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3,692,457	Skenfrith Castle	1,170,983,429	Ruined castle in the village of Skenfrith in Monmouthshire, Wales	[ "Castle ruins in Wales", "Castles in Monmouthshire", "Grade II* listed buildings in Monmouthshire", "Grade II* listed castles in Wales", "National Trust properties in Wales", "Scheduled monuments in Monmouthshire" ]	Skenfrith Castle (Welsh: Castell Ynysgynwraidd) is a ruined castle in the village of Skenfrith in Monmouthshire, Wales. The fortification was established by the Normans in the wake of the invasion of England in 1066, to protect the route from Wales to Hereford. Possibly commissioned by William fitz Osbern, the Earl of Hereford, the castle comprised earthworks with timber defences. In 1135, a major Welsh revolt took place and in response King Stephen brought together Skenfrith Castle and its sister fortifications of Grosmont and White Castle to form a lordship known as the "Three Castles", which continued to play a role in defending the region from Welsh attack for several centuries. At the end of the 12th century, Skenfrith was rebuilt in stone. In 1201, King John gave the castle to a powerful royal official, Hubert de Burgh. During the course of the next few decades, it passed back and forth between several owners, including Hubert, the rival de Braose family, and the Crown. Hubert levelled the old castle and built a new rectangular fortification with round towers and a circular keep. In 1267 it was granted to Edmund, the Earl of Lancaster, and remained in the hands of the earldom, and later duchy, of Lancaster until 1825. Edward I's conquest of Wales in 1282 removed much of Skenfrith Castle's military utility, and by the 16th century it had fallen into disuse and ruin. The castle was placed into the care of the state by the National Trust in 1936, and is now managed by the Cadw heritage agency. ## History ### 11th–12th centuries Skenfrith Castle was built in the wake of the Norman Conquest of England in 1066. Shortly after the invasion, the Normans pushed up into the Welsh Marches, where William the Conqueror made William fitz Osbern the Earl of Hereford; Earl William added to his new lands by then capturing the towns of Monmouth and Chepstow. The Normans used castles extensively to militarily subdue the Welsh, establish new settlements and exert their claims of lordship over the territories. Skenfrith Castle was one of a triangle of fortifications built in the Monnow valley around this time, possibly by Earl William himself, to protect the route from Wales to Hereford. The first castle on the site was built from earth and timber. The earldom's landholdings in the region were slowly broken up after William's son, Roger de Breteuil, rebelled against the King in 1075. In 1135, a major Welsh revolt took place, however, and in response King Stephen restructured the landholdings along this section of the Marches, bringing together Skenfrith Castle and its sister fortifications of Grosmont and White Castle back under the control of the Crown to form a lordship known as the "Three Castles". Conflict with the Welsh continued, and following a period of détente under Henry II in the 1160s, the de Mortimer and de Braose Marcher families attacked their Welsh rivals during the 1170s, leading to a Welsh assault on nearby Abergavenny Castle in 1182. In response, the Crown readied the castle to face an attack, and in 1186, £43 was spent developing the defences followed by more work in 1190, probably establishing a stone keep and curtain wall. ### 13th–17th centuries In 1201, King John gave the Three Castles to Hubert de Burgh. Hubert was a minor landowner who had become John's household chamberlain when he was still a prince, and went on to become an increasingly powerful royal official once John had inherited the throne. Hubert began to upgrade his new castles, starting with Grosmont, but was captured while fighting in France. While Hubert was in captivity, King John took back the Three Castles and gave them to William de Braose, a rival of Hubert's. King John subsequently fell out with William and dispossessed him of his lands in 1207, but de Braose's son, also called William, took the opportunity presented by the First Barons' War to retake the castles. Once released, Hubert regained his grip on power, becoming the royal justiciar and being made the Earl of Kent, before finally recovering the Three Castles in 1219 during the reign of King Henry III. During Hubert's tenure, Skenfrith was entirely rebuilt; the old castle was levelled and a new rectangular castle with round towers and a central circular keep was constructed in its place. Hubert fell from power in 1232 and was stripped of the castles, which were placed under the command of Walerund Teutonicus, a royal servant; having been reconciled with the king in 1234, the castles were returned to him briefly but he fell out with King Henry III again in 1239 and they were taken back once again and assigned to Walerund. Walerund built a new chapel at the castle in 1244, and repaired the keep's roof. In 1254, Skenfrith Castle and its sister fortifications were granted to King Henry's eldest son, and later king, Prince Edward. The Welsh threat persisted, and in 1262 the castle was readied in response to Prince Llywelyn ap Gruffudd's attack on Abergavenny in 1262; commanded by its constable Gilbert Talbot, Skenfrith was ordered to be garrisoned "by every man, and at whatever cost". The threat passed without incident. Edmund, the Earl of Lancaster and the capitaneus of the royal forces in Wales, was given the Three Castles in 1267 and for many centuries they were held by the earldom, later duchy, of Lancaster. Little further work was carried out at Skenfrith, although repairs were carried out to the tower and gates under King Henry VI. King Edward I's conquest of Wales in 1282 had removed much of the castle's military utility, although it continued to be used as an administrative centre. By 1538, Skenfrith Castle had fallen into disuse and then into ruin; a 1613 description noted that it was "ruynous and decayed". ### 18th–21st centuries In 1825, the Three Castles were sold off to Henry Somerset, the Duke of Beaufort. It was eventually acquired by the lawyer Harold Sands, who carried out some conservation of the site; he went on to give the castle to the National Trust. Skenfrith was placed into the care of the state in 1936, and extensive repair work was carried out. In the 21st century, Skenfirth Castle is managed by Cadw and protected under UK law as a grade II\* listed building. ## Architecture Skenfrith Castle was constructed alongside the River Monnow. The current castle was created by Hubert de Burgh in the early 13th century, when the earthworks of the 11th-century Norman castle were flattened and spread out over the current site to a depth of 12 feet (3.7 m); the 12th-century stone fortifications and buildings were demolished at the same time. Hubert's castle forms a polygon, with four walls approximately 80 metres, 60 metres, 60 metres and 40 metres (260 ft, 200 ft, 200 ft and 130 ft) long respectively, and was built from Old Red Sandstone. It was originally protected by a stone-revetted, water-filled moat, 9 feet (2.7 m) deep and 46 feet (14 m) wide, fed by the river. The moat is now filled in and grassed over. The castle was entered from the north-west side over a bridge and through a gatehouse, both since destroyed. The curtain wall survives to a height of up to 5 metres (16 ft 5 in), and was probably originally topped by a 6-foot-high (1.8 m) parapet and protective timber hoarding. The castle had circular towers on each corner, probably only used for storage and defence, of which three still survive, the north-west tower having been reduced to its foundations. A watergate on the eastern side of the castle led down to the Monnow. A two-storey hall range stretched across the south-western inside of the castle, of which only the foundations now survive. Originally the hall range comprised a long room on the northern end, and a smaller chamber to the south, although the northern section was subsequently subdivided. The floor level of the hall range was later raised due to flooding, with the ground floors being filled in with gravel. The main hall would have been on the first floor, above the surviving ground floor fireplace. The south end of the range held a water reservoir for the castle. On the opposite side of the hall range was a kitchen block, of which nothing now survives above ground. The three-story circular keep in the middle of the castle is 12 metres (39 ft 4 in) high and 10 metres (32 ft 10 in), across with a protruding staircase tower on its south-western side. It closely resembled similar keeps built during this period in France by Philip II and at Pembroke by William Marshal; its staircase tower was similar to others built across the Welsh Marches at the time, including at Caldicot and Longtown. Earth was piled up around the 2-metre (6 ft 7 in) plinth at the base of the keep, probably to defend the base of the walls, with the result closely resembling a motte. Originally it would have been topped with defensive wooden hoarding, with an external wooden staircase reaching up to the entrance on the first floor: the current, ground floor entrance was cut out of its walls at a later date. The basement was accessed by a trapdoor and used as a storeroom. The first floor chamber would have been an antechamber, while the second floor chamber was fitted with windows, a large fireplace and a private latrine, and would have provided living accommodation for the lord. ## See also - Castles in Great Britain and Ireland - List of castles in England - Three Castles walk	[ "## History", "### 11th–12th centuries", "### 13th–17th centuries", "### 18th–21st centuries", "## Architecture", "## See also" ]	2,190	34,628
12,725,936	Margaret Gowing	1,149,046,611	English historian (1921–1998)	[ "1921 births", "1998 deaths", "20th-century English historians", "Academics of the University of Kent", "British women historians", "Civil servants from London", "Commanders of the Order of the British Empire", "Deaths from Alzheimer's disease", "Deaths from dementia in England", "English archivists", "English non-fiction writers", "Fellows of Linacre College, Oxford", "Fellows of the British Academy", "Fellows of the Royal Society (Statute 12)", "Female Fellows of the Royal Society", "Female archivists", "Historians of World War II", "Historians of nuclear weapons", "People associated with the nuclear weapons programme of the United Kingdom", "People from Kensington" ]	Margaret Mary Gowing (née Elliott), CBE, FBA, FRS (26 April 1921 – 7 November 1998) was an English historian. She was involved with the production of several volumes of the officially sponsored History of the Second World War, but was better known for her books, commissioned by the United Kingdom Atomic Energy Authority, covering the early history of Britain's nuclear weapons programmes: Britain and Atomic Energy 1939–1945, published in 1964, and the two-volume Independence and Deterrence: Britain and Atomic Energy 1945–52, published in 1974. Through her work in the Cabinet Office from 1945 to 1959, she knew personally many of the people involved. As historian archivist at the UK Atomic Energy Authority from 1959 to 1966 she had access to the official papers and files of the British nuclear weapons programmes. She was the first occupant of a chair in the history of science at the University of Oxford, which she held from 1972 until her retirement in 1986. As co-founder with physicist Nicholas Kurti of the Contemporary Scientific Archives Centre in Oxford, she helped ensure the preservation of contemporary scientific manuscripts. ## Early life Margaret Elliott was born on 26 April 1921 in Kensington, London, the youngest of three children of Ronald Elliott, a motor engineer, and his wife, Mabel née Donaldson, a school teacher. She had an older sister, Audrey, and an older brother, Donald. The family was poor; her father suffered, and ultimately died, from tuberculosis and was frequently unemployed, while her mother was barred from working as a school teacher after she was married. The family therefore often had to live on a weekly sickness benefit. For entertainment, they took advantage of free entry to art galleries, museums and libraries. Elliot's direct experience of poverty led to her becoming an ardent socialist later in life. She attended Portobello Elementary School in North Kensington, and won a London County Council scholarship to Christ's Hospital in 1932. She excelled academically, was a prefect, and played hockey for her house. Elliott completed her School Certificate in 1936, earning distinctions in Latin, English and French and a pass in German. She won a Leverhulme Entry Scholarship to the London School of Economics (LSE), which she entered in 1938. Her first-year studies advisor was the economist Vera Anstey, who considered that Elliott had "a decided bent for economic history", Elliot later attributed her interest in the subject to lectures by her second-year studies advisor, Eileen Power, who urged her to pursue an academic career. She won both the Gladstone Memorial Prize and the Lillian Knowles Scholarship for economic history in 1939. Later that year, with the outbreak of the Second World War, the LSE was evacuated to Oxford, where Elliott graduated in 1941 with a BSc degree in economics with first-class honours. ## Civil Service Academic jobs in history were not easy to find in 1941, so Elliott joined the Civil Service, working in the Prices and Statistics Section of the Iron and Steel Control directorate in the Ministry of Supply. She subsequently moved to the Board of Trade, and the Directorate of Housing Fitments, where she rose to the rank of Assistant Principal, before moving to the Cabinet Office in 1945. There she became involved with the Official History of the Second World War, as assistant to Keith Hancock who was overall editor of the United Kingdom Civil Series of books within the Official History. As an official historian of the History of the Second World War: United Kingdom Civil Series, Gowing had access to unpublished official papers and files. She came to know personally many of the politicians and senior civil servants involved. On 7 June 1944, Elliot married Donald James Graham Gowing at the Wimbledon Registry Office. He was a vocalist who had also attended Christ's Hospital before winning a choral scholarship to King's College, Cambridge, in 1939. He had joined the Royal Naval Volunteer Reserve in 1941, and was serving at Combined Operations Headquarters. They married shortly before he was shipped overseas. He was taught Japanese in the United States and went on serve in the Pacific as a translator. The marriage bar was suspended for the duration and Gowing was allowed to remain in the Civil Service. They had two children, both sons: Nicholas Keith (Nik), a journalist who was born in 1951 and named after Hancock, and James, born in 1954. Her husband, frustrated by his lack of professional success compared to hers, became an alcoholic, and died from a massive stroke in 1969. In 1950, Sir Norman Brook attempted to have Gowing retained in the Cabinet Office as the permanent historian, but was stymied by the Treasury and the Civil Service Commission. In 1951, she was told that she had no chance of being appointed to the grade of Principal, which would have carried retirement benefits with it. She later said that her years at the Cabinet Office were the happiest of her life, but she began looking for another position. In 1955, she applied for a chair in economic history at Oxford, and for a position as a reader at LSE, but was unsuccessful. Sir Norman exploited various administrative loopholes to allow her to be retained at the Cabinet Office, and was prepared to make her the Cabinet Office Archivist, but he could not offer her a pension. The Public Records Act 1958 required all government departments to set up archives and records management systems. The United Kingdom Atomic Energy Authority (UKAEA) was nominally exempt from the act, being a government corporation rather than a department, but voluntarily asked to be included under the Act. This created a position at the UKAEA for an historian and archivist. Gowing applied for and secured the job in 1959. This involved organising systems and criteria for the selection for preservation of scientific, engineering and administrative records, and writing the history of the British atomic project since it had begun in 1939, the UKAEA having inherited the files of predecessor organisations including the Tube Alloys Directorate. By this time, the UKAEA employed some 40,000 people in offices, laboratories and factories scattered around Britain. Gowing knew little about atomic energy; she once remarked that when she was appointed, she "didn't know an atom from a molecule". This was rectified, and she won the respect of Sir Christopher Hinton and Sir James Chadwick, and became friends with Nicholas Kurti, Sir Rudolf Peierls and Niels Bohr. At one point she asked Chadwick what he intended to do with all the documents in wooden filing cabinets in his attic, and he just said "burn them". Such heart-stopping moments led her to help establish the Centre for Scientific Archives in 1972. Gowing's first volume, Britain and Atomic Energy 1939–1945, was published in 1964, and achieved widespread acclaim. Stephen Toulmin declared that "No better example of contemporary narrative history of science has yet appeared". It prompted Mark Oliphant to seek the appointment of a historian to the Australian Academy of Science in Canberra, and the Cabinet Office to commission a new series of peacetime official histories in 1966. ## Academia In 1966, Gowing became Reader in Contemporary History at the new University of Kent, Canterbury, covering scientific, technical, economic and social history. The UKAEA retained her as a consultant, paying her £1,000 per annum for three years. Her main task was to write a two-volume sequel to Britain and Atomic Energy 1939–1945 covering the period from 1945 to 1952. To help out, the UKAEA brought in Lorna Arnold from its Health and Safety Division in 1967 to become the Departmental Records Officer (DRO) and Gowing's Assistant Historian. Despite their being accredited as official historians, the Atomic Weapons Establishment would not let them take their notes away, so they had to do their writing on site, under the watchful eye of Aldermaston's DRO. To get there Gowing had to catch the train each day from Canterbury to London Waterloo station, and then the Tube to Paddington and the railway to Reading, where Arnold picked Gowing up in her car and drove to Harwell. Gowing attempted to negotiate better conditions at the University of Kent that would allow more time to work on the books, but this was denied. She applied for a vacant chair in the History and Philosophy of Science at University College London in 1970, without success. Then, in February 1972, Sir Rudolf Peierls and Nicholas Kurti informed her that the University of Oxford had created a new chair in the history of science, the first of its kind in the university's long history. She did not expect to get the chair, but Peierls, Sir Frederick Dainton and Hugh Trevor-Roper were on the selection panel, and in the end offered the chair in the history of science to Gowing, a woman who did not have a degree in history or science. Gowing was based at Linacre College. Her appointment, Roy MacLeod wrote, "struck a conspicuous blow for modern, as against medieval and early modern, science, and for a reading of history that favoured social, economic and political perspectives, as against the examination of scientific practice." She delivered her inaugural lecture, What's Science to History or History to Science?, on 27 May 1975. In this lecture, she examined the reasons why the history of science had grown apart from other forms of history, and endeavoured to reconcile them and bring them together again. In her subsequent Wilkins Lecture in 1976 she examined the history of British prejudice against science dating back to Victorian times. The two-volume opus, Independence and Deterrence: Britain and Atomic Energy 1945–52, finally appeared in 1974. The publication of her books brought accolades. Gowing was elected a Fellow of the British Academy in 1975, and was made a Commander of the Order of the British Empire (CBE) in 1981. She received honorary doctorates in literature from the University of Leeds in 1976, the University of Leicester in 1982, and Manchester in 1985, and in science from the University of Bath in 1987. When she was elected a Fellow of the Royal Society in 1988 under the provisions of Statute 12 of its Charter, which allowed for the election of non-scientists who had made distinguished contributions to science, she became only the third person to become a Fellow of both the British Academy and the Royal Society, after Sir Karl Popper and Joseph Needham. Gowing never got around to writing a planned sequel to Independence and Deterrence that would take the story up 1958, when the nuclear Special Relationship between Britain and the United States resumed. Arnold would later write three books to fill in this gap. In the 1980s, Gowing served as a trustee of the Science Museum, London, and the Imperial War Museum but, remembering her own childhood, she resigned from the latter in protest at the introduction of entry fees. She was also a trustee of the National Portrait Gallery from 1978 to 1992. She began suffering from what was most likely Alzheimer's disease, and retired from Oxford in 1986, two years before the official retirement age. Although she had worked in the Civil Service and Academia for 45 years, only 27 of them counted, so she was not eligible for a full pension; her son Nik supported her. She died at Kingston Hospital in Kingston upon Thames on 7 November 1998. An archive of her papers is held by the Museum of the History of Science in Oxford, presented by her in 1991, with additions on her death.	[ "## Early life", "## Civil Service", "## Academia" ]	2,453	6,119
1,718,809	Too Tough to Die	1,163,255,054	null	[ "1984 albums", "Albums produced by Ed Stasium", "Albums produced by Tommy Ramone", "Hardcore punk albums by American artists", "Heavy metal albums by American artists", "Ramones albums", "Sire Records albums" ]	Too Tough to Die is the eighth studio album by the American punk rock band Ramones. It was released on October 1, 1984, and is the first Ramones record to feature Richie Ramone on drums. With ex-member Tommy Ramone producing (credited as T. Erdelyi), the recording process was similar to that of the band's 1976 self-titled debut album. Likewise, the record's style—both lyrically and compositionally—saw the band returning to their roots. The photograph on the album cover, which features silhouettes of the band members, resulted from a "lucky accident" after photographer George DuBose's camera malfunctioned. The album's overall style leaned toward that of punk rock and heavy metal music, rather than pop music which had been a focus of several of the band's previous albums. Too Tough to Die borrows upon elements such as guitar riffs from 1983's Subterranean Jungle. For the second time, after "Time Bomb" on Subterranean Jungle, bassist Dee Dee Ramone performs lead vocals on the album and receives vocal credits for two tracks. The album also contains the band's only instrumental piece, "Durango 95". Critics appreciated the band's return to earlier methods of writing, recording, and production, noting they had strayed from the pop music genre. Despite critical acclaim, Too Tough to Die performed poorly in album sales. At this point in their career, the album was the band's lowest peaking record on the Billboard 200. ## Recording and production The recording of Too Tough to Die began in the summer of 1984 at the Media Sound Studios in New York City. The album's recording process used similar techniques which were used to record their 1976 eponymous album, with Rolling Stone's Kurt Loder describing it as "virtually live in the studio". The album marked the debut of new drummer Richie Ramone, who replaced Marky Ramone after he was fired for excessive drinking. The album's songs were written mainly by bassist Dee Dee Ramone and guitarist Johnny Ramone, while lead singer Joey Ramone did not participate in the process as much as usual because he "wasn't feeling well" prior to recording. Joey did, however, write the songs "No Go" and "Daytime Dilemma (Dangers of Love)" after receiving help with the guitar part for the latter song by Daniel Rey. Johnny Ramone recalled: > As we got ready to make Too Tough To Die, we were focused in the same direction, and it made a difference. We knew we needed to get back to the kind of harder material we'd become known for. The pop stuff hadn't really worked, and we knew we were much better off doing what we did best. Previous Ramones records featured celebrity record producers in an attempt to gain some sort of popularity. Since this method did not yield the results which they were expecting, Sire Records contacted the producers of 1978's Road to Ruin: Ed Stasium and ex-band member Tommy Ramone. Too Tough to Die has less production value than previous recordings by the Ramones. Because critics often disapproved of the sound quality on End of the Century and Pleasant Dreams, the band leaned towards a harsher sound. Too Tough to Die was also the first of three studio albums that were licensed from Sire Records to the independent record label Beggars Banquet Records for release in the UK. The deal saw the group's work promoted better and resulted placings on the UK album and singles charts. The group had not charted in the UK since 1980's End of the Century. ## Cover art The cover photo for the album was taken by photographer George DuBose in a tunnel in Central Park, New York City, near the Central Park Zoo. In the photo, the band members are standing side-by-side underneath an underpass arch, with their dark silhouettes illuminated in the background with blue lighting and dry ice fog. Johnny wanted the artwork to conceptually refer to the film A Clockwork Orange, released in 1971. DuBose relates: "Johnny wanted a picture that would evoke memories of the gang in A Clockwork Orange." DuBose also stated that the band did not need their faces on the cover because they had grown significantly in popularity; however, he originally intended to include their faces. The photograph on the album cover was a "lucky accident" after DuBose's flashes failed to fire and he unintentionally shot the band members in silhouette. ## Music and compositions Just as the recording methods resembled that of the band's 1970s era, the musical style which they produced also favored the band's earlier approach to punk rock. Even though "Howling at the Moon (Sha-La-La)" featured a synthpop feel, the overall sound leaned more toward heavy metal music rather than pop music, which had been a major focus of the band's writing process throughout the 1980s. Authors Scott Schinder and Andy Schwartz explained: > With Tommy Ramone/Erdelyi and Ed Stasium returning as producers, the album was, to some degree, the Ramones' response to America's burgeoning hard-core punk scene, and did much to restore the band's musical credibility ... Too Tough to Die reclaimed the Ramone's original values of energy, catchiness, and brevity without resorting to retro pandering. It also featured the band's strongest set of songs since Rocket to Russia, with Dee Dee (who wrote or co-wrote nine of the album's thirteen songs) demonstrating a thoughtful, introspective edge on 'I'm Not Afraid of Life' and an apocalyptic social conscience on 'Planet Earth 1988.' Stephen Thomas Erlewine of AllMusic wrote that the album uses the "big guitar riffs" featured on Subterranean Jungle and transfigures them to be "shorter and heavier." The songs featured on the album are mostly rather short and have a considerably fast tempo, which was a typical quality of the band's early work. The album features the only instrumental piece which the band released: "Durango 95", which clocks in at under a minute, being the shortest Ramones track on a studio album. (The album also includes one of the longest Ramones studio recordings, "Daytime Dilemma (Dangers of Love)" on side two.) The title of "Durango 95" is a reference to a car driven in A Clockwork Orange. "Durango 95" and "Wart Hog" are two songs which are in certain parts of both songs, a meter which is extremely rare in punk rock. Too Tough to Die is also the second Ramones release which did not feature lead singer Joey Ramone on each track; both "Wart Hog" and "Endless Vacation" feature bassist Dee Dee Ramone as lead vocalist, while "Durango 95" is a short instrumental. Initially, "Wart Hog"'s appearance on the album was declined by Joey Ramone, but guitarist Johnny Ramone argued for including the song, later stating, "If I hadn't lobbied for them, they wouldn't be on the [album]." The lyrics to the song were not included on the initial printing of the album because Sire considered the drug-inspired lyrics to be too explicit for potential fans. In his autobiography, Commando, Johnny Ramone stated the album title was in reference to a near fatal beating he received in 1983 that required emergency brain surgery. ## Reception Too Tough to Die was generally well received by critics. Music critic Robert Christgau suggested that the album's sound was a retreat to their earlier styles "with the cleansing minimalism of their original conception evoked", saying their initial sound was "augmented rather than recycled." Kurt Loder of Rolling Stone concluded his review by saying that "Too Tough to Die is a return to fighting trim by the kings of stripped-down rock & roll." In a retrospective review, Stephen Thomas Erlewine of AllMusic called it "the last great record [the Ramones] would ever make" and noted that the use of Tommy Ramone as the album's producer was beneficial since it aided in the group returning "to simple, scathing punk rock." He also stated that the album reads "like a reaction to hardcore punk", while still maintaining their more melodic style in songs. The album was the band's lowest peaking record at that point in their career, debuting at number 171 on the US Billboard 200. It also peaked at number 49 on the Swedish Sverigetopplistan chart, and in a revival of fortunes spent three weeks on the UK Albums Chart where it peaked at number 63. The only single released from the album, "Howling at the Moon (Sha-La-La)" (backed with "Wart Hog" in the US and "Chasing the Night" in the UK) peaked at number 85 on the UK Singles Chart, where it spent two weeks. Guitar World magazine placed the album on their list of "New Sensations: 50 Iconic Albums That Defined 1984". ## Track listing Track listing adapted from the Too Tough to Die expanded edition liner notes. Note - Tracks 14 and 15 released in January 1985 as B-sides to the UK single release of "Howling at the Moon (Sha-La-La)". - Tracks 14-16, 18, 21-25 produced by T. Erdelyi and Ed Stasium. Tracks 17, 19 and 20 produced and mixed by T. Erdelyi. - Tracks 16–25 previously unissued. Recorded at Daily Planet Studios, New York, 1984. ## Personnel Personnel adapted from the Too Tough to Die expanded edition liner notes, except where noted. Ramones - Joey Ramone – lead vocals (tracks 1-3, 6-11, 13-18, 21-23, 25) - Johnny Ramone – guitar - Dee Dee Ramone – bass, backing vocals, lead vocals (tracks 5, 12, 17, 19, 20, 23, 24) - Richie Ramone – drums, backing vocals Additional musicians - Walter Lure – additional guitar - Jerry Harrison – synthesizer (track 7) - Benmont Tench – keyboards (track 8) - Ed Stasium – additional guitar (uncredited) - David A. Stewart – additional guitar (track 8) (uncredited) - Daniel Rey – additional guitar (track 9) (uncredited) Production - Tommy Ramone (credited as T. Erdelyi) – producer, associate producer (track 8) - Ed Stasium – producer, associate producer (track 8), engineer - David A. Stewart – producer (track 8) - Mark Cobrin – assistant engineer - Steven Rinkoff – assistant engineer - Glenn Rosenstein – assistant mixing engineer - Jack Skinner – mastering - Tony Wright – cover design - George DuBose – photography ## Charts	[ "## Recording and production", "## Cover art", "## Music and compositions", "## Reception", "## Track listing", "## Personnel", "## Charts" ]	2,293	5,086
25,885,950	Ron Swanson	1,173,587,326	Parks and Recreation character	[ "American male characters in television", "Fictional businesspeople", "Fictional carpenters", "Fictional government officials", "Fictional hunters", "Fictional jazz musicians", "Fictional park rangers", "Parks and Recreation characters", "Television characters introduced in 2009" ]	Ronald Ulysses Swanson is a fictional character portrayed by Nick Offerman in Parks and Recreation, a situational comedy television series. The character was created by Michael Schur and Greg Daniels with inspiration from a real-life Libertarian elected official. Offerman provided creative input, and aspects of his own personality were folded into the character. NBC was initially reluctant to cast Offerman in the role, despite the creators' intentions, until the network finally agreed five months later. For most of the show, Ron Swanson is known as the director of the Parks and Recreation Department of the fictional town of Pawnee, Indiana, and the immediate superior of the deputy director, as well as the series' protagonist, Leslie Knope (Amy Poehler). He has a deadpan personality and actively works to make the government less effective. He despises interacting with the public and claims to not be interested in the lives of those around him, but he actually cares for his colleagues and has a particularly strong respect for Knope. Offerman's portrayal of Ron Swanson has received widespread critical acclaim. The character developed a cult following and is widely considered the breakout character of the series. He was described by some critics as one of the best characters in a comedy television series in decades, and his platonic relationship with Knope has been compared to that of Mary Richards and Lou Grant in The Mary Tyler Moore Show. For his performance as Ron Swanson, Offerman won the TCA Award for Individual Achievement in Comedy with Ty Burrell of Modern Family. ## Development Ron Swanson was created by Parks and Recreation creators Greg Daniels and Michael Schur. The character's traits were partially inspired by a real-life Libertarian elected official who favored as little government interference as possible that Schur met in Burbank while researching for the show. Nick Offerman had some input into the character's creation, and many aspects of the character were based on the actor's, such as the character's deadpan personality, which Offerman cultivated when he was an altar boy. Other aspects included his woodworking abilities and experience in stage combat and Kabuki. Like Swanson, Offerman played the saxophone, but the writers of the show weren't aware of the fact when developing the character. According to Offerman, NBC was initially reluctant to cast him as the character, despite Schur and Daniels' intentions. After failing to convince the creators to find other actors for the role, the network finally acquiesced five months later. ## Character role In the first six seasons of Parks and Recreation, Swanson served as the director of the Pawnee City Department of Parks and Recreation, a role he had for six years when the series began. In the first eleven episodes of the seventh season, in which the show is fast-forwarded to 2017, it is revealed that he had quit his job two years prior and started his own company called the Very Good Building Company. In the last two episodes of the seventh season, which partly take place in the future, Swanson has resigned from the company, and Knope in turn makes him the superintendent of Pawnee National Park. Offerman appeared in all 125 episodes of the show except for "Beauty Pageant". He reprised his role in a 2020 special featuring the original cast, titled A Parks and Recreation Special, which served as a fundraiser for Feeding America's COVID-19 Response Fund. ### Personality Ron Swanson is known for his deadpan personality and adherence to many stereotypically masculine traits, like supposedly only having cried two times. Being an extremely private person, he goes so far as to redact his birthday from government documents to keep others from holding parties for him. He enjoys outdoor activities such as hunting, fishing, camping, and woodworking, as well as eating breakfast foods and red meat. He is also able to drink heavily without getting hungover and can chug an entire bottle of alcohol in one go. Swanson knows almost nothing about popular culture; for instance, he only recognizes Julia Roberts as the "toothy gal from Mystic Pizza.” ### Director of the Parks and Recreation Department As director of the Parks and Recreation Department, Swanson puts almost no effort into his job and purposely hires people who are bad at their jobs, like April Ludgate and Andy Dwyer, so they will slow down the government. He believes that parks should be privatized and run entirely by corporations for profit, and thus originally did not intend to help Leslie Knope with the park project. This can be explained by his being a strong advocate for small government and believing that the government model should be abolished. He also despises talking to members of the public, choosing to mount a rifle on his desk to scare people away. However, he occasionally demonstrates himself as a good manager; although he has claimed to not be interested in the lives of those around him, he actually cares for them more than he does himself. In "The Bubble", after Chris Traeger enacted numerous changes to the parks department that Swanson thought did not play to his staff's strengths, he makes a deal for Traeger to undo the changes after he has spent one more week interacting with the public. Swanson develops an avuncular relationship with Andy Dwyer, and he even pays for Dwyer's college course when he cannot afford it in "Smallest Park". Despite sharing nearly opposite views, Swanson gets along well with Knope, and the two share a strong mutual respect. Swanson even stood up for Knope on multiple occasions, such as in "Freddy Spaghetti", where upon learning about the auditors' plan to fire Knope, he refuses and offers her his job instead. ### Personal life Before the start of Parks and Recreation, Ron had two ex-wives, both of whom were named Tammy. Ron despises and fears both of his ex-wives, and they are among the few individuals in the world who can break Ron's usually unwavering stoicism. Nevertheless, Ron shares an extremely passionate sexual connection with his second ex-wife. In "How a Bill Becomes a Law", Swanson meets Diane Lewis, and in the season six series premiere "London", it is revealed that Lewis is pregnant, and the pair gets married. Lewis subsequently gave birth to a baby boy named John, as revealed in "The Wall". Swanson secretly performs at out-of-town bars as a saxophonist named Duke Silver, which he keeps secret from his colleagues in Pawnee. He fronts a band called the Duke Silver Trio and has released such albums as Memories of Now, Smooth as Silver, and Hi Ho, Duke. His music is especially popular with older women, who find Duke Silver extremely attractive. Eventually, in the two-part season six finale "Moving Up", he publicly reveals his secret identity at the Unity Concert. ## Reception The character of Ron Swanson received universal acclaim; he developed a cult following and is widely considered the show's breakout character. Joel Keller of TV Squad called Swanson "one of the more inspired sitcom characters of the last decade", and Geoff Berkshire of Variety said that the character would "go down in TV history as one of the all-time comedy greats." Gail Pennington of the St. Louis Post-Dispatch called Nick Offerman "the funniest guy on TV". During the second season, Alan Sepinwall called Swanson "easily the show's best creation so far", and during the third season he wrote, "Swanson being both awesome and hilarious is something Nick Offerman and these writers can do in their sleep by now." Sal Basile of UGO Networks wrote, "How anyone can make Ron Swanson of Parks and Recreation likable is beyond us, but Offerman does it effortlessly. Before we knew it we couldn't wait to see Swanson's reactions to the slightest of problems." While initially critical of the character at the start of the show, by the second season, Matt Fowler of IGN thought that the character had improved and became "an absolute stand-out in the series." Offerman was particularly praised for his subtle minimalism and facial expressions, particularly the use of his eyebrows. Jonah Weiner of Slate said Swanson "has regularly stolen his scenes" and that Offerman has "a gift for understated physical comedy", and Steve Heisler of The A.V. Club said Offerman was not only funny but capable of expressing a surprising range of emotions. The second-season episode "Ron and Tammy", which predominantly featured Ron and his second ex-wife, is widely considered one of the best Parks and Recreation episodes. A quote from Swanson from "The Stakeout": "I was born ready. I'm Ron fucking Swanson," led fans and reviewers to call him "Ron Fucking Swanson." Several reviewers have praised the platonic relationship between Swanson and Knope, which has been compared to that of Mary Richards and Lou Grant in The Mary Tyler Moore Show. Josh Jackson of Paste ranked him No. 2 in his list of the 20 Best Characters of 2011, saying: "In four seasons, Ron has become the standout in a cast of incredible characters, and already seems poised to join the elite list of TV’s greatest comedic characters." Fans created websites based on him, like "Cats That Look Like Ron Swanson", and after Swanson misunderstood a turkey burger to be "a fried turkey leg inside a grilled hamburger", the food website Eater created and posted a recipe for it. An image of a fake Ron Swanson-themed Ben & Jerry's ice cream was circulated online, to which Ben & Jerry's responded positively. For his performance as Ron Swanson, Nick Offerman received two nominations for a TCA Award for Individual Achievement in Comedy in 2010 and 2011, winning the latter with Ty Burrell of Modern Family. Offerman was also nominated for Best Supporting Actor in a Comedy at Entertainment Weekly's EWwy Awards in 2010. Despite critical success, Offerman never received an Emmy Award nomination for his role. Several reviewers expressed particular surprise that he did not receive a nomination for the 63rd Primetime Emmy Awards in 2011, which many considered the biggest snub of the season. Amy Poehler in particular was outraged by Offerman's snub and said it was "a hot load of bullshit that [Offerman] didn't get nominated." Multiple other actors, including Michelle Forbes and Ty Burrell, stated that they believed Offerman should have been nominated, and Burrell added that Offerman deserved the nomination more than he did.	[ "## Development", "## Character role", "### Personality", "### Director of the Parks and Recreation Department", "### Personal life", "## Reception" ]	2,156	8,993
