following her death. Even though the witches of the Essex Hive resist Ingrid's plans, she destroys John Sibley's body and soul by drowning him in a magical, tar-like substance known as "hell blood". Following the Devil's resurrection, Ingrid shuns Mercy and reverses all of the magic done to enhance her appearance, which leaves her heavily scarred with burns. Despite her schemes, Ingrid is upset to learn that the Devil plans to make Mary his queen instead of her. Ingrid and Mary fight in the Salem Church, with Mary sacrificing herself to protect John Alden. Angry at Mary's death, the Devil kills Ingrid by stabbing her repeatedly. After Ingrid's apparent death, her soul transfers back to her original body (a mummified corpse) that is protected in a magical sarcophagus hidden in an alternate dimension. It is revealed that Ingrid possesses a form of immortality; she can return her soul to her original body and recover her strength. While locked in her decaying body, she instructs Sebastian to feed her regularly with blood stolen from Mary as a form of nourishment. When Sebastian seeks advice from Ingrid on how to form a romantic relationship with the newly resurrected Mary, she tells him to use witchcraft; Sebastian refuses to use magic to force Mary to love him. By drinking Mary's blood, Ingrid gains enough power to possess Mary temporarily and starts to have sex with the Devil. However, she is interrupted by Anne, who kills the Devil's human host and sends him back to hell. Anne announces that she plans to carry the Devil's child and serve as his queen instead of Ingrid. Despite her attempts to reconnect with her daughter, Ingrid is killed by Anne. Restoring Mary's soul back to her body, Anne destroys Ingrid's body and spirit permanently. ## Development ### Casting and promotion Countess Palatine Ingrid von Marburg is portrayed by New Zealand actress Lucy Lawless. On being asked to join Salem, and hearing the description of her role, Lawless said that connected it to her childhood listening to horror stories and watching horror films. She felt that Ingrid embodied the horror genre, and had more complex character interactions than her previous performances. She agreed to be in the series in part because of her appreciation of its writing. On January 14, 2015, WGN America announced that Lawless would appear in the second season in recurring capacity. The character was prominently featured in a preview video of the series premiere, and the trailer for Salem's second season. The New York Times' Neil Genzlinger felt that the decision to hire Lawless was based on her status as "one of television’s most cult-inspiring actresses" and the plan to expand on the series' over-the-top horror elements. Lawless does not make a physical appearance during the third season, only providing voice-overs for the character. Janet Montgomery, who plays Mary Sibley, fills in for the role after Ingrid possesses the character's body. ### Characterization and morality While discussing her approach to Ingrid, Lawless said that she was inspired by stories of witches throughout history, and explained: "[w]hether they were rumor or not, we've got lots of great information about how they've lived and what made them so terrifying". Surprised by the amount of history incorporated into Salem, she commented that show creators Adam Simon and Brannon Braga relied on "anecdotal evidence of people at the time" when writing storylines for her character and the rest of the cast. Lawless characterized Ingrid as a "serious piece of work" and the "soul of violence" while also possessing "her charms and her wits and her elegance and her generosity". When asked about the magical aspects of Salem, she said that the series was based on "all natural magic", and identified her character as a "psychological murderer as well as a practical murderer". Defining the show as using "murder in the parlor" and "women fighting to the death in a very elevated way," Lawless emphasized that it treated magic differently than the Harry Potter franchise, commenting that there is "nothing cute going on". She said that Ingrid's story arc was partially based on the character's obsession and rivalry with Mary and the inevitable vendetta to destroy her. Bustle'''s Kelsea Stahler identified Ingrid as Mary's foil, emphasizing the ability of Lawless' character to charm and appeal to the city of Salem and its inhabitants. When asked if she viewed Ingrid as evil, Lawless said that she did not play the character as a villain, and instead interpreted her as a "someone who must get what she wants" even if it meant harming others. While the character was developed as "the biggest, baddest bitch in the world", Lawless requested that Ingrid would also be represented as a "very constructive force" with a "great goodness" and a "great weakness" for evil. While Lawless felt that her character was incapable of love, she believed that Ingrid feels emotional conflict while performing evil deeds, and played her decisions as appealing to a greater good. Despite this separation, she did acknowledge that Ingrid is one of the series' antagonists. She referenced Ingrid as a "female Dracula", and Simon said that the character was similar to a "dark goddess figure". Lawless clarified that the character was immoral and unethical by both contemporary standards and those of the eighteenth century. She commented that she felt uncomfortable shooting scenes in which Ingrid commits acts of violence against women and children. She explained that she had to disconnect from her personal opinions to make "a new high-end horror". Lawless that Ingrid's costumes allowed her to get into character, saying that she feels "like she consumes me". Forty-seven years old at the time of the second season's filming, she said that she was surprised at the glamorous aspects of her wardrobe given her age. While discussing her age, she joked that she was initially uncomfortably when shooting the character's first appearance in which she is shown nude in a bath; Lawless said that she had a body double for the scene. ## Critical reception Television critics have included Countess Palatine Ingrid von Marburg in their favorite moments from Salem. Bustle's Nick Romano listed Lawless' appearance as one of the seven reasons from the season two trailer to get "so amped" about the upcoming episodes. The Hollywood Reporter's Marisa Roffman commended the battle between Ingrid and Mary as "one of the most impressive sequences of the [season two] finale". While reviewing the series finale, Screener's Aaron Pruner wrote that Ingrid's scheme to take control of Mary's body to have sex with an adult version of Mary's son while he is possessed by the Devil and steal his magic to take over the world as one of the biggest WTF moments. Lawless' performance has been widely praised by critics. Blastr's Nathalie Caron wrote that the actress had a "glorious guest-starring role as the deliciously evil Countess Marburg". Fangoria's Ken W. Hanley called Lawless "frightfully fiendish", praising her for bringing more "gravitas" to the show since she was "unafraid to get bloody or sadistic". Echoing Hanley's statement, D.C. Fenoff of Moviepilot felt that her inclusion gave the series more "energy and conflict". Following her introduction to Salem, Kerry Harvey of Stuff.co.nz commended Lawless as "a scene-stealer", and felt it supported her reputation as "a fearless performer who is not afraid to tackle strong – and sometimes flawed – female roles". In 2016, Lawless was nominated for the Fangoria Chainsaw Award for Best TV Supporting Actress, but lost to Gillian Anderson for her performance in the television series Hannibal (2013-2015). Following Ingrid's apparent death in the season two finale, Nemisha Sharma of the International Business Times'' wrote that the she wanted to see the character return to the third season. Sharma described Ingrid as a "fan-favorite character", noting how fans had commented on the show's official Facebook page asking for Lawless to return for future episodes.	[ "## Arc", "## Development", "### Casting and promotion", "### Characterization and morality", "## Critical reception" ]	2,560	16,357
5,089,564	Crystal Tools	1,145,779,097	Game engine created and used internally by Square Enix	[ "2007 software", "3D graphics software", "Square Enix", "Video game engines" ]	Crystal Tools is a game engine created and used internally by the Japanese company Square Enix. It combines standard libraries for elements such as graphics, sound and artificial intelligence while providing game developers with various authoring tools. The target systems of Crystal Tools are the PlayStation 3, the Xbox 360, Microsoft Windows and the Wii. This was decided with the intention of making cross-platform production more feasible. The idea for the engine sprang from Square Enix's desire to have a unified game development environment in order to effectively share the technology and know-how of the company's individual teams. Crystal Tools entered development in August 2005 under the code name White Engine. It was intended for the PlayStation 3-exclusive role-playing game Final Fantasy XIII. The decision to expand Crystal Tools' compatibility to other game projects and systems marked the official project start for a company-wide engine. Development was carried out by the Research and Development Division headed by Taku Murata, which was specifically established for this purpose. As Square Enix's biggest project to date, the creation of Crystal Tools caused substantial problems in the simultaneous production of several flagship titles; various critics cited the engine as the primary cause of significant delays in the release of Final Fantasy XIII. ## Features Crystal Tools is a unified game engine by Japanese developer and publisher Square Enix that combines standard libraries for graphics rendering, physics processing, motion control, cinematics, visual effects, sound, artificial intelligence and networking. Its target systems are the PlayStation 3, the Xbox 360, Microsoft Windows and the Wii. On the development side, the engine takes the form of various authoring tools focused on large-scale game projects. It encompasses a character viewer for 3D models, an effects and a cutscene editor, a previsualization tool, and a sound maker. Usage of the third-party programs Autodesk Maya, Autodesk Softimage and Adobe Photoshop is supported via plug-ins. The individual authoring tools are connected over a communications server called GRAPE2 which reads all the different data formats, processes them and gives an instant preview of the final game. The engine is highly customizable and can be expanded with new functions and tools should the need for them arise. Although Crystal Tools allows for easier cross-platform development, the differences in the target systems' video memory and microarchitecture still necessitate fine-tuning adjustments in the games, for example concerning texture sizes. ## Development ### Origins As a video game company with different production teams, Square had wished for its employees to efficiently share their know-how and technology even before the merger with its competitor Enix. The desire for a common development infrastructure and engine dates back to the 1997 role-playing video game Final Fantasy Tactics, which was created in the transitional period from 2D to 3D game production. Back then, the artists working on the game asked programmer Taku Murata for a fast way to check how their work would look in the final game. As the development was carried out on personal computers, the graphics were displayed on computer monitors. This looked very different from the PlayStation console's actual graphics displayed on a television screen. Initially, a faithful preview of the game's visuals was too time-consuming because all data had to be transferred from PC to console first. To evade this step, Murata created an instant preview tool. With this, he soon witnessed a boost in the artists' productivity and in the quality of their work. For 2000's Vagrant Story, the developers opted to reuse this instant preview tool rather than programming a new one from scratch. Murata and his colleagues added new functions to create a unified preview and cutscene tool tailored to the game's fully polygonal 3D graphics. With 2001's PlayOnline service, the company then made its first foray into introducing a common software for all its divisions. After the Square Enix merger, however, the individual teams still continued to program and customize their own tools for each game, which would eventually go to waste as only their respective creators knew how to use them. With the amount of assets and tools required by the in-development Final Fantasy XII and the impending advent of the seventh console generation, a common data format for the company was proposed in 2004. It was to be developed in-house and replace general-purpose formats such as FBX and COLLADA. Realizing the goal of an engine with a common set of tools proved to be difficult, as many production teams wanted to further their own interests rather than those of the company as a whole. Select staff members from different company divisions teamed up to work on the project on a voluntary basis, but their loose organizational structure failed to yield results. Nevertheless, Murata considered this group effort a first step in the right direction. In 2005, he was appointed general manager of the newly formed Technology Division. Although this enabled Murata and his subordinates to talk about a company-wide engine more extensively, the lack of manpower again prevented any significant achievements. ### Version 1.0 Following the public's positive reaction to the graphics of the Final Fantasy VII Technical Demo for PS3 presented at the Electronic Entertainment Expo in 2005, it was decided to release the role-playing video game Final Fantasy XIII on the PlayStation 3 rather than the PlayStation 2 as originally planned. That August, the Technology Division began working on the White Engine, a PlayStation 3 engine that was supposed to be exclusively used for XIII. Eight months later, however, it was decided to repurpose the engine to further make it compatible with other projects such as the action RPG Final Fantasy Versus XIII (later rebranded and repurposed into Final Fantasy XV) and the massively multiplayer online role-playing game (MMORPG) Final Fantasy XIV. In order for the company to stay competitive in a multi-platform environment, support of the engine was extended from the PlayStation 3 to the Xbox 360 and Microsoft Windows, both of which were successful in Western markets. This marked the official development start of a company-wide engine for whose purpose the Technology Division was expanded into the Research and Development Division in September 2006. Murata remained the division's general manager with a full-time staff at his disposal. During development of Crystal Tools, the Research and Development Division continually surveyed what types of tools were needed to create Square Enix's flagship titles. Among the most frequently requested features was an extensive use of character close-ups. This made the staff realize that the Final Fantasy series put great emphasis on the "anime-like coolness" of its characters. Consequently, the engine's developers focused on attractive visuals rather than on accurate physics. To achieve a stylized look, a post-processing filter for additional lighting, blur, and visual effects was implemented. Square Enix's large teams were typically composed of a mix of industry veterans and rookie game developers. To accommodate this, the graphical user interface of the engine became another main feature and was designed to be as intuitive as possible. The large investments into technology and human resources quickly made the White Engine the company's biggest project to date. After one year of work, version 1.0 of the engine was completed in September 2007. ### Version 1.1 and later After version 1.0 had been finished, the engine's code name White Engine was changed to the official title Crystal Tools. This was not only done to represent the company and its works better, but also due to the refractive effects of real-life crystals that were meant to symbolize the flexibility of the engine. Over the next few months, the programmers advanced the engine to version 1.1 and added preliminary support for the Wii. In September 2011, Final Fantasy Versus XIII director Tetsuya Nomura and his team replaced Crystal Tools with a proprietary action game engine that was supplemented by the lighting technology of the company's new Luminous Studio engine. Other teams, such as the staff behind Final Fantasy XIII-2, kept using and refining Crystal Tools. For Lightning Returns: Final Fantasy XIII, the engine was adjusted to make it more suitable to games with an open world design. ### Problems While Final Fantasy XIII was in production, the development of Crystal Tools caused significant problems and delays. The programmers spent much time on taking all demands from staff into account. Based on this feedback, Murata's team tried to adapt the engine to the needs of several game projects, which proved to be virtually impossible and prevented the engine's specifications from being finalized. Furthermore, as separate groups were working on the individual tools of the engine, there was no comprehensive software documentation to ensure usability and compliance. Unable to wait any longer, the Final Fantasy XIII team had no choice but to begin creating assets to keep to the game's production schedule. However, the lack of specifications resulted in these assets being incompatible with the engine. In the end, it was decided that XIII was to be the principal focus of Crystal Tools and the game's team began cooperating with the Research and Development Division more closely to receive the required tools and specifications. While preliminary support of Crystal Tools was developed for the Wii, the console did not fully support all components. In 2008, Murata said that Square Enix might license the engine out to other companies at some point in the future, although the limited documentation and the impracticality of supporting licensees posed great problems in doing so. Two years later, the game's producer Yoshinori Kitase stated that developing an engine from scratch to go with a new game may have been a mistake and a likely cause for the long period between the title's announcement and release. ## Reception At the time of Final Fantasy XIII's release, Crystal Tools was met with praise from critics. Eurogamer's Richard Leadbetter described it as an "excellent 3D engine". Nate Lanxon of Wired UK felt that it produced "some of the most breath taking cutscenes and 3D graphics" seen on the Xbox 360 and that it made "lengthy cutscenes more movie-like than ever". Writing for RPGFan, Stephen Harris called Crystal Tools an "impressive software" that "powered the jaw dropping visuals in Final Fantasy XIII". As time passed on, however, various media outlets criticized Square Enix for building their own engine. GameZone's James Wynne saw Crystal Tools as a means of "combusting money" during its development, and said it was "fairly out of date" by the time it had matured enough to be used for the company's projects. GamesRadar's Ashley Reed faulted Crystal Tools for leading to extended delays in the company's release schedule and even lowering the quality of some games. She blamed the engine for having caused a "catastrophic meltdown" for Final Fantasy XIV. Reed also noted that because Final Fantasy XIII had been prioritized in Crystal Tools' development, the engine struggled with the open-world environments of Versus XIII. Harris said that people had come to expect "pretty" graphics from Crystal Tools and that Final Fantasy XIV simultaneously "met and completely shattered" those expectations. He felt that the game was "the most visually astounding MMORPG ever created on the PC platform". However, he called certain graphical features "resource hogs" and was disappointed with the "steep" hardware requirements recommended by Square Enix to run the game. RPGFan's staff writer Derek Heemsbergen said that Lightning Returns: Final Fantasy XIII could be seen as "a desperate attempt to squeeze one last game out of the aging graphical engine". Wynne equally panned Square Enix's alleged decision to drop Crystal Tools in favor of the newly developed Luminous Studio engine. ## Games using Crystal Tools	[ "## Features", "## Development", "### Origins", "### Version 1.0", "### Version 1.1 and later", "### Problems", "## Reception", "## Games using Crystal Tools" ]	2,354	34,860
1,100,615	Tiberius Julius Alexander	1,140,229,174	1st century AD Roman governor and general	[ "1st-century Egyptian people", "1st-century Jews", "1st-century Roman governors of Egypt", "1st-century Roman governors of Judaea", "1st-century Romans", "1st-century births", "Ancient Roman equites", "Flavian dynasty", "Jews of Roman Alexandria", "Julii", "Praetorian prefects", "Roman governors of Egypt", "Roman governors of Judaea", "Siege of Jerusalem (70 CE)", "Year of birth unknown", "Year of death unknown" ]	Tiberius Julius Alexander (fl. 1st century) was an equestrian governor and general in the Roman Empire. Born into a wealthy Jewish family of Alexandria but abandoning or neglecting the Jewish religion, he rose to become the 2nd procurator of Judea (c. 46 – 48) under Claudius. While Prefect of Egypt (66–69), he employed his legions against the Alexandrian Jews in a brutal response to ethnic violence, and was instrumental in the Emperor Vespasian's rise to power. In 70, he participated in the Siege of Jerusalem as Titus' second-in-command. He became the most powerful Jew of his age, and is ranked as one of the most prominent Jews in military history. ## Early life Tiberius Julius Alexander was probably born early in the reign of the Emperor Tiberius (14–37). His father was Alexander, an Alexandrian Jew who held the office of Alabarch as head of customs on the Arabian frontier, but it may have denoted a senior customs official. The family of the older Alexander, a member of the Egyptian gentry, had Roman citizenship, something not infrequent among the wealthy Jews of Alexandria. He also had business connections both with Agrippa, grandson of Herod the Great, and with Antonia, mother of the emperor Claudius. Another prominent member of Tiberius Alexander's family was his uncle, the philosopher Philo. With both Tiberius and his younger brother Marcus Julius Alexander, the father preferred to give them a grounding in classical languages, rather than have them receive a traditional Jewish education, and both had been groomed to enter into the Roman bureaucracy Marcus Julius Alexander was the first husband of Herodian Princess Berenice. Marcus died in 43 or 44, leaving no children. The Jewish historian Josephus introduces his portrait of Tiberius by condemning him for impiety, explaining that he "did not remain in his ancestral customs". This has traditionally been taken to mean that he became an apostate from Judaism at an early age, a view which finds some support in his appearance as a character in two of Philo's philosophical dialogues, making arguments against divine providence which Philo attempts to refute. However, some more recent scholars believe that Josephus is criticizing Alexander simply for his decision to take up the service of Rome, placing the interests of the Empire above the Jewish religion. He nevertheless continued to benefit from his family's connections, which were enhanced after the Emperor Claudius came to power in 41. Agrippa had helped to secure Claudius' accession after the assassination of Caligula, and was appointed king of Judea. Tiberius' father, who had been imprisoned by Caligula, was released on Claudius' orders, and it was at this time that his younger brother Marcus became Berenice's husband. Tiberius's first senior appointment was as governor of the Thebaid in 42 CE. ## Career until 63 Tiberius Alexander was evidently well enough connected for an equestrian career in Roman public life. The first position he is known to have held, beginning in about 42, was that of epistrategus of the Thebaid, one of the three regions into which the Roman province of Egypt was divided. This was an administrative and judicial post involving no military command. He may have perhaps maintained contacts with his brother Marcus, who was trading in the same area until his premature death in 43 or 44. In recognition of his administrative abilities in the Thebaid after four years of service there, Claudius appointed him procurator of Judea in 46 CE. The province had returned to direct Roman rule only after the death of Agrippa in 44, and from the tenure of Alexander's predecessor Cuspius Fadus it had been a hotbed of zealot nationalism. Despite the opinion of some fellow Jews that he was a turncoat, his period of office as Procurator in Judea was marked by peace, as Josephus himself writes. He did condemn James and Simon, sons of an earlier rebel named Judas of Galilee, to crucifixion. It was also at this time that Judea was afflicted by a severe famine. In 48 he was succeeded by Ventidius Cumanus. Alexander appears to have risen in the ranks – though the details are unknown, until, with the reign of Nero, he served as a staff officer under the prominent general Gnaeus Domitius Corbulo during campaigns against Parthia, under whom he distinguished himself. In 63 he was dispatched along with Corbulo's son-in-law to escort the Armenian king Tiridates, with whom he himself had initiated negotiations, to the Roman camp, on the first stage of his journey to receive the status of client king from Nero. ## Prefecture of Egypt In May 66, after Corbulo had backed him, Nero appointed Alexander Prefect of Egypt, one of the two most prestigious posts available to an equestrian along with Prefect of the Praetorian Guard. Alexander may have benefitted from a philhellenic tendency in equestrian appointments under Nero, but his experience of Egypt must also have commended him. The year he assumed office saw the outbreak of the First Jewish–Roman War in Judea, and aggression inevitably spilled over into the large Jewish community of Alexandria. An outbreak of ethnic violence during a Greek assembly escalated when the Greeks took prisoners, leading the Jewish side to threaten to burn the assembled Greeks to death. Alexander sent mediators to calm the Jews, warning he would have to use the Roman legions if violence continued. The threat was ineffective, and Josephus describes the outcome: > [Alexander] then let loose among them the two Roman legions, and with them 2,000 soldiers who happened to have come from Libya, with fearful consequences for the Jews. He gave the men leave not merely to kill them but also to plunder their property and burn down their houses. The soldiers rushed into the area called Delta where the Jews were concentrated, and proceeded to carry out their orders, but not without bloodshed on their own side; for the Jews stood shoulder to shoulder with their most heavily armed men in front and held their ground magnificently, but when once the line gave they were destroyed wholesale. Death came upon them in every form; some were overtaken in the open, others driven into their houses, which the Romans first looted and then burnt down. They felt no pity for infants, no respect for the aged; old and young were slaughtered right and left, so that the whole district was deluged with blood and 50,000 corpses were heaped up: even the remnant would not have survived had they not begged for mercy till Alexander, pitying them, ordered the Romans to retire. A less violent side to Alexander's government is demonstrated by other evidence. Over a century after his time, his administrative decisions were still being cited as precedents. Some of these are known from a surviving edict issued on 6 July 68, less than a month after Nero's death. This denounces, and introduces measures against, a variety of abuses including inaccurate tax assessments, malicious prosecutions and the imprisonment of debtors by private creditors. The edict's only allusion to the chaotic political situation comes as a call for trust in the benevolence of the new Emperor, Galba, and his ability to put right the wrongs of the past. Alexander was making representations to Galba on behalf of the provincials, presumably representing the desired reforms as the price of loyalty from this vital grain-producing province. Neither Galba nor his successor Otho survived long in office. In April 69, Vitellius was recognized as Emperor by the Roman Senate, but his opponents were beginning to rally behind Vespasian, commander of the Roman forces conducting the war in Judea. The loyalties of Alexander, who commanded two legions and had control of the grain shipments from Alexandria to Rome, were of crucial importance. Fortunately for Vespasian, Alexander was willing to correspond with him secretly; go-betweens suspected by modern historians include Berenice (soon to be lover of Vespasian's son Titus), and an Egyptian official named Basilides. On 1 July Alexander became the first to make a decisive move against Vitellius: on receipt of a letter from Vespasian, he instructed his forces to take the oath of allegiance to Vespasian as Emperor. His lead was followed by legions throughout the eastern Empire, and the anniversary of Vespasian's accession was later celebrated on this date. ## Siege of Jerusalem Vespasian moved rapidly to Egypt, leaving the Jewish war under the command of Titus. At the same time Alexander, as a proven commander with experience of Jewish affairs, was sent by Vespasian to join Titus as his chief of staff and adviser, second only to Titus himself. The siege of Jerusalem was conducted by four legions, and even after the city walls were overcome, the defenders held out in the Temple. Alexander participated in an initial decision not to destroy the Temple, which would remain an ornament, but to quench the fire. Two subsequent assaults by Jewish forces were repelled, and the survivors retreated to the inner temple. In a sortie, according to Josephus they clashed with the Roman troops tasked with putting the flames out, and one enraged Roman soldier threw a brand into the sanctum, destroying it. Josephus's accounts of the sequence of events, and of who was responsible, is highly contradictory, though, as in rabbinic tradition, both this and the earlier destruction of the Temple were due to God's will, Nebuchadnezzer and the Romans being but his instruments. He makes Titus willing and unwilling to destroy the Temple, depending on what passage of his works one relies on. ## Later career By this time, Vespasian's position in Rome was secure. The details of Alexander's career under the new emperor remain unclear. A damaged papyrus refers to Alexander as holding the position of "Praetorian Prefect", which is open to two interpretations. It could indicate his rank during Titus' campaign in 70, which would mean that he held his own independent imperium (commanding authority). According to another view, it means that he became Prefect of the Praetorian Guard at Rome, which in later years became a common position for former Prefects of Egypt. In either case, Alexander attained a position in the Roman Empire that was unparalleled for a man of Jewish birth, not to mention one who suffered from the further stigma of an Egyptian origin. The xenophobic speaker of Juvenal's first Satire, composed in the late 1st or early in the 2nd century AD, complains of passing the Forum's triumphal statues, "where some Egyptian Arabarch's had the nerve to set up his titles. At his image it's right to do more than piss!" This is very likely a reference to Alexander. ## See also - Prefects, Procurators, and Legates of Roman Judaea	[ "## Early life", "## Career until 63", "## Prefecture of Egypt", "## Siege of Jerusalem", "## Later career", "## See also" ]	2,302	92