26,354,173	Director Park	1,095,499,908	Public park in Portland, Oregon, U.S.	[ "2009 establishments in Oregon", "Parks in Portland, Oregon", "Protected areas established in 2009", "Southwest Portland, Oregon", "Urban public parks" ]	Director Park (officially Simon and Helen Director Park) is a city park in Portland in the U.S. state of Oregon. Opened in 2009 at a cost of \$9.5 million, it covers a 700-space underground parking garage, which connects underground to the Fox Tower and the Park Avenue West Tower. Located in downtown on Southwest Park Avenue, the nearly half-acre urban park lacks any natural areas and contains little vegetation. Features at the park include a fountain, artworks, a cafe, and a distinctive glass canopy. Director Park was designed by Laurie Olin of the design firm OLIN, and the Portland-based architectural firm ZGF Architects. The park is part of what had originally been planned as a corridor of consecutive public parks stretching across downtown Portland. This plan included what are today the South Park Blocks and the North Park Blocks. Proposals to connect the two sets of park blocks arose in the 1970s, and in 1998 businessman Tom Moyer made a proposal for what became Director Park. Planning began in the mid-2000s, and construction began in 2008. ## History Daniel H. Lownsdale reserved the Park Blocks for public use in his 1848 platting of Portland, but didn't actually donate land to the city. As historian E. Kimbark MacColl stated, "By no stretch of the imagination could he be cited as a 'philanthropist.' He was greedy like most of his partners.... The record is clear: Daniel Lownsdale was a visionary but shifty character whose land speculation helped to spawn more litigation in Portland than in any other western city of comparable size." Chet Orloff wrote an editorial in 2001 stating "six crucial blocks were lost to greed, government reluctance, poor estate planning and an adverse court decision." The park land was previously used for surface parking, and contained an early "food cart institution", the Snow White House crêperie. Developer Tom Moyer wanted to redevelop the block since the 1970s. The City Club of Portland held a significant meeting in 1992 about the fate of the Central Park Blocks, also called the Commercial Park Blocks. Moyer and the PDC opposed "the downtown parking magnate" Greg Goodman's plans to turn the block into a 550-space 12-story parking structure in 1995, which was to be called the Park Avenue Plaza. Neil Goldschmidt said the parking structure would be "like putting lipstick on a dead corpse" and Bill Naito said that a "12-story garage won't go away. This is a chance to do something special. We should try to do something special every decade." Moyer proposed the park in February 1998, in a move later described as Moyer's "march to reunite" the North and South Park Blocks. Both the Portland Development Commission and the Portland Parks Foundation (Moyer, Goldschmidt) were in favor of Portland Planning Director Gil Kelley's 2001 recommendation for the area, which favored a new midtown Park Block as well as "thematically consistent development" along the blocks. The foundation raised \$500,000 from 20 patrons, and had an agreement from building owner Joe Weston to donate a building to make way for the park blocks. Others, including the Portland chapter of American Institute of Architects, Vera Katz, Laurie Olin, and Michael Powell (of Powell's Books) were against the plan, with Powell saying "I was sort of under the impression that people came downtown to work and shop, not to gain a rural experience". By 2004, the idea to reunite the Park Blocks through midtown was dead, due to Neil Goldschmidt moving out of the spotlight during his sex abuse scandal, Vera Katz's disapproval of the plan, and because Moyer was "tired of swimming upstream" against the city council. The park was originally titled South Park Block 5. It was designed by Laurie Olin and ZGF Architects. Olin also designed Bryant Park in New York, as well as the redesigns of Pershing Square in Los Angeles and Columbus Circle in New York. ZGF and Olin had competed against the team of Robert Murase, SERA Architects, and Christian Moeller. The budget in 2006 was \$2.1 million, which included renovations to O'Bryant Square and Ankeny Park (which have not been renovated, as of 2010). Developer Tom Moyer had previously donated \$1 million and asked the park be named Marilyn Moyer Park, after his deceased wife. Moyer also donated the surface space for the park, using the space underground for 700 spaces of additional parking, connecting the parking of Moyer's Fox Tower and Park Avenue West Tower. During a time of budget shortfalls, the city, the public steering committee (headed by Chet Orloff), and Tom Moyer were willing to give away naming rights in exchange for further funding. Jordan Schnitzer, a local developer, donated \$1.97 million for the plaza and asked city commissioners to name it for his maternal grandparents, Simon and Helen Director. Simon was born in Russia, Helen was born in Poland, and they met in Portland in 1916. Since plans for reconnecting the midtown Park Blocks had been squelched due to Moyer's announcement of Park Avenue West Tower, which "drove a stake through its heart", the Park Blocks Foundation, started by Goldschmidt and Moyer but headed by Jim Westwood by 2007, suspended conversations to donating Park Blocks Foundation cash to build the surface of Park Block 5. With Schnitzer's funding, the budget increased to \$5.5 million when construction began in May 2008. The park, originally expected to be completed by late 2008, was dedicated on October 27, 2009, with a performance by BodyVox. The total cost was nearly \$9.5 million, with \$4.5 million from the Portland Development Commission, \$1.9 million from the City of Portland, and \$2.9 million in private donations, mainly from Schnitzer and Moyer. In June 2015, it was announced that the park needed \$790,000 in repairs to replace the wooden beams in the glass canopy with steel beams. ## Design The park is paved in light granite and includes a 1,000 square feet (93 m<sup>2</sup>) glass canopy with space for a cafe, meeting Moyer's requirement that 30% of the space be devoted to commercial activity. It is curbless on 9th Avenue and 10th Avenue, allowing pedestrians to take a greater priority, and for the avenues to be closed for larger events. In 2011, Director Park was one of five finalists for the Urban Land Institute's Amanda Burden Urban Open Space Award. The award is meant to "[recognize] an outstanding example of a public open space that has enriched and revitalized its surrounding community." The other four finalists were Portland's Jamison Square, Houston's Discovery Green and Raymond and Susan Brochstein Pavilion, and St. Louis' Citygarden, the last of which ultimately won the prize on May 19, 2011. The wood beams under the glass canopy were determined to be defective in 2014, and a plan was made to replace them in September 2015 with steel beams. ZGF agreed to pay \$602,000 to replace the wood beams, with the city paying an additional \$188,000 to upgrade to steel beams. ## Park operations The cafe Violetta was run by local restaurateur Dwayne Beliakoff. Elephant's in the Park, a branch of the local chain Elephants Delicatessen, replaced Violetta as the cafe tenant early in 2012. As of 2015, Elephants pays \$23,292 in rent per year. The park will cost an estimated \$475,000 to run per year. ## See also - List of parks in Portland, Oregon	[ "## History", "## Design", "## Park operations", "## See also" ]	1,644	36,313
4,577,735	The One Hundredth	1,120,235,621	null	[ "1998 American television episodes", "Friends (season 5) episodes" ]	"The One Hundredth" (also known as "The One with the Triplets") is the third episode of Friends' fifth season and 100th episode overall. It first aired on the NBC network in the United States on October 8, 1998. Continuing from the previous episode, the group arrive at the hospital after Phoebe (Lisa Kudrow) goes into labor and gives birth to her half brother Frank's (Giovanni Ribisi) and his wife Alice's (Debra Jo Rupp) triplets. Meanwhile, Rachel (Jennifer Aniston) tries to set Monica (Courteney Cox) and herself up with two male nurses, which causes problems between Monica and Chandler (Matthew Perry), and Ross (David Schwimmer) supports Joey (Matt LeBlanc) as he experiences kidney stones. The episode was directed by Kevin S. Bright and co-written by series creators David Crane & Marta Kauffman. The producers wanted to mark the landmark episode with a major event, choosing to bring a culmination to Phoebe's surrogacy storyline. Earlier scripts had the character insistent on keeping hold of the babies, with the writers later deciding it would be better off having a sendoff, to keep it dramatic. In its original broadcast on NBC, "The One Hundredth" acquired a 17.7 Nielsen rating, finishing the week ranked second and received good reviews since airing. ## Plot Phoebe arrives at the hospital with the group, where she tells the nurse at the desk that she is in labor. In Phoebe's hospital room, Ross and Rachel enter with bad news: her doctor fell and hit her head in the shower, meaning she is unable to make it to the birth. The replacement doctor, Dr. Harad, assures Phoebe that she is in good hands, until he spontaneously declares his admiration for Fonzie, from Happy Days several times. Phoebe demands that Ross find her another doctor, but when the replacement Dr. Oberman (T. J. Thyne) is too young for her liking, Dr. Harad returns. She moreover begs Rachel to talk to her brother Frank, to try and convince him to let her keep one of the triplets, after having second thoughts over the surrogate process. In the delivery room, Phoebe gives birth to a boy and two girls. Rachel breaks the news to Phoebe that she will not be able to keep one of the babies. Phoebe asks her friends to leave, in order to have a moment alone with the triplets. She tells the babies she wishes she could take them home and see them every day, but she will settle for being their favorite aunt, and the four of them cry together. Rachel informs Monica that she has found two male nurses who are interested in going out on date with them. Monica declines the offer at first, not wanting to jeopardize her secret relationship with Chandler, but when he annoys her by assuming that she is willing to go out with nurse Dan (Patrick Fabian), Monica decides to date him after all. After Phoebe gives birth, Chandler approaches Monica in a hallway to ask if she is really going to date Dan. She replies to him that since both of them are just "goofing around", she figured why not "goof around" with Dan too; Chandler asks if Monica had checked the term in the dictionary, noting the technical definition is "two friends who care a lot about each other, and have amazing sex, and just want to spend more time together". Monica, smitten by Chandler's words, kisses him and goes to call off her date with Dan. Meanwhile, Joey is in a hospital room of his own, where a doctor informs him that he is suffering from kidney stones. As they are too close to his bladder, Joey is given two options: wait until he passes them naturally, or have a procedure, which he finds too invasive. Opting for the former, he gives 'birth' to the kidney stones, concurrent with Phoebe's birth. ## Production "The One Hundredth" was co-written by show creators David Crane and Marta Kauffman and directed by Kevin S. Bright. The episode takes place in a hospital, meaning none of the usual filming sets were used, thus surprising several members of the audience. Crane commented that the hundredth episode was a "big milestone" for the series and to mark the major event, Lisa Kudrow's character Phoebe would give birth to triplets. This brought a culmination to the surrogacy story arc, which began in the fourth season; it was developed to accommodate Lisa Kudrow's real life pregnancy. When Kudrow accepted the surrogate mother storyline, the idea of having more than one baby was "comically funny" to Kauffman, and giving birth to triplets or "their brother's children" was something never seen on television. Phoebe's pregnancy gave the writers incredible license for her to "be just outrageously mean and still have it be funny". In order to prepare for the labor and birthing scenes, Kauffman watched a video of her cousin giving birth. In earlier drafts of the episode, the idea of Phoebe keeping one of the babies was more extreme. The writers decided instead they were better off having the character saying goodbye to keep it dramatic. The birth scenes were recorded in advance to deal with light sensitivity and noise issues. Heidi Beck, a professional nurse was retained; she acquired a stop watch for every minute the baby was under the light. Real life triplets were used and coated with grape jelly as an alternative to vernix. In the final scene, dolls were employed as it was filmed in front of the studio audience. The main subplot involved Monica and Chandler discussing their relationship. The writers felt they needed an additional subplot, involving Joey going through a parallel experience to Phoebe's pregnancy—the difference being him "giving birth" to a kidney stone. This meant doing research on the condition, finding it "really disturbing stuff". Matt LeBlanc and Matthew Perry had a difficult time filming the prognosis scene as actor Iqbal Theba, who played Joey's doctor, pronounced 'kidney stone' in a humorous manner. ## Reception In its original American broadcast, "The One Hundredth" finished second in ratings for the week of October 5–11, 1998, with a Nielsen rating of 17.7. It was the second-highest rated show on the NBC network that week after ER. In the United Kingdom the episode premiered on Sky1 on January 21, 1999, and was watched by 2.17 million viewers, making the program the most watched on the channel that week. Entertainment Weekly rated the episode "B", in its review of the fifth season. It criticized the "Arthur Fonzarelli-obsessed obstetrician," plot, though going on to praise Phoebe's "sweet interaction" with the newborn babies. Robert Bianco of USA Today felt the episode made use of the entire ensemble, noting "Phoebe's predictably and humorously off-center response to labor" being the highlight. Colin Jacobson of DVD Movie Guide disapproved of Ribisi's performance, adding "Ultimately, "One Hundredth" had some good moments, but it wasn't a great episode." "The One Hundredth" was Kudrow's favorite episode of the series. She liked the episode as "it was nice that Phoebe could play such a big part in something as momentous as the 100th episode".	[ "## Plot", "## Production", "## Reception" ]	1,545	27,070
37,741,230	Ernest Melville Charles Guest	1,056,839,259	Southern Rhodesian RAF pilot	[ "1920 births", "1940s missing person cases", "1943 deaths", "Aerial disappearances of military personnel in action", "Aviators killed by being shot down", "Missing in action of World War II", "People from Harare", "People lost at sea", "Recipients of the Distinguished Flying Cross (United Kingdom)", "Royal Air Force personnel killed in World War II", "Royal Air Force pilots of World War II", "Southern Rhodesian military personnel killed in World War II", "White Rhodesian people" ]	Ernest Melville Charles Guest DFC (May 1920 – 4 October 1943) was a Southern Rhodesian Royal Air Force pilot of the Second World War. He was awarded the Distinguished Flying Cross in 1942 having flown more than 1,000 operational hours. Posted to South Africa as a flight navigation instructor, he was unhappy and got himself transferred back to England on operational duties. He soon went missing in October 1943 after taking on six Ju 88s while on an anti-submarine sortie. ## Early life Ernest 'Melville' Guest was born in Salisbury, Southern Rhodesia, in May 1920, one of the twin sons of Ernest Lucas Guest, a prominent Rhodesian politician. Before the outbreak of the Second World War, he was nominated by the Governor of Southern Rhodesia to be a Royal Air Force cadet at RAF College, Cranwell. He was granted a permanent commission as Pilot Officer in the General Duties Branch on 9 October 1939. ## Career Shortly after he passed out of Cranwell, he returned home on leave to attend the wedding of his elder sister, Gwen, and a telegram addressed to him was included by mistake in the congratulatory telegrams read out at the reception. It read: "Return to England immediately and report to Air Ministry". He was posted to No. 206 Squadron RAF and flew a number of sorties over enemy territory. When Queen Wilhelmina of the Netherlands, along with Crown Princess Juliana and other members of the Dutch Royal Family fled to England in May 1940 aboard the British destroyer HMS Hereward, Guest was in the air escort that accompanied her to safety. He was promoted to Flying Officer on 9 October 1940 and then Flight Lieutenant on 9 October 1941. In the meantime, he was posted to the Gambia in June 1941 with No. 200 Squadron RAF, which was formed from a section of No. 206 Squadron. Later, he transferred to 61 Air School at George, Cape Province, South Africa, as a navigation instructor. He was unhappy at George and soon sought to return to operational duty. Guest returned to England and joined No. 53 Squadron RAF in 1943, flying B-24 Liberator bombers from RAF Thorney Island on anti-submarine patrols over the Bay of Biscay. Soon after arriving in England, on 4 October 1943, his and another aircraft were sent out on patrol. They were attacked by six Ju 88s. The other aircraft sought the protection of the clouds, but Guest decided to fight it out. He did not return. He was pronounced missing in January 1944. Guest is commemorated on the Runnymede Memorial. ## Honours As well as two Mentions in Despatches, he was awarded the Distinguished Flying Cross in 1942: > "This officer has now completed over 1,000 hours operational flying. His qualities of endurance are phenomenal, his ability as a pilot is exceptional, and his devotion to duty is of the highest order. All his work has been done quietly and efficiently. He has set an excellent example to the younger pilots of the Squadron." ## Family Guest married Katherine Mary Hustler of Pannal, Yorkshire in Knaresborough in 1941. A few weeks after his death on 4 October 1943, she gave birth to their son, Melville, on 18 November. ## See also - List of people who disappeared mysteriously at sea	[ "## Early life", "## Career", "## Honours", "## Family", "## See also" ]	723	14,177
23,289,930	Millennium (season 2)	1,068,783,254	null	[ "1997 American television seasons", "1998 American television seasons", "Millennium (season 2) episodes" ]	The second season of the serial crime-thriller television series Millennium commenced airing in the United States on September 19, 1997, concluding on May 15, 1998 after airing twenty-three episodes. It tells the story of retired FBI Agent Frank Black (Lance Henriksen). Black lives in Seattle, Washington with his wife Catherine (Megan Gallagher) and daughter Jordan (Brittany Tiplady). He works for a mysterious organization known as the Millennium Group, investigating murders using his remarkable capability of relating to the monsters responsible for horrific crimes. After killing a man who stalked and kidnapped Catherine, Black faces tension within his family while simultaneously being drawn deeper into the sinister Group. The season began with "The Beginning and the End", which marked the first episode of the series helmed by new co-executive producers Glen Morgan and James Wong, who would remain in charge for the full season. Accolades earned by the season include a Bram Stoker Award nomination for Darin Morgan's "Somehow, Satan Got Behind Me", a Primetime Emmy Award nomination for "Jose Chung's Doomsday Defense" guest star Charles Nelson Reilly and a Young Artist Award win for Tiplady. ## Production The second season saw series creator Chris Carter step down as executive producer, being replaced by the team of Glen Morgan and James Wong. Morgan and Wong had previously written episodes for the series in its first season, and had worked with Carter on his first television series The X-Files. Morgan and Wong left similar positions on The X-Files to take up the Millennium roles, with Fox president Sandy Grushow saying that "with Chris writing and producing X-Files' fifth season, as well as the feature film, it was critical that we identify exec producers who could enable Millennium to grow". Discussing plans for the season, Morgan noted that "the Millennium Group is a much deeper organization" than seen in the first season, adding that "they're considering [Frank Black] for a candidate for the group (and) trying to show him that at the millennium there's going to be an event - either fire and brimstone or harmonic convergence". Wong spoke about how the character of Catherine Black changed, saying "there's a different relationship between Frank and his family this season because of the separation ... I think that will not only bring some kind of heartfelt drama but humor into it". Wong also stated "we don't want to have the audience expect to see a serial killer every week. ... We would like to make it so that it's a surprise to them, just like it is a surprise when you watch The X-Files". Producer John Peter Kousakis has noted that the first and second seasons, and the third season after those, were markedly different, crediting each season's differing approach to the changes in leadership behind the scenes; Kousakis felt that the character of Frank Black remained the main constant throughout the series. Fellow producer Ken Horton felt that the change in focus for season two arose as the first season's focus on serial killers had "overpowered" its storytelling, making it necessary to focus attention elsewhere instead; the focus switched from external forces and villains to the internal workings of the Millennium Group. The series' musical supervisor Mark Snow found that Morgan and Wong brought another new element to the series—the music of Bobby Darin, which has been a hallmark of the duo's work. Darin's music accompanied Snow's scores in a number of episodes, often as diegetic music being listened to by Lance Henriksen's character. Snow believed this gave the character a down-to-earth, everyman feel. ## Cast ### Starring - Lance Henriksen as Frank Black - Megan Gallagher as Catherine Black ### Recurring cast #### Also starring - Brittany Tiplady as Jordan Black #### Guest starring - Terry O'Quinn as Peter Watts - Peter Outerbridge as Barry Baldwin - Stephen E. Miller as Andy McClaren ## Reception ### Accolades The second season earned several awards and nominations for those associated with the series. Tiplady and "Monster" guest star Lauren Diewold earned nominations at the 1998 Young Artist Awards, with Tiplady winning in the category Best Performance in a TV Comedy/Drama – Supporting Young Actress Age Ten or Under. Henriksen earned a Golden Globe Award nomination for Best Actor in a Television Series Drama, losing out to Anthony Edwards as ER's Mark Greene At the Primetime Emmy Awards, the series earned two nomination. Charles Nelson Reilly earned an acting nod for his guest role in "Jose Chung's Doomsday Defense", losing out to The Practice's John Larroquette. Millennium also earned a nomination for Outstanding Sound Editing for a Series, losing the award to ER. The season also produced a Bram Stoker Award nomination in 1999, for Darin Morgan's episode "Somehow, Satan Got Behind Me"; the award was won jointly by Bill Condon for Gods and Monsters and Alex Proyas, David S. Goyer and Lem Dobbs for Dark City. ### Critical reception Writing for Slant magazine, Keith Uhlich gave the season an overall rating of three-and-a-half stars out of five, finding that the appointment of Morgan and Wong was "an inspired choice that led to, arguably, the finest episodic run ever produced under [series creator Chris] Carter's Ten-Thirteen Productions banner". Uhlich found that the season was torn between episodes remaining true to the Carter-led first season's "serial killer of the week" format and make-it-up-as-you-go-along approach to storytelling", and Morgan and Wong's attempt to introduce a continuous story arc which lent a "sealed-off feel" to the season, finding that the latter approach lead to a "compulsively watchable" but largely dated end result. DVD Talk's Bill Gibron rated the season overall four-and-a-half stars out of five, finding that the new thematic direction was "right on the money". Gibron felt that the season "was truly ahead of its time. It predates and predicts such fashionable fads as The Da Vinci Code, the omens of terrorist evil and the slow erosion of the citizenry's faith in the Federal Government". Emily VanDerWerff, writing for The A.V. Club, wrote that "the second season of Millennium is some sort of work of weird genius". VanDerWerff added that the season "moves like a series with a new purpose, with a new sense of meaning. Morgan and Wong start tossing ideas at the wall with a thrilling abandon, almost as if they were pretty sure they’d never work in Hollywood again". Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated several episodes across the season highly, awarding five stars out of five to "The Curse of Frank Black", "Jose Chung's Doomsday Defense", "Midnight of the Century", "A Room with No View", "The Fourth Horseman" and "The Time Is Now". However, several episodes rated poorly, with "Beware of the Dog", "A Single Blade of Grass", "The Hand of St. Sebastian", "Roosters", "In Arcadia Ego" and "Anamnesis" being seen as particularly poor. In all, Shearman singled out the season's climactic two-part episodes "The Fourth Horseman" and "The Time Is Now" as the highlight of the season, finding that Morgan and Wong took a considerable risk with the storyline as they believed the series would be cancelled at the end of the season, but believing that the episodes gained from this additional level of attempted closure. ## Episodes	[ "## Production", "## Cast", "### Starring", "### Recurring cast", "#### Also starring", "#### Guest starring", "## Reception", "### Accolades", "### Critical reception", "## Episodes" ]	1,576	28,241
25,643,106	Slade's Case	1,171,707,131	Case in English contract law that ran from 1596 to 1602.	[ "1600s in case law", "1602 in English law", "Court of Exchequer Chamber cases", "English contract case law" ]	Slade's Case (or Slade v. Morley) was a case in English contract law that ran from 1596 to 1602. Under the medieval common law, claims seeking the repayment of a debt or other matters could only be pursued through a writ of debt in the Court of Common Pleas, a problematic and archaic process. By 1558 the lawyers had succeeded in creating another method, enforced by the Court of King's Bench, through the action of assumpsit, which was technically for deceit. The legal fiction used was that by failing to pay after promising to do so, a defendant had committed deceit, and was liable to the plaintiff. The conservative Common Pleas, through the appellate court the Court of Exchequer Chamber, began to overrule decisions made by the King's Bench on assumpsit, causing friction between the courts. In Slade's Case, a case under assumpsit, which was brought between judges of the Common Pleas and King's Bench, was transferred to the Court of Exchequer Chamber where the King's Bench judges were allowed to vote. The case dragged on for five years, with the judgment finally being delivered in 1602 by the Chief Justice of the King's Bench, John Popham. Popham ruled that assumpsit claims were valid, a decision called a "watershed" moment in English law, with archaic and outdated principles being overwritten by the modern and effective assumpsit, which soon became the main cause of action in contract cases. This is also seen as an example of judicial legislation, with the courts making a revolutionary decision Parliament had failed to make. ## Background Under the medieval common law, there was only one way to resolve a dispute seeking the repayment of money or other contract matters; a writ of debt, which only the Court of Common Pleas could hear. This was archaic, did not work against the executors of a will and involved precise pleading; a minor flaw in the documents put to the court could see the case thrown out. By the middle of the 16th century lawyers had attempted to devise an alternative using the action of assumpsit, which was technically a type of trespass due to deceit. The argument was based on the idea that there was an inherent promise in a contract to pay the money, and that by failing to pay the defendant had deceived the plaintiff. By 1558 the lawyers had succeeded, with the Court of King's Bench agreeing to hear cases under this piece of legal fiction. The judges of the Common Pleas, however, a more traditional group, rejected this argument and only accepted cases where an actual promise had been made in addition to the contract. The action of assumpsit had several advantages over a writ of debt; the plaintiff could count on always having a jury, while in writs of debt the defendant could rely on wager of law, where he produced twelve people to swear he did not owe the plaintiff money and had the case dismissed. In addition, it worked for executory agreements, not just normal contracts. In 1585 a new form of the Court of Exchequer Chamber was set up, an appellate court where the Common Pleas judges held a majority, and regularly began to reverse King's Bench judgments which were based on assumpsit. This, and the conflict between the King's Bench and the Common Pleas as a whole, was problematic; a plaintiff at assizes could not be sure which sort of judge his case would come before, lending uncertainty to the law. Boyer suggests that, in this environment, the Chief Justice of the King's Bench John Popham deliberately provoked the Common Pleas to resolve the matter, and did so through Slade's Case. ## Facts John Slade was a grain merchant, who claimed that Humphrey Morley had agreed to buy a crop of wheat and rye from him, paying £16, and had reneged on the agreement. He brought the case before the assizes in 1596, where it was heard by two judges; one of the Common Pleas, and one of the King's Bench. It was heard under assumpsit, and the jury found that Morley indeed owed Slade money. Before a judgment could be issued, Popham had the case transferred to an older version of the Court of Exchequer Chamber, which, sitting in Serjeant's Inn, allowed the King's Bench judges to sit. Edward Coke was counsel for Slade, arguing that the King's Bench had the power to hear assumpsit actions, along with Laurence Tanfield, while Francis Bacon and John Doddridge represented Morley. The quality of legal argument was high; Bacon was a "skillful, subtle intellect" capable of distinguishing the precedent brought up by Coke, while Doddridge, a member of the Society of Antiquaries, knew the records even better than Coke did. Coke, rather than directly confronting opposing counsel, made a twofold argument; firstly, that the fact that the King's Bench had been allowed to hear assumpsit actions for so long meant that it was acceptable, based on institutional inertia, and second that, on the subject of assumpsit being used for breaches of promise, that the original agreement included an implied promise to make payment. The case continued for five years; at one point, the judges let the matter continue for three years because they could not reach a decision. Eventually, in November 1602, Popham issued a judgment on behalf of the court which stated "Firstly, that every contract executory implies in itself a promise or assumpsit. Secondly, that although upon such a contract an action of debt lies, the plaintiff may well have an action in the case upon the assumpsit." Coke, in his report of the case (published in 1604) reports that the judgment was unanimous, while more modern commentators such as Boyer assert that it was narrow, most likely 6 to 5, with the dividing line being between the King's Bench judges and Common Pleas. ## Judgment Lord Popham CJ held that Slade could sue, and was successful. He said the following. > 3\. It was resolved, that every contract executory imports in itself an assumpsit, for when one agrees to pay money, or to deliver anything, thereby he promises to pay, or deliver it; and therefore when one sells any goods to another, and agrees to deliver them at a day to come, and the other in consideration thereof promises to pay so much money to the other, in this case both parties may have an action of debt, or an action upon the case on assumpsit, for the mutual executory agreement of both parties imports in it self reciprocal action upon the case, as well as action of debt, and therewith agrees the judgment in Reade and Norwoods Case, Pl. Comm. 128. > 4. It was resolved, that the plaintiff in this action upon the case upon assumpsit shall not recover only damages for the special loss (if any be) which he has, but also for the whole debt, so that recovery or barre in this action shall be a good bar in an action of debt brought upon the same contract; so vice versa, a recovery or bar in an action of debt is a good bar in an action upon the case upon assumpsit. ## Significance The impact of the case was immediate and overwhelming. Ibbetson considers Slade's Case to be a "watershed" moment, in which the archaic and conservative form of law was overwritten by a modern, more efficient method. Assumpsit became the dominant form of contract cases, with the door "opened wide" to plaintiffs; Boyer suggests this was perhaps "too wide". In his Commentaries on the Laws of England, William Blackstone explained that this was the reason why the Statute of Frauds was subsequently passed in 1677: > Some agreements indeed, though ever so expressly made, are deemed to be of so important a nature, that they ought not to rest in verbal promise only, which cannot be proved but by the memory (which sometimes will induce the perjury) of witnesses. The case is particularly notable as an example of judicial legislation, with the judges significantly modernising the law and moving it forward in a way Parliament had not considered. As a side impact, Coke's arguments were the first to define consideration. The conservative outlook of the Common Pleas soon changed; after the death of Edmund Anderson, the more activist Francis Gawdy became Chief Justice of the Common Pleas, and other Common Pleas judges, many of whom were uncertain but had followed Anderson's lead in the case, changed their mind.	[ "## Background", "## Facts", "## Judgment", "## Significance" ]	1,787	6,042
3,983,860	Cliff Compton	1,167,718,415	American professional wrestler	[ "1979 births", "21st-century professional wrestlers", "American male professional wrestlers", "Living people", "OVW Heavyweight Champions", "People from Long Island", "Professional wrestlers from New York City" ]	Cliff Treiber (born November 2, 1979) is a retired American professional wrestler better known by his ring names Domino and Cliff Compton. He is known for his work in World Wrestling Entertainment (WWE). Before being promoted to the main WWE roster, Compton was assigned to WWE's developmental territory Ohio Valley Wrestling (OVW) in Louisville, Kentucky in 2005. While situated at OVW, he wrestled under the name Dice Domino and was placed in tag team competition, alongside Deuce Shade. Together, the pair won the OVW Southern Tag Team Championship on three occasions. It was also during this time that he and Deuce, alongside their manager Cherry, were known as "The Throw-Backs" and later as "The Untouchables". The team's name was changed to Deuce 'n Domino for their main roster debut in January 2007, as part of the SmackDown! brand. Three months later, Deuce 'n Domino went on to win the WWE Tag Team Championship. The team lost the title in August 2007. The group disbanded in June 2008, after a series of losses. After the split, Compton played an enhancement talent on SmackDown!. Following his release from WWE in August 2008, he resumed wrestling on the independent circuit. ## Professional wrestling career ### Early career Compton began his professional wrestling career after being trained in Larry Sharpe's Monster Factory. Compton became a regular for World Xtreme Wrestling, where he formed a tag team with Jake Bishop, known as Double Threat. On July 11, 2003, the duo won the WXW Tag Team Championship. He also wrestled a dark match for Total Nonstop Action Wrestling. ### World Wrestling Entertainment #### Ohio Valley Wrestling (2005–2007) On September 26, 2005, Compton was defeated by Danny Basham in a dark match prior to WWE Raw and was soon signed by World Wrestling Entertainment (WWE). Upon signing with WWE, Compton was sent to the Ohio Valley Wrestling (OVW) developmental territory. After four months at OVW, Compton began working as "Dice Domino", teaming with Deuce Shade under the management of his storyline sister Cherry Pie, using a 1950s greaser in-ring persona, forming the faction "The Throw-Backs". During their time together they underwent an image change, including changing the group's name to "The Untouchables" and dropping Dice, Shade, and Pie from their respective names. On March 19, the team would become OVW Southern Tag Team Champions after Deuce defeated The Miz in a singles match after Miz's partner, Chris Cage, left the organization and forced The Miz to defend the title on his own. The Untouchables lost their titles on April 5, in a three-way match to Roadkill and Kasey James, which also involved Kenny and Mikey of The Spirit Squad. The group soon began a scripted rivalry with the team of CM Punk and Seth Skyfire before later engaging into a long and heated rivalry with Shawn Spears and Cody Runnels, which even saw Cherry leave The Untouchables to side with Spears and Runnels briefly before betraying them. The feud culminated in a street fight between the two teams, with Spears and Runnels winning the match. The Untouchables won the OVW Tag Team Title another two times, as well as the DSW Tag Team Championship once in October 2006, before being called up to the main WWE roster in January 2007. #### SmackDown! (2007–2008) In their first match with WWE, where they debuted on the SmackDown! brand, the team's name was changed again, this time to "Deuce 'n Domino". They debuted on the January 19, 2007, episode, where they were placed in a tag team match, in which Deuce 'n Domino won. On the February 2 episode of SmackDown!, the team defeated the then-WWE Tag Team Champions Paul London and Brian Kendrick in a non-title match. Deuce 'n Domino faced London and Kendrick in a WWE Tag Team Championship match at February's pay-per-view event, No Way Out. At the event, they lost when Kendrick pinned Deuce via a roll-up. On the April 20 episode of SmackDown!, they defeated London and Kendrick for the WWE Tag Team Championship when London was, in storyline, injured after missing a moonsault to the outside. Kendrick was left to defend the title by himself, and was pinned after being hit with the West Side Stomp, a finishing move performed by Deuce 'n Domino. Three weeks later, London and Kendrick competed against William Regal and Dave Taylor. Deuce 'n Domino interfered, causing Regal and Taylor to be disqualified. This made both teams number one contenders leading to a triple threat tag team match the following week where Deuce 'n Domino retained the tag title. During a tag team match with Cryme Tyme (Shad Gaspard and Jayson Paul) in late June, Domino suffered an injury, which was diagnosed as a broken nose and a possible broken orbital bone socket in his eye. The injury kept him out of the ring for a month. After coming back from his injury, Deuce 'n Domino engaged in short rivalries with Batista and Ric Flair. On the August 31 episode of SmackDown!, he and Deuce lost their tag team championship to Matt Hardy and the reigning United States Champion Montel Vontavious Porter. During the last few months of 2007, Deuce 'n Domino had short rivalries with Hardy and MVP, Jimmy Wang Yang and Shannon Moore, Jesse and Festus, and Finlay and Hornswoggle. At the beginning of 2008, the team suffered a series of losses. At WrestleMania XXIV in March, Deuce and Domino competed as singles competitors in a 24-man Interpromotional Battle Royal, in which the winner would face then ECW Champion Chavo Guerrero Jr. later that night; however, neither was able to win the match. On the May 23 episode of SmackDown, Deuce 'n Domino parted ways with Cherry; WWE Diva Maryse would take over as the team's on-screen manager. On the June 20, 2008, episode of SmackDown, following a loss to Jesse and Festus, their second straight loss in two weeks, Deuce and Domino fought after the match, ending with Deuce laying out Domino with the Crack 'em in da Mouth. Deuce then threw his jacket over Domino, dissolving their partnership. The split was then further cemented when Deuce was drafted to the Raw brand as part of the 2008 WWE Supplemental Draft. Following the draft, Domino was predominantly featured as an enhancement talent on SmackDown weekly. Domino's last television appearance was on the August 1 episode of SmackDown, when he suffered a loss to The Big Show. Compton was then released from his WWE contract on August 8, 2008. #### Florida Championship Wrestling (2010) In 2010, Compton returned to WWE and was sent to Florida Championship Wrestling where he wrestled under his real name of Cliff Compton. His first match came on February 18, where he took on the FCW Florida Heavyweight Champion Justin Gabriel but would lose via DQ. Later in the night, Compton and Wade Barrett lost to Gabriel and Michael Tarver. He would go on to have one more match before leaving WWE. ### Return to OVW (2010–2014) Compton returned to Ohio Valley Wrestling in September 2010, using the ring name "Mr. Media" Cliff Compton. After a four-month undefeated streak, on January 8, 2011, Compton defeated then–champion "Low Rider" Matt Barela and Mike Mondo in a three-way match to win the OVW Heavyweight Championship for the first time. Two months later on March 5, the three faced off for the championship again, this time in a ladder match, which Mondo won. During the match, Compton suffered a broken ankle, torn ligaments, and a strained calf muscle. Compton regained the OVW Heavyweight Championship on May 14, when he defeated Mondo in a Brass Knuckles on a Pole match for the vacant championship. He lost the title to Elvis Pridemoore, following interference from Mondo, just eleven days later. On January 25, Compton's profile was removed from OVW's website, signalling his departure from the company. On May 12, 2012, Compton returned to OVW in a dark match with Mike Mondo going up against Raphael Constantine and Sean Casey. On May 31, Compton wrestled a tryout dark match for Total Nonstop Action Wrestling (TNA), losing to Crimson. On October 17, Compton won the OVW Television Championship from Alex Silva. He held the championship for three weeks, before it was vacated due to Compton suffering an injury. Following his return from injury, he defeated Jamin Olivencia to regain the championship on January 5, 2013. Following a two-month reign, he lost the championship to Rockstar Spud on March 13. Compton returned to OVW again on September 3, 2014, declaring his intention to win the OVW Heavyweight Championship again. On October 4, Compton won his third OVW Heavyweight Championship after pinning Marcus Anthony in a three-way match, also involving champion Melvin Maximus. However, he lost the title two months later, while being injured, against Adam Revolver. ### Ring of Honor and retirement (2013–2018) On March 2, 2013, Compton made his debut for Ring of Honor (ROH) at their 11th Anniversary Show iPPV, where he, Jimmy Rave, Matt Hardy and Rhett Titus, revealed themselves as the newest members of S.C.U.M. by attacking numerous members of the ROH roster following the main event, joining Kevin Steen, Jimmy Jacobs, Rhino and Steve Corino as members of the group. After Steen lost the ROH World Championship, Compton and the rest of S.C.U.M turned on Steen and made Steve Corino the new leader. At Best in the World 2013, Compton and Rhett Titus lost a three-way tag team match for the ROH World Tag Team Championship. On June 23, S.C.U.M. was forced to disband after being defeated by Team ROH in a Steel Cage Warfare match. Compton returned to ROH in early 2014, feuding with Steen. Compton repeatedly attacked Steen on shows leading up to the 12th Anniversary Show. He lost to Steen in an Unsanctioned Street Fight at the 12th Anniversary Show, in which he suffered a concussion. In May, Compton and Steen found common enemies and defeated Eddie Kingston and Homicide in a Charm City Street Fight. Almost one year later, March 14, 2015, Compton returned to challenge Jay Lethal for a chance to earn a shot at the ROH World Television Championship on the spot. Lethal defeated Compton in a Chicago Street Match to retain the title. In 2018, Compton announced his retirement from professional wrestling. ## Other media In March 2014, Compton and Colt Cabana appeared in a commercial for KFC. In April 2014, a documentary titled, The Wrestling Road Diaries Too featuring Compton, Colt Cabana and Drew Hankinson, was released on DVD. Cliff was the latest guest on The Kevin Steen Show, released in July 2014. ## Championships and accomplishments - Deep South Wrestling - DSW Tag Team Championship (1 time) – with Deuce Shade - NWA Southern All-Star Wrestling - NWA Southern Heavyweight Championship (1 time) - Ohio Valley Wrestling - OVW Heavyweight Championship (3 times) - OVW Southern Tag Team Championship (3 times) – with Deuce Shade - OVW Television Championship (2 times) - Ninth OVW Triple Crown Champion - Pro Wrestling Illustrated - Ranked No. 169 of the top 500 singles wrestlers in the PWI 500 in 2008 - World Wrestling Entertainment - WWE Tag Team Championship (1 time) – with Deuce - World Xtreme Wrestling - WXW Tag Team Championship (1 time) – with Jake Bishop	[ "## Professional wrestling career", "### Early career", "### World Wrestling Entertainment", "#### Ohio Valley Wrestling (2005–2007)", "#### SmackDown! (2007–2008)", "#### Florida Championship Wrestling (2010)", "### Return to OVW (2010–2014)", "### Ring of Honor and retirement (2013–2018)", "## Other media", "## Championships and accomplishments" ]	2,614	34,122
16,995,787	Cypriot nationality law	1,171,008,131	History and regulations of Cypriot citizenship	[ "Cyprus and the Commonwealth of Nations", "Cyprus and the European Union", "Foreign relations of Cyprus", "Nationality in Cyprus", "Nationality law" ]	Cypriot nationality law details the conditions by which a person is a national of Cyprus. The primary law governing nationality regulations is the Republic of Cyprus Citizenship Law, 1967, which came into force on 28 July 1967. Regulations apply to the entire island of Cyprus, which includes the Republic of Cyprus itself and Northern Cyprus, a breakaway region that is diplomatically recognised only by Turkey as the Turkish Republic of Northern Cyprus (TRNC). Cyprus is a member state of the European Union (EU) and all Cypriot nationals are EU citizens. They have automatic and permanent permission to live and work in any EU or European Free Trade Association (EFTA) country and may vote in elections to the European Parliament. Individuals born to at least one Cypriot parent automatically acquire citizenship at birth only if neither parent is considered an illegal migrant. Birth in Cyprus by itself does not make a child eligible for citizenship. Foreign nationals may become Cypriot citizens by naturalisation after completing a residence requirement (normally seven years). Cyprus was previously a colony of the British Empire and local residents were British subjects. Although Cyprus gained independence in 1960 and Cypriot citizens no longer hold British nationality, they continue to have favoured status when residing in the United Kingdom; as Commonwealth citizens, they are eligible to vote in UK elections and serve in public office there. ## History ### Colonial-era policies The island of Cyprus was conquered by the Ottoman Empire in 1570. Accordingly, Ottoman nationality law applied to the island. Cyprus was governed by the Ottomans for three centuries until it was leased to the British Empire in 1878. While the island remained under nominal Ottoman sovereignty, no authority on Cyprus existed to enforce Ottoman laws. Cypriot residents ostensibly remained Ottoman subjects but traveled using documents that labeled them as "natives of Cyprus" instead of Ottoman passports. Britain fully annexed the island at the start of the First World War in 1914 after Ottoman entry into the war in support of the Central Powers and British nationality law became applicable to the island, as was the case elsewhere in the British Empire. Cypriots and all other imperial citizens were British subjects; any person born in Cyprus, the United Kingdom, or anywhere else within Crown dominions was a natural-born British subject. Turkey formally relinquished all claims to Cyprus in the 1923 Treaty of Lausanne and the island became a Crown colony in 1925. Ottoman/Turkish subjects who were ordinarily resident in Cyprus on 5 November 1914 automatically became British subjects on that date. However, any such person had the right to choose Turkish nationality within two years of the treaty's enforcement, provided that they permanently departed Cyprus for Turkey within 12 months of that choice. While about 9,000 Turkish Cypriots elected to become Turkish nationals, most either did not leave or subsequently returned to Cyprus due to poor economic conditions in Anatolia. Colonial officials adhered to a policy of divide and rule, pitting the Greek and Turkish Cypriot communities against each other to weaken opposition to their own authority. Beginning in 1926, further Turkish migration to Anatolia was restricted by the colonial government seeking to curb high levels of Muslim population outflow. To help retain a sizable Turkish community, the colonial government enacted a law in 1930 that allowed Cypriots who opted for Turkish nationality under Lausanne but had not left the island to regain British nationality. They further claimed that the Cypriots who had chosen Turkish nationality and had already departed for Turkey still remained British subjects (unless they otherwise naturalised) because the terms of the Treaty of Lausanne had not been implemented in domestic law. Imperial nationality law was comprehensively reformed in 1948. The British Nationality Act 1948 redefined British subject to mean any citizen of the United Kingdom, its colonies, or other Commonwealth countries. Commonwealth citizen was first defined in this Act to have the same meaning. While previously all subjects of the Empire held a common status through allegiance to the Crown, each Commonwealth country under the reformed system became responsible for legislating their own nationality laws and would maintain a common status by voluntarily agreement among all the member states. British subjects under the previous meaning who held that status on 1 January 1949 because of a connection with the United Kingdom or a remaining colony (including Cyprus) became Citizens of the United Kingdom and Colonies (CUKC). ### Independence and a tenuous republic Greek Cypriots wanted enosis (union with Greece) while Turkish Cypriots vehemently opposed this and favoured taksim (partition of the island). Each of these communities holds a strong affinity to Greece or Turkey but no particular attachment to the idea of a Cyprus detached from either culture. Greek dissatisfaction with British rule led to open revolt in the 1950s during the Cyprus Emergency, which ultimately resulted in the 1959 London and Zürich Agreements and a multilateral accord between the UK, Greece, and Turkey on Cypriot independence in the following year. Cyprus became an independent republic on 16 August 1960, although Britain retained control of two military bases in Akrotiri and Dhekelia. The Constitution of Cyprus specified that the requirements for holding Cypriot citizenship after independence would be determined by Annex D of the Treaty of Establishment. Any CUKC born in Cyprus automatically acquired Cypriot citizenship on that date if they were ordinarily resident in the country at any time within the five years immediately preceding independence, as well as any person born overseas to a father who also became a citizen. CUKCs of Cypriot origin who had not resided in Cyprus during the five years before independence did not become Cypriot citizens and retained CUKC status. Former Ottoman subjects of Cypriot origin who had not become British subjects in 1914 were entitled to Cypriot citizenship on application, as well as widowed or divorced women who otherwise would have been married to Cypriot citizens. The Republic of Cyprus Citizenship Law later enacted by the House of Representatives in 1967 provides a full framework detailing citizenship requirements after that point. ### Divided island Tensions between the Greek and Turkish Cypriot political leadership led to a collapse of cooperative government in 1963 and triggered a period of sustained intercommunal violence that lasted until 1967. While the two communities were able to coexist in relative peace during the subsequent years, the military dictatorship of Greece successfully overthrew the Cypriot government in 1974. Consequently, Turkey invaded the northern part of Cyprus and divided the country, after which the Republic of Cyprus retained control over the southern two-thirds of the island. While Turkish Cypriots remained citizens of the Republic, their access beyond the border was restricted by the government of the occupied territories, which limited their access to Cypriot citizenship documents. The Turkish Republic of Northern Cyprus was established in 1983 in the northern part of the island and Turkish Cypriots became eligible for TRNC passports. However, because the TRNC is not recognised by any country other than Turkey, these documents have very little practical use outside these two countries and Turkish Cypriots were more inclined to obtain Turkish passports instead. After travel restrictions between the two regions were reduced after introduction of the Annan Plan, TRNC residents more frequently sought to obtain Cypriot passports. ### Commonwealth citizenship All British subjects/Commonwealth citizens under the reformed structure of nationality created in 1948 initially held an automatic right to settle in the United Kingdom and Ireland. Non-white immigration into the UK was systemically discouraged, but strong economic conditions in Britain following the Second World War attracted an unprecedented wave of colonial migration. In response, the British Parliament imposed immigration controls on any subjects originating from outside the British Islands with the Commonwealth Immigrants Act 1962. Ireland had continued to allow all British subjects free movement despite independence in 1922 as part of the Common Travel Area arrangement, but moved to mirror Britain's restriction in 1962 by limiting this ability only to people born on the islands of Great Britain or Ireland. Britain somewhat relaxed these measures in 1971 for patrials, subjects whose parents or grandparents were born in the United Kingdom, which gave effective preferential treatment to white Commonwealth citizens. Following Cypriot independence in 1960, Commonwealth citizens of Cypriot descent have remained eligible for facilitated acquisition of citizenship; they may register as Cypriot citizens after 12 months of residence while other persons of Cypriot descent with non-Commonwealth nationality may only naturalise after living in the country for at least five years. The UK updated its nationality law to reflect the more modest boundaries of its remaining territory and possessions with the British Nationality Act 1981, which redefined British subject to no longer also mean Commonwealth citizen. Cypriot citizens remain Commonwealth citizens in British law and continue to be eligible to vote and stand for public office in the UK. Individuals who did not acquire Cypriot citizenship at independence, retained CUKC status, and lacked right of abode in the United Kingdom became reclassified as British Overseas citizens as part of the 1981 reform. ### European integration Cyprus joined the European Union as part of the EU's 2004 enlargement. Cypriot citizens have since been able to live and work in other EU/EFTA countries under freedom of movement for workers established by the 1957 Treaty of Rome and participated in their first European Parliament elections in 2004. Before the UK's withdrawal from the EU in 2020, Cypriot citizens held a particularly favoured status there. While non-EU Commonwealth citizens continued to need a residence visa to live in the UK, Cypriot citizens were able to settle there and immediately hold full rights to political participation due to their status as both Commonwealth and EU citizens. Cypriot citizens (along with Irish and Maltese citizens) domiciled in the UK were able to vote in the 2016 United Kingdom European Union membership referendum while all other non-British EU citizens were not. ### Citizenship by investment In 2013, a citizenship by investment pathway was created to attract foreign investment into the country. Through the Cyprus Investment Programme, a foreigner could acquire Cypriot citizenship after investing €2 million in real estate, infrastructure projects, local businesses, or domestic financial assets and maintaining that sum within the Republic for at least five years. Candidates needed to have a clean criminal record, must not have been denied naturalisation in any other EU member state, and were required to purchase a residence in the country valued at least €500,000 that must be retained permanently. A further donation of €150,000 became required in 2019, half of which would go to a scientific research fund and the other half dedicated towards financing affordable housing on the island. Investors who successfully naturalised are subject to periodic checks that verify their continued ownership of real estate in Cyprus and are liable to have their citizenship revoked if discovered to have divested themselves of that property without a replacement residence. This stipulation was made in violation of Article 63 of the Treaty on the Functioning of the European Union, which prohibits restrictions on the movement of capital. The European Commission repeatedly condemned this citizenship pathway for its high risks in aiding money laundering, tax evasion, and corruption. A 2019 Reuters publication which reported that eight relatives and associates of Cambodian prime minister Hun Sen had acquired Cypriot citizenship by investment triggered a government investigation into the circumstances under which their citizenship was obtained. Following the release of a video recording showing Cypriot legislators offering to facilitate naturalisation for a fictional convicted investor, the programme was indefinitely suspended on 1 November 2020. ## Acquisition and loss of citizenship ### Entitlement by descent A person born to at least one parent who is a Cypriot citizen usually automatically receives citizenship at birth regardless of birthplace. Citizenship is only granted automatically if neither parent is considered an illegal migrant. Otherwise, it may only be acquired by a Council of Ministers decision. In practice, this makes Cypriot citizenship difficult to obtain for children born to Turkish Cypriots married to Turkish nationals in Northern Cyprus. ### Registration by descent or marriage British, Irish, and Commonwealth citizens of Cypriot descent are eligible to acquire Cypriot citizenship by registration after residing in the country for 12 months and submit a signed statement of loyalty to the state. They may also qualify to register as citizens if they are employed in Cypriot government service and either intend to live in the Republic or continue service. Non-citizens who are married to Cypriot citizens may acquire citizenship by registration after three years of marriage and cohabitation. The residence requirement may be waived provided that the couple has been married for at least two years. Widowed spouses may still register for citizenship provided that the acquisition requirements were fulfilled before the Cypriot spouse's death. Underage children of a Cypriot citizen may be registered by their parent with no further requirements. Citizenship by registration is also conditional on legal residence; any person considered to be an illegal migrant is disqualified from registering as a Cypriot citizen. ### Naturalisation Foreigners who are parents or children of Cypriot citizens may acquire citizenship by naturalisation after residing in the country for at least four of the previous seven years, with an additional 12 months of residence immediately preceding an application, a total of five years. The four-year residence requirement may be partially or completely fulfilled by time employed in government service, but this may not be done for the 12 months immediately preceding a naturalisation application. Individuals without Cypriot descent may naturalise after a total of seven years of residence. Persons who perform extraordinary acts of service to Cyprus may be exceptionally granted Cypriot citizenship without any requirements at the discretion of the Council of Ministers. ### Relinquishment and deprivation Cypriot citizenship can be relinquished by submitting a declaration of renunciation. Citizenship may be involuntarily removed from naturalised or registered persons who: fraudulently acquired the status, committed an act of disloyalty against the state, aided an enemy nation with which Cyprus is at war, have been sentenced to incarceration for longer than 12 months within five years of acquiring citizenship, or lived overseas (other than those employed in government service) for a continuous period of seven years. After one of the these conditions is met, the Council of Ministers must determine that it is not in the national interest for such a person to retain citizenship before it can be stripped.	[ "## History", "### Colonial-era policies", "### Independence and a tenuous republic", "### Divided island", "### Commonwealth citizenship", "### European integration", "### Citizenship by investment", "## Acquisition and loss of citizenship", "### Entitlement by descent", "### Registration by descent or marriage", "### Naturalisation", "### Relinquishment and deprivation" ]	2,960	2,941
43,545,369	McKinley Birthplace Memorial gold dollar	1,167,905,729	Commemorative gold coin featuring President McKinley	[ "1916 establishments in Pennsylvania", "Cultural depictions of William McKinley", "Currencies introduced in 1916", "Early United States commemorative coins", "United States gold coins", "Works by George T. Morgan" ]	The McKinley Birthplace Memorial gold dollar was a commemorative coin struck by the United States Bureau of the Mint in 1916 and 1917, depicting the 25th President of the United States, William McKinley. The coin's obverse was designed by Charles E. Barber, Chief Engraver of the Mint, and the reverse by his assistant, George T. Morgan. As McKinley had appeared on a version of the 1903-dated Louisiana Purchase Exposition dollar, the 1916 release made him the first person to appear on two issues of U.S. coins. The coins were to be sold at a premium to finance the National McKinley Birthplace Memorial at Niles, Ohio, and were vended by the group constructing it. The issue was originally proposed as a silver dollar; this was changed when it was realized it would not be appropriate to honor a president who had supported the gold standard with such a piece. The coins were poorly promoted, and did not sell well. Despite an authorized mintage of 100,000, only about 30,000 were minted. Of these, 20,000 were sold, many of these at a reduced price to Texas coin dealer B. Max Mehl. The remaining 10,000 pieces were returned to the Mint for melting. ## Background William McKinley was born in Niles, Ohio, in 1843. He left college to work as a teacher, and enlisted in the Union Army when the American Civil War broke out in 1861. He served throughout the war, ending it as a brevet major. Afterwards, he attended law school and was admitted to the bar. He settled in Canton, Ohio, and after practicing there, was elected to Congress in 1876. In 1890, he was defeated for re-election, but was elected governor the following year, serving two two-year terms. With the aid of his close adviser Mark Hanna, he secured the Republican nomination for president in 1896, amid a deep economic depression. He defeated his Democratic rival, William Jennings Bryan, after a front porch campaign in which he advocated "sound money", that is, the gold standard unless modified by international agreement. This contrasted to "free silver", pushed by Bryan in his campaign. McKinley was president during the Spanish–American War of 1898, in which the U.S. victory was quick and decisive. As part of the peace settlement, Spain turned over to the United States its overseas colonies of Puerto Rico, Guam, and the Philippines. With the nation prosperous, McKinley defeated Bryan again in the 1900 presidential election. President McKinley was assassinated by Leon Czolgosz in September 1901, and was succeeded by Vice President Theodore Roosevelt. In the years after McKinley's death, several memorials were built to him, including a large structure housing his remains at Canton. Another memorial was built at his birthplace in Niles under the auspices of the National McKinley Birthplace Memorial Association (the Association). Designed by the firm of McKim, Mead, and White, the Greek Classic memorial was built of Georgia marble and was dedicated in 1917. Housing a museum, library, and auditorium, as well as a statue of McKinley and busts of his associates, it remains open to the public, free of charge. ## Inception and preparation The McKinley Birthplace Memorial dollar was proposed as a fundraiser for the construction of the site in Niles. In February 1915, the Association's head, Joseph G. Butler, Jr., met with Ohio Congressman William A. Ashbrook, chairman of the House Committee on Coinage, Weights, and Measures, to propose a silver dollar in honor of McKinley. Ashbrook was willing, and the two men saw Treasury Secretary William G. McAdoo and Acting Director of the Mint Frederic Dewey, who envisioned no difficulty. Accordingly, Ashbrook introduced a bill in the final days of the 63rd Congress, which took no action on it. When the 64th Congress opened in December 1915, Ashbrook reintroduced his bill, H.R. 2. A hearing was held before Ashbrook's committee on January 13. Originally, the bill called for mintage of 100,000 silver dollars in commemoration of McKinley, but at the hearing, Butler requested that they be gold instead, stating, "if you will recall the fact, McKinley was elected in 1896 mainly on the question of the gold standard." The gold dollar had not been struck as a circulating coin since 1889. Asked a question from New York Congressman James W. Husted as to whether a gold dollar would be too small to be a souvenir, Butler responded, "No; I do not think so. I think, on the other hand, a silver dollar might be too large. I think we can dispose of gold dollars very much easier. Mr. Husted, and you know gold dollars are rather scarce just now." Ashbrook agreed, and stated: > my understanding is that these dollars will be sold at not less than \$2 each which would make a profit of at least \$100,000. I think there will be no trouble about disposing of them at that price. I understand they will be on sale in this memorial, and visitors who go to see it very largely will not leave the building without buying one, and will be willing to pay at least \$2. I might say in that connection that any gold dollar coined by the United States is worth at least \$2 at this time. They all command a premium, and there is no reason why this dollar would not sell for at least \$2 and likely more. Ohio Senator Warren G. Harding was present at the House committee meeting and spoke in favor of the bill, arguing that "this assistance on the part of the Federal Government will cost nothing more than the making of the dies". On being told that the dies, per the legislation, would be at the Association's expense, Harding replied, "I did not notice that. Then, it essentially costs the Government nothing whatever to render this mark of tribute and assistance." The committee reported the bill favorably on January 18, amending the bill to allow for the 100,000 gold dollars, to be purchased by the Association at par and sold at a profit to help build the memorial. The report indicated that the committee members "believe it is a deserved testimonial to the worth and service of a great man who lost his life while serving our Nation as its Chief Executive". The bill passed the House on February 7, 1916, and the Senate on February 15. It was enacted when President Woodrow Wilson signed it on February 23, 1916. The act provided that no more than 100,000 pieces be struck, with the necessary gold bullion to be acquired in the open market. The Association could purchase the coins at face value. The act required that the pieces be struck at the Philadelphia Mint, one of only two pieces of authorizing legislation in the classic commemorative coin series (through 1954) that specified the place of striking (the Panama–Pacific issue of 1915 had to be struck in San Francisco). The act also required that the dies be destroyed after the coining was done, something numismatists Anthony Swiatek and Walter Breen questioned as duplicating provisions in the Coinage Act of 1873. The designs were prepared in-house at the Philadelphia Mint by Chief Engraver Charles E. Barber, who designed the obverse and his assistant, George T. Morgan, who prepared the reverse. They did not seek outside artists to submit proposals. Numismatic author Q. David Bowers suggested that this was because Secretary McAdoo had sought non-employees to propose designs for the five Panama–Pacific coins along with those sketches prepared by Barber and his assistants, and the Mint's engravers had prepared only two of the five, and that because the artist assigned one, Evelyn Beatrice Longman, had fallen ill. When the McKinley designs were submitted to the Commission of Fine Arts on March 31, 1916, it recommended changes, though Don Taxay, who so stated, does not say what they were. In any event, no alteration was made, and the designs were approved. ## Design The obverse of the dollar features an unadorned bust of McKinley, facing left, with the name of the country above and "McKinley Dollar" (in all capitals) below. McKinley, who had appeared on one version of the Louisiana Purchase Exposition dollar (issued beginning in 1903), thus became the first person to appear on two different issues of American coinage. The earlier pieces had also been designed by Barber, and the later coins, according to Bowers, "present an image so different that the uninformed observer would not know that the same man was being depicted". Bowers suggested that Barber might have been trying to create "a distinctively new version". Taxay agreed, opining that Barber's "chief concern seems to have been in making the portrait of McKinley as different as possible from that on the Louisiana Purchase coins". The reverse, designed by Morgan, is intended to be a facing view of the McKinley birthplace memorial in Niles, but according to Swiatek and Breen, "the most charitable view must characterize it as inaccurate and incompetently done". Above the building is "McKinley Birthplace/Niles Ohio", and beneath it the date and "Memorial". Art historian Cornelius Vermeule, in his volume on U.S. coins, disliked the McKinley pieces. "When Barber and Morgan collaborated ... the results were almost always oppressive. The McKinley Memorial dollars of 1916 and 1917 bear witness to these stylistic judgments, the unclothed bust on the obverse looking tastelessly Roman and the classical, colonnaded Memorial Building placed across a reverse further constricted by too much, too large lettering." ## Distribution and collecting The Philadelphia Mint struck 20,000 gold dollars in August and October 1916, plus 26 extra reserved for inspection and testing at the 1917 meeting of the United States Assay Commission. In February 1917, 10,000 more (plus 14 assay coins) were minted, again at Philadelphia. The Association sold these to the public at \$3 each, the same price at which the Louisiana Purchase pieces, which sold poorly, had been vended. The McKinley Memorial pieces were ill-publicized, and few were sold at full price. Texas coin dealer B. Max Mehl purchased 10,000 pieces at an unknown price, selling them for years afterwards at \$2.50 each. The Washington Post reported on July 30, 1916 that the gold dollars had been released and were being "gobbled up as souvenirs". Nevertheless, according to Mehl in his 1937 volume on commemoratives, "the Committee in charge apparently realized that the number of collectors in the country could not and would not absorb an issue of 100,000 coins at \$3.00 each" and some 10,000 coins "were disposed of at a greatly reduced price to the 'Texas Dealer' [that is, himself] who in turn distributed them extensively among collectors of the country at a reduced price". A total of 10,023 were returned by the Committee to the Mint for melting. It is uncertain how many of each year were melted, as the Mint did not keep records of this. Mehl estimated that the Committee sold 15,000 of the 1916 and 5,000 of the 1917 (including the sale to him), meaning that about 5,000 of each were melted. Bowers deemed these figures "probably correct", given Mehl's personal dealings with the Committee. Bowers calculated that 8,000 of the 1916 were sold by the Committee to collectors and the public, plus 7,000 to Mehl. He opined that 2,000 of the 1917 were sold by the Committee at full price, plus 3,000 to Mehl. Swiatek, in his 2012 book on commemoratives, estimated that between a third and half of the melted pieces were dated 1917. According to R. S. Yeoman's 2015 edition of A Guide Book of United States Coins, the 1916 is catalogued for \$500 in slightly-worn AU-50 (almost uncirculated) to \$1,850 in near-pristine MS-66. The 1917 is listed at \$550 in AU-50 and \$3,250 in MS-66. A 1916 in MS-68 condition was sold by Heritage Auctions in 2009 for \$16,100. ## References and bibliography Sources [1916 establishments in Pennsylvania](Category:1916_establishments_in_Pennsylvania "wikilink") [Cultural depictions of William McKinley](Category:Cultural_depictions_of_William_McKinley "wikilink") [Currencies introduced in 1916](Category:Currencies_introduced_in_1916 "wikilink") [Early United States commemorative coins](Category:Early_United_States_commemorative_coins "wikilink") [United States gold coins](Category:United_States_gold_coins "wikilink") [Works by George T. Morgan](Category:Works_by_George_T._Morgan "wikilink")	[ "## Background", "## Inception and preparation", "## Design", "## Distribution and collecting", "## References and bibliography" ]	2,793	44,182
246,223	Component (graph theory)	1,170,976,671	Maximal subgraph whose vertices can reach each other	[ "Graph connectivity", "Graph theory objects" ]	In graph theory, a component of an undirected graph is a connected subgraph that is not part of any larger connected subgraph. The components of any graph partition its vertices into disjoint sets, and are the induced subgraphs of those sets. A graph that is itself connected has exactly one component, consisting of the whole graph. Components are sometimes called connected components. The number of components in a given graph is an important graph invariant, and is closely related to invariants of matroids, topological spaces, and matrices. In random graphs, a frequently occurring phenomenon is the incidence of a giant component, one component that is significantly larger than the others; and of a percolation threshold, an edge probability above which a giant component exists and below which it does not. The components of a graph can be constructed in linear time, and a special case of the problem, connected-component labeling, is a basic technique in image analysis. Dynamic connectivity algorithms maintain components as edges are inserted or deleted in a graph, in low time per change. In computational complexity theory, connected components have been used to study algorithms with limited space complexity, and sublinear time algorithms can accurately estimate the number of components. ## Definitions and examples A component of a given undirected graph may be defined as a connected subgraph that is not part of any larger connected subgraph. For instance, the graph shown in the first illustration has three components. Every vertex $v$ of a graph belongs to one of the graph's components, which may be found as the induced subgraph of the set of vertices reachable from $v$. Every graph is the disjoint union of its components. Additional examples include the following special cases: - In an empty graph, each vertex forms a component with one vertex and zero edges. More generally, a component of this type is formed for every isolated vertex in any graph. - In a connected graph, there is exactly one component: the whole graph. - In a forest, every component is a tree. - In a cluster graph, every component is a maximal clique. These graphs may be produced as the transitive closures of arbitrary undirected graphs, for which finding the transitive closure is an equivalent formulation of identifying the connected components. Another definition of components involves the equivalence classes of an equivalence relation defined on the graph's vertices. In an undirected graph, a vertex $v$ is reachable from a vertex $u$ if there is a path from $u$ to $v$, or equivalently a walk (a path allowing repeated vertices and edges). Reachability is an equivalence relation, since: - It is reflexive: There is a trivial path of length zero from any vertex to itself. - It is symmetric: If there is a path from $u$ to $v$, the same edges in the reverse order form a path from $v$ to $u$. - It is transitive: If there is a path from $u$ to $v$ and a path from $v$ to $w$, the two paths may be concatenated together to form a walk from $u$ to $w$. The equivalence classes of this relation partition the vertices of the graph into disjoint sets, subsets of vertices that are all reachable from each other, with no additional reachable pairs outside of any of these subsets. Each vertex belongs to exactly one equivalence class. The components are then the induced subgraphs formed by each of these equivalence classes. Alternatively, some sources define components as the sets of vertices rather than as the subgraphs they induce. Similar definitions involving equivalence classes have been used to defined components for other forms of graph connectivity, including the weak components and strongly connected components of directed graphs and the biconnected components of undirected graphs. ## Number of components The number of components of a given finite graph can be used to count the number of edges in its spanning forests: In a graph with $n$ vertices and $c$ components, every spanning forest will have exactly $n-c$ edges. This number $n-c$ is the matroid-theoretic rank of the graph, and the rank of its graphic matroid. The rank of the dual cographic matroid equals the circuit rank of the graph, the minimum number of edges that must be removed from the graph to break all its cycles. In a graph with $m$ edges, $n$ vertices and $c$ components, the circuit rank is $m-n+c$. A graph can be interpreted as a topological space in multiple ways, for instance by placing its vertices as points in general position in three-dimensional Euclidean space and representing its edges as line segments between those points. The components of a graph can be generalized through these interpretations as the topological connected components of the corresponding space; these are equivalence classes of points that cannot be separated by pairs of disjoint closed sets. Just as the number of connected components of a topological space is an important topological invariant, the zeroth Betti number, the number of components of a graph is an important graph invariant, and in topological graph theory it can be interpreted as the zeroth Betti number of the graph. The number of components arises in other ways in graph theory as well. In algebraic graph theory it equals the multiplicity of 0 as an eigenvalue of the Laplacian matrix of a finite graph. It is also the index of the first nonzero coefficient of the chromatic polynomial of the graph, and the chromatic polynomial of the whole graph can be obtained as the product of the polynomials of its components. Numbers of components play a key role in the Tutte theorem characterizing finite graphs that have perfect matchings and the associated Tutte–Berge formula for the size of a maximum matching, and in the definition of graph toughness. ## Algorithms It is straightforward to compute the components of a finite graph in linear time (in terms of the numbers of the vertices and edges of the graph) using either breadth-first search or depth-first search. In either case, a search that begins at some particular vertex $v$ will find the entire component containing $v$ (and no more) before returning. All components of a graph can be found by looping through its vertices, starting a new breadth-first or depth-first search whenever the loop reaches a vertex that has not already been included in a previously found component. describe essentially this algorithm, and state that it was already "well known". Connected-component labeling, a basic technique in computer image analysis, involves the construction of a graph from the image and component analysis on the graph. The vertices are the subset of the pixels of the image, chosen as being of interest or as likely to be part of depicted objects. Edges connect adjacent pixels, with adjacency defined either orthogonally according to the Von Neumann neighborhood, or both orthogonally and diagonally according to the Moore neighborhood. Identifying the connected components of this graph allows additional processing to find more structure in those parts of the image or identify what kind of object is depicted. Researchers have developed component-finding algorithms specialized for this type of graph, allowing it to be processed in pixel order rather than in the more scattered order that would be generated by breadth-first or depth-first searching. This can be useful in situations where sequential access to the pixels is more efficient than random access, either because the image is represented in a hierarchical way that does not permit fast random access or because sequential access produces better memory access patterns. There are also efficient algorithms to dynamically track the components of a graph as vertices and edges are added, by using a disjoint-set data structure to keep track of the partition of the vertices into equivalence classes, replacing any two classes by their union when an edge connecting them is added. These algorithms take amortized time $O(\alpha(n))$ per operation, where adding vertices and edges and determining the component in which a vertex falls are both operations, and $\alpha$ is a very slowly growing inverse of the very quickly growing Ackermann function. One application of this sort of incremental connectivity algorithm is in Kruskal's algorithm for minimum spanning trees, which adds edges to a graph in sorted order by length and includes an edge in the minimum spanning tree only when it connects two different components of the previously-added subgraph. When both edge insertions and edge deletions are allowed, dynamic connectivity algorithms can still maintain the same information, in amortized time $O(\log^2 n/\log\log n)$ per change and time $O(\log n/\log\log n)$ per connectivity query, or in near-logarithmic randomized expected time. Components of graphs have been used in computational complexity theory to study the power of Turing machines that have a working memory limited to a logarithmic number of bits, with the much larger input accessible only through read access rather than being modifiable. The problems that can be solved by machines limited in this way define the complexity class L. It was unclear for many years whether connected components could be found in this model, when formalized as a decision problem of testing whether two vertices belong to the same component, and in 1982 a related complexity class, SL, was defined to include this connectivity problem and any other problem equivalent to it under logarithmic-space reductions. It was finally proven in 2008 that this connectivity problem can be solved in logarithmic space, and therefore that SL = L. In a graph represented as an adjacency list, with random access to its vertices, it is possible to estimate the number of connected components, with constant probability of obtaining additive (absolute) error at most $\varepsilon n$, in sublinear time $O(\varepsilon^{-2}\log\varepsilon^{-1})$. ## In random graphs In random graphs the sizes of components are given by a random variable, which, in turn, depends on the specific model of how random graphs are chosen. In the $G(n, p)$ version of the Erdős–Rényi–Gilbert model, a graph on $n$ vertices is generated by choosing randomly and independently for each pair of vertices whether to include an edge connecting that pair, with probability $p$ of including an edge and probability $1-p$ of leaving those two vertices without an edge connecting them. The connectivity of this model depends on $p$, and there are three different ranges of $p$ with very different behavior from each other. In the analysis below, all outcomes occur with high probability, meaning that the probability of the outcome is arbitrarily close to one for sufficiently large values of $n$. The analysis depends on a parameter $\varepsilon$, a positive constant independent of $n$ that can be arbitrarily close to zero. Subcritical $p < (1-\varepsilon)/n$ In this range of $p$, all components are simple and very small. The largest component has logarithmic size. The graph is a pseudoforest. Most of its components are trees: the number of vertices in components that have cycles grows more slowly than any unbounded function of the number of vertices. Every tree of fixed size occurs linearly many times. Critical $p \approx 1/n$ The largest connected component has a number of vertices proportional to $n^{2/3}$. There may exist several other large components; however, the total number of vertices in non-tree components is again proportional to $n^{2/3}$. Supercritical $p >(1+\varepsilon)/n$ There is a single giant component containing a linear number of vertices. For large values of $p$ its size approaches the whole graph: $\|C_1\| \approx yn$ where $y$ is the positive solution to the equation $e^{-p n y }=1-y$. The remaining components are small, with logarithmic size. In the same model of random graphs, there will exist multiple connected components with high probability for values of $p$ below a significantly higher threshold, $p<(1-\varepsilon)(\log n)/n$, and a single connected component for values above the threshold, $p>(1+\varepsilon)(\log n)/n$. This phenomenon is closely related to the coupon collector's problem: in order to be connected, a random graph needs enough edges for each vertex to be incident to at least one edge. More precisely, if random edges are added one by one to a graph, then with high probability the first edge whose addition connects the whole graph touches the last isolated vertex. For different models including the random subgraphs of grid graphs, the connected components are described by percolation theory. A key question in this theory is the existence of a percolation threshold, a critical probability above which a giant component (or infinite component) exists and below which it does not.	[ "## Definitions and examples", "## Number of components", "## Algorithms", "## In random graphs" ]	2,593	32,552