10,549,662	The Museum of Curiosity	1,167,316,545	British radio panel game show	[ "2000s British game shows", "2008 radio programme debuts", "2010s British game shows", "2020s British game shows", "BBC Radio 4 programmes", "BBC Radio comedy programmes", "British panel games", "Fictional museums", "QI" ]	The Museum of Curiosity is a comedy talk show on BBC Radio 4 that was first broadcast on 20 February 2008. It is hosted by John Lloyd (Professor of Ignorance at the University of Buckingham, and later at Solent University). He acts as the head of the (fictional) titular museum, while a panel of three guests – typically a comedian, an author and an academic – each donate to the museum an 'object' that fascinates them. The radio medium ensures that the suggested exhibits can be absolutely anything, limited only by the guests' imaginations. Each series has had a different co-host, under the title of curator of the museum. Bill Bailey acted as co-host of the programme in the first series, before leaving the show after deciding to "retire" from panel games. Sean Lock, Jon Richardson, Dave Gorman, Jimmy Carr, Humphrey Ker, Phill Jupitus, Sarah Millican, Noel Fielding, Jo Brand, Romesh Ranganathan, Sally Phillips, Lee Mack, Bridget Christie, Alice Levine and Holly Walsh have all assumed the role for a series. Gorman also stood in for Richardson for one episode of the third series, after Richardson was stranded due to the eruption of Eyjafjallajökull. Ker also functioned as a stand-in, this time for Jimmy Carr, when Carr was unable to attend one episode in series 5. The programme has often been compared to the television panel game QI. Both were co-created by Lloyd, several of the Museum's 'curators' and comic guests have appeared regularly on QI, and the QI Elves (QI's research team, who provide hosts Stephen Fry and Sandi Toksvig with live information as required during the programme) provide the research. As a result, some critics consider the radio show to be a spin-off of the TV programme, and some have further ventured that The Museum of Curiosity is not as good as its forerunner. Most reviews of The Museum of Curiosity, however, are positive. ## Format In series one, the programme began with Bailey introducing the show and playing its theme tune, which he performed in a slightly different way in each episode. In subsequent series, the theme tune was, instead, performed by House of Strange Studios of East London. The host/professor and the curator/sidekick introduce themselves. They then give a short guide to the museum, followed by the introduction of the "advisory committee", a guest panel made up of celebrities and academic experts, during which Lloyd reads their CVs aloud. This introductory section takes up about half the programme. Then, each member of the "committee" donates something to the museum. The donation can be anything, regardless of its size, cost, tangibility, or even existence. Examples of donations include a yeti, the Battle of Waterloo, and absolutely nothing. Lloyd and the curator then decide what form the exhibit could take and where in the museum it could be displayed. In series one, the programme ended either with Lloyd and Bailey reading audience suggestions for additional exhibits or asking the audience curious questions . Bailey ended the show by giving a humorous comment on a Bertrand Russell quote. Both of these ideas were dropped in series two. From series two onward, the show has maintained a standard format. It is presented in two-halves; in the first half, Lloyd and the curator introduce the three guests, provide an explanation of who they are, and the five engage in a general discussion. In the second half, the curator declares the Museum open for donations, and each guest explains what they wish to "donate" to the museum (again, as the museum is fictional, nothing is actually exchanged). Questioning of all three guests ensures that everyone says something about each donation. ## Production The programme's pilot episode was recorded on 16 April 2007 and was entitled The Professor of Curiosity. The guests for this episode were Alastair Fothergill, Victoria Finlay and Simon Munnery. This pilot, recorded at the Rutherford Room at the institute of Physics, has not been broadcast. The first series was recorded at the Pleasance Theatre in Islington and, since then, the show has been recorded at the BBC Radio Theatre, with occasional recordings at other venues, such as the Shaw Theatre and RADA Studios (formerly The Drill Hall), all in London. The series was created by Lloyd, Richard Turner and Dan Schreiber. The show is produced by Anne Miller. The show's researchers are Mike Turner, Lydia Mizon and Emily Jupitus of QI. A live version of the show was staged at the Natural History Museum, London on 9 November 2012 for charity. The guests for this edition were Terry Pratchett, Dave Gorman, Alan West, Baron West of Spithead, Helen Keen, Richard Fortey and Erica McAlister. The show was hosted by John Lloyd, with Producer Dan Schreiber taking the role of curator. Further live shows were staged at the 2014 Edinburgh Fringe featuring a number of top comedians and other guests. Series 15 and Series 16 were recorded remotely during 2020 and 2021 because of the COVID-19 pandemic. ## Episodes ### Series 1 ### Series 2 ### Series 3 ### Series 4 ### Series 5 ### Series 6 ### Series 7 ### Coding Special ### Series 8 ### Series 9 ### Series 10 ### Series 11 ### Series 12 ### Series 13 ### Annual Stock Take (2018 Christmas Special) ### Series 14 ### 2019 Christmas Special ### Series 15 ### Series 16 ### Series 17 ## Reception Initial reaction to the series was mixed. Phil Daoust in The Guardian described the show as being "unusual" and "eclectic". Chris Campling, who wrote a preview of the first episode, highlighted it in his "Radio Choice" column for The Times. Gillian Reynolds highlighted the programme as one of her radio choices in the Daily Telegraph. Rosanna Chianta in Scotland on Sunday compared the show positively to QI, also created by Lloyd, while Frances Lass from the Radio Times said it was better, claiming it was, "QI with even more jokes. Made me bark with laughter", that, "Lord Reith would be so proud" and the programme was, "Pornography for the brain!" Miranda Sawyer of The Observer criticised the show, saying that, "it's no QI, because the joy of that programme rests almost entirely in the host, Stephen Fry, and his subversion of the prissy, clever character we're familiar with (in QI, Fry is clever, but relaxed). The Museum of Curiosity is presented partly by Bill Bailey and mostly by John Lloyd, producer of QI (are you getting a theme?). Lloyd may well be a nice chap, but we haven't a clue who he is, and, on the evidence of this, he isn't a big or witty enough character for us to feel desperate to get to know him." Nicholas Lezard in The Independent on Sunday was lukewarm about the show, saying that the combination of comedian and scientist guests "more or less worked", but he felt the show may not have been greenlit without Lloyd and Bailey's involvement. Kate Chisholm in The Spectator found the show a welcome change from the "smutty jokes and banal innuendo" usually associated with the timeslot, and compared the series to Paul Merton's Room 101, "but without the ego". Elisabeth Mahoney in The Guardian was critical of the second series. While praising the discussion between the guests as, "funny and flowing, and quite endearingly quirky", she found that the programme "fizzled away when it reached what ought to have been its crux: the donation of kooky items to the imaginary museum. Instead, we had a reminder of what they were, and then a sudden ending that was both limp and abrupt." After appearing on the show in series 6, Richard Herring wrote on his blog: "What a delightful and fascinating programme this is (and one that I think might benefit from an extended podcast release – two hours of material is recorded for the 27-minute show and it's pretty much all gold!). At times I was so enjoying listening to the others talking that I almost forgot that I was meant to be taking part. It was a wide-ranging discussion taking in ants on stilts, pianists with crippling, mechanical little fingers, the changing meridian and okapi sex (can you guess what I contributed?). The show has a dedicated team of nerds behind it who have dug out amazing facts and I love the way it has a panel comprising comedians, scientists and experts and attempts to link each contribution to similar areas of the different disciplines. While most TV panel shows (including to some extent even QI) gravitate to putting in the same well-known comedy faces, you get a lot more interesting stuff by mixing it up a bit. The zoologist, Dr Christofer Clemente, came up with the funniest lines of the show. But would they book him on Mock The Week? It's intelligent and stimulating programming that is increasingly being edged out of TV and even radio, leaving a gaping open goal for independent internet productions to score in. I discussed this with one of the razor-minded team after the show. The TV companies insist on getting big names into all shows, which takes up all the budget and seems to ignore the fact that the pool of possible contributors gets smaller and more boring. But glad that a few shows designed to expand the mind rather than crush the spirit still exist." On 13 September 2016, The Museum of Curiosity won the Rose d'Or in the radio talk show category.	[ "## Format", "## Production", "## Episodes", "### Series 1", "### Series 2", "### Series 3", "### Series 4", "### Series 5", "### Series 6", "### Series 7", "### Coding Special", "### Series 8", "### Series 9", "### Series 10", "### Series 11", "### Series 12", "### Series 13", "### Annual Stock Take (2018 Christmas Special)", "### Series 14", "### 2019 Christmas Special", "### Series 15", "### Series 16", "### Series 17", "## Reception" ]	2,043	1,723
22,962,717	Stan Robb	1,168,293,579	American football player (1899–1959)	[ "1899 births", "1959 deaths", "American football ends", "American football fullbacks", "American football guards", "American football tackles", "Canton Bulldogs players", "Centre Colonels football players", "Coaches of American football from Pennsylvania", "High school football coaches in Pennsylvania", "Holmesburg Athletic Club players", "Philadelphia Quakers (AFL) players", "Players of American football from Pittsburgh", "Pottsville Maroons players", "West Virginia Wesleyan Bobcats football players" ]	Stanley Rankin Robb (September 19, 1899 – January 9, 1959) was an American football lineman and end who played one season in the National Football League (NFL) for the Canton Bulldogs. A native of Pittsburgh, Pennsylvania, he attended Peabody High School and Mercersburg Academy, after which he played college football for the Centre Praying Colonels (1920) and West Virginia Wesleyan Bobcats (1921). Robb began his professional football career in 1922, splitting the year between the Holmesburg Athletic Club and Philadelphia Quakers. He played the 1923 season with the Clifton Heights Orange & Black before joining the Pottsville Maroons for their Anthracite League championship year in 1924. Robb joined the Canton Bulldogs, coached by his brother Harry, in 1926, playing what would be his only three games in the NFL while scoring one touchdown. He later returned to Clifton Heights to finish his career. ## Early life and education Stanley Rankin Robb was born on September 19, 1899, in Pittsburgh, Pennsylvania. He attended Peabody High School where he played football as a tackle, being described as a "star" player. Robb also attended Mercersburg Academy for a time. Around 1917, he enlisted in World War I. After graduating from high school, he assisted in coaching the linemen at Peabody in 1918. The following year, he was reported as having joined the football team at Penn State College, although a news article from 1920 said that he had played for The Kiski School that year, being a "star guard." Robb began playing college football for the Centre Praying Colonels in 1920, appearing as a right guard, left guard, and end. He appeared in a number of games for the team, including their match that season against the Harvard Crimson. In the 1920 season finale against TCU, he blocked a punt and returned it for a touchdown. Robb was known for his speed at end, with the Delaware County Daily Times writing that he "gained national repute as one of the fastest ends ever turned out of Centre College." Robb left to play for the West Virginia Wesleyan football team in 1921. He had left the team by the 1922 season. In addition to playing football, Robb also participated in basketball and track and field with his schools. At Centre, he also acted in school minstrel productions. ## Professional career Robb began his professional football career in September 1922, starting the season as an end for the Holmesburg Athletic Club. By October, he had joined the Philadelphia Quakers. Following the 1922 season, Robb was signed by the Clifton Heights Orange & Black. The Delaware County Daily Times said that, "The reputation of Stanley Robb not only while he starred for Centre College, but while he was played last season with Holmesburg and the Philadelphia Quakers, is such that he needs no formal introduction to county fans." He missed several games early in the season, but returned at the end of October. With Clifton Heights, he was mentioned as being one of the "stars" comprising "one of the greatest collections of college stars ever seen on a Delaware County gridiron." Robb played in the Anthracite League with the Pottsville Maroons in 1924. The Maroons ended up winning the league championship. Two years later, Robb was signed by the Canton Bulldogs of the National Football League (NFL). He made his NFL debut against the New York Giants on November 2, 1926, and scored a touchdown in the 7–7 tie. He scored near the end of the game in what was described as a "lucky score" to prevent the Giants from winning. The Canton Daily News reported the play as follows: > That lucky touchdown cheated the Giants out of a victory, they well deserved. They outplayed the Bulldogs most of the way and had victory within their reach when Vick, the new quarterback of the Bulldogs threw a forward pass to Ben Roderick, late of Columbia in the last five minutes. Roderick was standing on the five yard line waiting to receive the ball, when a Giant player rushed behind him and knocked the ball out of his arm. But along came Stanley Robb, of the famous Robb family. Robb is fleet of foot and he grabbed the leather sphere out of the air before it hit the ground. All that stood between him and a touchdown was about five yards of turf, and the younger Robb spanned that five yards in two leaps. Robb appeared in two additional games for the Bulldogs. His next game was against the Hartford Blues on November 7, which resulted in a 16–7 loss. He and Ralph Nichols were both ejected after fighting each other. Robb had tackled a Hartford player and Nichols, upset with the force which he used, grabbed Robb by the shoulders and "pulled him away rather roughly." Robb responded by punching him in the chin, and Nichols then began punching Robb all around before the official broke up the fight and dismissed both of them. His final game came against the Providence Steamrollers on November 11, after which he left the team. Robb returned to the Clifton Heights Orange & Black in 1927. ## Personal life and death Robb's brother Harry played college football at Penn State, and later played with him at Pottsville and Canton. Stan played under his brother, who both played and served as head coach, with Canton in 1926. Robb married Beatrice M. Ritter in November 1937. He enlisted in World War II in February 1942. Robb died on January 9, 1959, at the age of 59.	[ "## Early life and education", "## Professional career", "## Personal life and death" ]	1,206	10,913
32,123,825	Linda November	1,171,111,621	American singer	[ "1944 births", "21st-century American women", "American sopranos", "American women singers", "Jewish women singers", "Living people", "Singers from Brooklyn", "The High School of Music & Art alumni", "Thomas Jefferson High School (Brooklyn) alumni" ]	Linda Ellen November (born October 16, 1944) is an American singer who has sung tens of thousands of commercial jingles. She was the voice of the singing cat in the Meow Mix commercials, sang the jingle "Galaxy Glue" in the 1981 film The Incredible Shrinking Woman, the "Coke and a Smile" jingle in the classic Mean Joe Greene Super Bowl commercial, and has won many Clio Awards for her work on television and radio. Her voice can also be heard on many pop songs, as she was a regular backup singer for artists such as Frankie Valli, Burt Bacharach, Engelbert Humperdinck, and Neil Diamond. In the 1970s, she was one of the main singers in the disco group Wing and a Prayer Fife and Drum Corps, which charted with the Top 40 hit "Baby Face" in 1976. In the 1980s and 1990s she was a regular performer in Atlantic City at The Grand and Harrah's, with her husband, composer and arranger Artie Schroeck. As of 2011, she works as a piano accompanist in Las Vegas, Nevada. ## Biography ### Early years (1940s–1960s) November was born in Brooklyn, the older of two children to Eleanore and Julius November. Her father was an attorney to clients such as boxer Floyd Patterson, and her younger brother Philip became an attorney as well. She started her career in music as a concert pianist, playing piano from the age of five. However, she lost interest in the piano as a teenager and turned to singing instead, helped by the fact that she learned she had perfect pitch. She attended Thomas Jefferson High School, then The High School of Music & Art, and then from the age of 15 began studying voice with Beverly Johnson at Juilliard. She developed a strong soprano voice, described by The Dallas Morning News as "high, strong, and unwontedly pure". At the age of 16, she got a lucky break because of a visit to a podiatrist. The doctor had an office at Broadway and 42nd Street, in what had been a fashionable Knickerbocker Hotel suite in the early 1900s, the New York residence of opera singer Enrico Caruso (1873–1921). So the doctor would often entertain visitors who were there to see the Caruso memorabilia. While she herself was at the office, November met another patient who had contacts in the music industry, and she sang an impromptu audition. The patient was impressed, and put her in touch with one of his contacts, manager Gus Schirmer (of the Schirmer Music publishing family), who was looking for "pretty sopranos" for his summer musicals. Schirmer introduced her to Broadway composer Richard Rodgers, who became her mentor, and through Schirmer, November also auditioned for other producers such as Lawrence Kasha. She obtained work as a performer in the 1963 summer musical season in Dallas, Texas, but despite many auditions, could never land a job in Broadway theatre (according to November, this was because she never had the exact look that a particular show was looking for). Then Schirmer got her a job singing at an industrial musical for Ford Motor Company, where she met many other successful musicians, singers, and composers such as Ray Charles. He began incorporating her into sessions with the Ray Charles Singers, a group of performers with a rotating membership that would sing in close harmonies, often on productions with singer and television personality Perry Como, or as backup singers for other recordings. This launched November's career as a studio singer, as she worked on a contract basis for many different productions. From 1962 to 1967 November would rotate in and out as part of the Ray Charles Singers, sometimes seen on Perry Como's Kraft Music Hall variety program. She can also be heard as a backup singer on some Frank Sinatra recordings, such as the soprano voice in the background of the 1967 song, "The World We Knew". ### Jingle singer (1960s–1990s) Over the course of her 32 years as a jingle singer, November sang approximately 22,000 jingles which were played on the television and radio. In the 1970s, it was estimated that 75% of the jingles that could be heard on the airways were sung by no more than 30 people, and November was known as the "Jingle Queen". In several unusual jingles, she had to sing with different voices. She once sang as a person underwater, and for Chicken of the Sea, a brand of tuna, she sang like a chicken underwater. Her most notable commercial was in an ad campaign for Meow Mix, where she was the voice ("Meow meow meow meow...") of a singing cat. The idea came from Ron Travisano at the advertising agency of Della Femina Travisano and Partners, who had the account with Ralston Purina in 1976. Travisano put together film footage with editor Jay Gold, looping images of a cat to make it look like it was singing. Working from the film, Tom McFaul of the jingle house Lucas/McFaul composed music to fit, and Linda November sang the meowing melody. The campaign was a major success, spawned 81 other different commercials, and hundreds of thousands of dollars in residuals. Linda November was also one of the singers for Coca-Cola's "Have a Coke and a Smile" campaign, heard most famously on the 1979 Mean Joe Greene commercial, considered one of the top Super Bowl commercials of all time. ### Other projects (1970s–present) In the 1970s, along with providing her voice for commercials, November also recorded pop songs on the radio. She, Tony Orlando, and Toni Wine sang "Candida", in a group surreptitiously entitled "Dawn". Tony Orlando was a recording industry executive at the time, for a competing label, April-Blackwood. So to avoid a conflict, the group was entitled "Dawn" without Orlando's name. However, the song became a major hit, along with its followup "Knock Three Times" (also featuring backup by November and Toni Wine). To go on tour, Orlando then asked two other session singers, Telma Hopkins and Joyce Vincent Wilson, to become the official backup singers, in their own "Dawn" group, so they could tour as Tony Orlando and Dawn, though the voices on the songs of the original album were still of November and Toni Wine, not Hopkins and Vincent. A few years later, November was again on the charts as part of the group Wing and a Prayer Fife and Drum Corps, an assemblage of studio musicians put together by Harold Wheeler. They released two albums, with their biggest hit being a disco version of the 1926 song "Baby Face". It reached \#14 on the U.S. Billboard Hot 100 in late 1976, and \#12 in the UK. In the 1980s and 1990s, November could often be found singing in Atlantic City, such as at Gatsby's at The Grand, and then starting in 1990, at the Harrah's Atrium Lounge, with Artie Schroeck. They had met in the 1960s while working on Frankie Valli recordings, but had both been married to other people at the time. In 1988 they became a couple, and on January 17, 1997, they married. Linda November then retired from her career as a jingle singer, and she and Schroeck directed a production saluting quirky band leader Spike Jones, "The New City Slickers Present a Tribute to Spike Jones". In 2001, November and her husband moved to Las Vegas. As of 2011, she continues to work there as a piano and keyboard accompanist, performing the occasional show with Schroeck. ## Awards - 1972, "Most Valuable Studio Player", NARAS, New York Chapter - 1974, Taystee Bread (Best Radio, Clio Award, 1974) - 1976, Lady Long Legs (Best Radio, Clio Award, 1976) - 1978, United States Army (Best Television/Cinema, Clio Award, 1978) - 1979, "Mean Joe Greene" commercial for Coca-Cola (Best Television/Cinema, Clio Award, 1980) ## Notable works Linda November has sung tens of thousands of jingles, with her most notable one being the Meow Mix Theme ("Meow meow meow meow . . . . ") in 1976 for Meow Mix cat food. She has also worked in many other parts of the industry as a backup singer, and contributed many solo efforts, such as singing the lullaby in the 1971 animated film, The World of Hans Christian Andersen, the main theme "I'm Comin' Home" in the 1973 film The Devil in Miss Jones, and the "Galaxy Glue" jingle in the 1981 film The Incredible Shrinking Woman. ### Jingles Drinks - Coca-Cola, 1979, "Coke and a smile" (see also Mean Joe Greene ad) - Coca-Cola, "I’d like to teach the world to sing" - Diet Coke "Just for the joy of it" - Diet Pepsi, "Now you see it, now you don't, Diet Pepsi, 1 small calorie, now you see it, now you don't" - Miller beer, "You've got the time, we've got the beer" - Budweiser, "When you say Bud, you've said it all" Foods - Burger King, "Have It Your Way" - Chef Boyardee, "Boy oh Boyardee, boy oh boyardee" - Chicken of the Sea - Doublemint, "Single most favorite double in the world is double good doublemint gum" - Kraft Foods, "America spells cheese K-R-A-F-T" - "M&M is a world of fun, a world of chocolate joy" - McDonald's, "You Deserve a Break Today", "Two all-beef patties, special sauce, lettuce, cheese..." - "Nabisco" - Hellmann's and Best Foods, "Bring out the Hellmann's, bring out the best" - "Snickers, Satisfies you" - "Wrigley's Spearmint Gum gum gum" Transportation - Buick, "Wouldn't you really rather have a Buick?" - Chevrolet, "The heartbeat of America" - Ford Motor Company, "Have you driven a Ford lately?" - Greyhound Lines, "Go Greyhound, and leave the driving to us" Other products - AT&T, "Reach out and touch someone" - Exxon, "Running smooth and silent" - General Electric, “We bring good things to life” - Meow Mix, "Meow, meow, meow, meow..." ("Her masterpiece, the one jingle that she herself selects as the apotheosis of her craft...") - Prudential Financial, "Get a piece of the rock" - Windex, "Shine Windex Shine, Windex lets you bring all the sun in" ### Notable songs as backup singer - 1964, with The Ray Charles Singers, "Love Me with All Your Heart" - 1967, with Frank Sinatra, "The World We Knew" - 1968, with Valerie Simpson and Dionne Warwick, "Do You Know the Way to San Jose" - 1969, with B. J. Thomas, "Raindrops Keep Fallin' on My Head" - 1970, with Tony Orlando, ("Candida", "Knock Three Times") - 1971 (uncredited), with Barbra Streisand, "Stoney End" - 1975, with Jimi Hendrix (posthumously) (Crash Landing) - 1976, with Gloria Gaynor, ("I've Got You Under My Skin"), on the I've Got You album (arranged by Meco Monardo) - 1976, with Engelbert Humperdinck ("After the Lovin'") - 1976, as part of the Wing and a Prayer Fife and Drum Corps, "Baby Face"	[ "## Biography", "### Early years (1940s–1960s)", "### Jingle singer (1960s–1990s)", "### Other projects (1970s–present)", "## Awards", "## Notable works", "### Jingles", "### Notable songs as backup singer" ]	2,608	12,282