55,236,455	Mistakes (Tove Styrke song)	1,168,636,704	2017 single by Tove Styrke	[ "2017 singles", "2017 songs", "Song recordings produced by Elof Loelv", "Songs written by Elof Loelv", "Songs written by Tove Styrke", "Sony Music singles", "Tove Styrke songs" ]	"Mistakes" is a song by Swedish singer Tove Styrke from her third studio album, Sway (2018). Styrke wrote the song with Elof Loelv, who handled the production. The inspiration behind the song originated from Styrke wanting to embrace being imperfect and making mistakes. It was released as the album's second single on 15 September 2017 through Sony Music. The electropop song features a vocoder-backed chorus and lyrics that describe the protagonist's willingness to take risks in a relationship. The instrumental incorporates sound effects and samples from various sources that correspond to the lyrics. "Mistakes" received acclaim from music critics, who commended its pop sound and catchiness paired with its detailed production. Commercially, "Mistakes" fared the best out of the Sway singles; it peaked at number 42 on the Sverigetopplistan singles chart and was certified gold in Sweden by the Swedish Recording Industry Association (GLF). Joanna Nordahl directed the accompanying music video in which Styrke portrays a bride who runs away on her wedding day. The singer chose the bride imagery to represent the idea of perfection and references to the 1999 film Runaway Bride and 1990s wedding dress fashion are included. Styrke performed the song at the P3 Guld Awards ceremony in January 2018. ## Background and release Tove Styrke co-wrote "Mistakes" with Elof Loelv for her third studio album Sway (2018). The two reportedly spent months "perfecting" the song and the structure of the chorus was altered several times, before they settled on a "stomping vocoder breakdown". In an interview for Entertainment Weekly, Styrke said, "I really think it pays off to spend a lot of time on production and also songwriting. It makes it richer in a sense." In an effort to make Sway's production interesting, Styrke aimed for each track to have its own identity and personality. She explained that "if you hear it once and then you hear it again you'd recognize it" by a distinct trait, and for "Mistakes" that trait would be its vocoder-backed chorus. In an interview for 7digital, she elaborated: "And finding those special sounds really takes time. For me, production is part of the songwriting. It's as important as the melody and the lyric, and they really need to work together." She revealed to Flaunt that finding the right zipper sample used in the final product took them "hours upon hours". Loelv managed production and programming for "Mistakes", in addition to playing all the instruments on the song. Henrik Edenhed mixed the track and Randy Merrill handled mastering. Styrke previewed "Mistakes" in concert prior to its official release while touring in the summer of 2017. The song was digitally released on 15 September 2017 through Sony Music, alongside an accompanying lyric video uploaded to Styrke's official YouTube channel. The song was added for airplay on Swedish radio stations five days later. It was the second single issued from Sway ahead of the album's release in May 2018, after "Say My Name". Sepidar Hosseini designed the artwork for "Mistakes", which depicts an illustrated lamb. An official remix produced by Swedish production trio VAX was digitally released on 3 November 2017. ## Composition and lyrics Musically, "Mistakes" is a three-minute and 24-second synth-driven electropop song. Instrumentation is provided by a bass guitar, drums, handclaps, a guitar, keyboards, percussion, and a synthesizer. Raisa Bruner of Time identified the instrumental backdrop as "boom-clap drums, echoing synth, [and] a bubblegum keyboard", while describing Styrke's vocals as "accessible" and "nimble". In the chorus, her vocals are isolated and accompanied by only vocoder effects as she sings "you make me wanna make mistakes" and "Love how bittersweet it tastes". Halfway through the chorus, drums are added to the instrumentation, of which she said, "I love that. You put yourself in a vacuum-like space and everything's quiet then just breaks loose." Music commentators characterized Styrke's vocals as "robotic". The production incorporates sound effects and samples from various sources, including a flickering street-light lamp and a buzzing bee, that correlate with the lyrics. The sound of a zipper is paired with the line "You know I'm gonna wanna get out of my Levi's", while the sound of a vibrating phone complements the line "Can't deny we got a real vibe". Styrke said, "I want a song to be like one of those pictures that you can look at and find new things in every time." Lyrically, "Mistakes" opens with the line "I should probably leave, right?" According to Erica Russell of PopCrush, the lyrical narrative of the song speaks of a romance the protagonist is willing to take risks for. Regarding its lyrical theme, Styrke divulged to The Fader that the song is about "embracing your wrongs, letting go of yourself and not being perfect", and further elaborated to V that it speaks of "never really feeling like you can stay in a place, and that sort of urge to ruin things, and do what you shouldn't". The chorus stemmed from a discussion about "feeling like fucking up", which she observed most people feel like at some point. This initial idea of wanting to "make mistakes" ultimately turned into the hook "you make me wanna make mistakes". In an article in Variance, Styrke was quoted on the inspiration behind "Mistakes", stating: > Mistakes can be about a person or yourself or just life in general. But I guess the point is that you don't need to be perfect and that there's something valuable in letting go of the person that you think you are or should be. Maybe all mistakes aren't mistakes. ## Reception "Mistakes" was met with widespread praise from music critics. David Smyth of the London-based Evening Standard selected the song as one of the best tracks the week of its release, writing that "Tove Styrke is overdue a breakthrough in this country. Her latest single, 'Mistakes', is another striking blast of electropop". Idolator's Mike Wass described it as a "catchy bop" and "minimal electro-pop with maximum impact". Laurence Day of The Line of Best Fit also praised its catchiness and felt the song was "jarringly brilliant". Day commented that "it's the proper chorus that sets this tune apart, with juddering, semi-a cappella bursts from Styrke". Bruner, writing for Time, considered the song a "fresh new sound of pop", exclaiming that the singer "doesn't shy away from stripping her tracks down to their absolute catchiest elements". Simon Österhof of Västerbottens-Kuriren called the song "fantastic", and Lindsay Howard of Variance declared it a "pop gem". Mas Karin Gustafsson, whose review appeared in Nya Wermlands-Tidningen, called the song catchy and the best track on Sway. PopMatters critic Steve Horowitz deemed the song "brilliant" and opined that Styrke "sings the lyrics with infectious bravado and a touch of vulnerability". Hannah Mylrea of NME viewed the song as "the glorious musical equivalent of getting butterflies in your stomach" and called it "pure pop perfection". Some commentators noted the detailed production of the song; Maura Johnston of Rolling Stone wrote that the sonic elements "add depth to Styrke's detailed portraits of push-pull romantic moments". Similarly, Margaret Farrell from Pitchfork wrote that the "pleasure of Sway is in the witty, unexpected details", highlighting the zipper and phone sounds on "Mistakes". Billboard writer Nolan Feeney stated that the minimal instrumentals "soundtrack the delicate moments that happen around it", also singling out the phone sound effect on the song, which the writer called an "are-we-just-hooking-up ode". Commercially, the song debuted and peaked at number 42 on the Swedish singles chart on 22 September 2017. This feat made it the highest-charting-single from Sway. "Mistakes" remained on the chart for a total of six weeks. The song received a gold certification by the Swedish Recording Industry Association (GLF), indicating over four million streams in Sweden. ## Music video Joanna Nordahl directed the music video for "Mistakes". Styrke enlisted Nordahl as the creative director for the visuals for Sway as she felt it was important to her to work with a woman and a director who understood her views and visions. The video portrays Styrke as a runaway bride who flees on her wedding day. As the song is about "not being perfect", she told The Fader that the image of a bride symbolizes "perfection" to her and "it was fun to put a twist on that. It's more like she's running back to herself rather than running away." With the video's concept, Nordahl wanted to avoid a "typical love story", stating that they "ended up speaking about religious symbolism, the Madonna–whore complex, femininity, 90s rom-coms, Britney Spears, and the well behaved, wholesome bride as a traditional representation of the 'perfect woman'". In an interview for Clash, Styrke said: "I wanted to make the video for 'Mistakes' cinematic and tell a story of this woman who rejects convention and goes her own way. It felt powerful." The video was shot in late August 2017 on the Swedish island of Gotland in various locations, including Tofta Church. As the video's budget did not cover the costs of casting extras needed for the shoot, Styrke reached out to Gotland-based women's basketball team Visby Ladies and five members of the team agreed to appear. The fashion in the video was inspired by the 1999 film Runaway Bride, and a collector of 1990s wedding dresses lent several dresses to the shoot. For one scene the entire studio was covered with the dresses, which Styrke described as a "landscape of wedding dresses". Regarding her styling in the video, she told Fashionista that "it's this romantic theme with the wedding dresses, pink, red lips and lots of lashes. We go through different styles with interesting fabrics and cool silhouettes." The video premiered on 4 October 2017, via Styrke's YouTube channel. It begins with the singer sitting on the floor in her wedding dress as church bells ring and there is an intense knocking on the door. As she stands up and puts on her veil, she escapes out the window as the knocks continue. These shots are interspersed with scenes of Styrke dressed in pink in a room entirely covered with wedding dresses. She runs out of the church and tosses her bouquet in the air. Styrke continues to run through different scenery including a field and a forest until she reaches a cliff facing the ocean during the song's bridge. There she is joined by other runaway brides, portrayed by Visby Ladies members. The scene then shifts to Styrke and the other brides dancing at a rave. Styrke told The Fader, "I find that there's both loneliness and empowerment in running; we wanted the video to balance between those two." She found the final scene "the perfect way" to end the story. Shahzaib Hussain, writing for Clash, described the video as "a middle finger up to deterministic patriarchy and a showcase in liberation". ## Live performances Styrke first performed "Mistakes" during her set at the Way Out West festival in Gothenburg, Sweden, in August 2017. She opened the P3 Guld Awards ceremony in January 2018 with a performance of the song, for which she wore a deconstructed wedding dress. Styrke also included "Mistakes" on the set list of the Sway Tour of 2018. ## Track listing - Digital single 1. "Mistakes" – 3:24 - Digital single – Remix 1. "Mistakes" (VAX remix) – 3:03 ## Credits and personnel Credits are adapted from Tidal. - Tove Styrke – songwriting - Elof Loelv – songwriting, production, bass, clapping, drums, guitar, percussion, programming, synthesizer - Henrik Edenhed – mixing - Randy Merrill – mastering ## Charts ## Certifications ## Release history	[ "## Background and release", "## Composition and lyrics", "## Reception", "## Music video", "## Live performances", "## Track listing", "## Credits and personnel", "## Charts", "## Certifications", "## Release history" ]	2,662	11,247
18,471,549	Jack the Bulldog	1,164,725,176	Mascot of Georgetown University	[ "Big East Conference mascots", "Dog mascots", "Georgetown Hoyas", "Individual dogs", "University of Scranton" ]	Jack the Bulldog is the official mascot of the Georgetown University Hoyas athletic teams. The school has employed at least eight live Bulldogs as mascots, and counts seven named Jack since 1962, when the name first came into use, including three who are still living. The current incarnation of Jack, who will be taking over from his predecessor during the 2019–20 academic year, is an English Bulldog born in 2019 whose full name is John F. Carroll. Recent bulldogs have come from the Georgetown alumni family of Janice and Marcus Hochstetler. Jack was not always the name of the Georgetown Hoyas' mascot, nor was the mascot always a bulldog, as other types of dogs, particularly bull terriers, were associated with the sports teams before 1962. In 2009, the American Kennel Club ranked Jack as the 8th most popular dog in American culture. Today, Georgetown is among thirty-nine American universities to use a bulldog as their mascot, with Georgia, Butler, Mississippi State, Yale, and James Madison being the only others with a live bulldog. Jack is also portrayed by a costumed character Bulldog mascot, a tradition dating to 1977. In 2019, a campus editorial called for replacing the bulldog with a rescue dog, in part because of the health problems and short lifespans that many bulldogs face. ## Early dogs Dogs have been associated with the school's sports teams on an unofficial basis since the late nineteenth century. Early dog mascots may have included a mutt called Hoya around 1900, a Borzoi named Richmond Jack in 1906, a bulldog named Hoya in 1907, and a Boston Bull Terrier in 1911. At that time, most mascots were primarily associated with the school's football team, and were cared for by students or individual sports teams, rather than the administration. Sergeant Stubby, a part bull terrier and a decorated World War I war dog, came to campus in 1921 with J. Robert Conroy who was attending Georgetown Law at the time. The school football team used Stubby as a popular halftime show where he would push a football across the field, which established him as a campus celebrity. After Stubby died in 1926, the team then chose a female bull terrier named Jazz Bo, who had been brought to campus by Georgetown College student Paul Van Laanen. Jazz Bo was retitled "Hoya" by the students, after the traditional "Hoya Saxa" school cheer. The athletic teams are possibly named, in turn, for this dog. When "Hoya" gave birth to a daughter, students named the puppy "Saxa". Other bull terriers like Saxa filled in as mascot until World War II, when athletics at the school paused during the war. After the war, a series of Great Danes, named Bo, Butch, and Hobo, served as mascot. William Peter Blatty, author of The Exorcist, was one of the students to care for Butch. During this time period mascot abductions by rival schools became a common threat to the animal's safety. A bull terrier costume was also briefly used by the school, but in 1951, the school suspended the football program as part of a larger backlash against university sports. This left the school without a mascot. ## Royal Jacket In 1962, with the resumption of football, students Stan Samorajczyk and John Feldmann, editors of The Hoya campus newspaper, founded a committee to raise money for the purchase of a new mascot dog in time for the first new games in 1964. This committee chose a purebred English Bulldog as the dog which would represent Georgetown students because of their "tenacity." Samorajczyk also followed the sports team jerseys, which may have previously had an image of a bulldog on them. Around this time the school also adopted as the official logo of the athletics program a new drawing in blue and gray school colors of the bulldog. This logo dog wears a cap typical of the beanie which other freshman at the time had to wear. For \$150 the committee bought a two-year-old blue-ribbon-champion show dog named "Lil-Nan's Royal Jacket," named because the colors of his coat looked like a jacket. This dog was to be renamed "Hoya" like his 1926 predecessor, but refused to respond to any name other than his call name "Jack." Jack lived outside New South Hall in a heated doghouse. In 1967, Royal Jacket retired and was replaced by a second bulldog who continued under the simple name "Jack." In 1977, as the basketball program gained popularity, the costumed mascot took over duties as Jack. The costume, first worn by student Pat Sheehan, has been updated numerous times, most recently in 2013. Other live bulldogs owned by students at times joined the costumed Jack, including one named Rocky from 1982 to 1985 and one named Daisy in 1997. ## John P. Carroll In 1998, Michael Boyle, Austin Martin, and Kathleen Long, co-founders of the Hoya Blue fan club began a campaign to revive the tradition of an official live mascot with the assistance of English professor Father Scott R. Pilarz, S.J. The "Bring Back Jack" Campaign initially sought to find a suitable dog among the students and faculty, as the university did not want to use school funds for the purchase. Ultimately, Hoya Blue raised \$1,500 to purchase a new puppy named Jack (officially, John P. Carroll) and placed him in the care of Father Pilarz on February 16, 1999. However, after four years, Jack left Georgetown with Pilarz, who was named president of the University of Scranton in Pennsylvania in 2003, and then president of Marquette University in 2011. John P. Carroll died on September 16, 2011, at the home of Pilarz's parents in Voorhees Township, New Jersey, at the age of 12. Donations from Hoya Blue, the Hoya Hoop Club, the Office of the President, and alumni allowed for the purchase of the third incarnation of Jack (born 2003). ## John S. Carroll Jack was born May 3, 2003, at Brookhollow Kennel in Freehold Township, New Jersey, as a litter of one. He was the son of champion bulldog Copper Kid and a relation of Rocky the 1983 mascot. He was brought to campus on July 19, 2003, and placed in the care of Father Christopher Steck, S.J., a theology professor. His official name, as registered with the American Kennel Club was Brookhollow's John S. Carroll, which allows for the nickname Jack. This referred to Georgetown founder John Carroll, while "S." stood for Steck. Similarly the previous mascot was officially John P. Carroll, for Pilarz. He was also infrequently referred to as Jack IV, as the school was unsure of the exact number of dogs used as Jack in the 1970s. Jack lived with Father Christopher Steck in New South Hall, but spent time in Wolfington Hall Jesuit Residence. In 2003, Father Steck started the "Jack Crew", a six-student organization of Jack's walkers and caretakers. Crew members were required to be able to show their school spirit and their ability to control Jack, including being aware of his affinity for orange traffic cones. Jack had both an email address, a Facebook profile, a student ID card, and a local phone number, and the campus directory listed him as part of the theology faculty, like Father Steck. Jack attended home basketball games at the Verizon Center, where he entertained fans by attacking a cardboard box decorated with opponents' logos. This tradition developed after Steck discovered Jack's propensity for attacking boxes of brownie mix, and he originally decorated boxes for the games himself. Jack wore a leather collar studded with Georgetown pins, and occasionally wore a team jersey sporting the number one, which Steck purchased at the school bookstore. On campus, Jack attended student meetings and could be booked for social functions. He weighed 55 pounds (25 kg) and his color was described as "red fawn." Jack's personality was described as very social, but imperious and stubborn with "a sense of entitlement." On March 11, 2012, Jack tore his ACL, and had to have surgery to repair it on April 23, 2012. In March 2013, school announced that Jack would "retire" from gameday duties after the end of the 2012–13 basketball season, and officially take a smaller role. Jack continued to live on campus with Steck until his death on June 2, 2015. ## Jack Junior On March 30, 2012, Georgetown announced the donation of a new bulldog puppy from San Diego breeders Janice and Marcus Hochstetler, whose children Nathan and Rachel attend the school. The school named the puppy Jack Junior, or "J.J.", and his father was a breed champion, while his mother, named Treasure, and grandmother still live with the Hochstetler family. The puppy, who has been described as "laid back," was introduced to the community at a ceremony on April 13, 2012. Students discovered during Homecoming 2012 that J.J. has an affinity for balloons, and during Midnight Madness he attacked blue and orange balloons, colors of Georgetown's arch-rival, Syracuse University. He had his debut at the Verizon Center on January 26, 2013, during a men's basketball victory over the Louisville Cardinals. On February 8, 2013, Jack and J.J. met with Butler University's mascots, Blue II and Blue III, who were in town on a goodwill tour to Atlantic 10 Conference members. However, during the summer 2013, trainers at the school determined that, given the "exciting and hectic" life required of the school's mascot, it would be best for J.J. to return to a home environment, announcing their decision on July 31, 2013. An incident involving a small child during the fall 2012 semester, and a subsequent settlement with the child's family, may have contributed to the school's decision, though Georgetown spokesperson Rachel Pugh said it wasn't the only factor. Caretaker Rev. Christopher Steck, S.J. was surprised by the schools decision, and published a letter expressing his disappointment. In an editorial in The Hoya, Steck also lamented the school's choice not to involve the Bulldog Advisory Committee, which began meeting earlier in the summer, in its decision. After a search by Steck, J.J. was adopted by a family close to the Georgetown campus on August 18, 2013. ## John B. Carroll On August 30, 2013, Pugh announced the arrival of a new puppy, also from the Hochstetler family and an offspring of Treasure, J.J.'s mother, though they come from different litters. Officially named Compatible's John B. Carroll, the dog's middle name stands for "Bulldog", unlike his predecessors, where the middle name referred to the caretaker's name. He was born on June 29, 2013, and was introduced on campus in late October 2013 with appearances at a men's soccer game against DePaul on October 23, and around Copley Lawn and Leo J. O'Donovan Hall. Jack weighs 50 pounds (23 kg) and his color is described as "fawn." In early October 2013, the school announced that Steck would not be the new mascot's caretaker, but that another, not necessarily a Jesuit, would be selected from the Georgetown community. On November 5, 2013, the school choose 2013 graduate McKenzie Stough as the bulldog's caretaker. Besides being an alumna, McKenzie works as a Communications Specialist in the university's Office of Communications. Responding to criticism, the school involved the fourteen-member Bulldog Advisory Committee in the replacement process and selection of the caretaker. The Jack Crew will also be downsized from twenty students to "four or five" with the selection of this new caretaker. Starting in December 2014, Jack began performing at home basketball games by riding a skateboard across the court. For the opening game of the 2015–16 season, the school produced bobblehead dolls of Jack on a skateboard, wearing jersey number 89 in honor of the year of the school's founding, 1789. As Jack got older, he also would ride around the court in a custom remote controlled truck. ## John F. Carroll On July 24, 2019, the school acquired a new bulldog puppy from the Hochstetler family to work alongside the current Jack before taking on the role in the 2019–20 academic year. The new puppy was born January 24, 2019, in Alberta, Canada and was bred by IROC Bulldogs and Casa Grande Bulldogs. His official name is IROC Casagrande John F. Carroll, and he weighs about 51 pounds (23 kg). The school considers him to be the eighth bulldog and the seventh named Jack. On July 10, 2023, Jack's official instagram account revealed that he had passed "after a brief illness". ## See also - List of individual dogs	[ "## Early dogs", "## Royal Jacket", "## John P. Carroll", "## John S. Carroll", "## Jack Junior", "## John B. Carroll", "## John F. Carroll", "## See also" ]	2,828	24,547
27,896,821	Good Time (Inna song)	1,087,307,768	null	[ "2014 singles", "2014 songs", "Atlantic Records singles", "English-language Romanian songs", "Inna songs", "Pitbull (rapper) songs", "Song recordings produced by Steve Mac", "Songs written by Ina Wroldsen", "Songs written by Pitbull (rapper)", "Songs written by Steve Mac" ]	"Good Time" is a song recorded by Romanian recording artist Inna for Body and the Sun (2015)—the Japanese counterpart of her fourth studio album, Inna (2015)—Inna, and Party Never Ends (2013). Featuring the vocals of Cuban-American rapper Pitbull, it was made available for digital download on 15 July 2014 through Atlantic Records. "Good Time"—an uptempo dance-pop track featuring "hedonistic and cheerful" lyrics—was written by Steve Mac, Pitbull and Ina Wroldsen, while being solely produced by Mac. Music critics met "Good Time" with mixed reviews, with some of them calling it "addictive" and a "future hit", but also criticizing it for being a "filler track" on its parent album. An accompanying music video for the recording was uploaded on 28 July 2014 onto Inna's YouTube channel, and was shot by Barna Nemethi in Los Angeles, Miami and Bucharest. The visual portrays the singer performing to the song with fellow backup dancers according to what cameras order them to do by displaying words or phrases. Commercially, "Good Time" didn't experience much success on record charts, with it only reaching the top seventy of the charts in native Romania and Belgium, and peaking at number 201 on Russia's Tophit. In order to promote the track, Inna performed it during several of her concert tours that served to accompany Inna and Body and the Sun, but also at the World Trade Center Mexico. "Good Time" was further used for American sitcom Young & Hungry, and for American film Pitch Perfect 2 (2015). ## Background and release `"Good Time" marks the second time Inna and Pitbull collaborated on a recording; the latter's 2013 extended play Meltdown included her vocals on a track called "All the Things". Prior to the release of "Good Time", Inna stated in an interview with Direct Lyrics on April 14, 2015 that "[the track is] really different from all the songs [she has] released so far. It has a good vibe, it's special, [she has] danced like crazy for 8-9 days with [her] choreographer to learn the routine for [her] lyric video." Following this, the recording was released on 15 July 2014 in multiple countries through Atlantic Records; on iTunes Store, it was made available time-limited for purchase for 69 cents (USD). "Good Time" was subsequently included on the American edition of her third studio album, Party Never Ends (2013), and was later featured on the Japanese counterpart of her fourth record Inna (2015), titled Body and the Sun (2015). The 2020 Complete Edition of Inna, released to SoundCloud, also included the song.` ## Composition "Good Time" was written by Steve Mac, Armando C. Perez and Ina Wroldsen, with Mac solely producing the track. The uptempo recording is of dance-pop genre, featuring the use of trumpets alongside "hedonistic and cheerful" simple lyrics. Pitbull introduces the track by rapping "An international sensation... Inna! Let's have a good time!", while Inna sings "Say he ho he ho he ho, come on everybody" by the pre-chorus. Direct Lyrics described "Good Time" as an "uplifting" song, saying that its sound was a "new territory" for Inna, and a departure from her previous house styles. ## Reception Upon its release, "Good Time" received mixed reviews from music critics. Direct Lyrics praised the collaboration with Pitbull for the song, further labeling its chorus as "addictive" and "bubbly", and expecting it to become a "bona-fide summer hit". Romanian website Romania-Insider stated that they were not "impressed" by the track, likening it to Pitbull's previous solo works. German music website Hitfire criticized Pitbull's vocals on the recording, which they called a "filler track" for her album; they were positive towards its "earwormy" refrain. French publication Jukebox saw "Good Time" as a "future hit", while Japanese website iFlyer called its sound "dinstinctive" and "appropriate to decorate the summer of 2014". French music portal Musique Mag praised the song's "entertaining" lyrics: "Say he ho he ho he ho, come on everybody" interpreted by Inna. Commercially, "Good Time" didn't experience much success on record charts. While the track reached number sixty-seven on the week ending 21 September 2014 on Romania's Airplay 100, it also managed to chart on the Belgian Dance Ultratop Flanders chart and the Ultratip Flanders chart at numbers forty-one and thirty, respectively. ## Music video `The accompanying music video for "Good Time"—directed in the span of two days by Barna Nemethi in Los Angeles, Miami and Bucharest in February 2014—premiered on 28 July 2014 on Inna's YouTube channel. Scenes with Pitbull were filmed separately in Miami, while Inna was on a promotional tour in Mexico City. Prior to this, a lyric video for the song was released on 2 July 2014 through the same means, recalling the concept of the official visual; it was filmed by Bogdan Daragiu and featured her performing choreography accompanied by two fellow background dancers.` The visual opens with a hand inserting a coin into a machine. Subsequently, a space full of cameras is shown, with one of them displaying Pitbull rapping in front of a blue backdrop. Next, Inna makes appearance performing a choreography accompanied by several background dancers; she wears a blonde wig and a white jumpsuit. Over the rest of the visual, the cameras display different words or phrases, to which Inna and the backup dancers are dressed to. The clip portrays them playing baseball, golf, paintball, acting as cheerleaders and being engaged with barbie dolls among other activities. A scene from the visual portrays the crowd leaning over a Fiat car; American singer Jennifer Lopez used the same model for the music video of her 2011 single, "Papi". Direct Lyrics' Kevin Apaza was positive towards the clip, stating that it "isn't probably too high-budget, but it's good enough to put [him] in a good mood and have a good time watching it. Plus, the entire video screams 'summer'." Hitfire criticized the outfits worn by Inna throughout the clip, suggesting that "perhaps is the music video to show her fans how to not dress." The website went on into labeling it as "trashy", but described it as matching with the song. ## Live performances and usage in media "Good Time" was set on the track list of several concert tours that promoted her album Inna and its Japanese counterpart Body and the Sun in Europe and Japan. The singer also provided a live performance of the recording at the World Trade Center Mexico, where she further interpreted a cover version of Justin Bieber's "Love Yourself" (2015), and a stripped-down version of her "Endless" (2011), and opened the Untold Festival in 2016. The song was used for American sitcom Young & Hungry, while also making appearance in American film Pitch Perfect 2. ## Credits and personnel Credits adapted from the liner notes of Body and the Sun. - Inna – lead vocals - Pitbull – featured artist, composer - Steve Mac – composer, producer - Ina Wroldsen – composer ## Track listing ## Charts ### Weekly charts ### Year-end charts ## Release history	[ "## Background and release", "## Composition", "## Reception", "## Music video", "## Live performances and usage in media", "## Credits and personnel", "## Track listing", "## Charts", "### Weekly charts", "### Year-end charts", "## Release history" ]	1,613	8,591
12,359,807	WPDX (AM)	1,173,871,070	Radio station in Morgantown, West Virginia	[ "1955 establishments in West Virginia", "Christian radio stations in West Virginia", "Contemporary Christian radio stations in the United States", "Radio stations established in 1955", "Radio stations in West Virginia" ]	WPDX (1300 AM) is a commercial radio station licensed to Morgantown, West Virginia, carrying a Christian contemporary format as a full-time WFGM-FM simulcast. Serving both Morgantown and Monongalia County, WPDX is owned by West Virginia Radio Corporation and operated under their AJG Corporation licensee. ## History ### Pre-broadcast Martinsburg, West Virginia, businessman C. Leslie Golliday filed the initial application for the station with the FCC on September 1, 1954. In the application, Golliday estimated construction costs at \$13,608, with a first year operation cost of \$36,000. Golliday estimated an initial revenue of \$60,000. As WCLG, the station began testing equipment during the week of December 19, 1954, and filed its construction permit application two days later. WCLG broadcast for the first time on December 27, 1954. The station initially had a "music-news" format, using the Associated Press news service. In its early days, WCLG was a daytime-only broadcaster, with a power of 500 watts. Owner C. Leslie Golliday used his initials for the station's call sign. Golliday, who also owned Martinsburg's WEPM, envisioned a network of stations across the state of West Virginia. WCLG was officially granted its broadcast license by the FCC on January 18, 1955. Throughout its existence, the station's studios have been at 343 High Street in Morgantown. ### History since launch On March 10, 1955, WCLG filed an application to increase its power to 1,000 watts, proposing to continue daytime-only broadcasts. The application was granted on September 28, 1955. In 1958, future owner Garry L. Bowers joined the station as an announcer. WCLG was bought by Freed Broadcasting Corporation for \$67,000 on December 19, 1959. In May 1960, Stanley R. Cox, a candidate in the Republican primary election for the House of Representatives, filed an equal-time rule complaint against WCLG. Cox objected that the station gave his opponent, Sheriff Charles Whiston, a five-minute-long segment called "Sheriff's Office Calling". In the show, "arrests and other activities of interest are recited"; it ended with a 30-second "thought for the day". Cox had been refused equal-time by the station "on the ground that the program is a public service feature." The FCC upheld the complaint, deciding the content of the program was "determined by Sheriff Whiston and not by the station" and that remarks made by the sheriff were of an editorial nature. Whiston would go on to win the primary over Cox by about 300 votes. The station's coverage of the explosion at the Farmington Number 9 mine, which killed 78, earned the station the Associated Press Radio-Television Association (APRTA) in early 1969. The station earned another APRTA award for "Outstanding News Coverage" the following year. Sister station WCLG-FM began broadcasting on September 28, 1974. Also during 1974, WCLG began a Top 40 format. Another change in format took place in 1978, with middle of the road (MOR) music taking the place of Top 40. WCLG became part of the NBC Radio Network on October 2, 1978. In 1979, Bowers became the station's general manager. WCLG applied for another broadcasting power increase on November 4, 1980, to 2,500 watts, but remained a daytime-only station. The station added oldies to its MOR music format in 1983. In 1985, WCLG switched formats to a soft adult contemporary playlist. On March 15 of that year, Freed Broadcasting Corporation sold WCLG-FM and sister station WCLG to Bowers Broadcasting Corporation, owned by Garry Bowers, for \$715,000. The station changed formats again in 1988, this time to classic hits. Two years later, WCLG began broadcasting during the nighttime with 44 watts of power, enough to cover the city of Morgantown. Another format change took place in 1991, when the station switched to golden oldies using the "Pure Gold" format from Satellite Music Network (now Cumulus Media Networks). Bowers Broadcasting Corporation owner Garry L. Bowers died on December 24, 2011. On September 25, 2013, control of the company was transferred to Bowers' widow, Linda K. Bowers. ### Sale On September 26, 2013, Linda Bowers entered into an agreement to sell WCLG and sister station WCLG-FM to AJG Corporation, for \$1.8 million. Bowers also entered into a time brokerage agreement, allowing AJG to operate the station prior to the close of the sale. The Federal Communications Commission (FCC) rescinded the transfer-of-ownership application on October 21, 2013, after an objection by Joe Potter, Senior Vice President of IMG Sports. Potter contended there were "very close connections and operational control" between AJG Corporation and West Virginia Radio Corporation (WVRC) and AJG's purchase of WCLG-AM/FM would "possibly in violation of FCC regulations." The co-directors of West Virginia Radio Corporation, John and David Raese, operate AJG Corporation as a trust for their descendants. Potter's complaint went on to say that "IMG was close to finalizing a contract to air WVU sports" but was "prevented by the terms of AJG's purchase agreement", which barred Bowers Broadcasting Corporation from "'entering into any contract or agreement' without the consent of AJG". West Virginia Radio Corporation previously held the rights to West Virginia University sports before losing them to IMG Sports. West Virginia Radio Corporation filed a lawsuit against West Virginia University and IMG Sports to retain the broadcast rights, which it lost in late August 2013. The FCC granted the ownership transfer on February 3, 2015 subject to several conditions regarding business relationships and communication between AJG and WVRC. An appeal of the grant conditions was denied by the FCC on September 16, 2015. Bowers Broadcasting subsequently filed applications for extension of the consummation of the transfer on October 23, 2015, January 29, 2016, April 22, 2016, July 22, 2016, and October 17, 2016. The last of these extension requests was denied by the FCC on November 30, 2016, and this denial was appealed on January 10, 2017. The transfer to AJG Corporation was eventually consummated on September 1, 2017, at which point WCLG changed its format from classic hits to adult contemporary, branded as "Morgan 92.1". (info taken from stationintel.com) On November 29, 2019, the station changed its call sign to WFGM. On December 5, 2019, WCLG changed its format from adult contemporary to contemporary Christian, branded as "The New Journey FGM". On March 6, 2023, the station changed its call sign back to the original WCLG. On August 29, 2023, the station changed its call sign again, this time to WPDX. ## Former staff Jim Slade, a Morgantown native, was hired as news director when the station launched in 1954. Slade was later heard on WOWO and WIND, covering the assassination of Martin Luther King Jr. (April 1968) and of Robert F. Kennedy (June 1968) on the latter station. On the Mutual Broadcasting System and at ABC News he covered space-related stories. Country-music performer Charlie Arnett hosted the Old Trading Post program on WCLG in 1959. Arnett's later career took him to the CBS Radio program Renfro Valley Folks and to the Tampa, Florida, station WDAE. Eugene Cottilli started as sports director at WCLG, before becoming the press secretary to Senator Howard Metzenbaum of Ohio. As of 2013, Cottilli is the Congressional Media Liaison for the United States Department of Commerce. ## Programming As of 2014, WCLG carried programming from Cumulus Media Networks' satellite-fed Classic Hits network. Every Sunday morning, WCLG broadcast services live from Star City's St. Mary Roman Catholic Church at 8:30 a.m. and Morgantown's Spruce Street United Methodist Church at 10:45 a.m. The station also carried the Living the Country Life show, the radio companion to the Living the Country Life magazine.	[ "## History", "### Pre-broadcast", "### History since launch", "### Sale", "## Former staff", "## Programming" ]	1,855	31,173
51,164,401	Panzer Aces	1,170,443,455	Book series by Franz Kurowski	[ "1992 non-fiction books", "2002 books", "Ballantine Books books", "Books by Franz Kurowski", "J.J. Fedorowicz Publishing books", "Propaganda legends", "Stackpole Books books", "World War II fiction" ]	Panzer Aces is an English-language book series by the German author Franz Kurowski. Originally released in 1992 by J.J. Fedorowicz Publishing, a Canadian publisher of military literature, it was licensed in 2002 by the firm to American publishers Ballantine Books and Stackpole Books. The series' books were a commercial success and enjoyed a wide readership among the American public. In their 2008 book The Myth of the Eastern Front: The Nazi–Soviet War in American Popular Culture, historians Ronald Smelser and Edward J. Davies criticise Panzer Aces as ahistorical and misleading, presenting a picture of the German soldiers "without flaws or character defects". According to the authors, Kurowski's accounts, including Panzer Aces, are intended "to act as a memorial to these men". ## Background Franz Kurowski (1923−2011) was a German author of fiction and non-fiction who is best known for producing apologist, revisionist and semi-fictional works on the history of World War II. His first publications appeared in the Nazi era; from 1958 until his death he worked as a freelance writer. He wrote 400 books for children and adults under his own name and various pseudonyms. Among other things, Kurowski wrote for the weekly pulp war stories series Der Landser. Kurowski produced numerous accounts featuring the Wehrmacht and the Waffen-SS, providing laudatory and non-peer-reviewed wartime chronicles of military units and highly decorated soldiers. Historians dismiss his works, pointing out that Kurowski's journalistic writing style leads to embellishments and half-truths. Mixing fact and fiction, his accounts emphasise heroics rather than provide an authentic representation of the war experience, thereby conveying a distorted image of the German armed forces in World War II. A number of Kurowski's books have been published by far-right publishing houses such as the and the , leading to his writings being described as "journalism of gray and brown zone". ## Publication and contents Kurowski's works were published in Germany, beginning in 1958, but remained inaccessible to English-speaking audiences. The Canadian publishing house J.J. Fedorowicz Publishing, which specialises in World War II military literature, released Kurowski's Panzer Aces in the U.S. in 1992. The book was later licensed by Fedorowicz to the American publishers Ballantine Books and Stackpole Books, which issued it in 2002 and 2004, respectively. The narratives in Panzer Aces do not include bibliographies or cite sources; some of the accounts are presented in the first person. The Panzer Aces series focuses on the combat careers of successful German tank commanders and popular Waffen-SS personalities such as Kurt "Panzermeyer" Meyer, Jochen Peiper, Paul Hausser, and Rudolf von Ribbentrop, the son of Reich Foreign Minister Joachim von Ribbentrop, among others. The series features a famous "panzer ace", Michael Wittmann, who enjoyed cult status in the popular perceptions of the Waffen-SS, along with the actions of another "ace", Franz Bäke, in the Cherkassy Pocket. In Kurowski's retelling, after fighting unit after unit of the Red Army, Bäke is able to establish a corridor to the trapped German forces, while "wiping out" the attacking Soviets. In another of Kurowski's accounts, while attempting to relieve the 6th Army encircled in Stalingrad, Bäke destroys thirty-two enemy tanks in a single engagement. ## Reception Historians Ronald Smelser and Edward J. Davies describe Panzer Aces and its companion Infantry Aces, published by Fedorowicz in 1994, as "classics", noting that they "continue to enjoy a widespread and enthusiastic readership". In their analysis of the series, which also includes Panzer Aces II and Panzer Aces III, they write: > Kurowski gives the readers an almost heroic version of the German soldier, guiltless of any war crimes, actually incapable of such behavior. (...) Sacrifice and humility are his hallmarks. Their actions win them medals, badges and promotions, yet they remain indifferent to these awards. The cover art evokes heroism, determination and might of the German soldier and his weapons. In addition to facts, Kurowski's writing contained fictional stories. The historian Roman Töppel notes that it is "regrettable that Kurowski was sometimes perceived as a culturally worthy historian in foreign [non-German language] historical studies." Thus, Kurowski's fictional claims found their way into serious literature. Smelser and Davies describe Kurowski's version of the war on the Eastern Front as "well-nigh chivalrous", with German troops "showing concerns for the Russian wounded, despite the many atrocities" of the Soviets against the Germans. In one of Kurowski's accounts, Michael Wittmann takes out eighteen tanks in a single engagement, for which Sepp Dietrich, Wittmann's commanding officer, presents him with an Iron Cross and inquires whether Wittmann has a request. Without hesitation, Wittmann requests assistance for a wounded "Russian" soldier that he spotted. Many similar acts of "humanity" are present in the books, amounting to an image of the German fighting men "without flaws or character defects". Smelser and Davies conclude that "Kurowski's accounts are laudatory texts that cast the German soldier in an extraordinarily favorable light". According to Smelser and Davies, Kurowski's accounts, including Panzer Aces, celebrate the German soldiers who (in Kurowski's worldview) served their country honourably and fought valiantly against tremendous odds, only to return to Germany, as he puts it, "wounded and broken, ashamed and beaten". They write that the author's aim is to restore their reputation and that he "intends his books to act as an appropriate memorial to these men". ## See also - Waffen-SS in popular culture - Myth of the "clean Wehrmacht" - "Panzer ace" in popular culture - Ace (military)	[ "## Background", "## Publication and contents", "## Reception", "## See also" ]	1,299	8,826
54,672,735	BRAC Onnesha	1,125,980,366	First Bangladeshi nanosatellite	[ "2017 in Bangladesh", "BRAC University", "CubeSats", "First artificial satellites of a country", "Satellites deployed from the International Space Station", "Satellites of Bangladesh", "Satellites orbiting Earth", "Spacecraft launched in 2017", "Spacecraft which reentered in 2019", "Student satellites" ]	BRAC Onnesha was the first nanosatellite built in Bangladesh to be launched into space. The satellite was designed and built in conjunction with Kyushu Institute of Technology Birds-1 program, which has the goal of helping countries build their first satellite. It was designed and built over a two-year period. The satellite had imaging capabilities and could transmit songs to Earth that were uploaded to its memory. It was launched on a Falcon 9 rocket to the International Space Station on 3 June 2017, after which it was released from the Kibō module. The satellite completed an orbit once every 92 minutes. The satellite deorbited on 6 May 2019. ## Background Japan supports non-spacefaring countries to build their first satellite through a program called the Joint Global Multi-Nation Birds Satellite (BIRDS) project. Besides Japan, four countries participated in the Birds-1 program: Ghana, Mongolia, Nigeria, and Bangladesh. The five satellites were identical in their design. ## Development The idea to develop a satellite was conceived in 2013. On 15 June 2016, Syed Saad Andaleeb, Vice Chancellor at BRAC University, signed a contract with the Kyushu Institute of Technology (Kyutech), Japan, on behalf of BRAC University. This led to the collaborative building of the first experimental university-made nano-satellite of Bangladesh, designed, developed and assembled by three Bangladeshi students at the Kyushu Institute of Technology. On 8 February 2017, Andaleeb received BRAC Onnesha from Kyutech's President Yuji Oie and Mengu Cho, Kyutech's Director of the Laboratory of Spacecraft Environment Interaction Engineering. BRAC University took up an initiative to start space and remote sensing research in collaboration with Kyutech and the Space Research and Remote Sensing Organization (SPARRSO). BRAC University has built a ground station at its Mohakhali campus to analyse data and photographs sent from space for further research purposes. Professor Mengu Cho of Kyutech said, "BRAC ONNESHA was easy to build and affordable and their prime objective was to educate the students so that they could go back to build one completely by themselves, presumably in October 2017". The two-year period spanning the development, construction, launch and operation of the satellites engaged three university students from each of the five participating countries. All five satellites had to be identical to each other in the class of a 1U CubeSat. The satellite cost about US\$500,000 to manufacture and launch. They were expected to last 1.1 years. ## Mission ### Launch SpaceX launched the satellite on its CRS-11 mission to the International Space Station (ISS) on 3 June 2017. The satellite was carried in a Dragon spacecraft on a Falcon 9 rocket, launched from NASA's Kennedy Space Center, LC-39A. This was the 100th launch from LC-39A and the first time SpaceX reused one of its Dragon capsules. Once on the ISS, the satellite was deployed from the Japanese Kibō module. The satellite orbited the Earth at an altitude of approximately 400 kilometres (250 mi) and at an inclination of 51.6°, completing an orbit every 92.57 minutes at a velocity of 7.67 kilometres per second (4.77 mi/s). ### Operations The satellite communicated with seven ground stations: one in each of the countries participating in the Birds-1 program, and one each in Thailand and Taiwan. Bangladesh's ground station, inaugurated 25 May 2017, is on the top of a building at BRAC University. BRAC Onnesha was a nanosatellite shaped as a 10 centimetres (3.9 in) cube capable of completing one orbit 400 kilometres (250 mi) above the ground in 90 minutes and passing over Bangladesh four to six times a day. The primary objective of the satellite was to image vegetation, urbanisation, flood, water resources, and forestry. All Birds-1 satellites deorbited in May 2019. BRAC Onnesha was the second to deorbit, decaying on 6 May 2019.	[ "## Background", "## Development", "## Mission", "### Launch", "### Operations" ]	873	30,261
26,314,711	Satsu (Buffy the Vampire Slayer)	1,170,533,378	Fictional character for a comic book	[ "Buffy the Vampire Slayer characters", "Comics characters introduced in 2007", "Female characters in comics", "Fictional Japanese people", "Fictional female swordfighters", "Fictional kenjutsuka", "Fictional lesbians", "Fictional swordfighters in comics", "LGBT characters in comics", "Slayers (Buffyverse)" ]	Satsu is a fictional character created by Joss Whedon for Buffy the Vampire Slayer Season Eight, a comic book continuation of the television series Buffy the Vampire Slayer. Introduced as one of the strongest Slayers, she has a close relationship with her mentor Buffy Summers. Satsu develops romantic feelings for Buffy, and the two have a brief sexual relationship. She becomes the leader of her own Slayer squadron in Tokyo, and forms a friendship with fellow Slayer Kennedy during her performance review. She also makes a minor appearance in Buffy the Vampire Slayer Season Ten. Whedon and Wolves at the Gate writer Drew Goddard said that Satsu's sexual relationship with Buffy was developed as a way to explore both characters. Her tryst with Buffy drew mixed responses from the media. Several commentators felt that the story arc maintained the show's focus on exploring one's sexuality, and provided insight on Buffy's sexual identity. Others criticized it as a publicity stunt saying it was out of character for Buffy. Feedback to Satsu as a character was also mixed, with the focus placed on the portrayal of her sexuality and race. ## Arc Born into a traditional Japanese family, Satsu was pressured by her parents to marry and have children. She faced a backlash from them after coming out as a lesbian. While attending high school, Satsu was activated as a Slayer because of the events of "Chosen" and received all the associated powers. After joining a squad of Slayers based in Scotland, she was recognized as one of the most skilled fighters, and worked closely with her mentor Buffy Summers. Satsu developed romantic feelings for Buffy, which becomes clear after she wakes Buffy from a mystical sleep with a true love's kiss. While taking Satsu on an assignment to destroy a nest of vampires, Buffy reveals that she knew of Satsu's feelings for her; she warns Satsu against pursuing a relationship with her because her past romances have ended in death. Buffy and Satsu eventually have sex and are discovered in bed by Buffy's friends Willow Rosenberg, Xander Harris, Andrew Wells, and Dawn Summers. Count Dracula steals Buffy's scythe and she recruits Satsu as part of the team to recover it from Tokyo. During the trip to Japan, Willow comforts Satsu and reminds her of Buffy's responsibilities as a general and her heterosexuality. After successfully reclaiming the scythe, Satsu chooses to distance herself from Buffy by remaining in Japan as the leader of the country's Slayer squadron. Buffy and Satsu have sex one last time before they separate. Fellow Slayer Kennedy is assigned to assess Satsu's performance as a leader and uses the opportunity to discuss her residual feelings for Buffy. She advises Satsu to accept that Buffy is straight and not interested in her sexually or romantically. While working in Japan, Satsu had proven to be an effective leader; one notable achievement being how she led her squad to commandeer a vampire-controlled submarine. Kennedy and Satsu discover prototypes for a line of demonic stuffed animals known as the Swell. One of the demons possesses Satsu, causing her to behave more like a traditional Japanese woman, such as wearing a furisode-style kimono. When confronted by Kennedy, Satsu behaves in an increasingly misogynistic and homophobic manner. After Kennedy saves Satsu from the possession, the duo destroys the Swell's shipments. While vampire Harmony Kendall leads an anti-Slayer campaign, Buffy advises the Slayers to change themselves to better fit the new world; Satsu uses the speech as an incentive to abandon her feelings for Buffy. Satsu later appears during the battle with the season's big bad Twilight and his army in Tibet. She initially disagrees with the plan to temporarily disable Slayer powers, along with the other members of the army, in an attempt to escape notice by Twilight, but she remains loyal to Buffy. She later responds angrily when she sees Buffy and Angel having sex to give birth to a new universe. In Buffy the Vampire Slayer Season Ten, Buffy's boyfriend Spike mentions that he is aware of her sexual tryst with Satsu. Satsu would later reappear to convince Buffy to collaborate with the vampire community to handle the frequent demonic invasions on Earth. During this time, she is revealed to be working for the United States Armed Forces, and in a relationship with an undisclosed partner. ## Development Satsu was one of several original characters introduced in Buffy the Vampire Slayer Season Eight, a comic book continuation of the television series Buffy the Vampire Slayer. The show's creator Joss Whedon wanted Satsu's relationship with Buffy to progress organically during the development of the comics. Establishing Buffy as grappling with feelings of isolation and Satsu as in love with her, Whedon described the story arc as "an opportunity for drama and character exploration". He clarified that he wanted the storyline to portray Buffy as "young and experimenting, and [...] open-minded," and that this did not translate as the character coming out as gay. When discussing Satsu's role in Buffy's character development Dark Horse Comics editor Scott Allie referred to their relationship as an "ill-conceived romance" that exemplifies Buffy's faults as a general to her army. Wolves at the Gate writer Drew Goddard said the transition of Buffy the Vampire Slayer to comics allowed for more creative freedom, and cited Satsu's relationship with Buffy as an example. Goddard explained that the character and her story arc with Buffy were not designed to be "a grand political statement," and said: "We just try to do what feels right for the characters. The rest takes care of itself." Whedon acknowledged the criticism aimed at him for killing off lesbian character Tara Maclay in the show's sixth season as reflecting the "whole cliché about lesbians being killed"; he said that he would factor this response into his representation of Satsu, but explained: "You do have to be careful about the message you're sending out. It's a double-edged sword. You have to be responsible, but you also have to be irresponsible or you're not telling the best stories." When asked about the character's future, following her sexual tryst with Buffy, Whedon said that she would remain "in the rotation" as a recurring character in the comics. While discussing the possible reception to Satsu and Buffy having sex, Goddard predicted that readers would mirror the responses of the main characters by being "surprised at first, then intrigued as to what it all means" before moving forward to the next storyline. ## Critical reception ### Relationship with Buffy The relationship between Satsu and Buffy was praised for carrying over the focus on exploring sexuality from Buffy the Vampire Slayer to the comic books. GLAAD entertainment media director Damon Romine praised the storyline as an example of the "multidimensional lesbian characters in the Buffy universe". In her 2017 book The Fanfiction Reader: Folk Tales for the Digital Age, Muhlenberg College Professor Francesca Coppa wrote that Buffy the Vampire Slayer fan fiction writers had already explored the possibility of Buffy coming out as bisexual or a lesbian imagining her in romantic and sexual relationships with fellow Slayer Faith. Some critics felt that the pairing of Satsu and Buffy enabled the reader to better understand Buffy as a character. Jessica Maria MacFarlane of Nerdist.com wrote that Buffy's attraction to Satsu was portrayed in an organic manner, defining Satsu as providing "a sensible push in the right direction" for Buffy's character development. Curve'''s Lisa Gunther commended the characters as showcasing fluidity in sexual orientation. Buffy's sexual identity, as represented by her relationship with Satsu, drew mixed responses from academics. Scholars interpreted Buffy's request for Satsu to keep their liaison a secret as homophobic, and sociologist Hélène Frohard-Dourlent felt that Buffy's decision to return to a heterosexual relationship as reaffirming heteronormative ideas. Other commentators had more positive interpretations of the pairing. While acknowledging Buffy as harboring "fears [of] becoming the target of homophobia," academic Lewis Call argued that her sexual liaisons with Satsu allowed for a deeper understanding of sexuality. Call viewed the pairing as "a positive image of a caring, consensual bi-sexual relationship," with a "mutual and flexible" approach to power dynamics, and defined Buffy as becoming "a symbol of this new queer politics" due to the storyline. Communications professor Erin B. Waggoner noted that the comics differed from other narratives on heteroflexibility through not immediately emphasizing Buffy as purely heterosexual following her interactions with Satsu. Several scholars identified Buffy's interactions with Satsu, and the post-coital images of the pairing, as establishing Buffy as a more masculine figure. The story arc involving Satsu's sexual relationship with Buffy has been widely criticized as a publicity stunt. Several critics felt that Buffy was acting out of character as she had never previously displayed either a romantic or sexual interest in women. Teresa Jusino of The Mary Sue identified the pairing as "a clear example of wanting to show girls kissing each other for momentary shock value and reader titillation," and questioned how it contributed to Buffy's character development. She criticized the storyline as forced in comparison to the representation of Willow's sexuality, which she praised as "explored in an organic way over time." Stephen Krensky, author of the 2008 book Comic Book Century: The History of American Comic Books, interpreted the pairing as the writers' method of locating and selling to a niche market. A writer for PopMatters described Satsu and her relationship with Buffy as a failed attempt to reach out to an Asian audience. In response to the criticism, Scott Allie defended Whedon against claims that he developed the storyline for the sole purpose to make money or attract publicity. Allie categorized Satsu's sexual interactions with Buffy as an example of how Whedon writes about "often ill-conceived romance, full of twists and turns and heartbreak". ### Character analysis Scholars also commented on the representation of Satsu's sexuality. She was described as fitting the image of a femme aesthetic or the lipstick lesbian. Lewis Call criticized Buffy the Vampire Slayer Season Eight for not fully representing butch identity, citing it as "limit[ing] the comics' queer potential". Writer Lisa Gomez criticized the emphasis on Satsu's sexuality over other aspects of her character, writing that she was "degraded into being nothing but a lesbian slayer who sleeps with Buffy". Satsu's appearance in the issue Swell was praised by some critics, who commented positively on the additional attention given to her and other secondary franchise characters. Sarah Warn, writing for AfterEllen.com, considered Satsu's friendship with fellow lesbian character Kennedy to be the highlight of the issue, and commended the comic for featuring a storyline involving queer people of color. Various academics had a more negative response to the character's inclusion in Swell. Lewis Call viewed the pairing of Satsu and Kennedy in a storyline as representative of "the drastic underrepresentation of lesbians in the Slayer army," pinpointing Kennedy's comment to Satsu—"Buffy sends the other lesbian slayer'' to check up on me". In her discussion of the character's ethnicity, television studies professor Jessica Hautsch felt that the issue portrayed Satsu with stereotypes of Asian women, specifically those of the geisha and the Dragon Lady.	[ "## Arc", "## Development", "## Critical reception", "### Relationship with Buffy", "### Character analysis" ]	2,300	33,812
22,073,621	Siward Barn	1,111,492,977	English thegn and landowner-warrior	[ "11th-century English people", "11th-century births", "Anglo-Saxon thegns", "Anglo-Saxon warriors", "English landowners", "English rebels", "Medieval legends", "People from Derbyshire", "People from Gloucestershire", "People from Lincolnshire", "People from Norfolk", "People from Nottinghamshire", "People from Vale of White Horse (district)", "People from Warwickshire", "People from West Berkshire District", "People from Yorkshire", "Year of death unknown" ]	Siward Barn (Old English: Sigeweard Bearn) was an 11th-century English thegn and landowner-warrior. He appears in the extant sources in the period following the Norman Conquest of England, joining the northern resistance to William the Conqueror by the end of the 1060s. Siward's resistance continued until his capture on the Isle of Ely alongside Æthelwine, Bishop of Durham, Earl Morcar, and Hereward ("the Wake") as cited in the Anglo-Saxon Chronicle. Siward and his confiscated properties in central and northern England were mentioned in Domesday Book, and from this it is clear that he was one of the main antecessors of Henry de Ferrers, father of Robert de Ferrers, the first Earl of Derby. Following his capture in 1071, he was imprisoned. This incarceration lasted until 1087, when a guilt-ridden King William, in expectation of his own death, ordered Siward's release. Firm evidence of Siward's later life is non-existent, but some historians have argued that he took up a career in the Varangian Guard at Constantinople, in the service of the Emperor Alexios I Komnenos. The sources upon which this theory is based also allege that Siward led a party of English colonists to the Black Sea, who renamed their conquered territory New England. ## Origins Identifying Siward's origin is difficult for historians because of the large number of Siwards in England in the mid-11th century. Other notable Siwards include Siward of Maldon and Siward Grossus, both men of substance with landholdings larger or comparable to Siward Barn's. The Anglo-Norman writer Orderic Vitalis, when describing William the Conqueror's stay at Barking, says that Morcar, formerly Earl of Northumbria, and Edwine, Earl of Mercia, came and submitted to King William, followed by Copsi, Earl of Northumbria, along with Thurkil of Limis, Eadric the Wild, and "Ealdred and Siward, the sons of Æthelgar, grandsons [or grand-nephews] (pronepotes) of King Edward". Edward Augustus Freeman and other historians have thought that this Siward was Siward Barn, arguing that Siward must have been a descendant of Uhtred the Bold, Earl of Northumbria, and Ælfgifu, daughter of King Æthelred the Unready, King Edward's father. Historian and translator of Orderic, Marjorie Chibnall, pointed out that this Siward is mentioned later in his Ecclesiastical History as a Shropshire landowner, in connection with the foundation of Shrewsbury Abbey. Ann Williams likewise rejected this identification, identifying this Siward firmly with the Shropshire thegn Siward Grossus. According to Williams' reconstruction, Siward Grossus and his brother Ealdred were the sons of Æthelgar by a daughter of Eadric Streona, Ealdorman of Mercia and Eadgyth, another daughter of King Æthelred, explaining the relationship Orderic believed they had with Edward the Confessor. Another historian, Forrest Scott, guessed that Siward was a member of the family of Northumbrian earls, presumably connected in some way to Siward, Earl of Northumbria. Margaret Faull and Marie Stinson, the editors of the Philimore Domesday Book for Yorkshire, believed that Siward was "a senior member of the house of Bamburgh and possibly a brother or half-brother of Earl Gospatric". Another historian, Geoffrey Barrow, pointed out that Faull and Stinson gave no evidence for this assertion, and doubted the hypothesis because of Siward's Danish name. In any case, Siward’s sobriquet does suggest descent from someone important in Anglo-Saxon England, quite possibly someone of royal blood; Bearn is an Old English word meaning ‘descendant’, and still exists as bairn (child) in some modern English and Scottish dialects. ## From York to Ely In 1068, there was a revolt in the north of England against the rule of King William, few details of which are recorded. It was serious enough to worry King William, who marched north and began the construction of castles at Warwick, Nottingham, York, Lincoln, Huntingdon and Cambridge. Earl Cospatric apparently fled to Scotland and in the beginning of 1069 King William appointed the Picard Robert de Comines as the new earl of Northumbria. During the winter the English murdered Earl Robert and Robert fitz Richard, the custodian of the new castle at York, and trapped William Malet, the first Norman sheriff of York, in the castle. King William went north in the spring or summer of 1069, relieved the siege of Malet, and restored the castle, placing William fitz Osbern in charge. The leaders of the revolt were Edgar the Ætheling (claimant to the English throne), Gospatric of Northumbria, and, among others, Mærle-Sveinn, former sheriff of Lincoln, and many senior Northumbria nobles. In the autumn of 1069, a fleet under the Danish king Sweyn Estridsson and his brother Earl Osbjorn arrived off the coast of England. It is from this point that Siward's involvement in the revolt is documented. Orderic Vitalis related that: > The Ætheling, Waltheof, Siward, and the other English leaders had joined the Danes ... The Danes reached York, and a general rising of the inhabitants swelled their ranks. Waltheof, Gospatric (Gaius Patricius), Mærle-Sveinn (Marius Suenus), Elnoc, Arnketil, and the four sons of Karle were in the advance guard and led the Danish and Norwegian forces. What followed was William's most devastating punitive expedition, the so-called "Harrying of the North", conducted during the winter of 1069/70. After two minor engagements disadvantageous to the Danes, King William came to an agreement with Earl Osbjorn that neutralised them. William held Christmas court at the ruined city of York, and brought Waltheof and Gospatric back into his peace at the River Tees. Siward was at Wearmouth in the summer of 1070, with Edgar and Mærle-Sveinn, while William marched to the River Tyne with his marauding army. Although William burnt down the church of Jarrow, he left Edgar's party undisturbed. Siward must have gone to Scotland in this year, for the Historia Regum reports that in 1071 Morcar (previously earl of Northumbria) and Hereward went by ship to the Isle of Ely, and that "Æthelwine, bishop of Durham, and Siward, nicknamed Barn, sailing back from Scotland" arrived there too. This is also related by the Anglo-Saxon Chronicle, which confirms that: > Bishop Æthelwine and Siweard Bearn came to Ely and many hundred men with them". It was at Ely that Siward and all the other notables, save Hereward, were captured by King William. ## Confiscation and release By 1086, perhaps soon before or after his capture, many of Siward's lands were given to the Norman warrior Henry de Ferrers, though other successors included Geoffrey de La Guerche and William d'Ecouis. According to the Domesday Book, in "the time of Edward" (TRE), or rather on the day of the death of Edward the Confessor, Siward held twenty-one manors in eight different English counties. In Berkshire, Greenham (£8), Lockinge (£10) and Stanford in the Vale (£30; now in Oxfordshire); in Gloucestershire, Lechlade (£20); in Warwickshire, Grendon (£2), Burton Hastings (£4) and Harbury (£2); in Derbyshire, Brassington (£6), Croxhall (£3), Catton (£3), Cubley (£5), Norbury and Roston (£5), Duffield (£9), Breadhall (£4), "Wormhill" (waste) and Moreley (waste); in Nottinghamshire, Leake (£6) and Bonnington (s. 6); in Yorkshire Adlingfleet (£4); in Lincolnshire, Whitton (£10) and Haxey (5); and in Norfolk Sheringham (£4) and Salthouse (£2). Ann Williams doubted that the estates in Berkshire belonged to Siward Barn, noting the possibility that these estates belonged to Siward of Maldon. The total value of his holdings is put at 142 libra ("pounds") and 6 solidi ("shillings"). Siward Barn ranks 21st out of all the English landowners in the time of King Edward below the rank of earl. Nothing more is heard of Siward until 1087, the year of the death of William the Conqueror. The Chronicle of John of Worcester relates that: > On his [King William's] return [from France] fierce intestinal pains afflicted him, and he got worse from day to day. When, as his illness worsened, he felt the day of his death approaching, he set free his brother, Odo, bishop of Bayeux, earls Morkar and Roger, Siward called Barn, and Wulfnoth, King Harold's brother (whom he had kept in custody since childhood), as well as all he had kept imprisoned either in England or Normandy. Then he handed the English kingdom over to William [Rufus], and granted the Norman duchy to Robert [Curthose], who was then exiled in France. In this way, fortified by the holy viaticum, he abandoned both life and kingdom on Thursday, 9 September, after ruling the English kingdom for twenty years, ten months, and twenty-eight days. A similar account is in the Anglo-Saxon Chronicle, recension E, though specific names are omitted. This unfortunately is also the last notice of Siward in any near-contemporary, reliable source. ## Varangian and colonist? Two modern historians, however, have argued that Siward subsequently became a mercenary in the service of the Byzantine Emperor Alexios I Komnenos. A French chronicle which ends in 1219, known as the Chronicon Laudunensis (or Chronicon universale anonymi Laudunensis, "the anonymous universal chronicle of Laon") and the 14th century Icelandic text, the Játvarðar Saga, a short saga devoted to the life of Edward the Confessor, both relate a story about English warriors who sail to Constantinople to escape the dominion of the Normans, and found a colony in the Black Sea called New England. The Játvarðar Saga says that the leader of this expedition was one "Siward earl of Gloucester" (Sigurð jarl af Glocestr). Siward and his force were said to have rescued Constantinople from a siege by "heathens", after which the emperor Alexios offered Siward and his men positions in the Varangian Guard. According to both sources, Siward and some of the English expressed their desire to have a territory of their own, and so Alexius told them of a land over the sea that had formerly been part of the empire, but was now occupied by heathens. The emperor subsequently granted this land to the English, and a party led by Earl Siward sailed onwards to take control of it. The land, the sources allege, lay "6 days north and north-east of Constantinople", a distance and direction that puts the territory somewhere in or around the Crimea and Sea of Azov. Earl Siward, after many battles, defeated and drove away the heathens. The Chronicon Laudunensis says that this territory was renamed "New England", while the Játvarðar Saga claims that the towns of the land were named after English towns, including London and York. The Chronicon alleges that, later, the English rebelled against Byzantine authority and became pirates. The theory that this Siward is Siward Barn was advocated by Jonathan Shepard and Christine Fell. Shepard pointed out, although never called "Earl of Gloucester", Siward had holdings in Gloucestershire – the only substantial Siward in Domesday Book with property in that county — and was indeed a participant in resistance to the Normans. Shepard argued that the narrative in question referred not, as the Chronicon Laudunensis had asserted, to the 1070s, but to the 1090s, after Siward's release from prison. Fell, while acknowledging that there were two Siwards participating in resistance to William the Conqueror, Siward Barn and Siward of Maldon, pointed out that Siward Barn is more prominent in the literary sources and, unlike Siward of Maldon, had property in Gloucestershire. Two other historians who have since commented on the point, John Godfrey and Ann Williams, accepted that the identification is tenuous and remained neutral.	[ "## Origins", "## From York to Ely", "## Confiscation and release", "## Varangian and colonist?" ]	2,776	19,489
961,258	Geoff Bent	1,168,889,645	English footballer (1932–1958)	[ "1932 births", "1958 deaths", "English Football League players", "English men's footballers", "Footballers from Salford", "Footballers killed in the Munich air disaster", "Manchester United F.C. players", "Men's association football fullbacks" ]	Geoffrey Bent (27 September 1932 – 6 February 1958) was an English footballer who played as a left back for Manchester United from 1948 until 1958. He was one of the Busby Babes, the young team formed under manager Matt Busby in the mid-1950s. Bent only made twelve first-team appearances for Manchester United, who already had an international-quality left back in Roger Byrne. Modern writers speculate that at most other teams Bent would have been a regular starter, and he was the subject of interest from fellow First Division clubs, but Busby refused to let him leave. He was one of eight Manchester United players who died in the Munich air disaster, when their aircraft crashed on its third attempt to take off from a slush-covered runway at Munich-Riem Airport after a European Cup match in Belgrade. ## Early life Geoffrey Bent was born on 27 September 1932 at Irlams o' th' Height in Salford, Lancashire. He was the only child of Clifford Bent, a surfaceman at Sandhole Colliery, and his wife Clara (née Dunning). He grew up in a matriarchal working-class family; his father was the sole money earner, but his mother ran the household and had more influence on her son. The family lived in a small house in Jackson's Buildings, Salford, at the back of a shop; the only entrance was from a side alley, and the house had no indoor toilet. Bent received his education in Swinton; he first attended St John's Junior School, and then was awarded a scholarship to Tootal Road Grammar School. He was a member of both the Boy Scouts and the Boys' Brigade, and a keen swimmer. In 1946, aged 13, Bent saved another child from drowning in the Manchester and Salford Junction Canal, and was awarded a medal by his local Humane Society. Although Bent was encouraged to play rugby league by both his father, who supported the local Swinton club, and one of his teachers, he was only ever interested in playing association football. Bent began as a forward, playing at inside left, but later moved into the defence, first as a half back and then left back. He played for Barton Villa in local league football, and in the 1946–47 season, he captained the Salford Schoolboys team to victory in the English Schools Trophy, beating a Leicester team in the final. His performances for Salford drew the attention of several prominent clubs. Bent's mother did not want him to leave home, and she swayed him to sign a contract with Manchester United. At the time, players were not allowed to sign a professional contract with a team until the age of 17, so like many of his teammates, Bent also took on an apprenticeship as a joiner, a trade he continued during the summer breaks between football seasons. During the early stages of his time with Manchester United, Bent met Marion Mallandaine, initially when he had been dating her younger sister, Betty. His relationship with Betty did not last very long, and he settled down with Marion, whom he married on 27 June 1953 in Pendlebury, and the couple later moved into one of the football club's houses on King's Road, not far from the club's home ground of Old Trafford. ## Manchester United career Bent initially joined Manchester United as a trialist in August 1948, then as an amateur alongside his apprenticeship in May 1949. Over the following few years, he played for United's youth and reserve teams, where he excelled. Manchester United had a nucleus of young, upcoming players, so these teams were often very strong; Bent appeared alongside players such as Bobby Charlton, Wilf McGuinness, David Pegg and Duncan Edwards. In April 1951, aged 18, Bent signed a professional contract with the club. Bent had been expected to replace John Aston Sr. at left back in the Manchester United first team; Aston was one of the older players in the team and injuries led to his retirement at the end of the 1953–54 season. Bent's teammate Roger Byrne, who had deputised for Aston to make his Manchester United debut in 1951, had made it clear early in the 1952–53 season that he wanted to play at left back, requesting a transfer when the Manchester United manager Matt Busby played him on the left wing instead. Busby relented, and Byrne returned to left back. Byrne became Manchester United captain in February 1954, and it was clear that Bent would not be preferred for the position. Bent made his first-team debut for Manchester United in December 1954 against Burnley, in place of Byrne, who had a neck injury. He appeared once more that season, when Byrne was on international duty for England in April. Bent's appearances were again sporadic in the 1955–56 season, deputising for either Byrne or Bill Foulkes; he played three times in October, and then once in April. Modern commentators suggest that at almost any other First Division club, Bent would have been a regular member of the first team, and he twice requested a transfer. On both occasions, Busby turned down the request, explaining that he was too valuable for the club to lose. His wife, Marion, believed that several other First Division teams were interested in Bent, including Wolverhampton Wanderers, who along with Manchester United were one of the more successful clubs of the 1950s. In 1956–57, Bent played six times, each time standing in for either Byrne or Foulkes. Despite his infrequent first-team appearances, Bent was well thought of, both within the club, as evidenced by Busby's refusal to sell him, and beyond. In an article published in the Manchester Evening News in 1955, Byrne described the positive effect that having strong reserve players such as Bent, who he called a "valuable prospect", had on the team, specifying that; "I for one have really got to strive to keep my position". Foulkes later echoed claims that Bent would have been a first-team regular for most other clubs, and went on to describe him as being "quiet and more studious" than many of his teammates. In his history of the victims of the Munich air disaster, Jeff Connor describes Bent as "tall, well built and a strong tackler", and his biography in The Official Manchester United Illustrated Encyclopedia calls him a "good tackler and accurate passer". ## Munich air disaster Bent did not play any first-team games during the 1957–58 season, having been on the sidelines for several months with a broken foot, the second such injury he had suffered during his time with the club. He was on crutches when visiting hospital in September 1957 for the birth of his daughter, Karen. By February 1958, Bent was fully recovered, and had returned to action for the reserve team. He was not initially included in the travelling party for the second leg of the European Cup quarter-final against Red Star Belgrade. Bent did not enjoy flying, suffering from nose bleeds and requiring ear drops when he did so, and Ronnie Cope was going to travel with the team as a reserve for the experience of a European away fixture. In the days leading up to the trip, Byrne complained of an injury niggle, and so Busby called up Bent for the trip in case Byrne could not play. Bent complained to his wife about the trip, saying: "I don't know why they're taking me, because I'm sure Roger will be fit." Ultimately, Bent was proved right; Byrne recovered and played the match which United drew 3–3. As they had won the first leg 2–1, United won the two-legged tie and progressed to the semi-finals. Snow had been falling for most of the game in Belgrade, but the weather was better for the team's flight home the next morning, 6 February. As the aircraft approached Munich-Riem Airport, the snow worsened once more. The plane landed safely, and the players disembarked while the plane was refuelled. A short time later, with the passengers back on board, the plane made two aborted attempts to take off, each time suffering from apparent engine problems. The passengers were asked to disembark again while the pilots discussed the issue with the ground crew, and fifteen minutes later they were ready to try again. On the third attempt, the plane reached 117 knots (217 km/h; 135 mph), the plane's takeoff decision speed, the speed above which take off can no longer safely be aborted, but then hit slush on the runway, and dropped speed. The plane failed to take off, and crashed off the end of the runway, through the barrier fencing, and across a road. Different parts of the plane hit a tree, a house and a wooden hut which exploded. Bent was one of twenty-one people who died before the emergency services arrived—a death toll which included eight journalists and seven Manchester United players. Two more died from their injuries over the following few weeks, taking the total number of fatalities to twenty-three. Bent's funeral and interment were held on 13 February at St John's Church in Pendlebury. ## Legacy Although he was not a regular starter, Bent was considered to be one of the Busby Babes, the young team formed at Manchester United under manager Matt Busby in the 1950s which won the First Division in both the 1955–56 and 1956–57 seasons. Bent's name, along with the others who died in Munich, appears on a memorial plaque at Old Trafford, and there is also a memorial stone in Munich, near the site of the crash. The neglected state of his grave has been a regular press story; in 1988 the Manchester Evening News ran a story, in which Bent's widow said she could not afford to maintain the grave. Similar stories appeared in 2005 and 2015; in each instance Manchester United said they would look to provide regular maintenance. ## Career statistics ## Notes, citations and sources	[ "## Early life", "## Manchester United career", "## Munich air disaster", "## Legacy", "## Career statistics", "## Notes, citations and sources" ]	2,105	43,959