70,884,826	Vivien Lyra Blair	1,171,294,183	American child actress (born 2012)	[ "2012 births", "21st-century American actresses", "American child actresses", "American film actresses", "American television actresses", "American video game actresses", "American voice actresses", "Living people" ]	Vivien Lyra Blair (born June 4, 2012) is an American child actress who made her debut in the 2017 film Band Aid. In 2018, she rose to prominence for her role as Girl in the film Bird Box. Blair garnered further recognition for her appearances in video game Telling Lies (2019) and superhero film We Can Be Heroes (2020). In 2022, she portrayed Leia Organa in the streaming series Obi-Wan Kenobi. She was also nominated for a Saturn Award for Best Performance by a Younger Actor in a Streaming Television Series. ## Early life Vivien Lyra Blair was born on June 4, 2012. Blair has been vegetarian since she was born. She has practiced Taekwondo since the age of five. In 2019, at six years old, Blair became the youngest spokesperson for PETA. ## Career Blair's first onscreen role was in the 2017 film Band Aid, and she subsequently appeared in the television miniseries Waco in 2018. She rose to prominence at the age of five after starring in the film Bird Box. Blair portrays Girl, who–along with her mother and brother—is blindfolded as protection from entities that cause people to die once they have been seen. Blair spent the majority of the film blindfolded. In 2019, she appeared in the video game Telling Lies, in which The Guardian considered her "[a]n unexpected joy ... with adorable confidence". Blair also starred as Guppy in the superhero film We Can Be Heroes (2020), the sequel to The Adventures of Sharkboy and Lavagirl in 3-D (2005). She undertook all her own stunts. While the film itself received mixed reviews, The Daily Telegraph praised Blair's performance as "very funny" and "just absurd ... the effects team simply aren't needed when she's doing her thing". In 2022, Blair portrayed Leia Organa in the Star Wars streaming show Obi-Wan Kenobi. Of Blair's casting, series writer Joby Harold stated the team needed an actor who would embody a young Carrie Fisher's voice and spirit: "[we need] [s]omebody who feels spirited. They don't feel precocious. They don't feel like they are speaking as an adult writing for a kid, but you feel the spirit of what Carrie Fisher built." Harold found Blair to be "an amazing little actor" who miraculously captured that spirit, particularly in her scenes with co-star Ewan McGregor. Her performance received acclaim, with praise for her portrayal of the character's strength, wit, and intelligence; NPR commented that "Blair practically channels Carrie Fisher's subversive, wisecracking spirit". In a more mixed review of her performance, Nick Schager of The Daily Beast thought Blair's line deliveries were "not ... consistently great" but considered her adequate for the role. Blair's performance was nominated for a Saturn Award for Best Performance by a Younger Actor in a Streaming Television Series. Blair played Emily Gradstone in the film drama Dear Zoe, which is based on the eponymous young-adult novel by Philip Beard. It was released on November 4, 2022, to mixed reviews. In July of that year, Blair joined the cast of The Boogeyman (2023), an adaptation of Stephen King's eponymous short story. She portrayed Sawyer, a young girl whose family is terrorized by a cryptic monster. She was hesitant to take the role, not wanting to portray "another character that had to be saved". After reading the script, she reconsidered, however, seeing that Sawyer was "so much more than that". Blair found it challenging to portray her character's fear, the emotion she connected with the least as an actress. Several critics lauded her performance; The Hollywood Reporter stated: "Blair is so convincingly terrified throughout that you hope that child services monitored the production closely". ## Filmography ### Film ### Television ### Video games ## Awards and nominations	[ "## Early life", "## Career", "## Filmography", "### Film", "### Television", "### Video games", "## Awards and nominations" ]	839	12,839
43,500,255	Typhoon Sally (1964)	1,172,020,437	Pacific typhoon in 1964	[ "1964 Pacific typhoon season", "Typhoons", "Typhoons in China", "Typhoons in Hong Kong", "Typhoons in South Korea", "Typhoons in the Philippines" ]	Typhoon Sally, known in the Philippines as Typhoon Aring, was a powerful tropical cyclone that brought widespread impacts during its week-long trek across the western Pacific in September 1964. The strongest tropical cyclone of the 1964 Pacific typhoon season and one of the most intense tropical cyclones on record, and among the strongest typhoons ever recorded, with one-minute maximum sustained winds of 315 km/h (196 mph) as estimated by the Joint Typhoon Warning Center. Sally first became a tropical cyclone near the Marshall Islands on September 3, organizing into a tropical depression and then a tropical storm later that day. On September 4, Sally intensified into a typhoon and struck southern Guam the next day. Widespread agricultural damage occurred in the island's southern regions, with the banana crop suffering the costliest losses; the damage toll from crops and property exceeded \$115,000. Sally continued to intensify on its west-northwestward trek, and reached its peak strength on September 7 over the Philippine Sea. Sally's winds lessened thereafter as it brushed the northern Philippines, buffeting areas north of Manila with strong winds and heavy rain and causing serious damage. A person drowned from the typhoon's onslaught, while the naval station at San Vicente and the adjoining village sustained an estimated \$500,000 in damage. After crossing the South China Sea, Sally made landfall on the South China coast east of Hong Kong on September 10. Due to fears of a repeat of Typhoon Ruby, which struck the region less than a week prior, 10,000 people were evacuated ahead of the storm. Sally produced wind gusts as strong as 154 km/h (96 mph) and dropped torrential rain that damaged homes and crops and induced one landslide that killed nine people. However, the overall impacts in Hong Kong were less than forecast. Sally weakened as it moved into inland China and dissipated on September 11. The remnants of Sally moved northeast and contributed to severe flooding around Seoul, South Korea, leaving 211 people dead or missing and 317 people injured, though 206 people remain unaccounted for. Over 36,000 people were left homeless as over 9,000 homes were either destroyed or flooded, resulting in \$750,000 in property damage. The floods were the region's most significant in two decades. ## Meteorological history The origins of Sally can be traced to the interaction of a trough of low pressure with a westward-propagating tropical wave. This led to the development of a vortex over the Marshall Islands on September 2. The next day, observations from ships in the region indicated that the system organized into a tropical depression approximately 240 km (150 mi) southwest of Eniwetok Atoll. Aircraft reconnaissance investigating the nascent cyclone later that day determined that Sally reached tropical storm strength while located roughly 320 km (200 mi) northeast of Chuuk State. During this time, Sally took a west-northwest course that would continue for the remainder of its duration. The storm intensified into a typhoon early on September 4. The next day, the center of Sally moved across southern Guam with a forward speed of 37 km/h (23 mph); one-minute maximum sustained winds near the center were estimated by the Joint Typhoon Warning Center (JTWC) to have reached 155 km/h (96 mph) during its passage of Guam. Sally strengthened further as it traversed the Philippine Sea, and at 06:00 UTC on September 7, the JTWC analyzed Sally's one-minute sustained winds to have reached 315 km/h (196 mph); surface winds as fast as 370 km/h (230 mph) were estimated by aircraft reconnaissance probing the typhoon. The Japan Meteorological Agency (JMA) estimated that Sally's central barometric pressure decreased to 895 hPa (mbar; 26.43 inHg). This made Sally the strongest typhoon of the 1964 Pacific typhoon season as measured by both wind speed (tied with Opal) and central pressure. These winds were also among the fastest ever analyzed for a tropical cyclone globally. The center of Sally then moved near the northern Philippines, passing 40 km (25 mi) north of Aparri on September 9. The JTWC estimated that Sally's one-minute sustained winds decreased during this period, and continued to diminish further as the typhoon tracked across the South China Sea. At 15:00 UTC on September 10, Sally made landfall on the People's Republic of China east of Hong Kong with one-minute sustained winds of 155 km/h (96 mph). After moving inland, the system rapidly weakened, degenerating into a tropical storm later on September 10 and losing its identity as a tropical cyclone the following day over South China. The remnants of Sally continued towards South Korea and Japan before they were last noted on September 16 over southern Kamchatka. ## Preparations and impact ### Guam and the Philippines On September 4, Sally was forecast by the JTWC to bring heavy surf and sustained winds of 75–85 km/h (47–53 mph) to Guam, accompanied by higher gusts. Sally was ultimately stronger and closer to Guam than forecast, crossing over southern Guam as a developing typhoon on September 5 and producing damaging winds. While the highest observed wind gust reached 100 km/h (62 mph) at Andersen Air Force Base, higher gusts up to 130 km/h (81 mph) were estimated to have buffeted Guam. Gale-force winds lasted for eight hours. A maximum 24-hour rainfall total of 53 mm (2.1 in) accompanied the storm. Over 1,000 people sought refuge at the College of Guam, and others took shelter in other sturdy buildings. Numerous trees were downed and homes were unroofed by the typhoon. Downed trees and other debris blocked roads, rendering them impassable. The island's southern districts sustained the heaviest impacts from Sally; 18 structures in those areas were damaged, with the impacts most evident to their roofs. The majority of the monetary losses caused by Sally on the island was sustained by crops: agricultural damage was estimated at \$105,440, with \$92,398 sustained by the banana crop. Damage to residential and commercial buildings was estimated at \$9,680, resulting in a total damage toll of about \$115,000, mostly were to farm crops. Storm surge along Talofofo Bay led to coastal inundation; eight homes suffered roof damage there. Damage was also documented in Agat, Inarajan, Merizo, and Umatac. Power outages occurred in those villages in addition to Talofofo and Santa Rita. Sally's impacts in Guam were negligible outside of the southern regions of the island, and in total there were no casualties. Sally was one of the strongest to approach the Philippines on record. The west-northwestward trajectory of Sally threatened the northern Philippines, leading to the issuance of warnings for the region by the Philippine Weather Bureau on September 7. Typhoon signal no. 2, signifying winds up to 114 km/h (71 mph) within 24 hours, was issued for the Batanes Islands. The storm brought strong winds and heavy rains to areas north of Manila, resulting in substantial crop and property damage. The United States Agency for International Development described Sally as having done "considerable damage" in northern Luzon, but could not assess the total number of casualties. The naval station at San Vicente and the adjoining village sustained an estimated \$500,000 in damage; one person drowned and two thousand others were left in need of food and clothing. ### Hong Kong and Taiwan The outer reaches of Sally brought high winds to southern Taiwan but were inconsequential. Following Typhoon Ruby's impacts in Hong Kong earlier in September, 3,400 workers were enlisted to clear the colony's drainage systems in preparation for Sally. While the center of the storm was forecast to miss Hong Kong, Sally's peripheral winds were expected to be comparable to Ruby's. A spokesperson for the Royal Observatory in Hong Kong called Sally "the biggest [typhoon] in living memory" while the storm was centered 275 km (171 mi) to the southeast. The Hong Kong government noted that cranes, fences, scaffolding, and signboards loosened in Ruby's passage became hazardous with Sally's potential impacts. Ships were brought to protected moorings at the harbor in Hong Kong after the issuance of the first tropical cyclone signals for Sally's approach, leaving the harbor devoid of any vessels; two ships evacuated to open sea to ride out the storm there. Businesses closed and bus and ferry service saw suspensions. Some airlines also canceled their fights. Over 10,000 people were evacuated out of vulnerable areas. Radio broadcasts called upon residents to head home and remain home while Sally passed. Riot police were deployed for crowd control as people began to flee Hong Kong's islands for the mainland en masse. The Hong Kong Red Cross started a blood donation drive in downtown Hong Kong, offering free beer and cigarettes to donors. Sixteen first aid centers were also established throughout Hong Kong. Sally was the fourth typhoon to impact the Hong Kong area in 1964, though its effects were less severe than initially feared. Thirty people were injured in Hong Kong. The outer extents of Sally began affecting the territory before the storm's closest approach, with the outer winds triggering landslides and depositing trees, glass, and other debris on streets. One person sustained a fractured skull after being struck by a falling iron rod. During its closest approach, the center of Sally was 55 km (34 mi) northeast of Hong Kong. The Royal Observatory escalated their warnings up to tropical cyclone signal no. 7 and recorded a peak gust of 104 km/h (65 mph) at their headquarters. The strongest gust measured in Hong Kong reached 154 km/h (96 mph) as registered at Tate's Cairn. Gusts reached 107 km/h (66 mph) at Kai Tak Airport. Sally produced up to 354.4 mm (13.95 in) of rain in Hong Kong with over 175 mm (6.9 in) falling in 12 hours; landslides triggered by these rains killed 9 people and injured 24, in addition to causing the collapse of houses. Other landslides marooned people in their homes and blocked streets. Severe flooding occurred throughout Hong Kong. Cattle and crop industries were impacted by the storm, though the overall damage was minimized by Typhoon Ruby's agricultural impacts less than week prior. A few hundred chickens were killed by Sally. At Tai Po, the storm caused tides to rise 1.1 m (3.6 ft) above astronomical tide. Eight boats were damaged at Ko Lau Wan and Sha Tau Kok; additional locales in Hong Kong also reported damage to fishing craft, leading to the colonial government granting HK\$10,031 in repairs. ### South Korea The remnants of Sally produced the heaviest rainfall in the Seoul area in 22 years, with 125–200 mm (4.9–7.9 in) of rain falling in the area in two hours on the morning of September 13. At least 211 people were killed and 317 people were injured according to local police; another 206 people were unaccounted for. The high death toll was compounded by the storm's passage at night when most people were asleep. The combination of flash floods and landslides in central South Korea destroyed and flooded 9,152 homes, displacing 36,665 people. Bridges, highways, railroads, and rice paddies were seriously damaged. Total property damage amounted to \$750,000. Hardest-hit was Gyeonggi Province, where 72 people died and 115 people went missing. There were 26 confirmed fatalities in Gangwon Province. In Seoul, there were at least 70 fatalities. Almost 2,800 houses were destroyed or inundated around the city. Seoul's power and telephone services were also hampered by the storm. Railways between Seoul and eastern South Korea were cut off by landslides and washouts. A village north of Seoul was completely flooded after a river overflowed its banks; all 96 inhabitants of the village were declared missing, though 10 bodies were later recovered. Fifty homes were buried by a landslide 55 km (34 mi) northeast of Seoul, killing 21 people. The State Council of South Korea convened in an emergency session on September 14 in response to the floods. Park Chung-hee, the President of South Korea, initiated "emergency relief measures" for those affected by the storms. Food and bedding were provisioned by the Korean government through an assistance program for affected areas. Chung-hee also ordered soldiers deployed in Seoul to handle rescue operations; they were also joined by soldiers from the United States Army. Helicopters from the U.S. Army evacuated at least 50 flood-stricken people from the suburbs of Seoul. ## See also - Typhoon Mangkhut (2018) - Typhoon Viola (1969) - Typhoon Rita (1953) - Typhoon Kent (1995)	[ "## Meteorological history", "## Preparations and impact", "### Guam and the Philippines", "### Hong Kong and Taiwan", "### South Korea", "## See also" ]	2,709	5,679
39,384,989	2013 Football League One play-off final	1,141,268,017	Football match	[ "2012–13 Football League One", "2013 Football League play-offs", "2013 sports events in London", "Brentford F.C. matches", "EFL League One play-off finals", "May 2013 sports events in the United Kingdom", "Yeovil Town F.C. matches" ]	The 2013 Football League One play-off final was an association football match which was played on 19 May 2013 at Wembley Stadium, London, between Brentford and Yeovil Town to determine the third and final team to gain promotion from Football League One to the Football League Championship. The top two teams of the 2012–13 Football League One season, Doncaster Rovers and Bournemouth, gained automatic promotion to the Championship, while the teams placed from third to sixth place in the table took part in play-off semi-finals; the winners of these semi-finals competed for the final place for the 2013–14 season in the Championship. The match kicked off around 1:30 p.m. in front of 41,955 spectators and was refereed by Andy D'Urso. On six minutes, Yeovil's Paddy Madden made it 1–0 with a shot from the edge of the Brentford penalty area with the outside of his right boot into the top-right corner of Simon Moore's goal. In the 42nd minute, Dan Burn doubled the lead with a header. Six minutes into the second half, Brentford's Harlee Dean scored with a header from Forrester's corner. Despite pressure from Brentford with Moore saving attempts from Clayton Donaldson, Adam Forshaw and Bradley Wright-Phillips, the score remained 2–1 and Yeovil were promoted to the Championship. Yeovil Town ended the following season bottom of the Football League Championship, and were relegated back to League One. Brentford finished second in League One in their next season, and gained automatic promotion to the Championship for the 2014–15 season. ## Route to the final Brentford finished the regular 2012–13 season in third place in Football League One, the third tier of the English football league system, one place ahead of Yeovil Town. Both therefore missed out on the two automatic places for promotion to the Football League Championship, the second tier of English football, and instead took part in the play-offs to determine the third promoted team. Brentford finished four points behind Bournemouth (who were promoted in second place) and five behind league winners Doncaster Rovers. Yeovil Town ended the season two points behind Brentford. Yeovil Town's opponents for their play-off semi-final were Sheffield United and the first match of the two-legged tie was played on 3 May 2013 at Bramall Lane in Sheffield. The first half ended goalless with the best chance falling to Barry Robson; his free kick went just wide of the Yeovil goalpost. Callum McFadzean came on after half-time to replace Robson and within a minute of the second half, his shot deflected past Marek Štěch in the Yeovil goal to give Sheffield United the advantage. Both sides had further chances to score but the match ended 1–0. The second leg of the semi-final took place three days later at Huish Park in Yeovil. Kevin Dawson levelled the tie on aggregate when he put the home side ahead on five minutes after a pass from Ed Upson. Sheffield United's Jamie Murphy struck the Yeovil bar with a shot before Upson scored from a Paddy Madden cross with five minutes remaining to make the final score 2–0 and to send his side to Wembley with a 2–1 aggregate victory. Brentford faced Swindon Town in the other semi-final and the first leg was played on 4 May 2013 at the County Ground in Swindon. After a goalless first half, Swindon's Massimo Luongo opened the scoring in the 70th minute with a curling shot from the edge of the penalty area. In injury time, Luongo fouled Harry Forrester in the Swindon box to concede a penalty. The spot kick was scored by Kevin O'Connor and the match ended 1–1. The second leg of the semi-final was held at Griffin Park in Brentford two days later. The home side dominated the early play and went ahead midway through the half after Adam Rooney steered the ball into his own net from a corner. Brentford doubled their lead in the 40th minute when Clayton Donaldson struck from the edge of the Swindon penalty area. Rooney scored four minutes later to make it 2–1 to the home side before Donaldson scored with a chip early in the second half. Joe Devera's 57th-minute volley made it 3–2 and in injury time Aden Flint's headed goal levelled the match at 3–3, and the aggregate score at 4–4. Despite Swindon's Nathan Byrne being sent off after receiving a second yellow card for handball, the extra-time period ended goalless and the game went to a penalty shootout. The first six spot kicks were converted before Miles Storey's strike was saved by the Brentford goalkeeper Simon Moore. No other penalties were missed and Brentford won 5–4 in the shootout to progress to Wembley. ## Match ### Background This was Brentford's third appearance in the third-tier play-off finals, having lost both the 1997 Football League Second Division play-off final 1–0 against Crewe Alexandra and the 2002 Football League Second Division play-off final 2–0 against Stoke City. They had also lost in the semi-finals of the 1991, 1995, 2005 and 2006 play-offs. Yeovil Town had made one appearance in the play-off finals where they were beaten 2–0 by Blackpool in the 2007 Football League One play-off final. Brentford had played in League One since their promotion from League Two in the 2008–09 season as champions, while Yeovil had been promoted to League One after finishing top of 2004–05 Football League Two. Yeovil had been promoted from non-League football as champions of the 2002–03 Football Conference. Brentford's top scorer during the regular season was Donaldson with 22 goals (18 in the league and 4 in the FA Cup) followed by Forrester who had scored 11 (8 in the league and 3 in the FA Cup). The leading scorers for Yeovil were Madden on 22 (all in the league) and James Hayter with 14 (also all in the league). Yeovil had won both matches between the clubs during the regular season: a 3–1 victory at Griffin Park in August 2012 was followed by a 3–0 win at Huish Park the following February. The referee for the match was Andy D'Urso, who was assisted by Derek Eaton and Alan Young. The fourth official was Graham Scott and the reserve assistant referee was John Hopkins. ### Summary The match kicked off around 1:30 p.m. at Wembley Stadium in front of a crowd of 41,955. In the fifth minute, Madden's shot from inside the Brentford penalty area was blocked. A minute later, he took control of the ball on the edge of the box and struck it with the outside of his right boot into the top-right corner of Moore's goal. It was his 23rd goal of the season, but the first for six games, and was described by Jacob Steinberg in The Guardian as a goal which "would have graced any previous Wembley final". The remainder of the first half saw few chances, but in the 42nd minute, a corner from Sam Foley to the far post found Dan Burn who headed the ball into the six-yard box. Hayter and Moore both missed it and the ball crossed the goal-line to make it 2–0 to Yeovil. In injury time, Jake Bidwell's cross was headed goalwards by Marcello Trotta but it was caught by Štěch in the Yeovil goal. Neither side made any changes to their personnel during half-time and in the opening moments of the second half, Brentford went on the attack with an off-target shot from Donaldson. Six minutes into the half, Brentford's Harlee Dean scored with a header from Forrester's corner, narrowing the margin to 2–1. In the 62nd minute, Bradley Wright-Phillips came on for Trotta in the first substitution of the game. Two minutes later, Donaldson's header was cleared off the line and Wright-Phillips failed to convert the rebound. In the 68th minute, Brentford made their second substitution when Sam Saunders replaced Forrester. A shot from Adam Forshaw was then saved by Štěch. On 75 minutes, Dawson appeared to be fouled in the Brentford penalty area but was booked for diving. Two minutes later Vitālijs Maksimenko came on to replace Jamie McAllister for Yeovil, and then Toumani Diagouraga for Hayes. In the 82nd minute, Wright-Phillips spun and struck a volley, but Štěch made the save. With two minutes of regular time remaining Matt Dolan replaced Hayter. Shay Logan then struck a shot just wide of the Yeovil goalpost. Despite late pressure from Brentford, the score remained 2–1 and Yeovil were promoted to the Championship. ### Details ## Post-match The Yeovil manager Gary Johnson described Madden's opening goal as "a sublime piece of ingenuity". Speaking of the play-offs, he described his team as having "three great games" which had "brought the club together, even more so than if we had gone up automatically." His counterpart Uwe Rösler was reflective: "This club has not been at this level for decades ... this squad has lifted the club to a higher level." Ten years after being promoted from non-League football, Yeovil were promoted to the second tier of English football. Yeovil Town ended their following season bottom of the Football League Championship, and were relegated back to League One. Brentford finished second in League One in their next season, and gained automatic promotion to the Championship for the 2014–15 season.	[ "## Route to the final", "## Match", "### Background", "### Summary", "### Details", "## Post-match" ]	2,111	8,796