1,061,330	Zytglogge	1,165,564,730	Medieval tower in Bern, Switzerland	[ "Astronomical clocks in Switzerland", "Buildings and structures completed in 1220", "Buildings and structures in Bern", "Clock towers in Switzerland", "Cultural property of national significance in the canton of Bern", "Horology", "Monuments and memorials in Switzerland", "Old City (Bern)", "Tourist attractions in Bern" ]	The Zytglogge (Bernese German: ; lit. 'time bell') is a landmark medieval tower in Bern, Switzerland. Built in the early 13th century, it has served the city as a guard tower, prison, clock tower, centre of urban life and civic memorial. Despite the many redecorations and renovations it has undergone in its 800 years of existence, the Zytglogge is one of Bern's most recognisable symbols and the oldest monument of the city, and with its 15th-century astronomical clock, a major tourist attraction. It is a heritage site of national significance, and part of the Old City of Bern, a UNESCO World Heritage Site. ## History When it was built around 1218–1220, the Zytglogge served as the gate tower of Bern's western fortifications. These were erected after the city's first westward expansion following its de facto independence from the Empire. At that time, the Zytglogge was a squat building of only 16 metres (52 ft) in height. When the rapid growth of the city and the further expansion of the fortifications (up to the Käfigturm) relegated the tower to second-line status at around 1270–1275, it was heightened by 7 metres (23 ft) to overlook the surrounding houses. Only after the city's western defences were extended again in 1344–1346 up to the now-destroyed Christoffelturm, the Zytglogge was converted to a women's prison, notably housing Pfaffendirnen – "priests' whores", women convicted of sexual relations with clerics. At this time, the Zytglogge also received its first slanted roof. In the great fire of 1405, the tower burnt out completely. It suffered severe structural damage that required thorough repairs, which were not complete until after the last restoration in 1983. The prison cells were abandoned and a clock was first installed above the gate in the early 15th century, probably including a simple astronomical clock and musical mechanism. This clock, together with the great bell cast in 1405, gave the Zytglogge its name, which in Bernese German means "time bell". In the late 15th century, the Zytglogge and the other Bernese gate towers were extended and decorated after the Burgundian Romantic fashion. The Zytglogge received a new lantern (including the metal bellman visible today), four decorative corner towerlets, heraldic decorations and probably its stair tower. The astronomical clock was extended to its current state. In 1527–30, the clockwork was completely rebuilt by Kaspar Brunner, and the gateway was overarched to provide a secure foundation for the heavy machinery. The Zytglogge's exterior was repainted by Gotthard Ringgli and Kaspar Haldenstein in 1607–1610, who introduced the large clock faces that now dominate the east and west façades of the tower. The corner towerlets were removed again some time before 1603. In 1770–1771, the Zytglogge was renovated by Niklaus Hebler and Ludwig Emanuel Zehnder, who refurbished the structure in order to suit the tastes of the late Baroque, giving the tower its contemporary outline. Both façades were again repainted in the Rococo style by Rudolf von Steiger in 1890. The idealising historicism of the design came to be disliked in the 20th century, and a 1929 competition produced the façade designs visible today: on the west façade, Victor Surbek's fresco "Beginning of Time" and on the east façade, a reconstruction of the 1770 design by Kurt Indermühle. In 1981–1983, the Zytglogge was thoroughly renovated again and generally restored to its 1770 appearance. In the advent season and from Easter until the end of October, it is illuminated after dusk. ### Name The Bernese German Zytglogge translates to Zeitglocke in Standard German and to time bell in English; 'Glocke' is German for 'bell', as in the related term 'glockenspiel'. A "time bell" was one of the earliest public timekeeping devices, consisting of a clockwork connected to a hammer that rang a small bell at the full hour. Such a device was installed in the Wendelstein in Bern – the tower of the Leutkirche church which the Münster later replaced – in 1383 at the latest; it alerted the bell-ringer to ring the tower bells. The name of Zytglogge was first recorded in 1413. Previously, the tower was referred to as the kebie ("cage", i.e., prison) and after its post-1405 reconstruction, the nüwer turm ("new tower"). ## Exterior ### External structure The Zytglogge has an overall height of 54.5 metres (179 ft), and a height of 24 metres (79 ft) up to the roof-edge. Its rectangular floor plan measures 11.2 by 10.75 metres (36.7 by 35.3 ft). The wall strengths vary widely, ranging from 260 centimetres (100 in) in the west, where the tower formed part of the city walls, to 65 centimetres (26 in) in the east. The outward appearance of the Zytglogge is determined by the 1770 renovation. Only the late Gothic cornice below the roof and the stair tower are visible artifacts of the tower's earlier history. The main body of the tower is divided into the two-storey plinth, whose exterior is made of alpine limestone, and the three-storey tower shaft sheathed in sandstone. The shaft's seemingly massive corner blocks are decorative fixtures held in place by visible iron hooks. Below the roof, the cornice spans around the still-visible bases of the former corner towerlets. The two-story attic is covered by the sweeping, red-tiled, late Gothic spire, in which two spire lights are set to the West and East. They are crowned by ornamental urns with pinecone knobs reconstructed in 1983 from 18th-century drawings. From atop the spire, the wooden pinnacle, copper-sheathed since 1930, rises an additional 15 metres (49 ft) into the skies, crowned with a gilded knob and a weather vane displaying a cut-out coat of arms of Bern. ### Bells and bell-striker The tower's two namesake bronze bells hang in the cupola at its very top. The great hour bell, cast by Johann Reber, has remained unchanged since the tower's reconstruction in 1405. It has a diameter of 127 centimetres (50 in), a weight of 1,400 kilograms (3,100 lb) and rings with a nominal tone of e'''. The inscription on the bell reads, in Latin: > "In the October month of the year 1405 I was cast by Master John called Reber of Aarau. I am vessel and wax, and to all I tell the hours of the day." When the great bell rings out every full hour, struck by a large clockwork-operated hammer, passers-by see a gilded figure in full harness moving its arm to strike it. The larger-than-life figure of bearded Chronos, the Greek personification of time, is traditionally nicknamed Hans von Thann by the Bernese. The wooden bell-striker, which has been replaced several times, has been a fixture of the Zytglogge since the renewal of the astronomical clock in 1530, whose clockwork also controls the figure's motions. The original wooden Chronos might have been created by master craftsman Albrecht von Nürnberg, while the current and most recent Hans is a 1930 reconstruction of a Baroque original. The bell-striker has been gilded, just like the bells, since 1770. Below the hour bell hangs the smaller quarter-hour bell, also rung by a clockwork hammer. It was cast in 1887 to replace the cracked 1486 original. ### Clock faces and façade decorations Both principal façades, East and West, are dominated by large clockfaces. The Zytglogge's first clockface was likely located on the plinth, but was moved up to the center of the shaft during the tower's 15th-century reconfiguration. The eastern clock face features an outer ring of large golden Roman numerals, on which the larger hand indicates the hour, and an inner ring on which the smaller hand indicates the minutes. The golden Sun on the hour hand is pivot-mounted so that it always faces up. The western clock face has similar hands, but is an integral part of Victor Surbek's 1929 fresco "Beginning of Time". The painting depicts Chronos swooping down with cape fluttering, and, below the clockface, Adam and Eve's eviction from Paradise by an angel. ### Astronomical clock The dial of the Zytglogge's astronomical clock is built in the form of an astrolabe. It is backed by a stereographically projected planisphere divided into three zones: the black night sky, the deep blue zone of dawn and the light blue day sky. The skies are crisscrossed with the golden lines of the horizon, dawn, the tropics and the temporal hours, which divide the time of daylight into twelve hours whose length varies with the time of year. Around the planisphere moves the rete, a web-like metal cutout representing the zodiac, which also features a Julian calendar dial. Above the rete, a display indicates the day of the week. Because leap days are not supported by the clockwork, the calendar hand has to be reset manually each leap year on 29 February. A moon dial circles the inner ring of the zodiac, displaying the moon phase. The principal hand of the clock indicates the time of day on the outer ring of 24 golden Roman numerals, which run twice from I to XII. It features two suns, the smaller one indicating the date on the rete'''s calendar dial. The larger one circles the zodiac at one revolution per year and also rotates across the planisphere once per day. Its crossing of the horizon and dawn lines twice per day allows the timing of sunrise, dawn, dusk and sunset. The painted frieze above the astronomical clock shows five deities from classical antiquity, each representing both a day of the week and a planet in their order according to Ptolemaic cosmology. From left to right, they are: Saturn with sickle and club for Saturday, Jupiter with thunderbolts for Thursday, Mars with sword and shield for Tuesday, Venus with Cupid for Friday and Mercury with staff and bag for Wednesday. #### Movement The clock dial has been dated to either the building phases of 1405 or 1467-83, or to the installation of the Brunner clockwork in 1527-30. Ueli Bellwald notes that the planisphere uses a southern projection, as was characteristic for 15th-century astronomical clocks; all later such clocks use a northern projection. This would seem to confirm the dating of the clock to the 1405 or 1467/83 renovations. A clock is documented in this tower since 1405, when a new bell was installed. ## Interior The Zytglogge's internal layout has changed over time to reflect the tower's change of purpose from guard tower to city prison to clock tower. The thirteenth-century guard tower was not much more than a hollow shell of walls that was open towards the city in the east. Only in the fourteenth century was a layer of four storeys inserted. The rooms above the clockwork mechanism were used by the city administration for various purposes up until the late 20th century, including as archives, storerooms, as a firehose magazine and even as an air raid shelter. The interior was frequently remodelled in a careless, even vandalistic fashion; for instance, all but three of the original wooden beams supporting the intermediate floors were destroyed. Since 1979, the tower's interior is empty again and only accessible in the course of guided tours.	[ "## History", "### Name", "## Exterior", "### External structure", "### Bells and bell-striker", "### Clock faces and façade decorations", "### Astronomical clock", "#### Movement", "## Interior" ]	2,575	26,893
62,308,621	Cántalo	1,160,307,804	2019 single by Ricky Martin	[ "2019 singles", "2019 songs", "Bad Bunny songs", "Residente songs", "Ricky Martin songs", "Songs written by Bad Bunny", "Songs written by Residente", "Songs written by Ricky Martin", "Songs written by Rubén Blades", "Sony Music Latin singles", "Spanish-language songs" ]	"Cántalo" (transl. "Sing It") is a song recorded by Puerto Rican singer Ricky Martin with Puerto Rican rappers Residente and Bad Bunny for Martin's first extended play, Pausa (2020). The song was written by Residente, Bad Bunny, Danay Suárez, Martin, Rubén Blades, and Johnny Pacheco, while the production was handled by Residente and Trooko. It was released for digital download and streaming by Sony Music Latin on November 12, 2019, as the lead single from the EP. A Spanish language salsa and reggaeton song, it is about union and celebration. "Cántalo" received widely positive reviews from music critics, who complimented its lyrics, and fusion of sounds and genres. The song reached the top 10 in Martin's native Puerto Rico, and the top 15 in Panama. It was nominated for Best Urban Fusion/Performance at the 21st Annual Latin Grammy Awards. To promote the song, Martin, Residente, and Bad Bunny performed it at the 2019 Latin Grammy Awards. For further promotion, Spotify promoted the release on billboards in Times Square. ## Background and development Telegramgate, also known as Chatgate, was a political scandal involving Ricardo Rosselló, then Governor of Puerto Rico, which began on July 8, 2019, with the leak of hundreds of pages of a group chat on the messaging application Telegram between Rosselló and members of his cabinet. The messages were considered vulgar, misogynistic, and homophobic toward several individuals and groups, including Ricky Martin. Therefore, Martin, Bad Bunny, Residente and several other artists, and more than half a million Puerto Ricans led the call to take to the streets of Puerto Rico, demanding Rosselló's resignation. Martin started recording his eleventh studio album, initially titled Movimiento, in the second half of 2019, inspired by the political protests in Puerto Rico. On November 6, 2019, Martin shared the artwork for his new single on his Instagram and announced that it would be a collaboration with Bad Bunny and Residente, titled "Cántalo". The cover replicates Puerto Rican protest posters demanding the resignation of Roselló. Four days later, Martin shared a photo of himself and his fellow artists in studio, and revealed the single's release date as November 12, 2019. In an interview with El Nuevo Día, he told the newspaper about "Cántalo", saying it has "a fascinating story, starting with the fact that La Fania gave me the master [recordings] of 'Mi Gente' to work on this song, which is a very great responsibility and it fills my heart with pride". He continued: > I've always wanted to bring generations together through my music, and I have to give much credit to Residente, an excellent producer and lyricist, and certainly to Bad Bunny, the new face of the genre and a very young person who has very important things to tell. We have many things in common and that's where magic is born. I'm really excited I can collaborate with artists as talented and special as them. Residente also told El Nuevo Día about the collaboration, saying it "continues to show the union through music and within a circle of different generations that represent our culture and heritage", going on to call the song "an incredible experience to integrate 'Mi Gente' a song with a rich history from its creation in Africa to its global impact". "Cántalo" marked the first collaboration between Martin and the two other artists, while Residente and Bad Bunny had previously worked on the 2019 singles "Bellacoso" and "Afilando los cuchillos" together. ## Music and lyrics Musically, "Cántalo" is a Spanish language salsa and reggaeton song, written by Residente, Bad Bunny, Cuban singer-songwriter Danay Suárez, Martin, Panamanian musician Rubén Blades, and Dominican musician Johnny Pacheco. Its production was handled by Residente and Trooko, and the song features elements of trap, hip hop, Afro-Latin pop, jazz, and bossa nova. The song runs for a total of 3 minutes and 38 seconds, uses several instruments including a tambora and trumpet, and inspires the union of the human race regardless of religion, social status or flag color. Throughout the roaring and richly cultural song, the trio sing about union and celebration. The chorus of the track references Héctor Lavoe's 1974 song "Mi Gente", and reverts to "full-throttle salsa" between Residente and Bad Bunny rap verses. After Bad Bunny's verse, the song nods to a half-time tempo, before another chorus. ## Release and promotion The song was released for digital download and streaming as a single by Sony Music Latin on November 12, 2019. For further promotion, Spotify promoted the release on billboards in Times Square. Because of the COVID-19 pandemic and subsequent personal experiences, Martin decided to split the album Movimiento into the two EPs Pausa and Play. "Cántalo" was included as the sixth track on his debut EP Pausa, released May 28, 2020. On June 23, 2020, an accompanying lyric video was released on Martin's YouTube channel. A headphone mix of the song, created using "Orbital Audio" technology, was included as the sixth track on the headphone mix version of the EP, released July 30, 2020. Martin, Residente, and Bad Bunny gave their first live performance of "Cántalo" at the 20th Annual Latin Grammy Awards on November 14, 2019, which was ranked as one of the best moments of the ceremony by Rolling Stone. The song was included on Martin's the Movimiento Tour, which began at the José Miguel Agrelot Coliseum in San Juan, Puerto Rico on February 7, 2020. During the performances of "Cántalo" for the tour, he wore a black outfit, and usually appeared at the top of a staircase placed in the middle of a stage. Martin also performed "Cántalo" along with his other hits during the 61st Viña del Mar International Song Festival on February 23, 2020. ## Critical reception Upon release, "Cántalo" was met with widely positive reviews from music critics. Suzette Fernandez from Billboard gave the song a positive review, praising it for leaving aside the commercial sound and becoming a cultural song that carries a message of union and celebration. She also complimented the song for its perfectly fusion of sounds, and admired "the combination of Martin's voice with Residente and Bad Bunny's rap style and the lyrics" that make the track "unique". Writing for Hypebeast, Sophie Caraan praised "Cántalo", saying: "Fusing traditional sounds found in Latin music and Residente and Bunny's trap style, the track calls for everybody to stand for what’s right instead of turning a blind eye to injustice." She also described the song as "[a] cultural anthem that calls for unification and celebration". Alicia Alonso from Cadena Dial described it as "a song with Latin rhythms that promises to be the song that everyone is going to dance and sing". An author of Los 40 complimented the track, labeling it "a song that brings together all cultures regardless of religion or country". An author of Rádio Comercial wrote about the song: "A little bit of classic salsa, a few splashes of reggaeton (enough) and a little bit of hip-hop. Everything moves, joins the power trio Ricky Martin, Residente and Bad Bunny and the result is 'Cántalo'." Writing for 20 minutos, David Moreno Sáenz described the song as "a true tribute to Latin music that fuses genres from reggaeton to bossa nova through more urban music or jazz". ### Accolades TNT Latin America ranked "Cántalo" as one of the Best Collaborations of 2019. It was nominated for Best Urban Fusion/Performance at the 21st Annual Latin Grammy Awards, but lost to "Yo x Ti, Tu x Mi" by Rosalía and Ozuna. ## Commercial performance "Cántalo" debuted at number 35 on the US Hot Latin Songs chart, becoming Martin's 48th entry on the chart, Residente's second, and Bad Bunny's 62nd. It also peaked at number 23 on the US Latin Airplay chart, number 11 on both the Latin Pop Airplay and Latin Rhythm Airplay charts, and number 3 on the US Latin Digital Song Sales chart, becoming Residente's highest peak and his longest running hit on the last chart. The song was certified Latin gold by the Recording Industry Association of America (RIAA), for track-equivalent sales of over 30,000 units in the United States. Besides the US, "Cántalo" reached the top 10 in Puerto Rico, and the top 15 in Panama. ## Track listing ## Credits and personnel Credits adapted from Tidal. - Ricky Martin – vocal, composer, lyricist, associated performer, executive producer - Residente – vocal, composer, producer, lyricist, associated performer - Bad Bunny – vocal, composer, lyricist, associated performer - Trooko – producer, recording engineer - Danay Suárez – composer, lyricist - Johnny Pacheco – composer, lyricist - Rubén Blades – composer, lyricist, background vocal - Karina Pagán – A&R coordinator - Mireille Bravo – A&R coordinator - Amber Urena – A&R coordinator - Isabel De Jesús – A&R director - Tito Allen – background vocal - Carmila Ramírez – background vocal - Daniel Díaz – congas - Ted Jensen – mastering engineer - Tom Elmhirst – mixing engineer - Leo Genovese – piano - Daniel Prim – percussion - Enrique Larreal – recording engineer - Phil Joly – recording engineer - Luis Quintero – timbales - Rey Alejandre – trombone - Diego Urcola – trumpet - Jean Rodriguez – vocal engineer ## Charts ### Weekly charts ### Year-end charts ## Certifications ## Release history	[ "## Background and development", "## Music and lyrics", "## Release and promotion", "## Critical reception", "### Accolades", "## Commercial performance", "## Track listing", "## Credits and personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications", "## Release history" ]	2,173	8,016
51,730,221	Love You Better (Oh Land song)	1,122,398,137	null	[ "2010s ballads", "2013 songs", "Films directed by Kristian Levring", "Folk ballads", "Oh Land songs", "Songs written by Oh Land" ]	"Love You Better" (recorded in Danish and named "Elsker dig mer" in 2018) is a song by Danish singer-songwriter Oh Land for her third studio album, Wish Bone (2013). It was released digitally, along with the rest of the parent album, on 16 September 2013 by Tusk or Tooth Records and A:larm Music. It was written and produced by Oh Land, with David Poe serving as an additional songwriter. An acoustic and folk ballad, "Love You Better" is about learning to love your companion more as you age. The song received generally favourable reviews from music critics who described it as romantic and stark. Danish filmmaker Kristian Levring filmed and produced a music video for the song after Oh Land expressed interest in collaborating with him. Leth was able to select any song by Oh Land for the clip and he chose "Love You Better". The visual features Oh Land aging in reverse, achieved by the singer wearing tracking devices. Following the release of the video on 21 October 2016, it entered Billboard's Denmark Digital Songs chart at number six. Oh Land re-recorded the song in Danish for her 2018 soundtrack Watermusic; the new rendition features guest vocals from Oliver Arndt de Thurah and was retitled "Elsker dig mer". ## Background and composition "Love You Better" is from Oh Land's third studio album, Wish Bone (2013). The album was released on 16 September 2013 by Tusk or Tooth Records and A:larm Music. The song was written and produced by Oh Land, with David Poe serving as an additional songwriter. Poe played his guitar on the track and Danny Cheung served as the track's sole engineer. According to the singer, "it is a song that means a lot to [her]" because it serves as a "delicate, melancholy ode to wisdom and age". Oh Land spoke regarding the song's meaning and inspiration: > It was written in the L.A. sun on an afternoon with my friend David Poe. We were talking about how you sometimes know that you would be better at love if only you were older. But you can't rush old. You have to be young and dumb and let time do its thing before you get the experience you need to handle love right. The song itself was recorded at Chalice Recording Studios in Los Angeles. In an interview with Noisey, Oh Land spoke with Kim Taylor Bennett who asked her for further clarification on the lyrics. Bennett interpreted the lyrics as a "girl who is perhaps incapable of love and commitment" but by the end of the song, it is revealed that "it's the guy who is the asshole", to which Oh Land confirmed and said, "Yeah, so it's like, 'fuck you!'". She also described it as a song that "fast-forwards a bit" and inspires her because she believes that she "will do everything better when [she] get[s] older". Oh Land discusses loving someone to a deeper extent as she ages: "I will wrap my arms around you and keep you from the cold / I will love you better when I'm old". Several music critics described "Love You Better" as a ballad. The Guardian's Paul MacInnes called the song an "acoustic ballad", while Leonie Cooper from NME felt it was a "folk ballad". ## Reception "Love You Better" received generally favourable reviews from music critics. Jim Carroll of The Irish Times found the song to be proof of Oh Land's "efforts to find new ground"; he also praised the track for containing "timeless drama" and recommended that readers of his column download the track. James Christopher Monger from AllMusic called the song a "better version" of Oh Land's single "Cherry on Top" (2013) and described it as "stark and surprisingly quaint". Other critics called the track romantic, such as The Guardian's Paul MacInnes who described it as "heart-smooshing" and Leonie Cooper from NME who stated it was "starkly romantic" and called for a "heart-swelling shift in mood" on Wish Bone. Michael Jose Gonzalez, an editor for Gaffa, stated that the song was both beautiful and a delight. Neon Tommy's Jennifer Joh wrote that "Love You Better" and album track "Kill My Darling" were both "dark and calmly chaotic", adding that their "satisfying harmonies [will] make one's head spin". Christopher Monk, a writer for musicOMH, noted that Oh Land's self-produced songs on Wish Bone ("3 Chances" and "Love You Better") are both "pretty", but ultimately she claimed that "they belong on a different album altogether". Following the release of the official music video on 21 October 2016, "Love You Better" entered the digital component chart in Denmark, which strictly tracks download sales from songs in that country. It debuted and peaked at number six on the list compiled by Billboard on 5 November 2016. It left the chart the following week. ## Music video Approximately three years after the initial release of "Love You Better" and Wish Bone, a music video was created for the song. Oh Land had wanted to collaborate with Danish filmmaker Kristian Levring on several occasions but due to scheduling conflicts they were unable to work together. However, he finally agreed to produce a music video for her in 2016 and she allowed him to pick any song from her catalog for the clip; he ultimately chose "Love You Better". In the video, Oh Land "age[s] slowly in reverses in a surprising, and sometimes unsettling, series of subtle fades". In order to produce the several special effects in the video, the singer wore a series of "3D tracking dots" in order to makes the "transitions [appear] seamless". Oh Land spoke about the filming process: "The video was shoot was fun and challenging because it's sorta shot like stop-motion. We gradually remove prosthetics and makeup for me to get younger and younger." She further predicted that of the several shots, approximately "95 percent" of them featured her in extensive makeup. The video eventually premiered on Oh Land's official YouTube account on 21 October. ## Personnel Personnel adapted from Wish Bone liner notes. - Nanna Øland Fabricius – vocals, lyrics, production - Danny Cheung – engineering - David Poe – production, guitar ## Charts	[ "## Background and composition", "## Reception", "## Music video", "## Personnel", "## Charts" ]	1,333	9,138
31,458,880	Walter Gilbert (cricketer)	1,156,319,688	English Amateur cricketer (1853–1924)	[ "1853 births", "1924 deaths", "British people convicted of theft", "Cricketers from Greater London", "English cricketers", "English emigrants to Canada", "Gentlemen cricketers", "Gentlemen of England cricketers", "Gentlemen of the South cricketers", "Gloucestershire cricketers", "Grace family", "Middlesex cricketers", "North v South cricketers", "Over 30s v Under 30s cricketers", "United South of England Eleven cricketers", "W. G. Grace's XI cricketers" ]	Walter Raleigh Gilbert (16 September 1853 – 26 July 1924) was an English amateur cricketer who played first-class cricket for Middlesex and Gloucestershire between 1873 and 1886. A cousin of W. G. Grace, he played for Gloucestershire when, dominated by the Grace family, it was the leading county. Gilbert's best season was 1876, when he scored 205 not out for the county, but he was subsequently less successful. Closely connected with the United South of England Eleven, a professional touring team of which he eventually became secretary, Gilbert was financially affected by a declining interest in such teams. With insufficient income to continue as an amateur he became a professional in 1886, but played only one match before he was caught stealing from teammates in a minor match, ending his first-class career. After serving a 28-day prison sentence Gilbert moved to Canada, where he worked for the Land Titles Office in Calgary while remaining a prominent cricketer. He died aged 70 in 1924, but for nearly 60 years after his death, there seemed to be a conspiracy of silence over his fate. ## Early life and career Walter Gilbert was born in London on 16 September 1853. He spent some time living in Downend with his maternal aunt, Martha Grace, the mother of W. G. Grace, as a result of which he became friendly with Grace and his brothers. Between 1869 and 1871 Gilbert made several appearances in minor cricket for teams representing Worcestershire and went on to play for the United South of England Eleven, one of several fully professional teams that toured the country playing mainly minor matches. In 1871 he made his first-class debut, playing as an amateur in a team chosen by W. G. Grace for a match against Kent. He scored 13 and 1, kept wicket in at least the first innings, held two catches, and achieved a stumping. By virtue of his London birth, Gilbert was qualified to play cricket for Middlesex. He made nine appearances for the county during the 1873 and 1874 seasons, achieving a highest score of 49, averaging 17.40 with the bat and taking two wickets. His first score of over fifty runs in first-class matches came for the United South of England XI, for whom he continued to play regularly, against the United North of England XI in 1874. He also achieved some success as a bowler, taking five wickets for W. G. Grace's team against Kent in 1873. ## Achieving prominence In the English winter of 1873–74, Gilbert was chosen by W. G. Grace to accompany his touring team to Australia. Gilbert had a string of single-figure scores and a highest score of 33 not out. Nevertheless, he and Grace got on well, and he was a popular member of the touring party. Grace enjoyed his company to the extent of hunting kangaroos with him. During the 1874 season Gilbert made a double century in minor cricket, scoring 254 not out for Thornbury against Sneyd Park. Later in the season he made a further representative appearance, playing for the Gentlemen against the Players at Prince's Cricket Ground and opening the batting with W. G. Grace; he scored 14 and 16 and took four wickets in the Players' first innings. He also played in the corresponding fixture the following year. By 1876 Gilbert had qualified to play for Gloucestershire, as he had lived in the county for the length of time required by the rules. In his first season for the club he finished fifth in the first-class batting averages, scoring 907 runs at an average of 36.28. His highest score was 205 not out for an England XI against Cambridge University, the third-highest score of the season after W. G. Grace's two triple centuries. His innings lasted about seven hours, and he batted on each of the three days of the match. This was his maiden first-class century; he scored another hundred later in the season when he made 143 runs for a combined Kent and Gloucestershire side against a team representing England. In the same season he took 28 wickets at an average of 19.64, including seven wickets for 65 runs in the match between the United South of England XI and the United North of England XI. ## Decline and disgrace Over the next few seasons Gilbert was not as successful with the bat; in 1877 he failed to exceed 47 in any innings, he scored about half the number of runs that he had during the previous year, and his average dropped to 15.70. His average remained below 20 in four of the next five seasons and never passed 23. In six seasons, he scored only six fifties. On the other hand, he took 56 wickets in both 1877 and 1878, averaging under 17 with the ball. He achieved some notable performances as a bowler, including bowling unchanged throughout a game in partnership with W. G. Grace. But from 1879 he bowled less frequently, and never passed 23 wickets in a season again. Even so, Gilbert represented the Gentlemen against the Players twice in 1877, his final appearances in the fixture; in four games, he scored just 43 runs and took 16 wickets. By this time Gilbert faced financial difficulty as an amateur cricketer. Most amateurs were from privileged backgrounds, whereas professionals mainly came from the working class. It was almost unthinkable for an amateur to become a professional, although many did receive financial inducements such as generous expenses and sinecure positions within county organisations. Unlike the Grace brothers, Gilbert did not have a profession outside cricket to provide a supplementary income allowing him to live comfortably. A solution seemed to arrive in 1880, when Fred Grace, the manager of the United South of England XI touring side and one of W. G. Grace's brothers, died and Gilbert took over his paid job as secretary. But the popularity of professional touring teams was already in decline, and the increasing number of matches between county teams attracted more interest. An indication of trouble came in 1882 when a professional cricketer took Gilbert to court over unpaid fees for an appearance in a match. In three seasons between 1883 and 1885 Gilbert's batting form improved somewhat. Appearing mainly for Gloucestershire, Gilbert increased his first-class batting average beyond 20, and in 1885 he hit his third first-class century when he scored 102 against Yorkshire. At the start of the 1886 season Gilbert was featured in the popular biographical article in the weekly magazine Cricket, a significant accolade suggesting that he was highly regarded. A few days after the article's appearance Gilbert announced that he would in future play for Gloucestershire as a professional, but after only one appearance for the county he disappeared from first-class cricket. Official sources, including Cricket magazine in which Gilbert had recently been featured, James Lillywhite's Cricketers' Annual and Wisden Cricketers' Almanack offered no explanation. Wisden ended its match report on Gilbert's only professional appearance: "... about [Gilbert's] subsequent disappearance from cricket there is no need to speak". Gilbert had also been engaged by a club called East Gloucestershire, based in Cheltenham, which played minor cricket. The explanation for Gilbert's disappearance was to be found in a match he played for the club on 4 and 5 June 1886. Before the second day's play, Gilbert arrived early at the ground and went into the pavilion. Because several sums of money had recently gone missing from the pavilion, a policeman was hidden in the team's dressing room and he saw Gilbert searching clothes and stealing money. On being confronted, Gilbert produced the coins, one of which had been marked so that it could be identified. The East Gloucestershire match continued, but Gilbert's name was omitted from the published scorecard; the wickets he had taken on the first day were credited to "Smith", and either only ten players were listed or Gilbert's position in the batting order was taken by "Mr E. L. Even", who did not bat. Gilbert had been selected for Gloucestershire's first-class match against Sussex on 7 June, but he was dropped from the side and his place taken by a player making his only appearance in the side. Gilbert was in police court while the match was taking place, charged with theft. He admitted stealing from two men and expressed remorse. According to the report in The Times, he stated that if he were forgiven, he would move to Australia; his solicitor argued that Gilbert had been "harassed and worried" for some time and was suffering from erysipelas and could barely control his own behaviour. His solicitor requested that any punishment should allow Gilbert to go overseas, but Gilbert was sentenced to 28 days imprisonment. Gilbert's family then arranged for him to move to Canada; at the time it was common for families to send disgraced members to distant parts of the British Empire to minimise scandal. In first-class cricket, Gilbert scored 5,290 runs at an average of 19.16 with three hundreds. With the ball, he took 295 wickets at an average of 17.93. His Wisden obituary stated: "His fielding at deep-leg to W. G. Grace's bowling was always excellent, for he covered much ground and was a sure catch. Although overshadowed by his famous cricketing cousins, he played a prominent part in the victories gained during Gloucestershire's greatest years." ## Final years In Canada Gilbert found employment with the Land Titles Office in Calgary, for whom he worked for 17 years. Cricket historian Benny Green wrote: "No breath of scandal or disgrace ever attached to Gilbert's thirty-eight years of exile, nor was there found to be even one square inch missing from the Land Titles Office when Gilbert finally retired from it." Gilbert had four children from his marriage to the daughter of cricketer James Lillywhite senior. His son was killed in the First World War, flying with the Royal Flying Corps, and his three daughters joined the Royal Army Medical Corps. He continued to play cricket and became one of Canada's leading cricketers. Gilbert died in Calgary on 24 April 1924, aged 70. ## Continued controversy After Gilbert's retirement, and even following his death, controversy remained attached to his name; there seemed to be a conspiracy of silence surrounding his fate. Cricket historians rarely mentioned him, despite his varied career. W. G. Grace, although including Gilbert in an appendix of leading batsmen in his 1891 book Cricket, did not include him in the text at all, despite the book's more than 400 pages; in his Cricketers I Have Met, Grace described 121 cricketers but did not mention his cousin. Further evidence of Gilbert's disgrace came in the pages of Wisden. Although Gilbert began as an amateur cricketer, which entitled him to have "Mr." before his name in the "Births and Deaths" section, he was referred to until his death as "Gilbert, W. R.", which denoted a professional. However, in his Wisden obituary he received the title "Mr. W. R. Gilbert", even though the "Births and Deaths" still listed him as a professional, and in 1935 he was once again restored to amateur status in "Births and Deaths", for reasons which are unclear. The same obituary glossed over Gilbert's enforced retirement from cricket, simply observing: "At the beginning of 1886 he became a professional, and the season was not far advanced before his career in first-class cricket ended abruptly. He then left England for Canada." Even in 1970, the silence continued; historian Rowland Bowen wrote about the story but concluded by saying: "Another indication of the recurring instinct for suppression was a suggestion to me that if this story had not appeared in print before (it has not) it should not now." It is not clear who made this suggestion, whether it was descendants of the Grace family, a cricket administrator or someone else. It was not until 1984 that the full story was published by historian Robert Brooke. In reviewing what he considered to be the injustice of the case, and reflecting on Gilbert's success in Canada, Green wrote: "No wonder that those responsible for this act of appalling cruelty went to such fatuous lengths to keep its details a secret."	[ "## Early life and career", "## Achieving prominence", "## Decline and disgrace", "## Final years", "## Continued controversy" ]	2,598	30,131
27,804,252	Ohio State Route 703	1,055,732,594	Highway in Ohio	[ "State highways in Ohio", "Transportation in Auglaize County, Ohio", "Transportation in Mercer County, Ohio" ]	State Route 703 (SR 703) is a state highway in western Ohio. Its western terminus is in Montezuma at SR 219, and its eastern terminus is in St. Marys at an intersection with SR 29, SR 66, and the southern terminus of SR 116 in St. Marys. The route is mainly an east–west highway along the shores of Grand Lake St. Marys, although the section between Celina and Montezuma travels in a more north-south fashion. In 1937, the route was designated from SR 219 to US 127, and it was fully paved by 1940. SR 703 was extended to the northern side of the Grand Lake in 1973, replacing an old alignment of SR 29. ## Route description SR 703 travels through eastern Mercer County and the westernmost portion of Auglaize County. The busiest point in the route according to 2016 data was east of Lake Shore Drive in Celina, where the annual average daily traffic (AADT) was 16,775 vehicles. The least busy point was southeast of It's It Road, where the AADT was 1,826 vehicles. The route starts at the intersection of SR 219 and South Canal Street in the village of Montezuma, and it travels north on North Canal Street. SR 703 turns northwest at a boat ramp to Wayne Street, and travels through a small area of farmland before intersecting US 127 at a Y-intersection. The concurrency, also known as South Main Street, continues along the western banks of Grand Lake St. Marys, passing by a lighthouse as it enters the town of Celina. The road then crosses a R.J. Corman railroad and intersects SR 29 at Logan Street, which also becomes concurrent with US 127 and SR 703 briefly. At Market Street, SR 703 and SR 29 begin traveling eastward, while US 127 continues northward and SR 197 begins its concurrency with US 127. East Market Street crosses over a railroad as it leaves Celina. At Grand Lake Road, SR 703 turns south to continue as East Market Street, and SR 29 continues eastward to a divided highway. SR 703 then travels along the northern banks of the lake, with farmland north of the road. The road intersects multiple driveways and places, including the Wright State University Lake Campus and the Grand Lake St. Marys Lighthouse. Near Mercer–Auglaize County Line Road, the highway enters Auglaize County as Celina Road. The route intersects SR 364 at Koenig Road, which becomes concurrent with SR 703. The concurrency crosses a railroad, and SR 364 continues southward at East Bank Road. SR 703 enters St. Marys as Jackson Street, and travels toward the center of the city. The route turns southwards at North Wayne Street, then eastward at West Spring Street. At Main Street and Spring Street, SR 703 and SR 116 reach their termini at SR 29 and SR 66. SR 66 continues as South Main Street after this intersection, and SR 29 continues as East Spring Street. ## History Around 1937, SR 703 was designated in Mercer County, from US 127 west of Montezuma to SR 219 near the Mercer–Auglaize county line. The road east of Montezuma was paved in gravel, and the section west of it was paved in asphalt. All of the route was paved in asphalt by 1940. A section near the western bank of the Grand Lake was added in 1953, both connecting to US 127. By 1972, SR 219 was rerouted northward, replacing SR 703 past Montezuma. Meanwhile, the section of SR 29 between Celina and St. Marys was moved to a newly built divided highway, and the SR 703 designation was added to the old alignment of SR 29. Six years later, SR 703 was rerouted onto US 127, and the old routing near the lake was removed. ## Major intersections ## See also - Grand Lake St. Marys Seaplane Base	[ "## Route description", "## History", "## Major intersections", "## See also" ]	867	14,147