291,114	Parathyroid gland	1,138,766,838	Endocrine gland	[ "Glands", "Parathyroid" ]	Parathyroid glands are small endocrine glands in the neck of humans and other tetrapods. Humans usually have four parathyroid glands, located on the back of the thyroid gland in variable locations. The parathyroid gland produces and secretes parathyroid hormone in response to a low blood calcium, which plays a key role in regulating the amount of calcium in the blood and within the bones. Parathyroid glands share a similar blood supply, venous drainage, and lymphatic drainage to the thyroid glands. Parathyroid glands are derived from the epithelial lining of the third and fourth pharyngeal pouches, with the superior glands arising from the fourth pouch and the inferior glands arising from the higher third pouch. The relative position of the inferior and superior glands, which are named according to their final location, changes because of the migration of embryological tissues. Hyperparathyroidism and hypoparathyroidism, characterized by alterations in the blood calcium levels and bone metabolism, are states of either surplus or deficient parathyroid function. ## Structure The parathyroid glands are two pairs of glands usually positioned behind the left and right lobes of the thyroid. Each gland is a yellowish-brown flat ovoid that resembles a lentil seed, usually about 6 mm long and 3 to 4 mm wide, and 1 to 2 mm anteroposteriorly. There are typically four parathyroid glands. The two parathyroid glands on each side which are positioned higher are called the superior parathyroid glands, while the lower two are called the inferior parathyroid glands. Healthy parathyroid glands generally weigh about 30 mg in men and 35 mg in women. These glands are not visible or able to be felt during examination of the neck. Each parathyroid vein drains into the superior, middle and inferior thyroid veins. The superior and middle thyroid veins drain into the internal jugular vein, and the inferior thyroid vein drains into the brachiocephalic vein. ### Lymphatic drainage Lymphatic vessels from the parathyroid glands drain into deep cervical lymph nodes and paratracheal lymph nodes. ### Variation The parathyroid glands are variable in number: three or more small glands, and can usually be located on the posterior surface of the thyroid gland. Occasionally, some individuals may have six, eight, or even more parathyroid glands. Rarely, the parathyroid glands may be within the thyroid gland itself, the chest, or even the thymus. ### Microanatomy The parathyroid glands are named for their proximity to the thyroid—and serve a completely different role than the thyroid gland. The parathyroid glands are quite easily recognizable from the thyroid as they have densely packed cells, in contrast with the follicular structure of the thyroid. Two unique types of cells are present in the parathyroid gland: - Chief cells, which synthesize and release parathyroid hormone. These cells are small, and appear dark when loaded with parathyroid hormone, and clear when the hormone has been secreted, or in their resting state. - Oxyphil cells, which are lighter in appearance and increase in number with age, have an unknown function. ### Development In the early development of the human embryo, a series of five pharyngeal arches and four pharyngeal pouches form that give rise to the face, neck, and surrounding structures. The pouches are numbered such that the first pouch is the closest to the top of the embryo's head and the fourth is the furthest from it. The parathyroid glands originate from the interaction of the endoderm of the third and fourth pouch and neural crest mesenchyme. The position of the glands reverses during embryological development. The pair of glands which is ultimately inferior develops from the third pouch with the thymus, whereas the pair of glands which is ultimately superior develops from the fourth pouch. During embryological development, the thymus migrates downwards, dragging the inferior glands with it. The superior pair are not dragged downwards by the fourth pouch to the same degree. The glands are named after their final, not embryological, positions. Since the thymus's ultimate destination is in the mediastinum of the chest, it is occasionally possible to have ectopic parathyroids derived from the third pouch within the chest cavity if they fail to detach in the neck. Parathyroid development is regulated by a number of genes, including those coding for several transcription factors. ## Function The major function of the parathyroid glands is to maintain the body's calcium and phosphate levels within a very narrow range, so that the nervous and muscular systems can function properly. The parathyroid glands do this by secreting parathyroid hormone (PTH). Parathyroid hormone (also known as parathormone) is a small protein that takes part in the control of calcium and phosphate homeostasis, as well as bone physiology. Parathyroid hormone has effects antagonistic to those of calcitonin. - Calcium. PTH increases blood calcium levels by directly stimulating osteoblasts and thereby indirectly stimulating osteoclasts (through RANK/RANKL mechanism) to break down bone and release calcium. PTH increases gastrointestinal calcium absorption by activating vitamin D, and promotes calcium conservation (reabsorption) by the kidneys. - Phosphate. PTH is the major regulator of serum phosphate concentrations via actions on the kidney. It is an inhibitor of proximal tubular reabsorption of phosphorus. Through activation of vitamin D the absorption (intestinal) of Phosphate is increased. ## Disorders Parathyroid disease is conventionally divided into states where the parathyroid is overactive (hyperparathyroidism), and states where the parathyroid is under- or hypoactive (hypoparathyroidism). Both states are characterised by their symptoms, which relate to the excess or deficiency of parathyroid hormone in the blood. ### Hyperparathyroidism #### Primary Hyperparathyroidism is the state in which there is excess parathyroid hormone circulating. This may cause bone pain and tenderness, due to increased bone resorption. Due to increased circulating calcium, there may be other symptoms associated with hypercalcemia, most commonly dehydration. Hyperparathyroidism is most commonly caused by a benign proliferation of chief cells in single gland, and rarely MEN syndrome. This is known as primary hyperparathyroidism, which is generally managed by surgical removal of the abnormal parathyroid gland. #### Secondary Renal disease may lead to hyperparathyroidism. When too much calcium is lost, there is a compensation by the parathyroid, and parathyroid hormone is released. The glands hypertrophy to synthesise more parathyroid hormone. This is known as secondary hyperparathyroidism. #### Tertiary If this situation exists for a prolonged period of time of secondary hyperparathyroidism, the parathyroid tissue may become unresponsive to the blood calcium levels, and begin to autonomously release parathyroid hormone. This is known as tertiary hyperparathyroidism. ### Hypoparathyroidism The state of decreased parathyroid activity is known as hypoparathyroidism. This is most commonly associated with damage to the glands or their blood supply during thyroid surgery – it may be associated with rarer genetic syndromes such as DiGeorge syndrome, which is inherited as an autosomal dominant syndrome. Hypoparathyroidism will occur after surgical removal of the parathyroid glands. Occasionally, an individual's tissues are resistant to the effects of parathyroid hormone. This is known as pseudohypoparathyroidism. In this case the parathyroid glands are fully functional, and the hormone itself is not able to function, resulting in a decrease in blood calcium levels. Pseudohypoparathyroidism is often associated with the genetic condition Albright's hereditary osteodystrophy. Pseudo-pseudohypoparathyroidism, one of the longest words in the English language, is used to describe an individual with Albright's hereditary osteodystrophy with normal parathyroid hormone and serum calcium levels. Hypoparathyroidism may present with symptoms associated with decreased calcium, and is generally treated with Vitamin D analogues. ## History The parathyroid glands were first discovered in the Indian rhinoceros by Richard Owen in 1852. In his description of the neck anatomy, Owen referred to the glands as "a small compact yellow glandular body attached to the thyroid at the point where the veins emerged". The glands were first discovered in humans by Ivar Viktor Sandström (1852–1889), a Swedish medical student, in 1880 at Uppsala University. Unaware of Owen's description, he described the glands in his monograph "On a New Gland in Man and Fellow Animals" as the "glandulae parathyroidae", noting its existence in dogs, cats, rabbits, oxen, horses and humans. For several years, Sandström's description received little attention. Eugene Gley, Giulio Vassale, and others documented the putative function of the glands in 1891, noting the connection between their removal and the development of muscular tetany. William G. MacCallum in 1908, investigating tumours of the parathyroid, proposed their role in calcium metabolism. He noted that "Tetany occurs spontaneously in many forms and may be produced by the destruction of the parathyroid glands". The first successful removal of the parathyroid may have been carried out in 1928 by medical doctor Isaac Y Olch, whose intern had noticed elevated calcium levels in an elderly patient with muscle weakness. Prior to this surgery, patients with removed parathyroid glands typically died from muscular tetany. Parathyroid hormone was isolated in 1923 by Adolph M. Hanson and 1925 by James B. Collip. Studies of parathyroid hormone levels by Roger Guillemin, Andrew Schally and Rosalyn Sussman Yalow led to the development of immunoassays capable of measuring body substances and a Nobel Prize in 1977. ## Other animals Parathyroid glands are found in all adult tetrapods; they vary in their number and position. Mammals typically have four parathyroid glands, while other types of animals typically have six. The removal of parathyroid glands in animals produces a condition resembling acute poisoning with irregular muscle contractions. Fish do not possess parathyroid glands; several species have been found to express parathyroid hormone. Developmental genes and calcium-sensing receptors in fish gills are similar to those within the parathyroid glands of birds and mammals. It has been suggested that the tetrapod glands may have been evolutionarily derived from these fish gills. ## Additional images ## See also - Thyroid	[ "## Structure", "### Lymphatic drainage", "### Variation", "### Microanatomy", "### Development", "## Function", "## Disorders", "### Hyperparathyroidism", "#### Primary", "#### Secondary", "#### Tertiary", "### Hypoparathyroidism", "## History", "## Other animals", "## Additional images", "## See also" ]	2,259	21,359
1,490,583	Subterranean Jungle	1,163,254,841	null	[ "1983 albums", "Albums produced by Glen Kolotkin", "Ramones albums", "Sire Records albums" ]	Subterranean Jungle is the seventh studio album by the American punk rock band Ramones, released by Sire Records on February 23, 1983. Overall, the album featured a return to a somewhat more hard punk rock style compared to the band's previous two albums End of the Century in 1980, and Pleasant Dreams in 1981, which were the most pop-focused of the band's career. This direction was encouraged by guitarist Johnny Ramone. The recording sessions saw disputes between band members, mainly due to struggles with alcohol addiction by Joey Ramone and Marky Ramone, and the drug addiction of Dee Dee Ramone. The album begins with two cover songs, and features a third on side two. The band's signature punk rock is supplemented by touches of hard rock, and psychedelic rock. The album was deemed by critics to be a return to the band's roots, and received mostly positive reviews. Subterranean Jungle peaked at number 83 on the US Billboard 200, but failed to chart internationally. The singles released from the album did not chart. This is the last album by the band to feature Marky Ramone on drums until the 1989 album Brain Drain. It is the first album by the band to feature vocals from Dee Dee Ramone, who sings lead on "Time Bomb", as well as the bridge of "Outsider". ## Conception Compared to their previous two albums, Subterranean Jungle marked a shift back to the band's punk rock roots. Johnny Ramone felt as though the band needed to "be focused and stop worrying about getting played [on the radio] and just make a good record." Lead singer Joey Ramone was given less stylistic freedom than on the previous two releases, and the album was shaped mostly by Johnny's preference for harder rocking material. Three of the four members of the band, Johnny being the exception, were facing issues with addiction. Both Joey and drummer Marky Ramone were dealing with alcoholism, while bassist Dee Dee Ramone was severely addicted to cocaine and was undergoing psychotherapeutic treatment. Since the Ramones' previous two releases had producers which proved disappointing to the members, they were skeptical of the producer for Subteranean Jungle, Ritchie Cordell. Marky relates: "I hated the production, I hated the producer." The artwork for Subterranean Jungle features an image of the band inside a subway car. The photograph was taken by George DuBose at the subway station on 57th Street and Sixth Avenue in Manhattan. This cover concept was designed by Dubose, who suggested that since the B Sixth Avenue Express train stopped at the empty station for about 20 minutes. In the photograph, Marky is featured peering out the subway window—Marky was positioned this way after Johnny asked DuBose to do so, because "they were kicking him out of the band, but he didn't know it yet." Marky recalled that he "liked that shot, but [he] knew something was up." > "I was lying on my bed, watching Kojak when Joey calls me and says, 'Mark, I feel bad about this, but, uh, you can't be in the band anymore.' I deserved it. Joey was okay about it, but the others, forget it. No one called me after that. If it was today, Joey would've said, 'Why don't we take off for a month and you get sober?' But I didn't want to tell Joey or the band about my being in rehab, because I would've been admitting my guilt." The internal conflicts during recording sessions would cause band members to fire Marky during the album's recording, consequently substituting him with drummer Billy Rogers on "Time has Come Today." Johnny recounts, "We were having trouble with Mark because his drinking problem was really bad. So we did "Time Has Come Today" with a different drummer, Billy Rogers, from Walter Lure's band." "Time Has Come Today" became the Ramones' only song to involve three drummers: Marky Ramone on the album credits, Billy Rogers on the recording and Richie Ramone in the music video. ## Compositions and lyrics The album opens with two cover songs; the first, "Little Bit O' Soul", popularized by the Music Explosion in 1967, was originally written by John Carter and Ken Lewis, and the second, "I Need Your Love", was first performed by the song's writer Bobby Dee Waxman in local New York band the Boyfriends in the late 1970s. Subterranean Jungle is the first Ramones' release to begin with a song not written by the band. This track list structure was criticized by author Everett True, who said that it was "disorientating." Johnny also thought that the fact that the album featured three covers was a bad idea, saying, "we shouldn't have, but I was happy with the guitar sound on it." The album's third track, "Outsider", was written by Dee Dee and, in 2002, it was covered by Green Day on Shenanigans. "What'd Ya Do?" was track number four, and was described by music journalist Chuck Eddy as "crudely metallic." Eddy also deemed the next track, "Highest Trails Above", as "AOR-mystic." "Somebody Like Me" was called a "full-on rock anthem" by True, who went on to say that the lyrics contained "no-nonsense lines." Side two of the album begins with "Psycho Therapy", which was written by both Johnny and Dee Dee; the song has since grown into one of the Ramones' most popular songs. Dee Dee recalled: "I knew we needed a real 'Ramones song' for the album, and I knew [Johnny] was depressed about how things were going. He needed that song to get excited about the band again," while Johnny stated, “I wanted to do a hardcore song to show the hardcore people that we can play as fast or faster than they can. Nobody plays faster than us.” The next track is another cover song, "Time Has Come Today", which was originally recorded in 1967 by the soul music group the Chambers Brothers. The Ramones' version of the song featured a psychedelic rock influence, and was said by Eddy to have more of a "garage" feel to it, as compared to the original. "My-My Kind of a Girl" was directed specifically toward the band's female fandom. The lyrics were written by Joey about meeting a girl on 8th Street in Manhattan and wanting to spend his life with her. In Vanity Fair, the song was regarded as a "lingering affection for Phil Spector's pop grandeur." Dee Dee's "Time Bomb", which was track number eleven, was said by True to be "more ridiculous than frightening." The album concludes with "Everytime I Eat Vegetables It Makes Me Think of You", which was said by author Todd Anderson to be a "sing along." ## Release and reception Subterranean Jungle was released by Sire Records in February 1983. In a contemporary review for The Village Voice, music journalist Robert Christgau wrote that despite containing two inferior pieces ("Highest Trails Above" and "I Need Your Love"), the album is "more worthy of an audience than anything they've done in the '80s." Stereo Review magazine strongly recommended it to "headbangers of all ages" as "a textbook Ramones album" whose unintellectual lyrics about mental illness and drug abuse "can actually be refreshing." The album peaked at number 83 in on the Billboard 200 in the US, but failed to chart elsewhere. Neither of the album's singles—"Psycho Therapy" and "Time Has Come Today"—charted. In a retrospective review for AllMusic, author Stephen Thomas Erlewine called Subterranean Jungle the band's "most enjoyable record since Rocket to Russia," and said that the producers "steered the Ramones back toward the '60s pop infatuation that provided the foundation for their early records." He ended his review by stating that it may not be defined as the "strictest sense" of punk rock; however, he strongly suggested that the band had not sounded so "alive" since their earlier days. Douglas Wolk, writing in The Rolling Stone Album Guide (2004), was less enthusiastic and called it an "attempt at radio-friendly production," with a series of cover songs that "almost recasts the group as an oldies act." In a 2004 interview for New York magazine, Johnny Ramone graded the album a "B" and said that he was pleased with its guitar sound, despite the three cover songs, while remarking "I was watching the Brewers-Cardinals World Series when we were recording it." ## Track listing The following track listing can be verified through the Subterranean Jungle expanded edition liner notes. Notes - Track 13: a different mix was issued as the B-side of the UK single "Real Cool Time" in September 1987. - Track 14: previously unissued. - Tracks 15-19: previously unissued. Recorded at Daily Planet Studios, New York City, July 1982. ## Personnel The following credits are adapted from AllMusic. Ramones - Joey Ramone – lead vocals (tracks 1-10, 12) - Johnny Ramone – guitar - Dee Dee Ramone – bass guitar, backing vocals, lead vocals (track 11), co-lead vocals (track 3) - Marky Ramone – drums (tracks 1-7, 9-12) Additional musicians - Walter Lure – additional guitar - Billy Rogers – drums (track 8) Production - Ritchie Cordell – production - Glen Kolotkin – production - Ron Cote – engineering - Stuart J. Romaine – mastering - George DuBose – photography - Tony Wright – cover art ## Charts	[ "## Conception", "## Compositions and lyrics", "## Release and reception", "## Track listing", "## Personnel", "## Charts" ]	2,056	15,743
69,514,030	40-foot radio telescope	1,129,166,673	Radio telescope in Green Bank, West Virginia, US	[ "1961 establishments in West Virginia", "1961 in science", "Astronomical observatories in West Virginia", "Buildings and structures in Pocahontas County, West Virginia", "Radio telescopes" ]	The 40-foot radio telescope at Green Bank Observatory in the U.S. state of West Virginia was constructed in 1961, and started observing a selection of variable radio sources in the same year, completing its observations in 1968. It became the first automated telescope in 1962. It was subsequently used during summer schools, and in 1987 it was repurposed as an educational telescope, as well as continuing to observe radio sources. In 2021 the telescope celebrated its sixtieth anniversary, having been in continuous use since its 1987 restoration, and used by more than 1,500 students. ## Specifications The radio telescope has a diameter of 40 feet (12 m) in the form of a parabolic reflector. The surface is made of steel mesh, with a superstructure of galvanised steel. It is a transit telescope: it only moves in elevation, not in azimuth (horizontally), and relies on the Earth's rotation to observe the full sky. It observes at L band, originally at 1340–1580 MHz, more recently at 1355–1485 MHz, both in radio continuum mode. It can also observe neutral hydrogen emission at 1420.41 MHz in spectroscopy. Since 1994 it records the telescope output both digitally and on chart recorders. ## History The 40-foot was ordered in 1961 from Antenna Systems. It was delivered to Green Bank Observatory in December 1961, and took two days to assemble. Its first light was on 14 December 1961. The original control system was constructed by the National Radio Astronomy Observatory (NRAO). On 1 February 1962, it became the first telescope to be fully automated, ahead of the automation of optical telescopes like that at Washburn Observatory from the late 1960s onwards. It was used to survey a number of variable radio sources from 1962 until 1968. After the completion of the survey in 1968, it was used occasionally as an educational instrument as part of the Green Bank radio astronomy summer schools. In 1987 it was restored and upgraded for full use as an educational telescope, including by local science teachers as part of the Secondary Science Teachers Institute (SSTI). The restoration reused the 1960 dipole antenna and radome from the Tatel Telescope, which was used during the Project Ozma. A substantial part of the spectrometer was reused from the 300 Foot Telescope. In 1991 this changed to the 'Learning to Investigate the Universe' (LITU) project, changing again in 1994 to Research Experiences in Teacher Preparation (RETP). It has also been used by the annual Educational Research in Radio Astronomy (ERIRA) program since 1992, and Green Bank Observatory's "Radio Astronomer for a Day" program for K–12 students. The 40-foot telescope has since been in continuous use since its restoration, and has been used by over 1,500 students. It celebrated its sixtieth anniversary in 2021 while still in use. ## Science It was originally used to observe eight variable radio sources on a daily basis over the course of five years. The sources were 3C 48, 3C 144 (Taurus A), 3C 218 (Hydra A), 3C 274 (Virgo A), 3C 295, 3C 358, 3C 405 (Cygnus A), and 3C 461 (Cassiopeia A). The project was led by D. S. Heeschen, who had previously been using the 85 feet (26 m) antenna for this work. The use of a relatively cheap telescope for this work freed up larger telescopes for other uses. In initial results, the sources were observed on a daily basis at 20 and 40 cm over 28 months, and only Cas A was seen to be variable. As part of its educational use, it has continued to observe some of the original radio sources it was targeting. Data from 1995 to 1999 comparing Cas A to Cyg A was published in 2000, followed in 2017 by a publication combining 20 years of observations of Cas A using new observations between 1994 and 2015. These tracked the fading of the source and improved the flux density calibration models that use this source. It has also been used to observe the H I region in the spiral arms of the Milky Way and the Andromeda Galaxy, as well as intensity and polarized synchrotron radiation from the galactic plane and North Polar Spur.	[ "## Specifications", "## History", "## Science" ]	961	35,824