72,241,845	Fort Curtis (Arkansas)	1,143,174,168	Union fort in the American Civil War (1862–74)	[ "American Civil War forts", "Demolished buildings and structures in Arkansas", "Former forts", "Forts in Arkansas", "Military installations closed in 1866", "Military installations established in 1862", "Rebuilt buildings and structures in Arkansas", "Tourist attractions in Phillips County, Arkansas" ]	Fort Curtis was a defensive position used by the Union Army to defend Helena, Arkansas, during the American Civil War. Built in 1862 after the Union occupation of the city, it only saw combat once, in the Battle of Helena on July 4, 1863. Military use of the site ended in 1866, and the fort was destroyed in 1874. The Sidney H. Horner House now occupies a portion of the original site. A reconstruction, known as New Fort Curtis, was opened in 2012. There is some uncertainty about both the exact armament and size of the original fort. ## History ### Construction and early use In April 1861, the American Civil War began, pitting the United States of America against the secessionist Confederate States of America. One of the states that seceded and joined the Confederacy was the state of Arkansas. The first year of the war saw fighting north of Arkansas in the border state of Missouri, and in early March 1862, Union (United States) forces commanded by Major General Samuel R. Curtis defeated a Confederate army in the Battle of Pea Ridge in northwestern Arkansas. The next month, Curtis's men began a campaign that ended in mid-July with the occupation of the city of Helena, which is in eastern Arkansas on the Mississippi River. Curtis's command, known as the Army of the Southwest, began building defenses, as they were in hostile territory. In mid-August, work on Fort Curtis, which was named after the Union commander, began. Both Union soldiers and freed slaves contributed to the construction. The fort was located in a position where it would have a commanding field of fire that covered almost all of the surrounding area. It was completed by October 29, and a dedication for the fort was held the next day. After its completion, Fort Curtis served as an important Union post in the area. The Union troops defending Helena generally believed that the fort would provide adequate defense against an assault, but Major General Frederick Steele and Military Governor of Arkansas John S. Phelps doubted the capabilities of the position and had opposed its construction. The fort was made of earth and was shaped in a square. Two gunpowder magazines and a well were located in Fort Curtis. The exact intended armament of the fort is not known, although an archaeological investigation in the 1960s found evidence of a barbette for a 24-pounder cannon in each of the fort's four corners, as well as positions for three other cannons along the walls. The 24-pounder guns were removed from the fort in May 1863 for use in the Vicksburg campaign. A Union soldier writing before the fort's completion state that six cannons were present and earmarked for use in Fort Curtis, of sizes ranging from 32-pounders to 64-pounders. Another Union soldier wrote two months after the fort's completion that it contained nine 32-pounder guns, while a visitor in November 1863 reported that Fort Curtis mounted a number of heavy cannons, with the largest being a 42-pounder gun. The exact size of Fort Curtis is also unknown: it may have been as a large as a city block, or it could have been smaller. ### Later use and destruction In mid-1863, the Confederate leadership decided to attack Helena in hopes of retaking it and relieving some of the pressure on the Siege of Vicksburg in Mississippi. The new Union commander at Helena, Major General Benjamin Prentiss, expected an assault and had four additional defensive works constructed. These works were known as Batteries A, B, C, and D. Fort Curtis was located east of Batteries B and C, and was positioned between the two works. At this time, Fort Curtis was armed with three 30-pounder Parrott rifles. These guns were manned by infantrymen from the 33rd Missouri Infantry Regiment. Prentiss arranged for the warning signal that Helena was under assault to be a single cannon shot from Fort Curtis. On the morning of July 4, the Confederates attacked. Fort Curtis fired its warning shot at about 3:30 am. Confederate attacks on both flanks were repulsed by the other batteries, but part of the Confederate force was able to overrun Battery C. Union reinforcements were rushed to the Fort Curtis area, and when Confederate troops tried to assault Fort Curtis, they were mowed down. The cannons at Fort Curtis joined with the three surviving lettered batteries and the gunboat USS Tyler in firing on the Confederates at Battery C. Defeated, the Confederates withdrew at about 10:30 am, ending the threat to Helena. Helena was not the subject of a significant Confederate threat for the rest of the war, and the city served as a Union base during the Little Rock campaign in September 1863. Fort Curtis continued to be a Union base for the rest of the war, which ended in 1865 with a Confederate defeat. The last Union troops occupying Fort Curtis left in 1866, and the fort was abandoned. Fort Curtis was destroyed in 1874, and the site was subdivided into city lots. The Sidney H. Horner House was constructed on part of the location in the early 1880s. As part of a 2005 plan to jumpstart economic development in the area, a reconstruction of Fort Curtis was built; the new fort was dedicated in 2012. Known as New Fort Curtis, the reconstruction is open to the public and features exhibits, historic interpretation, and cannons.	[ "## History", "### Construction and early use", "### Later use and destruction" ]	1,134	26,647
22,819,299	Generalissimo (30 Rock)	1,148,294,595	null	[ "2009 American television episodes", "30 Rock (season 3) episodes" ]	"Generalissimo" is the tenth episode of the third season of the American television comedy series 30 Rock. It was written by executive producer Robert Carlock and directed by Todd Holland. The episode originally aired on NBC in the United States on February 5, 2009. Guest stars in "Generalissimo" include Jon Hamm, Salma Hayek, Patrick Heusinger, Matt Lauer, Doug Mand, Greg Tuculescu, and Teresa Yenque. In the episode, Liz Lemon (Tina Fey) begins receiving mail intended for her new neighbor, Dr. Drew Baird (Hamm), and after going through it she decides she would like to meet him. Meanwhile, Jack Donaghy (Alec Baldwin) resembles a Spanish-language soap opera villain, "The Generalissimo", which prompts the grandmother (Yenque) of Jack's girlfriend, Elisa (Hayek), to disapprove of their relationship. Back at 30 Rock, the new The Girlie Show with Tracy Jordan (TGS) interns (Heusinger, Tuculescu, and Mand) invite Tracy Jordan (Tracy Morgan) out for a night of partying. "Generalissimo" received generally positive reviews. According to the Nielsen ratings system, it was watched by 6.4 million households during its original broadcast. Todd Holland received a Primetime Emmy Award nomination for Outstanding Directing for a Comedy Series for "Generalissimo". This episode was submitted for consideration on the behalf of Baldwin for Outstanding Lead Actor in a Comedy Series. ## Plot Liz Lemon (Tina Fey) receives the mail of her new neighbor, Dr. Drew Baird (Jon Hamm). After going through it, she believes he is the perfect man for her. To try and woo him, she follows the actions of an evil Spanish soap character called "The Generalissimo" from Los Amantes Clandestinos, despite the warnings of Jenna Maroney (Jane Krakowski) and Elisa (Salma Hayek). She invites Drew to a nonexistent party, and, when he arrives expecting a party, she informs him that the party is scheduled for the following evening, but nevertheless invites him in. While this plan initially appears to work, things go wrong when Liz accidentally gives Drew Rohypnol and he finds some of his opened mail in her handbag. The next day Drew receives some of Liz's mail and reads it. He says that based on her mail he probably would have wanted to meet Liz, in the same vein as she had wanted to meet him. They decide to start with a clean slate and go on a real date. Jack Donaghy (Alec Baldwin) meets his girlfriend Elisa's grandmother (Teresa Yenque). The grandmother does not like Jack because he reminds her of the Generalissimo, the antagonist from her favorite Mexican telenovela Los Amantes Clandestinos. Jack buys Los Amantes Clandestinos and tries to kill the Generalissimo off, but the actors on the show refuse to cooperate. Jack then meets Hector Moreda (also played by Baldwin), the actor who plays the Generalissimo, and asks why he will not follow the script. According to Hector, his role as the Generalissimo allows him to cut in line at Disney World, among other perks. Jack shows him a picture of Elisa, explaining that he wants to kill off the character for her. Understanding Jack's feelings, Hector agrees to help Jack by making the character fall in love with an elderly Hispanic woman, thereby winning the affection of Elisa's grandmother. The grandmother subsequently accepts Jack as Elisa's boyfriend, but makes one more request of him: to make NBC News less depressing. Jack responds by airing a montage of pictures of Puerto Rican babies to the music of Tito Puente on The Today Show, much to the displeasure of Matt Lauer. Meanwhile, NBC has hired recently laid off investment bankers (Patrick Heusinger, Greg Tuculescu, and Doug Mand) from Lehman Brothers as interns on TGS with Tracy Jordan. Tracy Jordan (Tracy Morgan) is invited to go out on the town with them, but finds that he is incapable of keeping up with their lifestyle. Tracy fears that if the public were to learn that he no longer lives a fast lifestyle, his image would be severely compromised and he would be forced to change from a comedic actor to a dramatic actor. Tracy refuses to allow this to happen, so he buys out Lehman Brothers and sends the interns back to their old jobs on Wall Street. ## Production "Generalissimo" was written by executive producer Robert Carlock and directed by Todd Holland. This was the tenth episode written by Carlock and was Holland's first directed episode. Holland was hired to direct this episode on the recommendation of his agent, who also represents series creator, executive producer and lead actress Tina Fey. "Generalissimo" originally aired in the United States on February 5, 2009, on NBC. In October 2008, when actor Jon Hamm hosted the sketch comedy show Saturday Night Live (SNL), negotiations took place with the show's producers for him to guest star on 30 Rock. Two months later, it was confirmed Hamm would appear as a love interest for Fey's character, Liz Lemon. It was also announced by NBC that Hamm would star in a three-episode arc; he made his debut in this episode, made his second appearance in "St. Valentine's Day", and made his final guest spot in the show's third-season episode "The Bubble". Hamm later appeared in the season four episodes "Anna Howard Shaw Day" and "Emanuelle Goes to Dinosaur Land" and the season five episode "Live Show." In an interview with Entertainment Weekly, Fey said when the writing staff is developing a script, "We'll have an actor in mind and we'll keep referring to them. Like for this we said, 'Then Hamm comes in, blah blah blah.'" She believed that there was no possibility of getting Hamm, though "we were lucky with the timing because Mad Men was on hiatus and he was hosting SNL. So I called over there and asked them [whispering], 'Hey, is that guy funny? Tell me the truth.' And they were like, 'Yes, he's really funny.' By Saturday I knew they were right." This episode was actress Salma Hayek's third appearance on 30 Rock. She first appeared in the episode "Señor Macho Solo" as a nurse for Jack Donaghy's mother and love interest for Jack. Hayek's second appearance came in "Flu Shot". ## Critical reception According to the Nielsen ratings system, "Generalissimo" was watched by 6.4 million households, the same as the previous week's episode "Retreat to Move Forward", in its original American broadcast. It earned a 3.1 rating/7 share in the 18–49 demographic. This means that it was seen by 3.1% of all 18- to 49-year-olds, and 7% of all 18- to 49-year-olds watching television at the time of the broadcast. The episode was the eleventh highest-rated show on the NBC network that week. Todd Holland, director of this episode, received a Primetime Emmy Award nomination for Outstanding Directing For a Comedy Series at the 61st Primetime Emmy Awards. This episode was submitted for consideration on the behalf of Alec Baldwin for Outstanding Lead Actor in a Comedy Series at the same awards show. Bob Sassone of TV Squad admitted in his review that after seeing the promos for "Generalissimo" audibly groaned, and believed the story about a fictitious soap character resembling Baldwin's Jack would not work. He wrote that all of the "over-the-top surreal subplots" featured in the season would make this episode "the worst one of all." After watching the episode, however, Sassone said all the elements worked. Annie Barrett for Entertainment Weekly reported that the two stories, involving Liz and Drew and Jack and Elisa, respectively, were sublime. Barrett said that Baldwin's performance "alone" would have made the episode great. Jeremy Medina of Paste praised this episode, along with "St. Valentine's Day", concluding, "There's no possible way to mention every funny joke or one-liner in the past two episodes. The show is just too lightning-quick for that." Writing for The Monterey County Herald Marc Cabrera noted Jack's interactions with Elisa's grandmother amongst his favorite moments of season 3. The Guardian's Will Dean wrote that "Generalissimo" was the "best episode" of the series. Staci Gold of North by Northwestern wrote that this episode was majorly improved by Baldwin's "hilarious imitation of a Spanish accent." IGN writer Robert Canning said that Baldwin stole the show in this episode, and rated it a 9.4 out of 10. Time contributor James Poniewozik was complimentary towards the casting of Jon Hamm as Tina Fey's love interest, but hoped that Hamm get "fleshed out beyond the central-casting dreamboat" in the series. Further in his review, Poniewozik said that he most enjoyed episodes in which Liz shows her "evil side" because the show "does an excellent job of showing how much work it is for her to be assertive and slightly evil, how she's excited yet made nervous by the idea at the same time." As with Poniewozik, Nathan Rabin of The A.V. Club complimented 30 Rock as they "pulled it off with aplomb" in regards to Liz's actions in this episode. He said that Liz and Drew "are so damned delightful that it's hard not to root for them even if Liz's antics increasingly border on deranged and criminal." Rabin said that the Rohypnol incident was funny "but also sweet and more than a little romantic." Sassone enjoyed Liz and Drew's scenes, writing that when Fey and Hamm work together they are quite good. Gold said that Liz's unsuccessful attempts of seduction were "hilarious effects". Canning wrote that Liz's "scam" started weakly but that her storyline "grew at a great pace." Not all reviews were positive. Television columnist Alan Sepinwall of The Star-Ledger said that past 30 Rock episodes took "old sitcom cliches" and were able to find a "demented" new take on them. In his review, Sepinwall wrote that "Generalissimo" felt like the staff "came up with the cliches they wanted to mock – goofy/evil twins, a character spinning a ridiculous web of lies to land a new crush – and never moved to the next step."	[ "## Plot", "## Production", "## Critical reception" ]	2,211	1,868
40,961,074	Attarsiya	1,164,804,042	Military leader of Ahhiya	[ "Ancient Anatolia", "Greek military leaders", "Mycenaean Greeks" ]	Attarsiya was a 15th–14th century BCE military leader of Ahhiya. In the Hittite archives of circa 1400 BCE, he is described as a "man of Ahhiya", a country identified with the Achaeans and Mycenaean Greece. The campaigns of Attarsiya, as well as his conflict with the Hittite vassal, Madduwatta, represent the first recorded Mycenaean Greek military activity on the Anatolian mainland, as well as the first conflict between Achaeans and Hittites. He finally withdrew from Anatolia after Hittite intervention, but later launched a campaign against Alashiya (Cyprus). Contemporary Hittite accounts about the campaigns of Attarsiya and the Ahhiya in general may indicate that there was a possible Mycenaean empire centered on late Bronze Age Greece. Moreover, Attarsiya might be a possible Hittite reconstruction of the Greek name Atreus, a king of Mycenae according to Greek mythology. ## Background The activities of Attarsiya are recorded in the Hittite archives, in particular in the Indictment of Madduwata. He is described as a "man of Ahhiya", which was a typical Hittite way to refer to an enemy king. This makes Attarsiya the first known Achaean leader, but his exact authority inside the Achaean world remains unclear. The Hittite descriptions seem to agree that he was a local Achaean ruler in western Anatolia, rather than a High king of all the Achaeans. Moreover, the chronology of the correspondent Hittite texts was initially estimated at the end of the 13th century BCE. However, more recent research, based on a number of archaic characteristics the specific texts feature, place it together with the events described circa two centuries earlier (end of 15th-beginning of 14th century BCE). On the other hand, no relevant information is found in the contemporary Greek Linear B records. The latter, dealing only with administrative issues of the Mycenaean palaces, are of limited value concerning the political developments of the late Bronze Age era. Moreover, although the title of the Mycenaean kings, the wanax, has been read several times in the Linear B texts, no correspondent personal names have been found. ## Military campaigns ### Anatolia The Hittite archives of circa 1400 BCE, during the reign of Arnuwanda I, describe the military campaign of Attarsiya in southwest Anatolia, probably in the region of Lycia. The Achaean expedition in Anatolia is associated with increased Mycenaean findings in Miletus during this period (early 14th century BCE), indicating that a number of Greek people moved from mainland Greece to this region. Attarsiya probably used the city of Miletus, in west coast Anatolia, which was already under Achaean influence, as a military base. Attarsiya launched a campaign deploying an army that included 100 war chariots and attacked regions which were Hittite vassals, or at least under a certain degree of Hittite influence. Among them, he attacked the Hittite vassal, Madduwatta, likely a prince of the kingdom of Arzawa, and managed to expel him from his country. The latter found refuge in the court of the Hittite ruler and was installed by him as a vassal in Zipasla, somewhere in western Anatolia. Attarsiya launched a second attack against Madduwatta and managed again to defeat him. The Hittite vassal was unable to provide any opposition. As a result of Achaean military activity in the region, the Hittites dispatched an army under Kisnapli. The Indictment of Madduwatta gives a brief description of the battle: > Kisnapli went into battle against Attarsiya 100 [chariots and ... infantry] of Attarsiya [drew up]. And they fought. One officer of Attarsiya was killed, and one officer of ours, Zidanza, was killed. Then Attasiya ... to Madduwatta, and he went off to his own land. The way the conflict is described, by counting only two casualties, may point that there was a duel between the nobles of the two sides. However, it is also possible that the dead among the common soldiers were not considered important to mention. Although the outcome of the battle remained unresolved, Attarsiya decided to withdraw his troops from the battlefield. After his retreat from the Anatolian mainland, Madduwatta was again installed as a Hittite vassal in the region. ### Alashiya Later, Attarsiya, still posing a threat to the Hittites, invaded the island of Alashiya (Cyprus) together with a number of his Anatolian allies, including his former enemy Madduwatta. The defection to the camp of Attarsiya no doubt worried the Hittites, since they sought to do trade with the Mediterranean island themselves. Nonetheless, Alashiya at that time was raided and possibly came under the control of Madduwatta, who may have become king of Arzawa in western Anatolia, or Ahhiyawa , hostile to Hattusa. The Mycenaean presence in Cyprus is also associated with archaeological evidence of Mycenaean Greek settlers, if not settlements, dating from that time unearthed there. Direct settlements were established probably in the late 13th century BCE, according to archaeological finds. ## Legacy The campaigns of Attarsiya represent the earliest recorded Mycenaean Greek military activity on the Anatolian mainland, as well as the first conflict between Achaeans and Hittites. It appears that these military developments had a certain impact on the local populations. In this context, a decorated shard of pottery from the Hittite capital, Hattusa, depicts a warrior with body armor and boar's tusk helmet, typical of Achaean warfare, while the Hittite king offers a Mycenaean type thrusting sword to the Storm God, Teshub. Despite the withdrawal of Attarsiya after the Hittite intervention, the following decades (circa 1380-1320 BCE) were a period of Mycenaean expansion on the Anatolian coast. Achaean military activity in the region continues to be attested through several Hittite records until circa 1250 BCE. ### Link with mythical Atreus It has been suggested by several scholars that the term Attarsiya might be a possible Hittite reconstruction of the Greek name Atreus, a mythical king of Mycenae and father of Agamemnon. However, other scholars argue that even though the name is probably Greek, since he is described as an Ahhiya and connected to Atreus, the person carrying the name is not necessarily identical to the famous Atreus of Greek mythology. According to an alternative view presented by Hittitologist Albrecht Goetze, Attarsiya might possibly be a possessive adjective, meaning "belonging to Atreus" (Atreides), which was a typical Homeric term to refer to the sons of Atreus, Agamemnon and Menelaus, throughout the Iliad. British scholar Martin Litchfield West suggested that Atreus is a shorter form of an older Greek Bronze Αge era name, more closely connected with Attarsiya, like Atresias, Atersias or Atarsias. A further possible link to the grecophone sphere is the Linear B term ta-ra-si-ja, well attested in Pylian tablet series JN, a word which means "copper/bronze allotment" or "weight unit of copper/bronze", or something similar, applied to metalworkers. In the Pylos JN 415 tablet, there is also found an adjective a-ta-ra-si-jo, meaning "without copper/bronze". The context in which ta-ra-si-ja occurs during the Late Helladic period suggests that those who produced or worked with the allocated raw materials were a large work force and the work was of a low-paid status. Worth noting at Pylos around 1200 BCE is the independence of a-ta-ra-si-jo smiths from allotments accorded ta-ra-si-ja smiths. It was evidently optional for anyone able to obtain sufficient quantities of copper or bronze from sources outside the palace to do so as an a-ta-ra-si-jo. ## Possibility of a Mycenaean empire It has been established in modern scholarship that the Hittite term Ahhiya (or Ahhiyawa in latter texts) refers to Mycenaean Greek territory and its inhabitants, the Achaeans, one of the names that Homer used to refer to the Greeks in the Iliad. Historically important about the Achaeans in the time of Attarsiya is that they undertook an expedition to Anatolia, as well as Cyprus. The latter expedition indicates that the Achaean leader commanded a significant fleet and that the Achaeans were a sea power. According to the Hittite inscriptions, it appears that the Ahhiya were a powerful empire, at the same scale as contemporary Egypt, Assyria and the Hittite Empire. Moreover, based on the fact that Attarsiya launched a military campaign in Anatolia and fielded one hundred chariots, in addition to infantry, Dutch researcher Jorrit Kelder suggested that Ahhiya must have had the military capacity of at least three times the size of the Mycenaean kingdom of Pylos, based on the information recorded on the Linear B tablets unearthed from the specific palace. Based on this view, the Achaeans under Attarsiya may have formed some kind of alliance which included several Mycenaean kingdoms.	[ "## Background", "## Military campaigns", "### Anatolia", "### Alashiya", "## Legacy", "### Link with mythical Atreus", "## Possibility of a Mycenaean empire" ]	2,066	63
60,190,152	Krysty Wilson-Cairns	1,171,149,459	Scottish screenwriter (born 1987)	[ "1987 births", "21st-century British screenwriters", "21st-century Scottish women writers", "21st-century Scottish writers", "Alumni of the National Film and Television School", "Alumni of the Royal Conservatoire of Scotland", "British women screenwriters", "Living people", "Scottish comics writers", "Scottish screenwriters", "Writers from Glasgow" ]	Krysty Norma Lesley Wilson-Cairns (born 26 May 1987) is a Scottish screenwriter. Born and raised in Glasgow, she studied at the Royal Conservatoire of Scotland and the National Film and Television School. During her teenage years, she was a runner on television series including the detective show Taggart. Her script for the unproduced science fiction thriller Aether made the 2014 Black List and led to a staff writer role on the television show Penny Dreadful. Her feature film debut was the screenplay for the Sam Mendes-directed 2019 war film 1917. She co-wrote it with Mendes and received nominations for the Academy Award for Best Original Screenplay and the Writers Guild of America Award for Best Original Screenplay. ## Early life and education Wilson-Cairns was born on 26 May 1987 in Glasgow, Scotland. She grew up in the Shawlands area of the city in a single-parent household. Wilson-Cairns attended the private Craigholme School. Her grandparents partly funded her place at the school. At the age of 15, she had a work experience placement on the Scottish detective show Taggart. The series had used the mechanic shop that her father worked in as a set and she reports watching the filming of it during her summer holidays. She became a runner on the show as well as on other television series including Rebus and Lip Service. Wilson-Cairns had initially aspired to study physics and become an engineer but her on set experiences as a runner fostered her interest in working in the film industry. She studied Digital Film and Television at the Royal Conservatoire of Scotland (RCS), and graduated in 2009. Her first creative work at the RCS was a short story about killer guinea pigs. She credits her ambition to become a screenwriter on being inspired by one of her lecturers at the RCS, screenwriter Richard Smith. She then spent a year working at the BBC Comedy Unit, before moving to London where she gained an MA in Screenwriting from the National Film and Television School (NFTS) in 2013. While studying at the NFTS, she worked as a bartender in The Toucan, an Irish pub in Soho, and developed script ideas during her downtime. ## Career Wilson-Cairns sold her first film script to FilmNation Entertainment in 2014. It was for the science fiction thriller project Aether, which provided her breakthrough after it made the top ten of the Black List. The script was read by screenwriter John Logan who hired her as a staff writer on his television show Penny Dreadful in 2015. She also contributed to its comic book series. After this, her first writing commission was for a potential film adaptation, to be directed by Tobias Lindholm, of Charles Graeber's non-fiction book The Good Nurse: A True Story of Medicine, Madness, and Murder. Filmmaker Sam Mendes was impressed by her treatment, and suggested collaborating on a future film project. They had previously met while working on Penny Dreadful, for which he was an executive producer, and worked on two potential projects together. This included a film adaptation of Gay Talese's book The Voyeur's Motel and an Invisibilia podcast. However, both projects fell through due to licensing issues. In 2017, she was named as one of Forbes 30 under 30 in the Hollywood and Entertainment category. Her feature film debut was the screenplay for Mendes' World War I film 1917 (2019) which she co-wrote. The film follows two young British soldiers on a mission to warn a fellow battalion of a German ambush, and is shot to appear as if it is one continuous take. To help develop the script, she travelled to the battlefields and cemeteries of World War I in northern France with her mother and read frontline diaries at the Imperial War Museum. For her work on the film, Wilson-Cairns received nominations for the Academy Award for Best Original Screenplay, the Writers Guild of America Award for Best Original Screenplay, and shared the BAFTA Award for Outstanding British Film. She was named as one of the 10 Screenwriters to Watch by the trade magazine Variety in their 2019 list. In October 2020, she co-founded Great Company with producer Jack Ivins. The following year, the company signed a two-year film deal with Universal Pictures. She co-wrote the screenplay of Edgar Wright's psychological horror Last Night in Soho (2021), and had a cameo as a bartender. The following year, she wrote the screenplay for The Good Nurse, an adaptation of the Charles Graeber novel, which was first announced in 2014 as her first writing commission. The film was about the serial killer nurse Charles Cullen and intensive care nurse Amy Loughren who helped to convict him. Wilson-Cairns spent a fortnight working in a burns unit in a hospital in Connecticut to learn about the American healthcare system to develop the script. Her upcoming projects include an adaptation of journalist Evan Ratliff's book The Mastermind: Drugs. Empire. Murder. Betrayal. about programmer-turned-drug cartel boss Paul Le Roux, for an Amazon Studios crime drama series and a film in the Star Wars franchise with Taika Waititi. ## Filmography ### Film ### Television ## Awards and nominations	[ "## Early life and education", "## Career", "## Filmography", "### Film", "### Television", "## Awards and nominations" ]	1,104	12,276
3,947,779	Sibling Rivalry (Family Guy)	1,160,839,569	null	[ "2006 American television episodes", "Family Guy (season 4) episodes", "Television episodes about obesity" ]	"Sibling Rivalry" is the 22nd episode of the fourth season of the animated comedy series Family Guy. It originally aired on Fox in the United States on March 26, 2006. The episode follows Stewie as he battles with his half-brother, Bertram (voiced by Wallace Shawn), who is born to two lesbians after Peter donates sperm. Meanwhile, Lois begins excessive eating after Peter undergoes a vasectomy and doesn't feel well enough to have sex. The episode was written by Cherry Chevapravatdumrong and directed by Dan Povenmire. The episode received mixed reviews from critics for its storyline and many cultural references. According to Nielsen ratings, it was viewed in 7.95 million homes in its original airing. The episode featured guest performances by Randy Crenshaw, Gavin Dunne, Bob Joyce, John Joyce, Phil LaMarr, Rick Logan, Wallace Shawn, Tara Strong, Nicole Sullivan and Wally Wingert, as well as several recurring voice actors for the series. ## Plot After Lois has a pregnancy scare, Peter reluctantly agrees to get a vasectomy. Concerned they might eventually want another child, he decides to freeze some of his sperm before the surgery. At the sperm bank, he accidentally destroys all the existing samples, and replaces them with his own. A lesbian couple use one of the samples to conceive a child, giving birth to Bertram, who first appeared in the episode "Emission Impossible". Bertram declares war with Stewie for control over the playground. They confront each other with F-117 Nighthawks and AH-1 Cobras, firing numerous bullets. After the air battle ends with no winner, Bertram resorts to biological warfare, using Stewie's new-found girlfriend to infect Stewie with chickenpox. After recovering, an enraged Stewie confronts Bertram, and they engage in a sword fight in the play area. Stewie eventually wins by disarming Bertram, and later that night, is seen suspiciously digging a hole with Christopher Moltisanti, but the hole is actually for a young tree. When Christopher questions Stewie on what happened to Bertram, Stewie claims that Bertram admitted defeat and ran away, with Christopher calling Bertram a mook. Meanwhile, Peter loses his sex drive after the vasectomy, much to the frustration of Lois, who turns to food. After Peter makes fun of her slight weight gain, she deliberately gains more weight out of spite. Her increased appetite results in her becoming obese, which ironically ends up reviving their sex life. Peter feeds Lois copious amounts of food to make her even fatter. Eventually, Lois's heart gives out during sex and she is rushed to the hospital, where the doctors remove all of the excess fat and return her to normal size. Lois admits that eating is not a good way to solve problems, and Peter states he loves her no matter her size, but is later caught kissing the fat in a storage closet. ## Production The song performed after Lois' pregnancy test comes back negative was written by Alec Sulkin and Alex Borstein, and sung by professional Hollywood studio singers. Orchestrations in this song were performed by Walter Murphy, and described by show producer Seth MacFarlane to be "wonderful". The sketch of Peter challenging Lois to a race to Boston was removed from television broadcasting in order to save time. As Lois is slowly racing Peter to Boston, a Shania Twain song can be heard on the radio; Dan Povenmire states on the DVD commentary that he often gets into trouble for adding pieces of music into an episode when they're so short, yet cost so much. The producers of both Family Guy and the Ice Age series agreed to collaborate in the episode during its reference to Scrat from the Ice Age series. There was discussion among the producers of the series regarding whether Bertram should be included in the storyline, as he had not appeared in any episodes for several years. An un-used scene was intended for broadcasting which showed Stewie, while trying to find Waldo in an Abercrombie & Fitch catalog, saying to Brian "Oh, turn to the next page. I bet they put him in someone's utility pocket", but it was never used as it was not deemed funny enough for the episode. Originally, Peter singing "Milkshake" to inmates at a prison was going to be naked and push his nipples from underneath, but broadcasting standards objected; as a result, the show broadcast Peter wearing underpants and pushing his nipples from the side. When Peter and Lois are in the restaurant and Peter leaves to "warn the chef of Lois' arrival", Lois was intended to say "If he won't put something in me, I will", but the gag was never broadcast. The unsafe homeless man with whom Peter was seen leaving a youth-baseball team in Stewie's flashback was originally based on John Wayne Gacy, but people claimed he didn't look scary enough, so Povenmire changed the character completely to that of a homeless man. The idea of Stewie and Bertram laughing as they go down the slide during their sword fight was pitched by Povenmire's wife and, although negative about the idea at first, Povenmire included it in the episode because the original sketch was not going so well. During Peter and Lois' "fat sex", Peter repeatedly states "almost, almost"; originally, there was going to be approximately twice as many of these, but they were never included in the episode. The DVD version of the episode shows Peter arriving at the sperm bank and saying to the receptionist: "I have an appointment to banish a White Russian from my Kremlin", to which she replies with "This is a sperm bank, you don't have to use innuendo", and Peter concludes the conversation with "Where do I splooge?". In addition to the regular cast, actors Randy Crenshaw, Gavin Dunne, Bob Joyce, John Joyce, Rick Logan, and Wallace Shawn, and voice actors Phil LaMarr, Tara Strong, Nicole Sullivan, and Wally Wingert guest starred in the episode. Recurring voice actor Ralph Garman, and writers Mike Henry, Chris Sheridan, Danny Smith, Alec Sulkin, and John Viener made minor appearances. Actor Patrick Warburton appeared in the episode as well. ## Cultural references When in the children's park, Stewie quotes "Did ya get me my Cheez Whiz, boy" and a man throws one to him, this is a reference to The Blues Brothers. Stewie and Brian attempting to find diversity in an Abercrombie and Fitch catalogue is a reference to the children's book series Where's Wally?, as well as to a lawsuit alleging a lack of diversity in Abercrombie and Fitch's hiring practices. Before the battle between Stewie and Bertram, Stewie says "On my signal, unleash hell." This is a reference to the opening scene of Gladiator. An Ice Age reference is made when Scrat, a character from the films, attempts to steal Peter's nuts. When Stewie invades Bertram's camp at the end of the episode Bertram quotes Star Wars Episode IV: A New Hope, repeating the line Darth Vader says when he senses Obi-Wan Kenobi on the Death Star. When Peter names his kids, Peter mentions the kids from various shows that are currently airing at Nick at Nite. When Brian mentions this, Peter begins naming Street Fighter characters. Brian again points out this fact, after which Peter names various colors. Sauron, the villain from The Lord of the Rings is shown as the Eye of Sauron in a scene where he is trying to find his lost contact lens. A cutaway scene features Peter in a jail surrounded by inmates who force him to strip, squeeze his boobs together, and sing the chorus from Kelis's 2003 hit “Milkshake.” This is possibly an homage to the scene after the credits in the movie Dodgeball: A True Underdog Story in which Ben Stiller does the same thing in his fatsuit. After Bertram's defeat, the scene cuts away to Stewie and Christopher Moltisanti from The Sopranos digging a hole. The viewer is led to assume that the hole is for Bertram but really it is for a tree Stewie and Christopher are planting. Then Stewie states that Bertram admitted to defeat and ran off after which Christopher calls Bertram a "mook." ## Reception "Sibling Rivalry" was watched by 7.95 million viewers, making it the 77th most-watched program of the week. In a review of the episode, Bob Sassone of TV Squad noted "If there's one reason I'm glad I watched tonight's episode it's because I learned exactly how a vasectomy is done," adding that "Peter is going to have a vasectomy, so he decides to freeze his sperm before he does it. This leads to a hysterical, yet truly gross, scene where Peter knocks over an entire shelf of sperm samples, and has to refill them, um, himself." Geoffrey D. Roberts of Real Talk Reviews reviewed the episode negatively, writing "many viewers will probably be disappointed with an episode about sibling rivalry between Stewie and newfound half-brother Bertram. Both share the same goal – to rule the Universe. With Bertram nothing more than a whinier version of his half-brother, it turns out one Stewie Griffin is more than enough."	[ "## Plot", "## Production", "## Cultural references", "## Reception" ]	1,973	20,560
59,320,145	Alphonsus J. Donlon	1,166,155,224	American Jesuit priest	[ "1867 births", "1923 deaths", "19th-century American Jesuits", "20th-century American Jesuits", "American Roman Catholic clergy of Irish descent", "Brooklyn College faculty", "Burials at the Fordham University Cemetery", "Fordham University faculty", "Georgetown Preparatory School alumni", "Georgetown University College of Arts & Sciences alumni", "Georgetown University faculty", "MIT School of Engineering alumni", "Presidents of Georgetown University", "Religious leaders from Albany, New York", "St. Stanislaus Novitiate (Frederick, Maryland) alumni", "The Albany Academy alumni", "Woodstock College alumni" ]	Alphonsus J. Donlon SJ (October 30, 1867 – September 3, 1923) was an American Catholic priest and Jesuit who spent his career in priestly ministry and academia, including as president of Georgetown University from 1912 to 1918. Born in Albany, New York, he garnered a reputation as a good student and an exceptional collegiate athlete. As a professor, he went on to lead Georgetown University's sports program, which enjoyed great success. As a result, he became known as the "father of Georgetown athletics." He served as a professor of various sciences at Georgetown University and at Woodstock College, and as president of the former, he oversaw the removal of Georgetown Preparatory School from the university to a separate campus, and proposed the creation of the School of Foreign Service. For a significant portion of his career, he also served as a chaplain to Georgetown Visitation Monastery. In his later years, he engaged in pastoral work at St. Francis Xavier Church in New York City and taught at Fordham University. ## Early life Alphonsus Donlon was born on October 30, 1867, in Albany, New York, to father Patrick Donlon and mother Julia Howard Donlon, a native of Albany. His father emigrated to the United States from Ireland as a young boy with his mother and sister, while Alphonsus' mother was a native of Albany, who died when he was eighteen months old. For this reason, Julia's mother and her sister largely raised Alphonsus and his six siblings. ### Education He first attended the parochial school at St. Mary's Church, which was conducted out of the chapel of the Sisters of Charity. After receiving his First Communion, he enrolled at The Albany Academy, where he remained until the age of fifteen. In 1883, he continued his education at Georgetown Preparatory School, and then at Georgetown College the following year. At college, he excelled in such sports as baseball, football, tennis, and track. During his freshman year, he made the first-string baseball team as a shortstop, and remained in this position for the duration of his time at Georgetown. Academically, he was likewise accomplished, receiving the Goff Philosophical Medal and the Medal for Mechanics. Here, he was known among his friends by the nickname Al. Donlon received his bachelor's degree in 1888 and subsequently enrolled at the Massachusetts Institute of Technology (MIT), where he studied electrical engineering. After his first year at MIT, he studied for the summer in Europe. Upon his return in 1889, he decided to withdraw in order to pursue the priesthood. ## Formation and teaching Donlon entered the Jesuit order on October 11, 1889. He proceeded to Frederick, Maryland, where he completed his novitiate in 1891. That year, he began his two years of study of the classics in Frederick, and followed it with three years philosophy and science, which he completed in 1895. Following his studies, he returned to Georgetown College in 1895, where he assumed a teaching position in physics, mechanics, geology, and astronomy. It was during this time as a teacher that he gained the informal title of "father of Georgetown athletics." As the faculty director of athletics, he coached all of Georgetown's teams, which went on to be highly successful. Donlon remained at Georgetown until 1900, when he left for Woodstock College in Maryland to study theology. On June 28, 1903, he was ordained a priest by Cardinal James Gibbons at Woodstock College, and he completed his theological studies in 1904. From there, he went to Poughkeepsie, New York, to fulfill his tertianship under Fr. Pardow, which lasted until 1905. Donlon then returned again to Georgetown, where he resumed his teaching. In 1906, he left again for Woodstock, where he taught physics until 1911. On February 2, 1907, he attained gradus and professed his solemn vows to the Society of Jesus. ## Georgetown University On October 10, 1911, Donlon was appointed the socius, or principal advisor, to the provincial superior of the Maryland Province of the Jesuits. After remaining in this position for more than a year, he was appointed the president of Georgetown University on January 23, 1912, succeeding Joseph J. Himmel. His style of leadership was one of ample delegation of responsibilities to subordinates and considerable deference to their judgment, some attributing it to his natural passivity and lack of any particular aptitude for the presidency. Among his accomplishments as president was establishing a strong alumni association across the country. He also oversaw the unveiling of the statue of Bishop John Carroll in 1912. Another of Donlon's marks on Georgetown was his proposal to start a "school of Political and Social Science," which would include a "school of diplomacy" and would be connected with Georgetown Law School. He presented his proposal to the Jesuit consultors on March 31, 1913, who approved; he subsequently submitted his proposal to the Jesuit curia in Rome, but no action was taken. Though this proposal did not materialize until after his presidency, his proposition ultimately led to the creation of the School of Foreign Service. Donlon remained as president of Georgetown until May 1, 1918, when he requested the provincial superior to relieve him of the office by a Jesuit with greater vitality. He was succeeded by John B. Creeden. ### Georgetown Preparatory School Seeing a need to separate the preparatory division from the division of higher education at Georgetown, Donlon also was responsible for the relocation of Georgetown Preparatory School to its campus in North Bethesda, Maryland. He led fundraising to permit the purchase of land in the Maryland countryside on which to build the school, and traveled the area to locate such a suitable property. Having secured the permission of the Jesuit provincial, the President and Directors of Georgetown College purchased 92 acres (37 hectares). Construction of a new building was largely enabled by a donation by Class of 1869 alumnus Henry Walters. Though originally contributing \$80,000, Walters increased his anonymous donation to \$130,000 when Donlon expressed his worry over the increasing cost of the project. On October 25, 1916, ground was broken on the new, Georgian Revival building, with Donlon in attendance and the Apostolic Delegate to the United States, Archbishop Giovanni Bonzano, ceremonially turning the first soil. Due to the outbreak of World War I, the building was not completed until 1919. ## Chaplain to Georgetown Visitation Monastery In 1905, Donlon was appointed chaplain to the nuns at the nearby Georgetown Visitation Monastery, and held this position until his death. During his subsequent presidency of Georgetown, he ensured that the sisters of Georgetown Visitation Monastery receive degrees from Georgetown by opening a summer school for the sisters, staffed by some of the best teachers in the Maryland Province, which covered a broad range of subjects. Donlon regularly attended the sisters' debates, musical performances, and dramatical performances, officiated at their celebrations, and led their students on retreats. When he was transferred to do pastoral work in New York, Donlon continued to work with the monastery. He would send promising students to the monastery, and led the community in a retreat in 1922, which was said to have impressed many of the sisters. ## New York Immediately following his presidency of Georgetown, Donlon was slated to go to Boston as pastor of St. Mary's Church. He is also recorded as teaching at Brooklyn College from 1918 to 1919. He then served as a minister at St. Francis Xavier Church in Manhattan from 1919 to 1920, where he was made the prefect of the church. He also served as the secretary of Xavier High School in 1920. He then transitioned to pastoral work at the same church, which he did until 1923. In July 1923, Donlon was appointed a professor of philosophy at Fordham University. ### Death Donlon was conducting a retreat at Manhattanville College in Tarrytown, New York, on August 31, 1923, when he suddenly suffered a heart attack at 11 a.m. while leaving the chapel. After consultation with a doctor, it was intended that he be brought to St. Vincent's Hospital in New York City. However, at 11 p.m. on September 3, 1923, he died in the infirmary at Manhattanville. He was then buried in the Fordham University Cemetery.	[ "## Early life", "### Education", "## Formation and teaching", "## Georgetown University", "### Georgetown Preparatory School", "## Chaplain to Georgetown Visitation Monastery", "## New York", "### Death" ]	1,805	30,347