19,512,443	Yugoslav destroyer Split	1,072,367,638	Destroyer of the Royal Yugoslav Navy	[ "1943 ships", "Destroyers of the Royal Yugoslav Navy", "Destroyers of the Yugoslav Navy", "Naval ships of Yugoslavia captured by Italy during World War II", "Ships built in Yugoslavia", "World War II destroyers of Yugoslavia" ]	The Yugoslav destroyer Split was a large destroyer designed for the Royal Yugoslav Navy in the late 1930s. Construction began in 1939, but she was captured incomplete by the Italians during the invasion of Yugoslavia in April 1941. They continued to build the ship, barring a brief hiatus, but she was not completed before she was scuttled after the Italian surrender in September 1943. The Germans occupied Split and refloated the destroyer later that year, but made no efforts to continue work. The ship was scuttled again before the city was taken over by the Yugoslav Partisans in late 1944. Split was refloated once more, but the new Socialist Federal Republic of Yugoslavia was able to do little with her before the Tito–Stalin Split in 1948 halted most work. Aid and equipment from the United States and the United Kingdom finally allowed her to be completed 20 years after construction began. She was commissioned in July 1958 and served as the navy's flagship for most of her career. Split became a training ship in the late 1970s after a boiler explosion. She was decommissioned in 1980, and scrapped six years later. ## Design The Yugoslav Navy decided to order a single large destroyer rather than a repeat pair of smaller Beograd-class destroyers in the late 1930s because the Navy's planners didn't believe that the smaller ships could adequately support the raiding strategy that it intended to conduct in the event of a war with Italy. The staff decided on a much larger equivalent of the flotilla leader Dubrovnik that could out-gun any Italian destroyer and cover the escape and return to base of the raiding forces. The French company Ateliers et Chantiers de la Loire was selected and based the new ship on their design for the 2,610-metric-ton (2,570-long-ton) Le Fantasque-class destroyer. She was built by Yarrow Shipbuilders at their shipyard in Split and was named after her place of construction. The Yugoslavs chose to buy the components from a variety of different nations. The pairs of geared steam turbines and Yarrow boilers were intended to give the ship a speed of 37 knots (69 km/h; 43 mph) from 55,000 shaft horsepower (41,000 kW) and were purchased from Great Britain. The fire-control system, with two directors, and radios were French while the armament was supplied by the Škoda Works of Czechoslovakia. The ship's designed armament was five 56-caliber 14-centimeter (5.5 in) guns in single mounts, five twin mounts for 67-caliber 40-millimeter (1.6 in) anti-aircraft (AA) guns, eight 15-millimeter (0.6 in) ZB-60 AA guns in four twin-gun mounts, and two triple mounts for 53.3-centimeter (21 in) torpedo tubes. The Yugoslav emphasis on anti-aircraft defense meant that Split could only have a single funnel to allow the guns as much freedom to fire as possible, which dictated that the boiler rooms were adjacent to the engine room. Which made the ship vulnerable to a single torpedo hit in the machinery spaces which could immobilize her. ## Construction The ship was laid down in July 1939 with her launching scheduled for the following year and completion by the end of 1942. By the time the Italians joined the Germans in invading France in May 1940, only 600 metric tons (590 long tons) of the 1,100 metric tons (1,083 long tons) of material necessary to launch her had been delivered. The British government embargoed her machinery in 1940, despite French protests, when it discovered surreptitious contacts between the Yugoslav and Soviet governments. The Swedish government embargoed the Bofors guns due to the war and the German control of the Škoda Works meant that the Yugoslavs had to suspend construction of Split. When the city of Split was captured by the Italians on 14 April 1941, the hull remained undamaged and the Regia Marina decided to complete the ship after a delay of several months. They renamed the ship Spalato, the Italian name for the city of Split. New machinery was ordered from Franco Tosi, and five 45-caliber 13.5 cm (5.3 in) guns, as many Breda 37 mm (1.5 in) AA guns as could be fitted, and four twin mounts for Breda 20 mm (0.8 in) light AA guns replaced the Czech and Swedish weapons. One torpedo tube mount was removed and the Italians planned to add depth charge throwers and racks, the capacity for 40 mines and an EC-3 ter Gufo radar. The ship was lightly damaged by saboteurs in December which disrupted progress and the Regia Marina decided to suspend construction in April 1942 as she remained nearly two years from completion. By late 1942, the Regia Marina's shortage of destroyers had reached a point that every possible hull was needed and construction restarted at a high priority. This allowed her to be launched on 18 July 1943, but shortly afterwards a change in the Italian leadership caused any further work to be suspended in August and the resources used in her construction to be diverted to finish a large group of small wooden minesweepers. During the fighting between the Germans and the Italians after the Italian surrender on 9 September, Spalato was scuttled in Split harbor on 24 September. The Germans occupied Split three days later, refloated the ship several weeks later and stripped her of any valuable material. As part of their scorched-earth strategy as they abandoned Split, the Germans scuttled Spalato and wrecked the shipyard before the Yugoslav Partisans occupied the port on 27 October 1944. ### Postwar completion The new communist government of Yugoslavia lacked any sizable warships after the end of the war and decided to resurrect Split as the centerpiece of their new navy. The Yugoslav Navy ordered replacement parts for the machinery from Franco Tosi and contacted Škoda in 1948 to get delivery of her original main armament, which had sat out the war in a warehouse. The damage to the shipyard meant that the navy had to tow the ship to the Kvarner Shipyard (formerly the Cantieri navali del Quarnaro) in Rijeka. Shortly afterwards, however, the Tito-Stalin split deprived the ship of her main armament and the technical assistance needed to complete her. The Yugoslavs re-launched Split in March 1950 to free up the slipway, but no other work was done. In 1953, there was a rapprochement between Yugoslavia and NATO, and the Americans and the British agreed to help complete the ship. The Tosi machinery ordered earlier had been used for other ships so the British agreed to furnish her propulsion machinery while the Americans provided the ship's armament, fire-control equipment and electronics. ## Description Split had an overall length of 120 meters (393 ft 8 in), a beam of 12 meters (39 ft 4 in), and a draft of 3.7 meters (12 ft 2 in). The ships displaced 2,400 metric tons (2,362 long tons) at standard and 3,000 metric tons (2,953 long tons) at deep load. She was powered by two Parsons geared steam turbines, each driving one propeller shaft, using steam provided by two Admiralty 3-drum boilers. The turbines were designed to produce 50,000 shaft horsepower (37,000 kW), which would propel the ship at 31.5 knots (58.3 km/h; 36.2 mph). Split carried 590 metric tons (581 long tons) of fuel oil, although her range is unknown, and had a crew of 240. The main armament of Split consisted of four 38-caliber 5-inch (13 cm) guns in single mounts, one superfiring pair each fore and aft of the superstructure. Her anti-aircraft armament consisted of four twin-gun and four single mounts for license-built 40 mm Bofors AA guns. The ship carried one quintuple set of 21-inch torpedo tubes and retained her capacity for 40 mines. For anti-submarine combat, Split was equipped with two Hedgehog spigot mortars, six depth-charge throwers and two depth-charge racks. The ship was fitted with a Mk 37 fire-control director for the 5-inch guns and a Mk 51 director for the AA guns. The Mk 37 director was equipped with a Mk 12 fire-control radar and a Mk 22 height-finding radar. SC and SG-1 search radars completed her radar suite. ## Service Construction proceeded at a snail's pace and the ship was finally commissioned on 4 July 1958, although she did not enter service until 1959. She immediately became the navy's flagship and retained that position for most of her career. Split proved to be top-heavy, short ranged, slow and very cramped in service. She accidentally collided with the ex-Italian torpedo boat Biokovo in 1963, damaging the latter so badly that she was immediately struck from the Navy List. In the late 1970s, an explosion of one of Split's main boiler steam lines killed all of the men standing watch in the boiler room. The boiler was not repaired and she was limited to a speed of 24 knots (44 km/h; 28 mph). The ship became a stationary training ship afterwards. She was decommissioned in 1980, struck on 2 February 1984 and scrapped in 1986.	[ "## Design", "## Construction", "### Postwar completion", "## Description", "## Service" ]	2,025	22,170
1,611,332	Mrs. Landingham	1,168,512,922	American TV character, created 1999	[ "Fictional United States government officials", "Fictional characters from Washington, D.C.", "Fictional characters from the 20th century", "Fictional secretaries", "Fictional victims of crime", "Television characters introduced in 1999", "The West Wing characters" ]	Mrs. Dolores Landingham, played by Kathryn Joosten and Kirsten Nelson, is the fictional personal secretary for the President of the United States in the first two seasons of American serial political drama The West Wing. She was killed off in the second-season episode "18th and Potomac", but reappeared for multiple flashbacks afterwards. Mrs. Landingham is considered a beloved character whose influence on politicians has continued through to 2021. ## Character role On The West Wing, Mrs. Dolores Landingham is the secretary of Josiah Bartlet, the fictional president of the United States played by Martin Sheen. Having worked for his father, she has known Bartlet since he was in high school, worked for him as secretary while he was the governor of New Hampshire, and has a rare familiarity with Bartlet that few other characters can match. In the second-season episode "18th and Potomac", she dies from a traffic collision with a drunk driver on her way to the White House. In the next episode and season finale, "Two Cathedrals", Mrs. Landingham is shown in flashbacks meeting Jed Bartlet while he was in high school, and appears in the Oval Office to talk to him a final time. The character appears in 30 of the series' 154 episodes, with her last appearance occurring in a season-four flashback in "Debate Camp". A key moment for Mrs. Landingham's character comes in the first-season episode "In Excelsis Deo". In the episode, set around the holiday of Christmas, Charlie Young notices that Mrs. Landingham feels down despite the festive atmosphere of the day. Mrs. Landingham explains that she always felt sad around the holiday season, revealing that her two sons, Andrew and Simon, were drafted into the Vietnam War. Mrs. Landingham and the boys' father tried to convince them not to go, and instead take a deferment to finish medical school, but the boys insisted. The two boys were killed by enemy fire on December 24, 1970. "It's hard when that happens so far away, you know," says Mrs. Landingham, "because with the noises and the shooting, they had to be so scared. It's hard not to think that right then, they needed their mother." Later in the episode, Mrs. Landingham accompanies Toby Ziegler to a military funeral arranged for a homeless man. Martin Sheen later said that he was supposed to have been present in the scene as well, but the scene was changed to not overshadow Ziegler and Mrs. Landingham, commenting that the two "were deeply affected by the incident: a woman who has lost two sons and a man who gave this guy clothes to keep warm". Joosten said that the scene was a high point of her time on the show. Mrs. Landingham sometimes serves as Bartlet's conscience, highlighted in season two finale episode, "Two Cathedrals", following her death in "18th and Potomac". She guides Bartlet on how to grapple with moral issues starting with a flashback of her meeting Bartlet when he was in prep school. She repeatedly asks Jed to address a gender pay gap in the school's faculty, as his father was the headmaster. When asked why she is doing this, she asserts her role as the older sister Jed needed to set him straight, telling him "look, if you think we're wrong ... then I respect that. But if you think we're right, and you won't speak up because you can't be bothered, then God, Jed, I don't even want to know ya". Later, in the show's present moment, Mrs. Landingham has a conversation with Bartlet in the Oval Office while a thunderstorm rages, reminding him that there is always an action he can take regardless of the challenges he faces as he must give a press conference following an announcement that he has concealed a diagnosis of multiple sclerosis from the public. The President is reconsidering whether he should run for re-election, and Mrs. Landingham asks the President to list all of the problems still facing American society, and tells him that "you know, if you don't want to run for a second term, I respect that. But if you don't run because you think it's too hard, or you think you're going to lose, then God, Jed, I don't even wanna know ya." Mrs. Landingham provided other characters on The West Wing with guidance rather than playing a central political role, and was known for her playful banter. Her influence over the President was particularly noted, with Steve Heisler of The A.V. Club commenting that Mrs. Landingham "held a unique kind of influence over the President Of The United States, yet had zero ego about it". Mrs. Landingham was described by Heisler as humble, hard-working, relentlessly moral, and "important in all the ways The West Wing rarely talks about, yet in all the ways The West Wing excels". With a show as idealized as The West Wing, Mrs. Landingham sometimes reminded the characters "who they should be working for". Kathryn Joosten is quoted in the Los Angeles Times as saying that Mrs. Landingham "represented for a lot of people the voice of the little people". ## Development Mrs. Landingham was played by Kathryn Joosten, while actress Kirsten Nelson played a younger Mrs. Landingham in the flashback scenes of "Two Cathedrals". Joosten said that she drew from previous experience spending time with an executive assistant at a technology company in Pasadena, commenting that "she was efficient; she was proven. But she called her boss by her first name, and I couldn't do that". Joosten also recalled a scene in which her character was to remind a few women secretaries who were gossiping that they "work for some very important men here". Joosten, who remarked that the line "pissed [her] off", persuaded the writers to change "men" to "people". ### Conclusion While at a charity dinner with the cast and crew of The West Wing, Joosten told series creator Aaron Sorkin that she had been approached for a regular role in a TV series that was shooting its pilot. This inadvertently inspired Sorkin to create serious drama for the Bartlet character by suddenly killing off his lifelong family friend and secretary, in a scene Heisler described as "perfectly gut-wrenching". The showrunner planned it as a dramatic penultimate twist for the second season, leading the President to rail against his god in "Two Cathedrals" (2001), pacing and smoking throughout Washington National Cathedral—a season finale for which Sheen was "the overwhelming favorite to win an Emmy [Award]". The following June, Joosten told the Los Angeles Times that "the publicity resulting from Mrs. Landingham’s untimely demise has been good for me personally". ## Reception The Los Angeles Times wrote that Mrs. Landingham's tendency to ground characters in an otherwise idealized show allowed the audience to identify themselves—or their mothers—with the sexagenarian presidential secretary. In The Prime-Time Presidency: The West Wing and U.S. Nationalism, Shawn Parry-Giles argues that Mrs. Landingham embodies a "republican mother", willing to sacrifice her children for the nation and guide Jed Bartlet towards his potential as a leader. In a 2020 Entertainment Weekly reunion of cast and crew on The West Wing, special recognition was given to Joosten; Sorkin praised the compassion Joosten played Mrs. Landingham with, while Rob Lowe and Richard Schiff called her performance in "In Excelsis Deo" the best in the show's seven-season run. That same year, Showbiz Cheat Sheet called Mrs. Landingham "a beloved part of" The West Wing, and in 2021, the Waco Tribune-Herald described her as "a sentimental favorite" character from the series. ### Legacy After the character was killed off in 2001, the California State Assembly observed a moment of silence in honor of Mrs. Landingham, with Democratic Assemblyman Kevin Shelley adjourning that body in memory of "a great American" who contributed to the nation in ways "too numerous to count". Evelyn Nieves, writing for The New York Times, said this action showed that the California legislature was not "completely preoccupied with the energy crisis". In 2014, The Atlantic placed Mrs. Landingham as 13th on their ranking of 114 characters from The West Wing, commenting that she had few, but meaningful, interactions with Leo McGarry, Charlie Young, and the President. In 2015, the United States' General Services Administration released a Slack bot named "Mrs. Landingham" to ease new hires through their onboarding; the many fans of The West Wing at 18F felt it right to "[bring] back the beloved character". In 2021, then Lord Chancellor and Justice Secretary Sir Robert Buckland, the British Member of Parliament for South Swindon, adopted a grey tabby cat from Cats Protection and named her Mrs. Landingham.	[ "## Character role", "## Development", "### Conclusion", "## Reception", "### Legacy" ]	1,874	31,912
31,049,877	The God Complex	1,151,551,516	null	[ "2011 British television episodes", "Eleventh Doctor episodes", "Minotaur", "Television episodes set in hotels", "Television episodes written by Toby Whithouse" ]	"The God Complex" is the eleventh episode of the sixth series of the British science fiction television series Doctor Who, first broadcast on BBC One on 17 September 2011. It was written by Toby Whithouse and directed by Nick Hurran. In the episode, the alien time traveller the Doctor (Matt Smith) and his human companions Amy Pond (Karen Gillan) and Rory Williams (Arthur Darvill) find themselves trapped in what appears to be a 1980s hotel with constantly changing corridors. They meet other humans and an alien who have also appeared in the hotel, without any idea how they arrived. The Doctor learns that each hotel room contains the greatest fear of someone who has been in the hotel, and that a Minotaur-like creature (played by Spencer Wilding) is feeding off their faith. Whithouse originally developed the concept of "The God Complex" for the previous series, but due to it being similar to episodes in that series, it was pushed back, with Whithouse contributing "The Vampires of Venice" instead. The episode ends with the departure of Amy and Rory, though this was not a permanent exit. "The God Complex" was filmed during the early months of 2011, mainly on sets constructed for the hotel. The episode was seen by 6.77 million viewers in the United Kingdom and received generally positive reviews from critics. While the performances in the episode, especially Smith's, were praised, not all critics were impressed with the plot. ## Plot ### Synopsis The Eleventh Doctor, Amy and Rory arrive on an alien structure in space disguised as a 1980s Earth hotel. An alien Minotaur-like creature is in the hotel that consumes everyone who has been trapped here and is itself a prisoner who is in pain and wishes to end its life. It entices its trapped victims to enter one of the many rooms in the hotel which contains illusions of their greatest fears, upon which they become brainwashed to "praise him" and allow themselves to be taken. The hotel is inescapable and its halls and rooms can change on a whim. The Doctor, Amy and Rory soon find the TARDIS has also disappeared, and the Doctor warns them from opening any door they are drawn to, for fear of being possessed. Joe, Howie and Rita — humans that have been taken out of their routine lives by this prison's automated systems to feed the creature — are possessed by the creature and killed. While exploring more of the hotel, both Amy and the Doctor are separately lured to look into two specific rooms, facing their own fears. The Doctor surmises the hotel and its rooms were, by design, meant to make the victims fall back on their faith by scaring them to allow the creature to possess them. The Doctor realises that it is Amy's trust in him that is being challenged; it is that faith that brought them to the hotel in the first place. Amy soon becomes possessed like the others. As the creature comes for Amy, the Doctor and the others grab her and take her to the room she opened previously. Inside, they find the illusion of young Amy, Amelia, waiting for the Doctor to return. The Doctor asserts to Amy that he is not a hero to break her blind trust in him; once this is done, the creature outside the door collapses on the floor. As they watch, the hotel is revealed to be part of a large simulation. The Doctor finds his TARDIS nearby. Gibbis, a survivor of the creature, asks for a lift home and the Doctor then takes Amy and Rory to London, believing it best for the two to stop travelling with him before they end up getting killed. ### Continuity Several references to past Doctor Who species are displayed throughout the wall of photos of the past victims of the beast, including a Sontaran, a Judoon, a Catkind Sister of Plenitude, and a Tritovore ("Planet of the Dead"). The Doctor identifies the beast as being from a species that is distantly related to the Nimon, previously a foe in the serial The Horns of Nimon (1979–80); and the group witnesses two illusions of Weeping Angels, from the episodes "Blink", "The Time of Angels", and "Flesh and Stone". Though the audience is not shown the contents of the room (numbered 11) that the Doctor is lured to open, the sound of the TARDIS' cloister bell can be heard. Young Amelia is shown waiting for her "raggedy Doctor" to return from the episode "The Eleventh Hour." The Doctor, being forced to break Amy's faith in him, echoes a previous event in The Curse of Fenric (1989) where the Seventh Doctor is forced to break Ace's faith in him. In "The Time of the Doctor", it is revealed that what the Doctor saw in Room 11 was the crack in reality that dominated his first series. The episode also introduces the Tivolians, a race of cowardly aliens who survive by docilely allowing themselves to be conquered by other species on a regular basis. Whithouse's series 9 episodes "Under the Lake" and "Before the Flood" feature another Tivolian named Prentis, portrayed by Paul Kaye. ## Production ### Writing Showrunner Steven Moffat originally pitched the idea of a hotel with shifting rooms to writer Toby Whithouse for the previous series. However, as production continued, Moffat thought that there were too many instances in which the characters were running through corridors in that series, so Whithouse wrote "The Vampires of Venice" instead and "The God Complex" was pushed to the next series. The idea to have a Minotaur be the monster came from Whithouse's love for Greek mythology. Whithouse was more pleased with "The God Complex" than "School Reunion" and "The Vampires of Venice", his previous Doctor Who scripts, as the tone was darker which he was "more comfortable" writing. The first line of dialogue Whithouse wrote was the Doctor's translation of the Minotaur's words: "An ancient creature, drenched in the blood of the innocent, drifting in space through an endless shifting maze. For such a creature, death would be a gift". The Minotaur then tells the Doctor he was not talking about himself, but rather the Doctor. This is foreshadowing of the upcoming event of the Doctor's death, the story arc of the series. Amy and Rory's departure in the episode was only temporary; they return for the series finale, "The Wedding of River Song" and appear briefly at the end of the 2011 Christmas Special. They permanently leave in the fifth episode of the seventh series. ### Filming and costumes The read-through for "The God Complex" took place in February 2011. It was then filmed mainly on hotel sets constructed in the studio. The Doctor, Amy, and Rory's first encounter with a fear in the hotel is the ventriloquist dummies found in Joe's room; Whithouse wanted to include something "big and bold" and noted that there was "something macabre about ventriloquist dummies". Many members of the crew were brought in to operate the dummies, most of them having to lie underneath them on the floor. The actor who portrayed the Minotaur, Spencer Wilding, is six foot seven inches tall. Wilding received a costume fitting in early 2011, after which the suit was dressed up with paint and fur. David Walliams was asked to guest-star in the episode in an email and he agreed, having been a fan of the show. He had previously appeared in the Fifth Doctor audio drama Phantasmagoria where he played two separate characters. Matt Smith called his co-star "hilarious" and found it hard to take him seriously, as when he was in his prosthetics for the part he resembled a giant mole. The prosthetics took about two hours to apply. Walliams felt the make-up was not limiting to his acting, finding it "quite expressive". ## Outside references The hotel and setting has been compared to Stanley Kubrick's film The Shining, using similar composition such as long corridor shots and odd angles. Critics also observed that the episode drew inspiration from George Orwell's novel Nineteen Eighty-Four, particularly in the concept of rooms (or, in Orwell's case, Room 101) containing each person's deepest fear. Joe also quotes the old English nursery rhyme "Oranges and Lemons", singing "Here comes a candle to light you to bed, here comes a chopper to chop off your head!". ## Broadcast and reception "The God Complex" was first broadcast in the United Kingdom on BBC One on 17 September 2011 and on the same date in the United States on BBC America. Overnight ratings showed that 5.2 million viewers watched the episode on BBC One, beaten by direct competitor All-Star Family Fortunes on ITV1. This made Doctor Who third for the night behind The X Factor and Family Fortunes. The episode was ranked number 1 on BBC's iPlayer the day after it aired service and was also popular on social networking site Twitter, where the phrase "Amy and Rory" trended the night it aired. When the final consolidated figures were calculated, an additional 1.57 million time-shifted viewers were added, bringing the total up to 6.77 million. With these figures it beat Family Fortunes, which achieved a consolidated rating of only 5.39 million viewers. The episode also received attention on BBC's online iPlayer, where it placed fourth for the month of September. It was given an Appreciation Index of 86, considered "excellent". ### Critical reception The episode received generally positive reviews from critics. Radio Times reviewer Patrick Mulkern called Whithouse's script "clever and original" and Walliams "endearing" as Gibbis, believing it was another entry into the series' "fabulous" stand-alone episodes. io9's Charlie Jane Anders was also positive, especially of the way the Doctor's character was explored through his overconfidence making others believe in him instead of themselves and praising Smith's performance. Keith Phipps of The A.V. Club gave the episode a B+, praising the guest stars and the way the Doctor's character was explored. Neela Debnath, writing for The Independent, also gave a positive review, praising the creepiness, Amara Karan and Dimitri Leonidas' performances, and the sadness in the ending. However, she was surprised that Amy accepted the Doctor would be leaving her despite her wanting to find her child as seen earlier in the series. Dan Martin of The Guardian praised the exits of Amy and Rory and highlighted Karen Gillan and Smith's performance, noting how more of his dark side is shown. Of the plot, he stated that it was "funny and thoughtful" but felt "like a runaround bolted on to make way for the ending". Martin later rated it the fifth best episode of the series, though the finale was not included in the list. Digital Spy's Morgan Jeffery wrote that Nick Hurran "excelled" in directing and that the episode worked "incredibly well" on an emotional level. However, he felt it did not succeed as well in terms of plot, citing the "thin explanation" for the happenings. Gavin Fuller of The Daily Telegraph awarded the episode three and a half out of five stars, stating that "the surreal tone to the episode... helped camouflage the fact that the plot made very little sense". However, he praised the cast's "impressive performances", especially Smith's. Dave Golder of SFX also gave "The God Complex" three and a half out of five stars, questioning some logical aspects but noting that it was "extremely witty, particularly when it comes to David Walliams's cowardly moleman Gibbis". He also did not believe Amy and Rory would be gone for long, especially as the Doctor had placed them in more perilous situations before. IGN's Matt Risely rated the episode 7 out of 10, calling it "a notably wonky episode, both in terms of tone and plot development" that came off as "a confused, slightly ill-fitting hodgepodge of a tale". While he praised Hurran's directing and the performances of Walliams and Karan, he felt the characters were sidelined near the end. Risely noted that "things certainly chugged along with a witty, sparkling vibrancy at least early on", but the tone "lost its way halfway through" culminating in a "hollow and rushed" final scene where he left Amy and Rory. A critical monograph on the episode by Paul Driscoll was published in 2017 as part of Obverse Books's Black Archive range. Driscoll analyses the story in terms of three key influences—the Theseus myth, Nineteen Eighty-Four and The Shining, as well as its understanding of fear and faith. He concludes that the Doctor's realisation of his own "god complex" is a crucial turning-point in his character arc and his relationship with his companions.	[ "## Plot", "### Synopsis", "### Continuity", "## Production", "### Writing", "### Filming and costumes", "## Outside references", "## Broadcast and reception", "### Critical reception" ]	2,723	21,622
22,378,223	Entranceways at Main Street at Lamarck Drive and Smallwood Drive	1,049,603,852	null	[ "Buildings and structures completed in 1926", "Buildings and structures in Erie County, New York", "Buildings and structures on the National Register of Historic Places in New York (state)", "National Register of Historic Places in Erie County, New York" ]	Entranceways at Main Street at Lamarck Drive and Smallwood Drive are a set of complementary residential subdivision stone entranceways built in 1926. They are located on Main Street (New York State Route 5) in the hamlet of Snyder, New York within the town of Amherst, which is located in Erie County. These entranceways are markers representing the American suburbanization of rural areas through land development associated with transportation on the edges of urban developments. The Smallwood entranceway is a pair of symmetric groupings of stone gatehouses and posts flanking the two sides of the drive at Main Street. The Lamarck entranceway is a pair of Y-shaped and U-shaped stone half-walls flanking the two sides of the drive at Main Street. The entranceways were added to the National Register of Historic Places on December 7, 2005. ## History Williamsville developed around a mill that was erected in 1811 and the town of Amherst was born in 1818. At that time Main Street served as the main link from Williamsville and Amherst to Buffalo. Main Street was displaced as "the unchallenged main artery of Amherst and Western New York" by the Erie Canal in 1825 and later by adjacent railroads. By 1866, Buffalo Street Railway Company built a street car system that ran on Main Street from Amherst to Buffalo. Daily stage coach service also began in 1866 along Main Street and continued until it was displaced by an electric trolley in 1893, the track ran 4.5 miles (7.2 km) from Main and Bailey Avenue (U.S. Route 62 in New York) to the east with stops that included Entranceways at Main Street at Lamarck Drive and Smallwood Drive. The early 20th century estate era gave way to the residential subdivision era. The subdivisions in suburban Buffalo took on an urban flavor along the area's main thoroughfares and paths of migration. Charles S. Burkhardt began Audubon Terrace on 400 acres north of Main Street in October 1919 on the Taylor and Satterfield Estates. In May 1923, Burkhardt began to create 585 lots south of Main Street extending to Wehrle Drive on the former Witmer Farm property. ## Location Main Street is a four-lane road running east-west connecting Williamsville (the other side of Interstate 290 (I-290), known as the Youngman Expressway) to points westward such as the neighboring hamlet of Eggertsville and downtown Buffalo. The entranceways are located proximately to large residential lawns of surrounding houses in the 1920s-built subdivisions. From the junction with the I-290 heading west, the first intersection (after the adjacent Main Street and Kensington intersection) is a four-way light where it meets Lamarck Drive from the south and Smallwood Drive from the north. Both streets serve two way traffic. The entranceways sit on the four corners of this intersection. ## Architecture ### Smallwood Drive Both of the Smallwood Drive groupings of stones on the north side of Main Street have dominant octagonal gatehouses built upon four pairs of stained heavy timber columns supported by quarry-faced random ashlar half-walls on cut stone chamfered bases. The bases flank Smallwood Drive's concrete parallel sidewalks run along through the centerline of the gatehouses. The Main Street sidewalk passes in front of the gatehouses. The columns are braced with heavy timber lintel on open sides supported by pegged heavy timber brackets that form a lancet-head arch. The structures are topped by steeply-pitched and flared standing seam copper roofs that have weathervanes that are located nearly two stories above the street land grading and that depict flying birds. The Smallwood Drive gatehouse sides have tall and slightly tapered have quarry-faced random ashlar stone posts with chamfered corners on stone bases. These posts support flat cast capitals beneath wrought iron balustrades with filigreed corners. The structures still host original hexagonal metal and glass light fixtures that hang from metal brackets on the Smallwood Drive post faces. The pair of groupings has Tudor Revival architectural influences. ### Lamarck Drive Both of the Lamarck Drive groupings of stones on the south side of Main Street are composed of a pair of symmetric stone structures flanking the drive. Each stone grouping features a tall capped, stone post topped by a large cut metal pictorial sign. The posts have flanking stone Y-shaped half-walls parallel to the drive. These half-walls have corresponding block U-shaped half-walls that along with the Y-shaped half-walls jointly form a square through which new concrete sidewalks run along Lamarck Drive. The design also has Tudor Revival influences in concert with the surrounding residences. The posts have 4 by 4 feet (1.2 m × 1.2 m) bases and stand 12 feet (3.7 m) in height, while the half walls stand approximately 4 feet (1.2 m). Both structures are made of quarry-faced random ashlar limestone on a cut and smooth finished chamfer stone base. The posts have chamfered edges. The posts include randomly located tan- and brown-colored granite blocks. Similar blocks are at the top and midpoints of the half-walls. The half-walls are coped with recently installed rectangular cut and finished stone slabs that have rough cut edges protruding over the half-walls. An octagonal pyramid of three sequentially smaller cast concrete courses with slightly flared edges cap the posts. The Main Street post faces have the original hexagonal metal and glass light fixtures hanging from metal hooks, while only the hooks remain on the Lamarck faces. Atop the posts are signs of painted metal panels with silhouette depictions braced below by filigree metal brackets. The signs are 11 feet (3.4 m) in length and 3.5 feet (1.1 m) in height. They neither match nor mirror each other. The west sign depicts a Native American domestic scene including trees, teepees, a camp fire with trestle, and figures carrying a deer from a pole. The east sign depicts Tudor Revival architecture. Christ the King Church is located at 30 Lamarck Drive at Main Street on the southeastern corner. The other three corners are residential addresses. ## Legacy The entryways remain in their original location, retain original design, setting, and materials. The entranceways continue to serve their original functions of marking the vehicular and pedestrian entrance to the subdivision. The eastern Smallwood Drive entrance provides shelter for Niagara Frontier Transportation Authority Metro Bus riders heading west toward the Buffalo Metro Rail and downtown Buffalo, New York. The residential dwellings adjacent to the entrances are original and the setting has had no known changes since the widening of Main Street in the 1920s. Charles S. Burkhardt purchased the land for the Audubon Terrace (Smallwood side) and Audubon Terrace South (Lamarck side) subdivisions that these entranceways have marked since their 1926 construction. The entranceways are in fair condition despite perceptible light fixture changes and shoddy repairs. Trayfield Corporation, which has little known history, is the builder of the circa 1925 shelter entranceways and subdivision according to what is known about them. These entranceways are significant as relatively rare structures associated with the transformation of the formerly rural Town of Amherst into a residential suburban Buffalo community known as the hamlet of Snyder. They represent the American suburbanization of rural areas through land development associated with transportation on the edges of urban developments. They are symbolic of the marketed character of the residential developments as a desirable residential alternative to urban life. The entranceways were added to the National Register of Historic Places on December 7, 2005. ## See also - National Register of Historic Places listings in Erie County, New York	[ "## History", "## Location", "## Architecture", "### Smallwood Drive", "### Lamarck Drive", "## Legacy", "## See also" ]	1,619	11,896
7,948,415	M-130 (Michigan highway)	1,031,995,926	Former state highway in Monroe County, Michigan, United States	[ "Former state highways in Michigan", "Transportation in Monroe County, Michigan" ]	M-130 was the designation of a former state trunkline highway in the southeastern corner of the US state of Michigan. It ran from a junction with US Highway 23/M-50 (US 23/M-50) northward across the River Raisin and then turned southeasterly along North Custer Road on the north side of the river to Monroe. The highway designation was commissioned in 1929 and used until 1955. M-130 had a spur route that was created in 1938 and lasted until the main highway was removed from the state highway system. Both highways are now under local control. ## Route description Beginning at a junction with US 23/M-50 between Ida and Maybee, M-130 traveled northeasterly along Ida–Maybee Road across the River Raisin before turning southeast on North Custer Road. M-130 ran along the northern banks of the river passing through primarily agricultural areas. The rural surroundings dominated much of the route until it began to encroach on the outskirts of Monroe. The highway terminated at US 24 in Monroe. ## History M-130 was commissioned in 1929. At the time, US 23 followed Ida–Maybee Road, and M-130 followed North Custer Road from there to an intersection with US 24/US 25 (Telegraph Road) in Monroe. Later the next year, M-130 was extended southward from its western terminus when US 23 was rerouted to follow M-50. The highway was returned to local control in late 1955 or early 1956. ## Major intersections ## Spur route Spur M-130 was a spur route of M-130 which ran about 1.1 miles (1.8 km) along North Custer Road between Ida–Maybee and Muehleisen roads. Like the mainline M-130, the spur ran parallel to the River Raisin on the north banks of the river across from M-50. It was implemented in the middle of 1938, and returned to local control at the same time as the main highway in late 1955 or early 1956. ## See also	[ "## Route description", "## History", "## Major intersections", "## Spur route", "## See also" ]	456	26,052
27,757,319	Mississippi Highway 450	1,054,759,890	Highway in Mississippi	[ "State highways in Mississippi", "Transportation in Bolivar County, Mississippi" ]	Mississippi Highway 450 (MS 450) is a highway in western Mississippi. Its western terminus is at MS 1 south of Benoit. The route travels east to its eastern terminus at U.S. Route 61 (US 61) and US 278. It was designated in 1956, starting at MS 1 south of Scott, and ending at Choctaw. Starting in 1962, the section near Stringtown was rerouted significantly. The last realignment was in 1974, where the section near Stringtown was straightened, and US 61 moved east of Choctaw. ## Route description MS 450 is located in southern Bolivar County, and is maintained by the Mississippi Department of Transportation (MDOT). In 2013, MDOT calculated as many as 720 vehicles traveling east of Love Johnson Road, and as few as 190 vehicles traveling east of Deer Creek Drive. MS 450 is legally defined in Mississippi Code § 65-3-3. MS 450 starts at MS 1 south of Scott, and travels east through farmland. The route soon crosses the Great River Railroad and intersects First Street, a road that leads to Scott. West of Davenport Road, MS 450 begins to shift southward. The road soon meets Stringtown Road at a T-intersection. MS 450 becomes concurrent with the road and travels south. About one mile (1.6 km) later, the route turns east, and Stringtown Road continues south. At Dixon Road, the road shifts northward. It travels eastward again at Richard Road, and crosses a small creek east of Dummy Line Road. A few miles later, MS 450 enters the unincorporated town of Choctaw, where it intersects the old routing of US 61. It soon crosses a railroad, and travels to its eastern terminus at US 61 and US 278. The road continues as Boyles Street. ## History MS 450 first appeared on the maps in 1956, as a gravel road connecting from MS 1 to US 61. During the years 1958–1960, the western half of the route was rerouted northward. Soon, MS 450 ran through Stringtown and ended at Scott by 1962. More than half of the road was paved by then. Two years later, the route was fully paved and rerouted back south of Scott, with a new spur route connecting to Stringtown. By 1967, MS 450 connected from Stringtown to south of Scott instead, with the spur route being removed. The path near Stringtown became straightened out by 1974, going in a north–south direction. Also in the same year, US 61 was rerouted east of Choctaw, causing MS 450 to be extended east of the town. By 1999, US 278 became concurrent with US 61 through MS 450's eastern terminus. MS 450 has not changed significantly since 1999. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	624	30,810
36,758,609	Strandflat	1,173,526,392	Type of landform found in high-latitude areas	[ "Coastal and oceanic landforms", "Geology of the North Sea", "Glacial erosion landforms", "Periglacial landforms", "Plains of Norway", "Planation surfaces", "Unconformities", "Weathering landforms" ]	Strandflat (Norwegian: strandflate) is a landform typical of the Norwegian coast consisting of a flattish erosion surface on the coast and near-coast seabed. In Norway, strandflats provide room for settlements and agriculture, constituting important cultural landscapes. The shallow and protected waters of strandflats are valued fishing grounds that provide sustenance to traditional fishing settlements. Outside Norway proper, strandflats can be found in other high-latitude areas, such as Antarctica, Alaska, the Canadian Arctic, the Russian Far North, Greenland, Svalbard, Sweden and Scotland. The strandflats are usually bounded on the landward side by a sharp break in slope, leading to mountainous terrain or high plateaux. On the seaward side, strandflats end at submarine slopes. The bedrock surface of strandflats is uneven and tilts gently towards the sea. The concept of a strandflat was introduced in 1894 by Norwegian geologist Hans Reusch. ## Norwegian strandflat ### Characteristics Strandflats are not fully flat and may display some local relief, meaning that it is usually not possible to assign them a precise elevation above sea level. The Norwegian strandflats may go from 70–60 metres (230–200 ft) above sea level to 40–30 metres (131–98 ft) below sea level. The undulations in the strandflat relief may result in an irregular coastline with skerries, small embayments and peninsulas. The width of the strandflat varies from a few kilometers to 50 km and occasionally reaching up to 80 km in width. From land to sea the strandflat can be subdivided into the following zones: the supramarine zone, the skjærgård (skerry archipelago), and the submarine zone. Residual mountains surrounded by the strandflat are called rauks. On the landward side, the strandflat often terminates abruptly with the beginning of a steep slope that separates it from higher or more uneven terrain. In some locations this sharp boundary is lacking and the landward end of strandflat is diffuse. On the seaward side, the strandflat continues underwater down to depths of 30 to 60 metres (98 to 197 ft), where a steep submarine slope separates it from older low relief paleic surfaces. These paleic surfaces are known as bankflat, and make up much of the continental shelf. At some locations, the landward end of the strandflat or the region slightly above contains relict sea caves partly filled with sediments that predate the last glacial period. These caves lie near the post-glacial marine limit or above it. Overall, strandflats in Nordland are larger and flatter than those of Western Norway. Also in Nordland, many strandflats are found next to active seismic faults. ### Geological origin Despite being together with fjords the most studied coastal landform in Norway, as of 2013 there is no consensus as to the origin of strandflats. An analysis of the literature shows that during the course of the 20th century, explanations for the strandflat shifted from involving one or two processes to including many more. Thus most modern explanations are of polygenetic type. Grand-scale observations on the distribution of strandflats tend to favour an origin in connection to the Quaternary glaciations, while in-detail studies have led scholars to argue that strandflats have been shaped by chemical weathering during the Mesozoic. According to this second view, the weathered surface would then have been buried in sediments to be freed from this cover during Late Neogene for a final reshaping by erosion. Hans Holtedahl regarded the strandflats as modified paleic surfaces, conjecturing that paleic surfaces dipping gently to the sea would favoured strandflat formation. In his original description, Reusch regarded the strandflat as originating from marine abrasion prior to glaciation, but adding that some levelling could have been caused by non-marine erosion. In his view, the formation of the strandflat preceded the fjords of Norway. Years later, in 1919, Hans Ahlmann assumed the strandflat formed by erosion on land towards a base level. In the mid-20th century, W. Evers argued in a series of publications that the strandflat was a low-erosion surface formed on land as part of a stepped sequence (piedmonttreppen) that included the Paleic surfaces. This idea was refuted by Olaf Holtedahl, who noted that the position of the surfaces were not that of a piedmonttreppen. #### Frost weathering, glaciers and sea ice The Arctic explorer Fritjof Nansen agreed with Reusch that marine influences formed the strandflat, but added in 1922 that frost weathering was also of key importance. Nansen discarded ordinary marine abrasion as an explanation for the formation of the strandflat, as he noted that much of the strandflat lay in areas protected from major waves. In his analysis, Nansen argued that the strandflat formed after the fjords of Norway had dissected the landscape. This, he argued, facilitated marine erosion by creating more coast and by creating nearby sediment sinks for eroded material. In 1929, Olaf Holtedahl favoured a glacial origin for the strandflat, an idea that was picked up by his son Hans Holtedahl. Hans Holtedahl and E. Larsen went on to argue in 1985 for an origin in connection to the Quaternary glaciations with material loosened by frost weathering, and sea-ice transporting loose material and making the relief flat. Tormod Klemsdal added in 1982 that cirque glaciers could have made minor contributions in "widening, levelling and splitting the strandflat". #### Deep weathering and antiquity Contrary to the glacial and periglacial hypotheses, Julius Büdel and Jean-Pierre Peulvast regard weathering of rock into saprolite as important in shaping the strandflat. Büdel held that weathering took place in a distant past with tropical and sub-tropical climates, while Peulvast considered that present-day conditions and a lack of glaciation were enough to produce the weathering. As such, Peulvast considered the saprolite found in the strandflat, and the weathering that produced it, to predate the Last glacial period and possibly the Quaternary glaciations. For Büdel, the strandflat was a surface shaped by weathering dotted with inselbergs. In 2013, Odleiv and co-workers put forward a mixed origin for the strandflat of Nordland. They argue that this strandflat in northern Norway could represent the remnants of a weathered peneplain of Triassic age that was buried in sediment for long time before made flat again by erosion in Pliocene and Pleistocene times. A 2017 study concerning radiometric dating of illite, a clay formed by weathering, is interpreted to indicate that the strandflat at Bømlo in Western Norway was weathered c. 210 million years ago during Late Triassic times. Haakon Fossen and co-workers disagree with this view citing thermochronology studies to claim that the strandflat in Western Norway was still covered by sedimentary rock in the Triassic and did only got free of its sedimentary cover in the Jurassic. Same authors note that movement of geological faults in the Late Mesozoic imply the strandflats of Western Norway took their final shape after the Late Jurassic or else they would occur at various heights above sea level. A similar opinion is expressed by Hans Holtedahl who wrote that "[t]he strandflat must have formed later the main (Tertiary) uplift of the Scandinavian landmass". To this Holtedahl added that in Trøndelag between Nordland and Western Norway the strandflat could be a surface formed before the Jurassic, then buried in sediments and at some point freed from this cover. In the understanding of Tormod Klemsdal strandflats may be old surfaces shaped by deep weathering that escaped the uplift that affected the Scandinavian Mountains further east. The strandflat at Bømlo is considered by Ola Fredin and co-workers to be equivalent to the sediment-capped top of Utsira High offshore west of Stavanger. This view is also disputed by Haakon Fossen and co-workers who state that the basement surface under the northern North Sea formed not at a single time. ## Outside Norway Strandflats have been identified in high-latitude areas such as the coast of Alaska, Arctic Canada, Greenland, Svalbard, Novaya Zemlya and Taymyr Peninsula in Russia and the western coasts of Sweden and Scotland. These strandflats are usually smaller than those in Norway. In Antarctica strandflats can be found in the Antarctic Peninsula as well as in the South Shetland Islands. In addition there have been mentions of strandflats in South Georgia Island. In Robert Island in the South Shetland Islands raised strandflats show that the island has been subject to a relative change in sea level. Raised shore platforms corresponding to strandflats have also been identified in Scotland's Hebrides. Possibly these formed in Pliocene times and were later modified by the Quaternary glaciations. ## Gallery ## Explanatory footnotes ## General literature - Nansen, Fridtjof (1904). "The Bathymetrical Features of the North Polar Seas". In Nansen F. (ed.): The Norwegian North Polar Expedition 1893–1896. Scientific results, Vol IV. J. Dybwad, Christiania, 1–232. - Reusch, Hans (1894). Strandflaten, et nyt træk i Norges geografi. Norges geologiske undersokelse, 14, 1–14. [Coastal and oceanic landforms](Category:Coastal_and_oceanic_landforms "wikilink") [Geology of the North Sea](Category:Geology_of_the_North_Sea "wikilink") [Glacial erosion landforms](Category:Glacial_erosion_landforms "wikilink") [Periglacial landforms](Category:Periglacial_landforms "wikilink") [Plains of Norway](Category:Plains_of_Norway "wikilink") [Planation surfaces](Category:Planation_surfaces "wikilink") [Unconformities](Category:Unconformities "wikilink") [Weathering landforms](Category:Weathering_landforms "wikilink")	[ "## Norwegian strandflat", "### Characteristics", "### Geological origin", "#### Frost weathering, glaciers and sea ice", "#### Deep weathering and antiquity", "## Outside Norway", "## Gallery", "## Explanatory footnotes", "## General literature" ]	2,213	18,806
45,512,157	Leon of the Table D'hote	1,167,721,698	null	[ "1910 comedy films", "1910 films", "1910 lost films", "1910s American films", "American black-and-white films", "American comedy short films", "American silent short films", "Lost American comedy films", "Silent American comedy films", "Thanhouser Company films" ]	Leon of the Table D'hote is a 1910 American silent short comedy produced by the Thanhouser Company. The film follows Leon, a waiter at a table d'hote restaurant who is in love with Rosa, a French cashier at the same restaurant. Leon goes on vacation and poses as a foreign noble, attracts the interest of Violet Hope's mother as a suitable candidate to marry her daughter. While at the beach, Leon is knocked over by a breaking wave and Violet rescues him, earning Leon's gratitude. Rosa arrives after tracking Leon down and forces him to confess and return to the restaurant. Violet's mother then allows her daughter to marry the man of her choice. No cast or staff credits are known for the production. The film was released on October 4, 1910, and was met with praise by the reviewer of The New York Dramatic Mirror. The film is presumed lost. ## Plot Though the film is presumed lost, a synopsis survives in The Moving Picture World from October 8, 1910. It states: "Leon is a waiter in a cheap table d'hote restaurant and makes desperate love to the fat French cashier, Rosa. Off on his vacation, Leon decides to pose as a foreign nobleman. At a seaside hotel where he stops, he becomes all the rage. One of the guests at the same hotel is a beautiful young heiress, a Violet Hope, whose designing mother at once conceives the idea of marrying her off to the supposed count. The plan does not meet with Violet's approval, she is already in love with a native born. One day while bathing in the surf, Violet, who is an expert swimmer, comes to the assistance of the bogus count, who has been knocked over by a breaker, and delivers him safely into the hands of the lifeguard. The count at once lays his life and fortune at Violet's feet, greatly to that young lady's disgust and her mother's delight. In the meantime Rosa becomes acquainted with the doings of her absent lover and traces him to the beach. Finding him in the water, and beyond her reach, Rosa also dons a bathing suit and after a chase through the waves, captures Leon and forces him to confess that he has been sailing under false colors. He was led back to the restaurant by the triumphant Rosa, while Violet obtains her mother's consent to wed the man of her choice." ## Production The writer of the scenario is unknown, but it was most likely Lloyd Lonergan. He was an experienced newspaperman employed by The New York Evening World while writing scripts for the Thanhouser productions. The film director is unknown, but it may have been Barry O'Neil. Film historian Q. David Bowers does not attribute a cameraman for this production, but at least two possible candidates exist. Blair Smith was the first cameraman of the Thanhouser company, but he was soon joined by Carl Louis Gregory who had years of experience as a still and motion picture photographer. The role of the cameraman was uncredited in 1910 productions. The cast credits are unknown, but many 1910 Thanhouser productions are fragmentary. In late 1910, the Thanhouser company released a list of the important personalities in their films. The list includes G.W. Abbe, Justus D. Barnes, Frank H. Crane, Irene Crane, Marie Eline, Violet Heming, Martin J. Faust, Thomas Fortune, George Middleton, Grace Moore, John W. Noble, Anna Rosemond, Mrs. George Walters. ## Release and reception The single reel comedy, approximately 1,000 feet long, was released on October 4, 1910. The film had a wide national release, with theaters showing the film in South Dakota, Indiana, Oklahoma, Pennsylvania, Missouri, Washington, Kansas, Maryland, and New Hampshire. The film review by Walton of The Moving Picture News and The Moving Picture World bear an unusual expression about laying siege to an heiress that is used in both summaries. Bowers says both reviews were probably adapted from a "canned" review supplied by Thanhouser. Though it is uncertain if the review by The Moving Picture World which was issued on October 15 was picked up and reused by The Moving Picture News for the November 5 edition. The New York Dramatic Mirror reviewer offered praise for the production in its summary, "The Thanhouser players get considerable humor out of this comedy which is quite cleverly constructed and well acted. Leon is a waiter in a table d'hote restaurant. He bids his fat sweetheart, the restaurant cashier, good-bye and goes on his vacation, stopping at a seaside resort where he poses as a foreign count, captivates the ladies, and finds a rich mamma who wants to marry him to her daughter. The engagement gets into the papers, his fat sweetheart in town reads the news and takes the next train to the seaside hotel, where she makes short work of Leon, leading him off by the ear, to the great delight of the rich girl and her American lover. Amusing by-play is worked in, and the film pleases." An advertisement for the Jewel Theatre in Winfield Daily Free Press claimed it to be better than Home Made Mince Pie. ## See also - List of American films of 1910	[ "## Plot", "## Production", "## Release and reception", "## See also" ]	1,087	33,201
8,932,737	Duets (Barbra Streisand album)	1,171,235,803	null	[ "2002 compilation albums", "Albums produced by David Foster", "Albums produced by Jim Steinman", "Albums produced by Richard Marx", "Albums produced by Walter Afanasieff", "Barbra Streisand compilation albums", "Columbia Records compilation albums", "Vocal duet albums" ]	Duets is a compilation album by American singer Barbra Streisand, released on November 26, 2002, by Columbia Records. The collection features nineteen duets from Streisand's career, including two newly recorded ones: "I Won't Be the One to Let Go" with Barry Manilow and "All I Know of Love" with Josh Groban. The Manilow duet was released as the album's lead single on November 4, 2002, as a streaming-only exclusive for AOL Music website members. Streisand and her manager Jay Landers were executive producers for the compilation. Music critics highlighted the album's duets with Ray Charles, Judy Garland, and Frank Sinatra. Commercially, the album peaked within the top ten of record charts in Denmark and the Netherlands; it also entered the Billboard 200 at number 38 and became certified Gold by the Recording Industry Association of America (RIAA) for shipments of 500,000 copies. Duets has gone on to sell 1.5 million records worldwide. ## Development and songs Streisand and Columbia Records released two compilation albums in 2002: the first being The Essential Barbra Streisand, a greatest hits collection largely consisting of the singer's top-ten and top-forty hits, followed by Duets, a compilation of nineteen duets from her music catalog. Fourteen out of the album's nineteen tracks were originally featured on previous Streisand studio albums. The singer included three songs originally performed for other artist's projects: "I've Got a Crush on You" with Frank Sinatra initially appeared on his 1993 Duets album; her rendition of "Ding-Dong! The Witch Is Dead" with Harold Arlen first appeared on the 1966 studio album Harold Sings Arlen (With Friend); her medley of "Get Happy / Happy Days Are Here Again" with Judy Garland was originally performed live on The Judy Garland Show in 1963. While eighteen of the album's songs are duets with other musicians, Streisand's medley of "One Less Bell to Answer / A House Is Not a Home" is a duet with herself, first released on the 1971 album Barbra Joan Streisand. Streisand recorded two new tracks for the album: "I Won't Be the One to Let Go" with Barry Manilow and "All I Know of Love" with Josh Groban. The former track was written by Richard Marx and Manilow, while the latter was written by David Foster and Linda Thompson. "I Won't Be the One to Let Go" was released as the album's lead and only single on November 4, 2002, as an exclusive download for AOL Music website members. Although the track was not released commercially, "I Won't Be the One to Let Go" was distributed as a promotional CD single on January 6, 2003. With the release handled by Columbia Records, the CD was sent exclusively to United States radio stations and includes the "Radio Version Edit" and "Radio Version" releases of the song. Sony Music Entertainment reissued the compilation in South American countries with different cover art, but identical track listing, under the title Star Collection in 2013. ## Critical reception AllMusic's William Ruhlmann awarded Duets three out of his five stars during his album review. He wrote that the best performances on the album are her duets with Sinatra, Garland, and Ray Charles. However, Ruhlmann criticized Streisand's role as a duet partner: "Her unsuitability to the duet format is repeatedly evidenced, as she seems virtually incapable of shutting up when her partner is trying to take a solo, invariably humming in the background to draw attention back to herself." Tom Santopietro, author of The Importance of Being Barbra: The Brilliant, Tumultuous Career of Barbra Streisand, was disappointed by Streisand's decision to release two greatest hits albums in the same year. Nonetheless, he considered the medley inclusion of "One Less Bell to Answer" and "A House Is Not a Home" to be the "standout cut" on Duets. Morag Reavley from BBC Music highlighted the album's array of genres and wrote: "Even the most faithful Streisand acolyte must be delighted by the range of songs and singers assembled." She also enjoyed the inclusion of "I Won't Be the One to Let Go" and "All I Know of Love", writing that the latter track "shows that Barbra can still hold her own". ## Commercial performance Duets entered and peaked on the Billboard 200 at number 38, during the week of December 14, 2002. It was the chart's eleventh highest debut and would go to spend fourteen weeks on the listing. On January 9, 2003, it was certified Gold by the Recording Industry Association of America (RIAA) for physical shipments of 500,000 copies, and during the year-end Billboard 200 chart in 2003, the compilation was listed at number 176. In Oceania, the album peaked in Australia and New Zealand at numbers 13 and 11, respectively. In the two aforementioned countries, it received a Gold certification by the Australian Recording Industry Association for shipments of 35,000 copies and a Platinum certification by Recorded Music NZ for shipments of 15,000 copies. The album entered several record charts across Europe as well. According to the Official Charts Company, it peaked at numbers 39 and 30, in Scotland and the United Kingdom, respectively. In the latter country, the compilation spent 6 weeks charting during 2002 and was ranked on the year-end sales charts at position 89. In Denmark and the Netherlands, Duets peaked within the top ten at numbers 10 and 9, respectively. The album reached number 26 in Spain and received a Gold certification by PROMUSICAE for shipments of 50,000 copies. Its lowest peak positions were achieved in France, Germany, and Switzerland, where the compilation peaked at numbers 44, 53, and 88, respectively. The album has sold over 1.5 million copies worldwide. ## Track listing Notes - Mort Lindsey is credited as the track's musical director; no producer is listed ## Charts ### Weekly charts ### Year-end charts ## Certifications and sales	[ "## Development and songs", "## Critical reception", "## Commercial performance", "## Track listing", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications and sales" ]	1,322	32,932
36,863,521	Kepler-47	1,154,481,895	Binary star in the constellation Cygnus	[ "Articles containing video clips", "Cygnus (constellation)", "Eclipsing binaries", "G-type main-sequence stars", "Kepler objects of interest", "Kepler-47", "M-type main-sequence stars", "Multi-star planetary systems", "Planetary systems with three confirmed planets", "Planetary transit variables" ]	Kepler-47 is a binary star system in the constellation Cygnus located about 3,420 light-years (1,050 parsecs) away from Earth. The stars have three exoplanets, all of which orbit both stars at the same time, making this a circumbinary system. The first two planets announced are designated Kepler-47b, and Kepler-47c, and the third, later discovery is Kepler-47d. Kepler-47 is the first circumbinary multi-planet system discovered by the Kepler mission. The outermost of the planets is a gas giant orbiting within the habitable zone of the stars. Because most stars are binary, the discovery that multi-planet systems can form in such a system has impacted previous theories of planetary formation. A group of astronomers led by Jerome Orosz at San Diego State University, including astronomers from Tel-Aviv University in Israel, discovered the planetary system via NASA's Kepler space telescope in 2012. In November 2013, evidence of a third planet orbiting between the planets b and c, Kepler-47d, was announced. Later analyses of transit data from the Kepler space telescope confirmed the existence of Kepler-47d. ## Nomenclature and history Prior to Kepler observation, Kepler-47 had the 2MASS catalogue number 2MASS J19411149+4655136. In the Kepler Input Catalog it has the designation of KIC 10020423, and when it was found to have transiting planet candidates it was given the Kepler object of interest number of KOI-3154. Planetary candidates were detected around the pair of stars by NASA's Kepler Mission, a mission tasked with discovering planets in transit around their stars. The discoverers referred the pair of stars as Kepler-47, which is the normal procedure for naming stars with exoplanets discovered by the spacecraft. Hence, this is the name used by the public to refer to the pair of stars and its planets. Candidate planets that are associated with stars studied by the Kepler Mission are known as Kepler objects of interest (KOI) and are assigned the designations ".01", ".02", ".03" etc. after the star's name, in the order of discovery. If planet candidates are detected simultaneously, then the ordering follows the order of orbital periods from shortest to longest. Following these rules, two candidate planets were detected, with orbital periods of 49.51 and 303.158 days. Upon confirmation, the planets of Kepler-47 are designated by letters, with the first planet being designated b and so on. The ordering of designations are identical to the latter designations for candidate planets. ## Stellar characteristics Kepler-47 is a binary star system located about 1,055 parsecs (3,440 light-years) away from Earth. The binary system is composed of a G-type main sequence star (Kepler-47A) and a red dwarf star (Kepler-47B). The stars orbit each other around their barycenter, or center of mass between them, completing one full orbit every 7.45 days. The stars orbit their barycenter from a distance of about 0.084 AU. The stars have 104% and 35% of the Sun's mass, and 96% and 35% of the Sun's radius, respectively. They have surface temperatures of 5636 K and 3357 K. Based on the stellar characteristics and orbital dynamics, an estimated age of 4–5 billion years for the system is possible. In comparison, the Sun is about 4.6 billion years old, and has a temperature of 5772 K. The primary star is somewhat metal-poor, with a metallicity ([Fe/H]) of about −0.25, or about 56% of the amount of iron and other heavier metals found in the Sun. Both of the stars' luminosities are typical for their kind, with a luminosities of around 84% and 1% of that of the solar luminosity, respectively. The apparent magnitude of the star system, or how bright it appears from Earth's perspective, is about 15.4. It is too dim to be seen with the naked eye, which can typically detect objects with a magnitude less than 6.5. ## Planetary system Prior to the discovery of the Kepler-47 planetary system by Jerome Orosz, his colleagues, as well as astronomers from Tel-Aviv University in 2012, most scientists thought that binary stars with multiple planets could not exist. It was believed that gravitational perturbations caused by the orbiting parent stars would cause any circumbinary planets to collide with each other or be ejected out of orbit, either into one of the parent stars or away from the system. However, this discovery demonstrates that multiple planets can form around binary stars, even in their habitable zones; and while the planets in the Kepler-47 system are unlikely to harbor life, other planets orbiting around binary star systems may be habitable and could support life. Because most stars are binary, the discovery that multi-planet systems can form in such a system has impacted previous theories of planetary formation, and could provide more opportunities for finding potentially habitable exoplanets. The binary system is known to host three planets, all orbiting close to each other and larger than Earth, with no solid surface. All three of the planets in the Kepler-47 system have a very low density, less than that of Saturn. The densities of the planets are estimated to be around 0.26 g/cm<sup>3</sup> to 0.68 g/cm<sup>3</sup>. The low densities of the planets are unusual for their relatively mild temperatures; planets with such low densities are typically hot jupiters that orbit close to their host stars, being known as so-called puffy planets. Temperate low-density planets like these are thought to be uncommon. Kepler-47b is a Neptune class planet and the innermost planet of the Kepler-47 system. It resides close to its parent stars, at a distance of 0.2956 AU. It completes one full orbit around its parent stars in less than 50 days. The equilibrium temperature of Kepler-47b is 442 K, therefore being inhospitable to life. Due to the high equilibrium temperature of Kepler-47b, methane gas in its atmosphere would be broken into other compounds, leading to a thick haze that would cover the planet's atmosphere. It is the smallest planet of the Kepler-47 system, being 3.1 times the size of Earth. The second planet discovered, Kepler-47c, is a Neptune class planet and the outermost planet, orbiting its parent stars from a distance of 0.989 AU, nearly the distance from Earth to the Sun. It completes one full orbit around its parent stars in about 300 days. Kepler-47c is situated within the habitable zone, with an equilibrium temperature of 241 K. The radius of Kepler-47c is 4.7 times that of Earth, comparable in size to Neptune. Although it is assumed Kepler-47c is not capable of harboring life, it could possibly have a dense atmosphere of water vapor. The most recently discovered planet in the system, Kepler-47d, was announced as being discovered by astronomer Jerome Orosz and his colleagues at San Diego State University in November 2013. From transit data of the Kepler-47 system from the Kepler space telescope, Orosz's team had noticed one orphan transit signal that lasted for 4.15 hours, and was not attributed to the two previously known planets. Due to the weak transit signals of Kepler-47d, it was not detected earlier in 2012. Only one noticeable transit of Kepler-47d has been detected, thus an additional transit of the planet was needed to confirm its existence. From dynamical simulations, the orbit of Kepler-47d was shown to precess over time, resulting in a four-year period without transits from Kepler-47d. Later studies of the Kepler-47 system led to the confirmation of Kepler-47d, which was announced in April 2019. The discovery of Kepler-47d was unexpected for Orosz's team, as they had expected to find additional planets with more distant orbits. Kepler-47d is the largest planet of the Kepler-47 system, with a radius at least 7 times the radius of Earth (almost the size of Saturn, though its mass is comparable to that of Neptune). It orbits between the planets Kepler-47b and c at a distance of about 0.7 AU, completing an orbit every 187.35 days. Its equilibrium temperature is around 283 K. ## See also - Kepler mission - NN Serpentis, an eclipsing binary system hosting two exoplanets - Lists of exoplanets - List of extrasolar planet firsts, including Kepler-47 with the most circumbinary planets	[ "## Nomenclature and history", "## Stellar characteristics", "## Planetary system", "## See also" ]	1,855	31,083
70,309,092	Trinity Episcopal Church (Washington, D.C.)	1,145,592,433	null	[ "Buildings and structures demolished in 1936", "Churches completed in 1851", "Demolished buildings and structures in Washington, D.C.", "Episcopal churches in Washington, D.C.", "Former churches in Washington, D.C.", "Gothic Revival architecture in Washington, D.C.", "James Renwick Jr. buildings", "Judiciary Square", "Religious organizations established in 1827" ]	Trinity Episcopal Church was an Episcopal church that stood from 1851 to 1936 on the northeast corner of 3rd and C Streets NW in the Judiciary Square neighborhood of Washington, D.C. Founded in 1827, the parish was home to prominent attendees including President John Quincy Adams, Senator Daniel Webster, and Francis Scott Key, who served as the church's senior warden. The first church building was located on 5th Street NW, across the street from District of Columbia City Hall, in what was then a fashionable area of the city. The parish grew and began planning a new church building. With financial assistance from William Wilson Corcoran, the parish bought the lot with which the church is best associated, and a cornerstone was laid in 1850. James Renwick Jr., who had recently won a competition to design the Smithsonian Institution Building, was selected to design Trinity's new sanctuary. The Gothic Revival building, topped with two towers, was completed in 1851. During the Civil War, the church was used as a military hospital for Union soldiers. In the decades after the war, Washingtonians began moving to more desirable areas of the city, and attendance at Trinity decreased. Despite renovations and the addition of a parish hall in the 1890s, the church continued to decline and grew deeper into debt. The local diocese took over the property after World War I, and the church became a social service outreach center. The property was sold in 1936, and after the church was stripped of valuable contents and building materials, it was demolished and replaced with a parking lot. The Frances Perkins Building, headquarters of the United States Department of Labor, now stands on the site. ## History ### Founding In April 1827, a group of local Episcopalians met at the District of Columbia City Hall to discuss the need for an additional parish in Washington, D.C. It was decided that worshippers were having to travel too far to either Christ Church in Capitol Hill or St. John's Episcopal Church on Lafayette Square. The following year a new church building was constructed on 5th Street NW between D and E Streets, facing City Hall in the English Hill neighborhood, present-day Judiciary Square. The new church, consecrated on May 11, 1829, was named Trinity, supposedly because it was the third Episcopal parish established in the nation's capital. The neighborhood at that time was a mixture of modest houses for the working-class and stately Federal and Greek Revival townhouses for wealthier residents. The most notable building was City Hall, designed by George Hadfield, which was built in stages between 1820 and 1849. Among the prominent residents of the neighborhood was lawyer and author Francis Scott Key, who served as Trinity's senior warden. Other prominent attendees of the church around this time included former President John Quincy Adams, Vice President John C. Calhoun, Secretary of State Henry Clay, and Senator Daniel Webster. Trinity was often called the "church of the mayors" due to the number of local government officials, including mayors, that attended services. ### New sanctuary Attendance at Trinity grew until their building on 5th Street was no longer suitable. When Reverend Clement Moore Butler became rector in 1847, he led the push for a new and prominent building to be constructed for the parish. The original plan was to demolish the 5th Street building and replace it with a larger sanctuary. With the financial help of businessman and philanthropist William Wilson Corcoran, the parish could buy land south of City Hall on the northeast corner of 3rd and C Streets NW. Due to his financial assistance, Corcoran likely influenced the selection of one of his favorite architects, James Renwick Jr., to design the new building. Renwick was an architect from New York whose first major commission was Grace Church in New York City, completed in 1846. Renwick had recently won a competition to design the Smithsonian Institution Building, also known as the Smithsonian Castle. He had submitted two designs, one an elaborate Gothic Revival building featuring spires and arches, and the second a Norman style castle. The latter was chosen, and Renwick's rejected entry, which Corcoran favored, was used as the base design for Trinity's new building. The building wings and some other features were removed in the final design for Trinity. Renwick's Smithsonian Institution design and, thereby, Trinity's was inspired by the Perpendicular Gothic architectural style. Bent openwork wooden beams in the shape of bells were added to the top of each tower, resembling the one found on St Giles' Cathedral in Edinburgh, Scotland. Similar to Renwick's Grace Church, Trinity included many Gothic Revival features including elaborate tracery and pinnacles with fleur-de-lis. The square-shaped building had an octagonal nave with an octagonal cupola above it. The somewhat unusual shape of the church drew some complaints, with one newspaper commenter calling it "a stump-tailed steamboat" due to the flat roof and two towers, a result of Renwick's design for the Smithsonian originally being a free-standing building. Some features, including the openwork bell towers and pinnacles, were altered decades later. The cornerstone for the new church was laid on April 2, 1850. On it was inscribed the year and Renwick's name, as well as that of the builder, Gilbert Cameron, and carpenter, John Sniffen. Work began on the construction of the church, made of red sandstone from Seneca, Maryland, and the nave was largely complete by July of that year when a storm damaged the Chesapeake and Ohio Canal, which was used to transport the sandstone into the city. Construction was delayed by a few months, and the church towers were completed in March 1851. To help fund the construction of the building, an auction was held for pew seating. Due to the auction's success, in which wealthy congregants bid for the best seats, more than \$19,000 was raised. After the congregation moved to the new building in May 1851, the old sanctuary on 5th Street was bought by the First Congregational Church, which met there until 1858. It was later used as a stable before housing the Columbian Law School, now known as George Washington University Law School. After the school moved to a new location, it was used as an office building and later demolished in 1898. ### Later history During the Civil War, the allegiance of many members was to the Confederacy. The church's rector, Butler, who had previously served as Chaplain of the United States Senate, was from New York and loyal to the Union. The congregation created a hostile environment for him, leading to his resignation in 1861. The next rector, E.W. Syle, was loyal to the Confederacy. After a bishop told Syle he had to read a prayer supporting the Union, he refused and later resigned. The US government confiscated the building in 1862 for use as a military hospital, surprising congregants during a Sunday morning service when they heard supplies being unloaded in front of the church. Wooden planks were nailed onto the top of the pews to create hospital beds. The holes created by these nails were visible for the remainder of the building's history. The building continued in use as a hospital for ten months, and President Abraham Lincoln reportedly visited the site to visit wounded soldiers. After the Civil War, church attendance continued to grow and an addition was built in 1868. In the decades following the war, Washingtonians began moving to more fashionable areas of the city, leading to a decline in the neighborhood and church attendance. An article in the Evening Star in 1891 reported, "Trinity Church is a power in the city as an engine of good works, but owing to the growth of the city westward has lost somewhat of the stability and strength of its congregation which formerly characterized it." Nevertheless plans to add a large parish hall, which included a dining room for the congregation, was announced in 1893. The Evening Star stated, "an innovation in such structures will be a kitchen, a thing whose absence is nearly always missed at church suppers, and which will be a joy unspeakable to the ladies." Construction of the hall, designed by William J. Palmer, who would later design Ebenezer United Methodist Church, was completed in 1894 and almost took up the remaining land on the property. Sunday School meetings were moved from the basement into the new hall. A renovation from 1897–1898 included the addition of stained glass windows, a marble altar, a brass and marble pulpit, and mosaic floors. The carpets and pew seat cushions were also replaced. Church attendance and the money from its wealthier congregants who had moved continued to decline in the early 1900s. The former stately houses in the neighborhood were increasingly home to "a floating population." Despite this, a 75th-anniversary celebration and formal consecration of the church was held in April 1902 and attended by Bishop Henry Y. Satterlee and other dignitaries. In 1903, the church was forced to ask that back taxes for its rectory be forgiven: "This church has lost heavily in wealth by the constant removal of parishioners to the northwest, where they have become attached to other parishes, and the income of this parish thereby being terribly impaired. The people whom we serve are now of a much poorer class than those to whom we ministered some years ago." Trinity became a charity center during World War I for soldiers stationed in the city. It continued this role after the war when the Episcopal Diocese of Washington dissolved the remaining congregation in 1921 and took full control of the property, which was deeply in debt. From that time on, the church building became an outreach center and housed social services for the area's poor residents. The Parish Hall was renamed the Trinity Community House and included a gymnasium, dining area, library, an emergency room, and a "mental hygiene clinic room." A 100th-anniversary celebration held in 1928, with Bishop James E. Freeman in attendance, was one of the last large events held at Trinity. ### Demolition Due to continued debts, the Diocese announced it would demolish the church and lease the 14,000-square-foot (1,300 m2) property to the Auto City Parking Company. The company would pay the Diocese \$43,000 over ten years to use the land as a parking lot. Some of the previous church members were upset at the news. The Washington Post reported, "Many venerable parishioners have 'raised Cain,' to quote one church official, about the demolition of the old edifice. They've termed the destruction of the landmark 'sacrilege, heartless and commercial.' But a temple which doesn't pay must fall." One last church service at Trinity was held on June 16, 1936. Before demolition began three months later, some of the building's contents, including furniture and windows, were given to other local parishes. The demolition company sold the remaining contents and building parts, including sandstone blocks and roof slates. A family from Camp Springs, Maryland, purchased the cornerstone and other building materials for their new log cabin. Trinity was demolished among hundreds of buildings in the surrounding area between 1930 and 1980 and replaced with office and judicial buildings. The church's former site is now occupied by the Frances Perkins Building, headquarters of the United States Department of Labor.	[ "## History", "### Founding", "### New sanctuary", "### Later history", "### Demolition" ]	2,382	29,383
72,787,276	Driving in Madagascar	1,169,967,602	None	[ "Driving by country", "Road transport in Madagascar" ]	The road network of Madagascar, comprising about 4,500 unique roads spanning 31,640 kilometers (19,660 mi), is designed primarily to facilitate transportation to and from Antananarivo, the Malagasy capital. Transportation on these roads, most of which are unpaved and two lanes wide, is often dangerous. Few Malagasy own private vehicles; long-distance travel is often accomplished in taxi brousses ('bush taxis'), which may be shared by 20 or more people. While most primary roads are in good condition, the World Food Programme has classified nearly two-thirds of the overall road network as being in poor condition. These conditions may make it dangerous to drive at moderate-to-high speeds and dahalo (bandit) attacks pose a threat at low speeds. Many roads are impassable during Madagascar's wet season; some bridges (often narrow, one-lane structures) are vulnerable to being swept away. Few rural Malagasy live near a road in good condition; poor road connectivity may pose challenges in health care, agriculture, and education. Drivers in Madagascar travel on the right side of the road. On some roads, to deter attacks from dahalo, the government of Madagascar requires that drivers travel in convoys of at least ten vehicles. Car collision fatalities are not fully reported, but the rate is estimated to be among the highest in the world. Random police checkpoints, at which travelers are required to produce identity documents, are spread throughout the country. Crops are transported by ox cart locally and by truck inter-regionally. Human-powered vehicles, once the only means of road transport, are still found in the form of pousse-pousses (rickshaws). Taxi brousses constitute a rudimentary road-based public transportation system in Madagascar. Rides on taxi brousses cost as little as 200 Malagasy ariary (roughly US\$0.10) as of 2005, and vehicles involved are often overpacked, sometimes with the assistant driver riding on the outside of the vehicle. Stops on their routes are generally not fixed, allowing passengers to exit at arbitrary points. ## History There were no roads in Madagascar through the mid-19th century. Goods were carried across the island along pathways by porters, while oxen, the only beast of burden available, saw minimal use. After France conquered Madagascar in 1895, French colonial administrators, who did not understand the water and transportation system in place under the Merina Kingdom, immediately began building roads. Porters collectively resisted the creation of roads, continuing a pre-conquest movement in opposition to using horses which saw the stoning of European horse-riders in Antananarivo. In 1901, porters staged demonstrations against the introduction of pousse-pousses (rickshaws), but the latter prevailed when a road between Antananarivo and Toamasina was completed in 1902. Some human-powered vehicles remain in use as of 2017, in the form of pousse-pousses. Even as late as 1955, passenger and commercial motor vehicles in Madagascar numbered under 30,000. In 1958, Madagascar's road network spanned about 25,100 kilometers (15,600 mi), almost all of it unpaved. In subsequent decades, the country relied heavily upon water and air travel for transportation, performing minimal investment and maintenance in its road infrastructure. Plantations, which were nationalized following a revolution in 1972, have exercised significant influence on road and infrastructure construction within the Sambirano, a river valley in the country's northeast, and maintained primary responsibility for road maintenance on some major thoroughfares there as of 1993. ## Roads As of 2022, Madagascar contains over 4,500 unique roads. The road network spans approximately 31,640 kilometers (19,660 mi), representing 5.4 kilometers of road per 100 square kilometers of land (8.72 mi per 100 sq mi). This is a small road network, mostly oriented toward Antananarivo. Last-mile transport, particularly in rural areas, is sometimes accomplished via unofficial roads. Traffic drives on the right side of the road. There are three classes of road systems in Madagascar: routes nationales ('national roads'), routes provinciales ('provincial roads'), and routes communales ('communal roads'). Routes nationales connect Antananarivo to Antsiranana, Toamasina, Morondava, and Toliara and make up 11,746 kilometers (7,299 mi) of the country's road network. Most roads of all three types have two lanes and are relatively narrow; many bridges have only one lane. The country's first toll highway, a 250-kilometer (160 mi) road designed to cut the travel time between Antananarivo to Toamasina from the current 10 hours down to a target of 2.5 hours, is under construction as of December 2022. ### Road conditions In 2018, the World Food Programme and the Global Logistics Cluster classified 64 percent of roads in Madagascar as in poor driving condition, 28 percent in average condition, and 10 percent in good condition; seven-in-ten of the primary roads fall into the latter-most category, which is defined as being navigable throughout all seasons of the year. The Statesman's Yearbook 2023 states that only about 22 percent of roads in Madagascar were paved as of 2013, while a 2019 World Bank report states that 81 percent were not paved. As natural gravel is not regularly available on the island of Madagascar, many roads are composed of sand lined with crushed stone. Many of these unsealed roads can only be used in the dry season. Roads in rural areas are often deficient in signage, while bridges are often swept away following rainstorms; during the wet season, road conditions degrade, particularly so in the country's North. ### Connectivity challenges As of 2019, only 11.4 percent of rural Malagasy live within 2 kilometers (1.2 mi) of a road in good condition, leaving 17 million without such access. Unsealed roads are the only way to access many parts of the country by road, including the key southern city of Fort-Dauphin. A 2018 World Bank report, conducted in partnership with the government of Madagascar, concluded that poor road connectivity was one of the major contributors for poor access to health care. The World Bank further linked poor connectivity to challenges in agriculture and education and identified climate change as having the potential to worsen the road connectivity situation. ## Means of transport Vehicle ownership in Madagascar has grown from under 30,000 in 1955 to over 800,000 passenger and commercial vehicles in 2013, during which time the island country's population has risen from about 5 million to over 28 million. In reports in 2018 and 2019, the World Bank predicted an increase in car ownership as Madagascar's economy improved. A 2022 World Bank paper published in Public Transport found that 6 percent of Antananarivo households surveyed owned private cars, that private car ownership correlated with high income, and that car owners were less likely to use minibuses. ### Taxi brousses Madagascar's taxi brousses ('bush taxis') are a type of share taxi which, as of 2005, cost US\$0.10 per passenger. They comprise a public transportation system that is relatively affordable in Madagascar's poverty. Most taxi brousses do not embark until all seats are full. While taxi brousses use fixed stops, passengers can also exit at any point along the route. Taxi brousse company fleets range in size from a single vehicle to over a hundred, and may serve one or more urban, regional, or national lines. National lines travel from their origin to their destination directly, disallowing improvised stops along the route. A vehicle is staffed by a driver and assistant driver, or two drivers on a very long route. Other people are employed to attract customers and fasten luggage to the vehicle's roof. According to a 2018 study in Media in Action, most taxi brousses used on paved roads are minibuses, while most on unpaved roads are trucks with benches in the cargo area. They often are filled above their intended capacities, sometimes close to double, with small children riding for free on their parents' laps. The researchers recount that the tight space can lead to conflict among passengers and requires people exiting to either jump out of a window or have everyone in front of them get out too. The assistant driver, who interacts with passengers and loads and unloads luggage, does not get a seat and either stands against the door or travels on the outside of the vehicle. Researchers observed that the drivers often appear to eat for free, as part of arrangements between the taxi brousse companies and restaurants they stop at. As of 2018, taxi brousse companies must register with the government and pay () in fees and taxes per vehicle. Importation of vehicles is taxed at about ten times this amount. ### Cargo transport Trans-regional transport of crops relies on trucks. In Vakinankaratra, a network of subcollectors buy crops from farmers in their villages and then sell the crops to wholesale collectors, who either have their own trucks or work with truckers they know. Because of the cost of operating a truck, most truckers own more than one truck so as to take advantage of economies of scale. As of 1997, most trucking in Vakinankaratra is conducted by ethnic Asians, who tend to be relatively well-off but, due to a history of ethnic tensions, are wary of assets that could easily be seized. A different class of transporters, the charretiers ('carters'), move crops to markets by ox cart. Facing a water crisis in Southern Madagascar, in 1993 the national agency Alimentation en Eau dans le Sud (AES) engaged with the government of Japan to acquire 24 tanker trucks for water. As of 2004, 10 remain officially in service, although researcher Richard R. Marcus was only able to verify the existence of 6. According to Marcus, AES blamed tire issues, while locals alleged corruption. ## Safety The maximum urban speed limit is 50 kilometers per hour (31 mph), or in some cases, 80 kilometers per hour (50 mph). As of 2018, there is no national speed limit in rural areas or on highways, though local governments have the ability to impose and modify speed limits within their jurisdictions. The Antananarivo–Toamasina toll highway, whose construction began in late 2022, will have a speed limit of 120 kilometers per hour (75 mph) across the entire highway. Volker Wulf et al. in Media in Action reported the speed limit for trucks is 45 kilometers per hour (28 mph); taxi brousses may go up to 75 kilometers per hour (47 mph) but in practice go around 40 kilometers per hour (25 mph). The blood alcohol content limit for drunk driving is 0.08 grams per deciliter. There is a seatbelt law but no child restraint law. Motorcyclists must wear helmets. Children are allowed as motorcycle passengers; children under five may not sit in the front seat of a car. Handheld phone use while driving is illegal. A 2018 World Health Organization (WHO) fact sheet said that hands-free use of a phone behind the wheel is legal, though a 2019 information sheet from the United States Bureau of Consular Affairs reported that hands-free use is illegal. Nighttime street lighting in the country is of limited availability. The Intersectoral Committee for Road Safety and Ministry of Transport and Meteorology oversee road safety in Madagascar. While there are no official statistics on road safety in Madagascar, the country's Gendarmerie Nationale reported 340 people in 2016 who died within 24 hours of a car crash; the WHO estimated a true total of 7,108 car crash fatalities, or 28.6 per 100,000 inhabitants. In comparison, the global average is 18.2 and the African average is 26.6; Madagascar has the 24th-highest fatality rate out of 175 countries or regions assessed. About half of vehicle fatalities are pedestrians. According to the government of Canada, car collisions in Madagascar may instigate crowd violence. Car collisions in which a participant is injured or killed necessitate a court case, where the parties found liable for damages are required to cover all expenses related to the case; leaving Madagascar is prohibited prior to the completion of the case. Dahalo (bandits) have attacked vehicles, leading the government to require that vehicles travel in convoys of at least 10 on many roads. Vehicles seek to travel at higher speeds, but become more vulnerable to attacks when forced by potholes to slow. Herds of zebu may also pose a hazard to driving. It is customary in Madagascar to blow one's car horn while traveling around road curves in order to notify other drivers of one's presence. Random vehicle checkpoints at which travelers are required to produce identity documents are spread throughout Madagascar. ## See also - Muddling Through in Madagascar, a 1985 book by Irish author Dervla Murphy that details public transport and road conditions in Madagascar as they existed in the mid-1980s. - Transport in Madagascar	[ "## History", "## Roads", "### Road conditions", "### Connectivity challenges", "## Means of transport", "### Taxi brousses", "### Cargo transport", "## Safety", "## See also" ]	2,777	21,103
57,118,149	Andronikos Komnenos (son of Alexios I)	1,097,618,421	null	[ "1091 births", "1130s deaths", "12th-century Byzantine people", "Byzantine generals", "Byzantine people of the Byzantine–Seljuk wars", "Family of Alexios I Komnenos", "Komnenos dynasty", "Porphyrogennetoi", "Sebastokrators", "Sons of Byzantine emperors" ]	Andronikos Komnenos (Greek: Ἀνδρόνικος Κομνηνός; 18 September 1091 – 1130/31) was a Byzantine prince and military commander. The second-born son of Emperor Alexios I Komnenos, he was named sebastokrator and participated in the Battle of Philomelion against the Seljuk Turks. He opposed the succession of his older brother John II Komnenos to the throne in 1118, but was allowed to remain at court, and served in at least two of John II's campaigns in the Balkans. He died of an illness in 1130/31. His wife and offspring are relatively obscure, and may have died early. ## Life Andronikos Komnenos was the fourth child and second son of the Byzantine emperor Alexios I Komnenos (r. 1081–1118) and Empress Irene Doukaina, and was named after his maternal grandfather. As his parents were reigning at the time of his birth, he was accorded the appellation porphyrogennetos. The commonly accepted date of his birth is that given by the Codex Mosquensis 53/147 manuscript, 18 September 1091, but according to Skoulatos, the narrative of the Alexiad, written by his oldest sister Anna Komnene, seems to indicate that in 1116 he was still an adolescent, which would put his birth around the year 1099/1100. Following the death of his uncle Isaac Komnenos sometime in 1102–04, he succeeded him to the high title of sebastokrator. According to Zonaras, this followed his marriage, which occurred after he came of age. In 1116, Andronikos commanded the left wing of his father's army at the Battle of Philomelion against the Seljuk Turks. During the battle he led a daring pursuit of the Turks, capturing the tent of the Sultan of Iconium, Malikshah. In the Alexiad this feat is accompanied with Andronikos' epitaph, which has led several scholars to erroneously claim that he was killed during the battle. When Alexios lay dying in August 1118, due to his close relationship with his sister, Andronikos sided with Anna and his mother, who schemed to place Anna's husband, Nikephoros Bryennios the Younger, on the throne, rather than his older brother, John II Komnenos. Nevertheless, John pardoned him and allowed him to remain at court. In 1122, he again led troops in his brother's campaign against the Pechenegs. According to a monody by Michael Italikos, he was crucial in turning the tide of the battle and securing a victory for the Byzantines, by rallying the retreating troops, and even threatening the army's standard-bearer with immediate execution if he did not stand his ground. According to another monody by Theodore Prodromos, he also participated in John II's victorious expedition against Stephen II of Hungary in 1129. He died following a long illness in Asia Minor in 1130 or 1131. His mother and Nikephoros Bryennios escorted his body to Constantinople. During the crossing of the Bosporus, the ship carrying the body and its entourage was nearly sunk by a sudden storm, but arrived safely in the capital. Following an elaborate public funeral, he was probably buried in the Monastery of Christ Philanthropos, alongside his father. Michael Italikos and Theodore Prodromos each wrote a monody in his honour, and Prodromos also wrote another long poem to console his mother Irene Doukaina. His close relationship with his sister and mother has ensured a very favourable treatment of Andronikos in both the Alexiad and in the works of the two court poets, who belonged to the Empress-mother's court circle. ## Family His wife Irene, in all likelihood a Russian princess, was possibly the daughter of Volodar of Peremyshl, whom the Russian Primary Chronicle indicates as being the subject of marriage negotiations between Alexios and Volodar in 1104. She had an exceptional beauty according to the court poet Theodore Prodromos. She was also a patron of the arts, and she commissioned the Synopsis Chronike of Constantine Manasses. Varzos dated her death to around 1122, but modern scholars now date her death to 1153. The couple had one known child, Alexios, who died in childhood shortly before his mother, around 1120. It is possible that Andronikos remarried, as a poem from Codex marcianus 524 records a sebastokrator Andronikos and his wife, the sebastokratorissa Anna, but the two Andronikoi are most likely distinct persons. Andronikos is also reported as the father of another son, John Doukas, who is mentioned only in a list of participants for a Church synod on 6 March 1166. He is also recorded as having a daughter Maria, and possibly a second daughter Anna. If their mother was Irene, the absence of both daughters from the monodies may possibly be due to either the poets' emphasizing male descent, or to their death in early infancy.	[ "## Life", "## Family" ]	1,125	34,307
69,332,279	Sigismund Danielewicz	1,169,792,055	Labor organizer and anarchist (1847–1927)	[ "1847 births", "1927 deaths", "American anarchists", "American people of Polish-Jewish descent", "Emigrants from Congress Poland to the United States", "Jewish anarchists", "Polish anarchists", "Trade unionists" ]	Sigismund Danielewicz (1847–1927) was a Polish-born labor organizer in the United States and Hawaii, known for his advocacy against anti-Chinese sentiment in the American labor movement. He also worked as an anarchist writer and publisher. In the late 1870s, Danielewicz traveled to San Francisco from Congress Poland, where he began working odd jobs. By 1879 he was working as a barber in San Francisco, and in 1881 he attended a trades' assembly convention, kicking off his central involvement in trade unionist organizing in the region. He also spent time organizing workers in the Kingdom of Hawaii. Danielewicz's role in the San Francisco labor movement ended in 1885 when he opposed an anti-Chinese resolution at a West Coast Knights of Labor convention, delivering a prepared speech arguing that all men were equal and drawing on his own Jewish background. He was laughed off the stage and ostracized from the movement as a result. Danielewicz then began publishing The Beacon, the first anarchist newspaper in the San Francisco Bay Area. He traveled around the United States and managed or wrote for various anarchist publications. In 1909 he patented a device intended to protect the wearer from polluted air, and by 1910 he was unemployed. A 1921 city directory of Los Angeles suggests that he may have been working as a polisher. He was buried on October 23, 1927, in Mount Zion Cemetery. ## Early life Danielewicz was born in 1847. He traveled from Congress Poland to San Francisco in the late 1870s, where he held a variety of occupations. He was Jewish and multilingual, speaking languages including Polish, Yiddish, English and Italian. In 1879, a city directory listed him as a barber near Chinatown, San Francisco; by 1880 he had relocated to the Tenderloin. Danielewicz also spent time in the Kingdom of Hawaii, where he participated in labor organizing. ## Labor organizing ### In Hawaii In October 1883, Danielewicz was present at an initial meeting of the Workingmen's Union, where discussion arose as to whether political issues should be discussed. He argued that the improvement of workers' conditions was inherently political, and that while he disapproved of party politics, he believed it was the duty of the union to intervene when action within the existing political system was necessary. He additionally stated that employers and laborers alike should be admitted to the union. Both these arguments were adopted by the membership after a vote. Danielewicz had been elected president of the union by November 10, 1883. An early issue under his responsibility was the wellbeing of a group of German women on Kauai whose husbands had been imprisoned on Oahu. These men were laborers who had refused to work at Koloa Plantation in protest of poor conditions and discrimination by the plantation manager. They were arrested for refusing, and subsequently began another strike in the Oahu jail by November 24, leading to an investigation in which the Workingmen's Union involved itself. The union invited the men's wives to Honolulu and sent money to them. Around this time Danielewicz was working as manager of a hair salon while the owner was absent. On December 13, 1883, Danielewicz resigned from the Workingmen's Union after the passage of a resolution prohibiting discussion of socialism. He included his socialist views in his letter of resignation, expressing that the labor theory of value was "best attainable by the institution of a system of governmental co-operation of industries and agriculture, and that nothing short of such a system can insure justice to the working people and bring about the so much desired harmony in society, the happiness of the human race." He wrote that, while he would rejoin the union if it chose to allow a broader range of tactics and views, he intended to remain involved as a correspondent for the San Francisco newspaper Truth. Another member of the union blamed the reporting of several newspapers for the resignation – the Pacific Commercial Advertiser'''' printed a humorous accounting of an altercation between Danielewicz and a bootblack on the street, as did the Daily Bulletin and The Saturday Press – but Danielewicz maintained that he had resigned due to the actions of the union. By February 7, 1885, Danielewicz had left Hawaii. The Pacific Commercial Advertiser described him as having "achieved some little notoriety here on account of his extreme Communistic views" and reported that he wrote a letter to his local assignee expressing that, while his time in Hawaii was a financial failure, he felt he had done some good in the islands. He returned promptly to San Francisco. ### In San Francisco Danielewicz attended a Trades Assembly convention in 1881 as a delegate for the Barbers' Union, making him part of a group that would go on to play a central role in trade unionist organizing. A winter depression in 1885 led to lowered wages for workers in the shipping industry; unlike the similarly affected metalworking trades, the shipping workers were not organized enough to resist the cuts to their pay. In response, the San Francisco section of the International Workingmen's Association (IWA) focused on the industry, and Danielewicz as well as Burnette Haskell led sailors to organize and defend their own union: the Coast Seamen's Union. As recounted by the union on the 29th anniversary of its establishment, Danielewicz "chanced to pass by" while sailors were discussing a new cut to their wages. When he suggested that they form a union, they recruited him to organize it, and he held a successful meeting at Folsom Street Wharf the next night where the union was established. Also in 1885, Danielewicz was serving as secretary of the San Francisco IWA's central committee. He was present at a West Coast conference convened by the Knights of Labor on November 30, 1885, at which many people and groups in the labor movement were expressing anti-Chinese sentiment; one delegate from the recently formed Seamen's Union introduced a resolution to demand the expulsion of all Chinese people from San Francisco within 60 days. Danielewicz subsequently attempted to deliver a prepared statement condemning "the persecution of the Chinese". In the beginning of the speech, he expressed the belief that all men were equal and appealed to his own status as one of the persecuted Jewish people. His speech drew laughter from those at the gathering, who heckled him off the stage, and he was eventually ruled out of order by Frank Roney; his appeal to the ruling was defeated in a near-unanimous vote. Other IWA members who were present, including Haskell and Frank Roney, did not come to his defense. He was the sole opponent of Chinese exclusion at the conference. Danielewicz's organizing activity did not continue beyond the mid-1880s. His advocacy against anti-Chinese views and policies in the labor movement, as exemplified by his 1885 speech, made him unwelcome in the local labor movement. ## Later activity and death Having been ostracized from the labor movement in San Francisco, Danielewicz began publishing a newspaper called The Beacon. It was the first anarchist newspaper in the San Francisco Bay Area, where it ran from 1889 to 1891. It had previously been published in San Diego and in Dallas, where it was founded by Ross Winn. While being published by Danielewicz, The Beacon endorsed the revolutionary anarchist goals of the International Working People's Association and continued to oppose prejudice against the Chinese. According to an 1889 mention in Fair Play, contributors included Dyer Lum and Lizzie Holmes, and while the paper was "rather revolutionary" Danielewicz was "honest and earnest and evidently doing his best". A yearlong subscription cost \$1 (). Although Danielewicz once published an English translation of a Yiddish article by Saul Yanovsky in The Beacon, there was no Yiddish anarchist movement in the Bay Area at the time. The lack of a Yiddish-speaking community or a Jewish ghetto in San Francisco prevented the emergence of a movement similar to that in New York. The local community of English-speaking anarchists were largely individualist anarchists and mutualist anarchists influenced by figures including Proudhon, Stirner, and Benjamin Tucker. They disapproved of The Beacon's advocacy of violent revolution, and the newspaper was supplanted by two sporadic individualist publications upon shutting down in 1891. In 1890, Fair Play republished a critique of The Beacon printed by Egoism, one of these two; the publication argued that the revolutionary stance of The Beacon "has a tendency to prevent that part of the community which constitutes its intellectual backbone, from investigating and becoming imbued with the principles of Anarchism, as must be before it can supplant political direction." Fair Play quoted Danielewicz as having written that the global labor struggles of the late 19th century were good because they might "teach the workers the lesson that they must arm themselves in order to be equal in the struggle", responding that the result of this strategy for the workers "will probably be the gallows". Between the mid-1880s and 1910, Danielewicz traveled to San Diego and Chicago before returning to San Francisco. During his travels he helped to manage or write multiple anarchist publications including Lucifer the Lightbearer and Free Society. He sparked controversy in the latter in 1900 by denouncing individualist anarchist Henry Cohen for "adopting a profession which is the foundation of the principles he and all of us disavow" by becoming a lawyer. Thirteen people contributed to the subsequent exchange in Free Society, which lasted six months and concluded after a number of complaints and an editorial transition. During this period he also met Viroqua Daniels, a woman who became either his close friend or his romantic partner. In 1893 Danielewicz passed through Fresno, California. The Fresno Republican printed an article about his presence which led him to write a letter clarifying his position on socialism. While the paper initially described him as anti-socialist, he described himself as an "anti-state socialist" and wrote that "I am thoroughly convinced that the condition of the masses of the people, and more especially of the class known as the working people, is almost unendurable and should be radically changed as it almost undoubtedly will be with the growing intelligence of the people." Around the turn of the 20th century Danielewicz became an active member of the newly founded San Francisco Freethought Society along with Abraham Isaak, who published Free Society along with his wife Mary Isaak. On January 4, 1909, Danielewicz patented a "filtrative inhaler" intended to protect the wearer from harmful particles in the air, filing the application under the name "Samuel Danielewicz". Danielewicz was jobless in the winter of 1910 and reported to be relocating to the East Coast of the United States. In 1921, a city directory for Los Angeles identified Danielewicz as a "grinder," indicating that he may have been working as a polisher. Danielewicz's death date is not known. On October 23, 1927, he was buried at Mount Zion Cemetery in eastern Los Angeles, which had a reputation as a Jewish cemetery for poor people. ## Legacy Danielewicz is repeatedly mentioned in The Indispensable Enemy by Alexander Saxton. Saxton chronicled Danielewicz's repeated failures to prevent anti-Chinese racism in the labor movement. According to historian David Roediger, Danielewicz's "brilliance as an organizer could not overcome his insistence on principle"; Saxton writes that he knew that after his 1885 speech "his comrades would permit him to be guffawed and howled and booed from the podium". Roediger argues that Saxton uses Danielewicz as an indication that solidarity between movements cannot be taken for granted. Saxton additionally characterizes Danielewicz as a hero in his introduction to the text, writing that he "might have had ships and high schools—even union halls— named for him, except that he chose to stand for the principle of interracial equality". ## See also - Andrew Klemencic	[ "## Early life", "## Labor organizing", "### In Hawaii", "### In San Francisco", "## Later activity and death", "## Legacy", "## See also" ]	2,552	11,865

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