12,217,428	Beauty Pageant (Parks and Recreation)	1,146,026,552	null	[ "2009 American television episodes", "Parks and Recreation (season 2) episodes", "Television episodes about beauty pageants", "Television episodes directed by Jason Woliner", "Television episodes written by Katie Dippold" ]	"Beauty Pageant" is the third episode of the second season of the American comedy television series Parks and Recreation, and the ninth overall episode of the series. It originally aired on NBC in the United States on October 1, 2009. In the episode, Leslie serves as a judge in the Miss Pawnee beauty pageant and becomes determined to prevent an attractive, but talentless and unintelligent, contestant from winning. The episode was written by Katie Dippold and directed by Jason Woliner. It featured stand-up comedian Louis C.K. in his second guest appearance as Dave Sanderson, a Pawnee police officer who develops a romantic interest in Leslie. According to Nielsen Media Research, the episode was seen by 4.63 million households, a slight improvement over the previous week. "Beauty Pageant" received generally positive reviews, with several commentators claiming the season continued a trend of funnier episodes than in the first season. It is the only episode of the series in which Nick Offerman does not appear as Ron Swanson. ## Plot At the beginning of the episode, Leslie (Amy Poehler) proudly announces to the parks and recreation staff that she will be judging the Miss Pawnee beauty pageant, a job she takes very seriously. Tom (Aziz Ansari), excited at the prospect of judging women on the basis of their looks, pulls some strings to get a spot on the judging panel along with Leslie. April (Aubrey Plaza) enters the contest in order to win the \$600 prize, despite being disgusted with the concept of a beauty contest. She tries, unsuccessfully, to gain an advantage by sucking up to Leslie. Later, Pawnee police officer Dave Sanderson (Louis C.K.) visits Leslie at work to ask her out on a date. She initially accepts, but when Dave mistakes a photo of Madeleine Albright for Leslie's grandmother, Leslie becomes reluctant. Meanwhile, Ann (Rashida Jones) offers to cook Mark (Paul Schneider) a cheap meal if he will fix her broken shower; Mark accepts what he calls "the weirdest second date ever". That night, the date goes well, until Ann takes her trash outside and finds her ex-boyfriend Andy (Chris Pratt) is spying on her from the construction pit near her house, where he is now living. Back inside, Ann complains about Andy to Mark, who thinks they should invite Andy inside when it starts to rain. Ann reluctantly agrees, and Andy spends the rest of the night interrupting their conversations and spoiling romantic moments. After dinner, Ann kicks him out, but Andy remains convinced the night went very well for him. Leslie and Tom arrive at the pageant. Leslie, who wants the Miss Pawnee winner to be dignified and graceful, favors Susan (Anne Elizabeth Gregory), a student and children's hospital volunteer. But the other judges favor Trish (April Marie Eden), an attractive but untalented and unintelligent woman. Tom is particularly impressed with Trish, even when she answers Leslie's question about how "we as citizens can improve on the great experiment?" by making fluffy remarks about America and expressing a distaste for immigrants. April puts on an act by pretending to be a shallow beauty contestant, but instantly quits when she learns the \$600 prize actually consists of gift certificates for a fence company. After the contest, the judges deliberate. Tom and the other judges (Susan Yeagley, Frank Medrano, Worth Howe) all immediately agree Trish should win, but Leslie insists on further discussion. She pushes for Susan to win, but the judges eventually settle on Trish. After the pageant ends, Leslie makes a speech congratulating Susan anyway, and claiming the "Susans" of the world will carry on, even when they lose to the "Trishes" of the world. Dave approaches Leslie at the pageant and asks her again on a date. When she hesitates, he tells her she should call him if she changes her mind. As Dave leaves, he bumps into Trish, whom he pushes past without much notice, impressing Leslie. They set up a date the next day and Dave tries to impress Leslie by showing he has memorized the names of all the female politicians in her photographs. Meanwhile, Tom has tried to pick up girls at the pageant by giving him his house keys with none of them showing up, but he reveals that he has been robbed twice. ## Production "Beauty Pageant" was written by Katie Dippold and directed by Jason Woliner. Woliner directed and co-created the MTV sketch comedy show Human Giant, which also featured Parks co-star Aziz Ansari. "Beauty Pageant" featured stand-up comedian Louis C.K. in his second guest performance as Dave Sanderson, a Pawnee police officer romantically interested in Leslie. The Miss Pawnee Pageant is modeled after the long-standing Miss America competition, which awards scholarships to young women from all 50 states. Several commentators compared Trish, who is attractive but unintelligent and untalented, to Caitlin Upton, the 2007 Miss South Carolina Teen USA who made an incoherent response during the Miss Teen USA 2007 pageant. Series co-creator Michael Schur also indicated the episode was inspired partially by Carrie Prejean, the former Miss California USA who received nationwide attention over her answer to a question about same-sex marriage during the Miss USA 2009 contest. Immediately after "Beauty Pageant" was originally broadcast, NBC set up an official Miss Pawnee Beauty Pageant website at misspawnee.com. It included biographies for the judges and competitors, as well as a downloadable PDF of Leslie's custom scorecard from the episode, ringtones, band posters, songs for download and photos. Within a week of the episode's original broadcast, three deleted scenes from "Beauty Pageant" were made available on the official Parks and Recreation website. In the first 90-second clip, April seeks beauty contestant advice from Leslie, who tells her to act differently from her usual behavior. While awaiting the talent contest, April lists a number of her unusual talents, including inventing emoticons, convincing her mother she is adopted, instantly making security guards suspicious and determining if someone is fat or pregnant "with 60 percent accuracy". In the second 1-minute and 15 second clip, Ann tries to explain to Mark she is not hinting at sex when she asks him to "fix her shower", and Sanderson talks about his insecurities, including that Leslie might be too smart for him. In the final 90-second clip, Tom expresses anger that the swimsuit competition has been removed from the contest, and tries to convince the judges to reinstate it during their deliberations. ## Cultural references "Beauty Pageant" included several cultural and pop culture references. During her introduction at the pageant, Trish said, "I've been on YouTube", a reference to the video sharing website on which users can upload and share videos. Susan is said to have attended Indiana State University, which helps solidify her standing as the smartest beauty pageant contestant. Leslie said one of her criteria categories as a judge is the "Naomi Wolf factor", a reference to the American third-wave feminist author and political consultant. Leslie attempts to convince the other judges that Trish should not win the pageant, which in addition to the scenery is mirroring the courtroom drama 12 Angry Men. Sanderson, who has demonstrated a lack of pop culture familiarity in the show, was unfamiliar with a reference Tom made to the 1988 police action film Die Hard and its famous protagonist, John McClane. ## Reception In its original American broadcast on October 1, 2009, "Beauty Pageant" was seen by 4.63 million households, according to Nielsen Media Research. Although one of the poorer major network ratings of the night, it constituted a slight increase over the previous week's episode, "The Stakeout". The episode received a 1.9 rating/5 share among viewers aged between 18 and 49. The episode received generally positive reviews, with several commentators claiming the season continued a trend of funnier episodes than in the first season. Alan Sepinwall of The Star-Ledger said the show seemed to be more confident. He praised the silliness of Andy, the deadpan humor of April and "the sweetness of Leslie realizing how much she likes Dave the cop". H.T. "Hercules" Strong, a regular columnist with Ain't it Cool News, said "Beauty Pageant" was "as funny as one of the funniest episodes of The Office, which is saying something." He particularly praised Louis C.K. Steve Heisler of The A.V. Club called "Beauty Pageant" a great episode, and said Leslie is becoming less of a caricature than in previous episodes. He gave it an A− grade particularly praised Plaza, who he said "embodied pure apathy" and Pratt, who he said livened up the Ann and Mark subplot. Entertainment Weekly writer Henning Fog said Parks and Recreation has continued to improve each week, and "Beauty Pageant" showed Leslie Knope at "her most human". Fog also said he liked the Ann, Andy and Mark characters, but felt the show was straining to find ways to include them in the story each week. Matt Fowler of IGN said he was glad Parks and Recreation was exploring subplots outside of the pit, but felt a beauty pageant was too clichéd and predictable an episode plot. Fowler praised the performances of Plaza, Pratt and Louis C.K. Slate magazine writer Jonah Weiner praised "Beauty Pageant", and called the hypocrisy of beauty contests demonstrated in the episode "a turkey shoot no less enjoyable for its familiarity". ## DVD release "Beauty Pageant", along with the other 23 second-season episodes of Parks and Recreation, was released on a four-disc DVD set in the United States on November 30, 2010. The DVD included deleted scenes for each episode.	[ "## Plot", "## Production", "## Cultural references", "## Reception", "## DVD release" ]	2,043	26,558
58,528,839	Is That Alright?	1,158,816,185	2018 song by Lady Gaga	[ "2010s ballads", "2018 songs", "Lady Gaga songs", "Song recordings produced by Lady Gaga", "Songs written by DJ White Shadow", "Songs written by Lady Gaga", "Songs written by Nick Monson", "Songs written for films" ]	"Is That Alright?" is a song from the 2018 film A Star Is Born and soundtrack of the same name, performed by American singer Lady Gaga. It was produced by Gaga, Mark Nilan Jr., Nick Monson, and Paul "DJ White Shadow" Blair; writing credits include all of them besides Lukas Nelson and Aaron Raitiere. The track is sung by Gaga's in-movie character, Ally, as a loving ode to Bradley Cooper's character, Jackson. It plays during the end credits of the original, theatrical cut of A Star Is Born, while appearing in the wedding scene in its extended, Encore edition. The song charted within the top 30 in Hungary, Scotland, and Slovakia. It received positive reviews, with critics complimenting Gaga's vocals. ## Background and composition "Is That Alright?" first appeared as a snippet shared by Lady Gaga on September 25, 2018, in a teaser for her film, A Star Is Born, for which the song was written. The video gave a minute-long preview of the track, along with various clips from the movie. It later appeared as the twenty-fifth track of the standard version of the movie's soundtrack album, released on October 5, 2018. "Is That Alright?" is a power ballad with piano instrumentation. It is a "vulnerable" love song, composed in "the same vein" as the soundtrack's "Shallow" and 'I'll Never Love Again". The song's writers and producers were Gaga, Mark Nilan Jr., Nick Monson, and Paul "DJ White Shadow" Blair, with Lukas Nelson and Aaron Raitiere providing additional writing. Talking about the writing process for the film, Blair said that "for every song that made it onto the album", they "wrote at least four others, in various iterations", which gave options when they had to decide which songs to keep for the story. He also added that "Is That Alright?" became his favorite song which ultimately ended up on the soundtrack. The track is performed in the key of G major with a moderate tempo of 105 beats per minute in common time. It follows a chord progression of G–G/B–Em–C during the verses and G–Em–G/B-G during the chorus, and the vocals span from E<sub>3</sub> to E<sub>5</sub>. Gaga's singing style shifts from belting to soft whispers in the song. ## Use in film and lyrical content "Is That Alright?" played during the end credits in the original, theatrical cut of A Star Is Born. It is Ally's pledge to Jackson (the main characters of the movie, played by Gaga and Bradley Cooper), where she vows to love him until the end of her life. USA Today wrote that the track is "painting an evocative picture of their whirlwind romance as Gaga alternates between tender storyteller and throaty power belter", declaring "I want you at the end of my life... Wanna see your face when I fall with grace at the moment I die." Screen Rant thought the song "gives audiences another glimpse at what makes their relationship truly special", with Ally, "the up and coming singer ... put[ting] her heart into every verse." A Vulture article argued that by placing "Is That Alright?" at the very end of the story, it can be interpreted as "a tragic ode to future dreams that'll go unfulfilled." The same outlet pointed out the "lunatic level of adoration and tenderness" from Ally's character in the song, underscored by the "Nothing you say wouldn't interest me" line in the lyrics. A deleted scene from A Star Is Born, involving Ally's performance of "Is That Alright?", got featured between the DVD/Blu-ray extras of the film in February 2019. After a one-week long limited release in cinemas the following March, an extended cut of the movie was released to home media in June 2019, titled A Star Is Born: Special Encore Edition. This version of the movie gives a longer scene of Jackson and Ally's wedding reception and reinstates "Is That Alright?" into the story. Ally sits down at the band piano, grabbing the microphone, and says to Jackson: "When we gave our vows at the altar, I just didn't get to say everything I wanted to say. So I wrote it down, and I brought it here. I hope it's okay if I love you forever, Jack." She then sings "Is That Alright?". Slate's Heather Schwedel said the track originally was "a bit of a mistery", but the Encore edition "fills in why this song existed in the first place" with the "sweet" extra scene. ## Critical reception "Is That Alright?" received positive reviews from journalists, who complimented Gaga's vocals and found the track emotional. A column by Vulture regarded the song "more reminiscent of Adele than Lady Gaga", an opinion concurred by The Guardian, where it was analyzed as one of the tracks from the soundtrack which could have been "in the songbooks of Elton John or Adele for years". Wren Graves of Consequence called it a "big Broadway ballad", evoking the Wicked's "Defying Gravity" (2003) and Evita's "Don't Cry for Me Argentina" (1976). It reminded Bustle's Tatiana Tenreyro to Gaga's own ballads, "Speechless" (2009) and "Million Reasons" (2016), though she added, "this one has lyrics that feel even more vulnerable, showing how much Ally desires Jackson's love and sees him as The One." In his review of the soundtrack, Chris DeVille of Stereogum felt that the "blustery piano ballad 'Is That Alright?' and 'Always Remember Us This Way' [...] would work as Joanne bonus tracks, and they're at least as good as "Million Reasons", that album's one true hit." According to Joey Morona from The Plain Dealer, "Is That Alright?" is a "moving" love song with Gaga's "signature emotion and power". He felt the song is on the same level as the album's "Shallow" and "I'll Never Love Again", envisioning a "three-song race" for an Academy Awards nomination in the Best Original Song category. Vulture's Natalie Walker claimed it is the best track from the soundtrack, thinking "the vocal and energetic bipolarity of this song is what makes it so endlessly affecting". She further added: "High notes are impressive, midrange belting is powerful, light and airy falsetto moments are pretty; the tessitura in which the verses of 'Is That Alright' exist strips Gaga bare of any vocal pyrotechnics, and all we are left to focus on are the specifics of her yearning pleas for all-encompassing intimacy." Gaga's singing "at the bottom of her range" recalled Beyoncé's 2009 single, "Halo" for Walker. Hunter Harris, from the same website, similarly praised "Is That Alright?", calling it "arguably A Star Is Born's greatest song", and noted how director Bradley Cooper "made amends" by including the track in the actual movie in its later Encore version. Paris Close at iHeart believed "the number is every bit of warm and vulnerable and fearless as the singer-songwriter belts her heart out to her beloved." Daniel Megarry of Gay Times felt the track was "tear-jerking", while Mike Neid at Idolator highlighted Gaga's "soaring" voice "over an evocative production". Ben Beaumont-Thomas of The Guardian remarked the lyrics "on the page" are "almost ludicrous, but on record it grabs your ribcage". He further added that the song's "earnestness is [...] completely sold by Gaga", and suggested the song could become popular on wedding receptions. At The Ringer, Alyssa Bereznak appreciated "the structural conceit of this song: a stream-of-consciousness outpouring of tender sentiment, followed by a forceful chorus full of demands for eye contact and eternal matrimony, capped off with a sweet, searching question". Writing for The Daily Telegraph, Neil McCormick opined the song "may be a predictably constructed soapy piano ballad but in the plotline's context of a lovelorn woman grasping for joy in a doomed romance, it won't leave a dry eye in the house." For The Washington Post's Bethonie Butler, "Is That Alright?" is a "sweet but cheesy ballad." Adam White of The Independent deemed it one of the more forgettable tracks of the soundtrack, though he noted "Gaga belting her heart out against a piano melody as if her life depended on it". ## Chart performance "Is That Alright?" is one of five tracks from the soundtrack which managed to enter the Billboard Hot 100, appearing on the chart at number 63, while also charting at number 85 on the Canadian Hot 100. In the United Kingdom, it peaked at number 23 on the UK Singles Downloads Chart and it was certified Silver by the British Phonographic Industry (BPI) for selling over 200,000 track-equivalent units in the country. In Australia, the song debuted at number 97 on the ARIA Singles Chart, and improved one position the next week. It peaked at number 40 on the New Zealand Hot Singles chart. Additionally, the song reached number 19 on Billboard's Euro Digital Songs chart, 22 on the Hungarian Single Top 40 chart, 20 on the Scottish Singles Sales Chart, 12 on the Slovakian Singles Digitál Top 100 chart, and 33 on the Spanish Physical/Digital chart. In 2021, "Is That Alright?" was awarded a gold certification from the Polish Society of the Phonographic Industry (ZPAV) for track-equivalent sales of 25,000 units in Poland. ## Credits and personnel Credits adapted from the liner notes of the A Star Is Born soundtrack album. ### Management - Published by Sony/ATV Songs LLC / SG Songs LLC (BMI) / Happygowrucke / Creative Pulse Music/These Are Pulse Songs (BMI). - All rights administered by These Are Pulse Songs, BIRB Music (ASCAP) / BMG Rights Management (US) LLC - Warner Tamerlane Publishing Corp. / Super LCS Publishing / One Tooth Productions (BMI), Warner-Barham Music LLC (BMI) - Extra administration by Songs of Universal (BMI) / Warner-Olive Music LLC (ASCAP) admin. by Universal Music Corp. (ASCAP) - Recorded at Five Star Bar (Los Angeles). Additional recording at Shrine Auditorium, EastWest Studios, The Village West (Los Angeles). - Mixed at Electric Lady Studios (New York City) - Mastered at Sterling Sound Studios (New York City) ### Personnel - Lady Gaga – songwriter, producer, primary vocals - Mark Nilan Jr. – songwriter, producer, piano - Nick Monson – songwriter, producer - Paul "DJWS" Blair – songwriter, producer - Lukas Nelson – songwriter - Aaron Raitiere – songwriter - Benjamin Rice – recording - Bo Bodnar – recording assistant - Tom Elmhirst – mixing - Brandon Bost – mixing engineer - Randy Merrill – audio mastering ## Charts ## Certifications and sales	[ "## Background and composition", "## Use in film and lyrical content", "## Critical reception", "## Chart performance", "## Credits and personnel", "### Management", "### Personnel", "## Charts", "## Certifications and sales" ]	2,363	327
2,355,327	Jimmy Frise	1,157,752,051	Canadian comic strip cartoonist	[ "1891 births", "1948 deaths", "Artists from Toronto", "Canadian Army soldiers", "Canadian Expeditionary Force soldiers", "Canadian comic strip cartoonists", "Canadian editorial cartoonists", "Canadian military personnel from Ontario", "People from Scugog", "Royal Regiment of Canadian Artillery personnel" ]	The Canadian cartoonist James Llewellyn Frise (/fraɪz/, 16 October 1891 – 13 June 1948) is best known for his work on the comic strip Birdseye Center and his illustrations of humorous prose pieces by Greg Clark. Born in Scugog Island, Ontario, Frise moved to Toronto at 19 and found illustration work on the Toronto Stars Star Weekly supplement. His left hand was severely injured at the Battle of Vimy Ridge in 1917 during World War I, but his drawing hand was unhurt, and he continued cartooning at the Star upon his return. In 1919 he began his first weekly comic strip, Life's Little Comedies, which evolved into the rural-centred humorous Birdseye Center in 1923. He moved to the Montreal Standard in 1947, but as the Star kept publication rights to Birdseye Center, Frise continued it as Juniper Junction with strongly similar characters and situations. Doug Wright took over the strip after Frise's sudden death from a heart attack in 1948, and it went on to become the longest-running strip in English-Canadian comics history. ## Life and career James Llewellyn Frise was born 16 October 1891 near Fingerboard in Scugog Island, Ontario. He was the only son of John Frise (d. 1922), who was a farmer, and Hannah née Barker (d. 1933), who had immigrated with her family from England to Port Perry when she was two. He grew up in Seagrave and Myrtle and went to school in Port Perry. There he struggled with spelling—even with his own middle name—and developed an obsession with drawing. Throughout his teens, friends and teachers encouraged Frise to move to Toronto to pursue a drawing career. In 1910 he moved there, though without aiming to develop his art—rather he sought work and found it as an engraver and printer at the Rolph, Clark, Stone lithography firm; he spent six months drawing maps for the Canadian Pacific Railway company indicating lots for sale in Saskatchewan. While seeking another job he read in the Toronto Star an exchange between a farmer and an editor in which the editor extolled the virtues of farm life only to have the farmer rebut him and challenge him to try out farming. Frise drew a cartoon of the editor struggling to milk a cow and a farmer as an editor; he submitted it to the Star, where it appeared in the Star Weekly supplement on that 12 November. He visited the Stars offices the following Monday and the Editor-in-Chief hired him immediately. He began by lettering titles and touching up photos until the Star Weekly's editor J. Herbert Cranston enlisted him for his drawing skills. Frise illustrated news stories and the children's feature The Old Mother Nature Club, and did political cartoons. His cartoons also appeared in publications such as the Owen Sound Sun. Frise took a job at an engraving firm in Montreal in 1916 and in the midst of World War I enlisted in the military that 17 May. He had had two years previous experience with the 48th Highlanders of Canada and served at first served in the 69th Battery of the Canadian Field Artillery. He was deployed overseas that September and by November was serving in the 12th Battery at the front, where he employed his farm experience driving horses to move artillery and ammunition. At the Battle of Vimy Ridge his left hand was severely injured when an enemy shell exploded at an ammunition dump where he was delivering loads of shells. The Star reported its anxiety over the possible loss of "one of Canada’s most promising cartoonists", but his drawing hand—his right—was uninjured. He was discharged after recuperating in Chelmsford, England, and arrived back in Toronto on 1 December 1917 and returned to work, first at the Star and shortly after at the Star Weekly again. Canadian Field Artillery's 43rd Battery approached Frise in 1919 to illustrate a book on the history of their unit. The volume appeared later in the year under the title Battery Action!, written by Hugh R. Kay, George Magee, and F. A. MacLennan and illustrated with Frise's light-hearted, humorous cartoons rendered in accurate detail. As the Star Weeklys circulation grew, so did its comics section. Cranston encouraged Frise to create a Canada-themed comic strip in the vein of W.E. Hill's Among Us Mortals, a Chicago strip which also ran in the Star. Frise protested he could not keep up with a weekly schedule but nonetheless began At the Rink, which débuted 25 January 1919; it became Life's Little Comedies on 15 March. The strip proved popular and evolved by 1923; it had taken on the influence of John T. McCutcheon's depictions of a fictional rural town in the American Midwest called Bird Center. Frise turned his focus to humorous and nostalgic depictions of rural life and on 12 December 1925 renamed his strip Birdseye Center, whose setting he described as "any Canadian village"; its lead characters included bowler-hatted Pigskin Peters, Old Archie and his pet moose Foghorn, and lazy Eli Doolittle and his wife Ruby. The strip grew in popularity and in 1926 was voted favourite comic strip in a readers' poll—as a write-in, since the strip did not appear in the list of options. From about 1920 Frise shared an office with the journalist and Vimy ridge veteran Greg Clark (1892–1977). They became friends, and occasionally through the 1920s, Frise would illustrate some of Clark columns, interviews and stories. Frise chatted with the frequent visitors to the office. He worked at his own pace and often tore up work-in-progress in dissatisfaction and submitted his strips at the last moment. Frise's tardiness caused such delays in production and distribution that editorial director Harry C. Hindmarsh once demanded Joseph E. Atkinson have something done about it. Atkinson replied, "Harry, The Star Weekly does not go to press without Mr. Frise." Frise was unconcerned with the resale value of his original artwork and pursued little licensing of his work, amongst which included product endorsements, products such as jigsaw puzzles, and a Birdseye Center Cabin Park on Lake Scugog, opened in 1940. His work provided him well enough that he bought a home in the well-to-do Baby Point neighbourhood. Beginning in 1932, Clark started penning a regular weekly humorous story in the Star Weekly—these were always illustrated by Frise. The stories generally detailed various adventures (and misadventures) best friends Greg and Jim got up to, sometimes at their homes, but also on fishing or camping trips, or exploring the backwoods and rural areas of Ontario. Frise (in real life about 5'9") was drawn as tall and gangly, and Clark short and stout. This extremely popular feature ran for the next 16 years, making Frise well known throughout Canada not just as an artist, but as a continuing real-life personality in Clark's stories. A selection of stories appeared in a volume titled Which We Did in 1936; a follow-up volume called So What was issued in 1937. Frise talked of their blunderings to the Star: "We've fried eggs on the city hall steps. We caulked my house and flooded the parlor with cement. I once let Greg persuade me to get a steam shovel to do my spring digging and ruined my garden. Perhaps this book is our most foolish adventure." The Clark/Frise partnership was interrupted during WWII, when Clark returned to Europe as a war correspondent. Frise continued his work as a cartoonist and illustrator, and upon Clark's return, the "Greg and Jim" stories picked up where they left off. However, Frise and Clark had grown concerned with the Star's treatment of its staff, and made an agreement in 1946 to leave the paper the first opportunity. Clark contacted John McConnell, publisher of the Montreal Standard, a newspaper with a smaller circulation than the Star's that had earlier offered him a position. McConnell offered the pair salaries similar to what they received at the Star, as well as the opportunity for Frise to have his strip syndicated in the United States, which would supplement his income. When they handed in their resignations that Christmas Eve 1946, Hindmarsh asked them, "Aren't you going to give us a chance to bid?" Frise told him, "Mr. Hindmarsh, you have nothing to bid with." The last Birdseye Center episode ran on 1 February 1947. The Star maintained publication rights to Birdseye Center, so Frise re-created the feature as Juniper Junction with strongly similar characters and situations. It débuted 22 February 1947, and the Standard ran it in colour, as Frise had long wanted. Standard's circulation grew after the addition of Frise and Clark's collaborations. Frise also provided the illustrations to Jack Hambleton's cookbook Skillet Skills for Camp and Cottage published in 1947. After feeling unwell the night before, Frise died of a heart attack in his home in Toronto on 13 June 1948, at age 57. Clark telephoned Cranston on hearing the news, saying, "A great gentleman has passed on." Frise was buried at Prospect Cemetery in Toronto. ## Personal life Frise stood 5 feet 9 inches (175 cm). He enjoyed the outdoors and pursued fishing and hunting. He often returned to the Lake Scugog area and sometimes spoke about his career there. He was a Methodist Christian. After returning from his service in World War I, Frise began courting Ruth Elizabeth Gate, who had been born in the US and grew up in Toronto. She worked at an advertising agency, and co-published with her father a magazine in braille and a braille bible. She married Frise on 21 February 1918 and the couple had four daughters, Jean, Ruth, Edythe, and Betty; and a son, John. Frise often featured his spaniel Rusty in his strips. ## Legacy The Montreal cartoonist Doug Wright (1917–83) took the reins of Juniper Junction, which went on to become English Canada's longest-running comic strip. In 1965 the Canadian publisher McClelland & Stewart printed a treasury of Birdseye Center with commentary by Greg Clark and an introduction by Gordon Sinclair. Clark continued publishing his tales for a time with illustrations by Duncan Macpherson (1924–93), but soon moved on to different topics. Scugog Shores Museum in Port Perry holds some samples of Frise's original artwork, and the Province of Ontario erected an Ontario Historical Plaque in front of the museum to commemorate Frise's role in Ontario's heritage. In 2009, Frise was inducted into the Canadian Cartoonist Hall of Fame.	[ "## Life and career", "## Personal life", "## Legacy" ]	2,282	23,297
66,589,272	Kaneez Paracha	1,163,887,789	Fictional character from Ackley Bridge	[ "Ackley Bridge characters", "Female characters in television", "Fictional Muslims", "Fictional Pakistani people", "Fictional chefs", "Television characters introduced in 2017" ]	Kaneez Paracha is a fictional character from the Channel 4 school drama Ackley Bridge, portrayed by Sunetra Sarker. Kaneez first appeared in the pilot episode of the series, first broadcast on 7 June 2017. Kaneez is the mother of protagonist Nasreen (Amy-Leigh Hickman), as well as Razia (Nazmeen Kauser) and Saleem (Esa Ashraf/Yaseen Khan). Kaneez's storylines in the series have included ending her arranged marriage with her husband Iqbal (Narinder Samra), pursuing a relationship with science teacher Rashid Hyatt (Tony Jayawardena) and becoming a student support officer. Kaneez has been described as a feisty, vocal and passionate woman who has become a prominent voice in her local community. Sarker was attracted to the role of Kaneez due to the lack of Pakistani northerners shown in media, as well as Pakistani women with large personalities. She pushed for Kaneez to have a mixture of northern and Pakistani accents and to be a working-class character, since it differed from the roles she had played previously. Sarker learned Punjabi for the role and was given a voice coach to help her perfect Kaneez's accent. Viewers and critics have praised Kaneez, with her being described as a matriarch, a queen of comedy and a feminist icon. She also won the award for Best TV Character at the 2019 Asian Media Awards. ## Storylines Kaneez is introduced as the mother of Nasreen (Amy-Leigh Hickman), Razia (Nazmeen Kauser) and Saleem Paracha (Esa Ashraf/Yaseen Khan), as well as a school cook at the multicultural academy school Ackley Bridge College. Kaneez learns that husband Iqbal (Narinder Samra) is attempting to have Nasreen enter an arranged marriage, which Kaneez disagrees with due to being forced to quit school as a teenager to marry Iqbal. When Nasreen refuses to get married and comes out to Kaneez as a lesbian, she is initially disgusted with her. However, after Nasreen's best friend Missy Booth (Poppy Lee Friar) talks to her about Nasreen's struggles, Kaneez takes it upon herself to understand Nasreen and her sexuality. She visits Hebden Bridge and talks to a lesbian who explains her lifestyle to Kaneez. When Nasreen discovers that Iqbal has another family that live in Bradford, she informs Kaneez, who already knew. She visits Sandra Turner (Vicky Entwistle), his other wife, and professes that Sandra can have him to herself, claiming she has never loved Iqbal. Afterwards, she throws his belongings out of the window and states that it is her house. Science teacher Rashid Hyatt (Tony Jayawardena) informs Kaneez that Razia has dyspraxia, and despite her initial disagreement and anger at Rashid, she accepts that he is right. She then goes on a date with him but struggles with insecurities due to never having dated someone. Rashid assures her that what she is doing is normal and invites Kaneez to a university reunion, which she initially declines. However, she changes her mind and when she arrives, she sees him hugging his friend and assumes that he has moved on. Rashid is puzzled when Kaneez ignores his advances the next day, so she explains what she saw at the reunion. He later professes his romantic feelings for her, which she does in return, and the two begin a relationship. Kaneez then visits Iqbal and informs him that she wants a divorce. She reveals their relationship to her children, who accept their relationship since they like Rashid. When Kaneez feels as though Nasreen does not talk to her and discovers that she is using dating apps, Kaneez makes a fake profile to talk to her with. Missy finds out what she has done and advises her to delete the profile since Nasreen is developing feelings for the woman she believes is real. When Kaneez messages Nasreen to inform her that she is deleting her profile, Nasreen sends her a nude photo to persuade her to keep the app. Kaneez storms into her room and forbids her from sending nude photos, revealing that the account was her in the process. Nasreen is mad with Kaneez but promises to talk to her more, as long as she respects her boundaries. Kaneez feels she has more to offer at the school and trains to become a student support officer. After Nasreen performs poorly in her A Level exams, Kaneez drives to Oxford University, Nasreen's dream university, and pleads with them to let Nasreen attend despite her results, to which they eventually agree. Rashid informs Kaneez that his mother Zainab (Leena Dhingra) will be visiting them; Zainab immediately takes a dislike to Kaneez. Kaneez discovers her nephew Tahir Randhawa (Shobhit Piasa) in bed with Missy's sister Hayley Booth (Cody Ryan) and tells him not to mess her around as she is still grieving for Missy. Mandy reveals to the staff that she has been offered the opportunity to start a school in Nepal, which upsets Kaneez due to their close friendship. The pair talk and Kaneez badmouths Zainab, who overhears and insults Kaneez. Zainab accompanies Kaneez and interim headteacher Martin Evershed (Rob James-Collier) on a school trip and to Kaneez's annoyance, she takes over when she begins to teach the students. When Zainab almost collapses, she tells Kaneez that she is being too harsh on her and agrees to stop. She reveals that she has always lied about her parents being successful, and that her mother was a sex worker and she never knew her father. In return, Kaneez tells Zainab that she may be pregnant. Kaneez takes a pregnancy test, which comes out negative. Zainab tells Rashid about the pregnancy, who confronts her. Kaneez confides in him and he says that he will tell Zainab to stop being mean to her. When Hayley pranks Tahir into believing she is pregnant, Kaneez later tells Rashid that she is jealous that Hayley is pregnant and not her. After Zainab makes another rude comment about Kaneez, Rashid confronts her and tells her to go back to Pakistan since he loves Kaneez. ## Development Upon the cast announcements for Ackley Bridge, Kaneez was billed as a "force of nature" who is full of personality and opinions. It was stated that as part of her backstory, she arrived in England at the age of 16 and became a prominent voice in the community, raising her family almost single-handedly while her husband Iqbal is away from home. Actress Sarker added that Kaneez's experiences with moving to England as a teenager has made her an example of self-learning and independence due to "finding her feet with the language and life skills". Sarker added that Kaneez is a woman she had never seen on television before due to being full of personality and opinions. She also liked that Kaneez is shown to be a good mother with a sense of humour while also having a protective streak and strictness. She described her character as a feisty woman who wears her heart on her sleeve who is also "a woman of substance, very vocal and passionate about caring for her children and her family [and] doesn’t really hold back on telling people what she thinks". She felt that Kaneez has a funny personality in a way Pakistani women are not shown to have in media. She also praised the series itself for its "three-dimensional portrayal" of Pakistani women, specifically praising the stories that her character receives for being "all about this woman being a force to be reckoned with". Prior to appearing in Ackley Bridge, Sarker starred in the BBC medical drama Casualty as Zoe Hanna for nine years. Following her exit from Casualty, she explained that she was looking for something different and described the role of Kaneez as "just the tonic". Part of this was attributed to Kaneez looking and sounding nothing like Sarker in real life, an aspect of the role that she liked. On accepting the role of Kaneez, Sarker stated that it was rare for her to find a character that had been written as a three-dimensional Asian woman, and even rarer for her to be a northern Asian woman. Sarker noted how Kaneez displays westernised aspects side by side with her Islamic life and "blends both humour and truth in an authentic way", something she believes is not represented commonly in media. One of her motivations for accepting the role was wanting to represent single Muslim mothers, who she believed deserved a voice on television. Sarker enjoyed that the role of Kaneez is not glamour driven, since it means she is able to focus on the character, and "put vanity aside". On the styling of Kaneez, Sarker said that she wanted to be dressed in Pakistani clothes, commenting: "I don’t think there are many people in places like Cambridge who will have bumped into many women like Kaneez, so it is great that we are bringing them into their living rooms." Sarker also pushed for her character to speak with a northern Pakistani accent and to live a working-class life, since her previous roles were completely different. As Sarker does not speak Punjabi in real life while Kaneez does, Sarker had to learn the language for the role. She found it to be difficult but gave it her "best shot". Sarker recalled that while filming for Ackley Bridge, co-stars would tell her that she sounds just like their aunties and that her lines reminded them of their own mothers, which made her feel like she was "on the right lines". Sarker also had a voice coach to help her with Kaneez's accent, since during scenes, her accent can "naturally wander since different words have different emphasis". When asked about Kaneez's "colourful version of English", Sarker complimented the writers for writing the majority of Kaneez's lines, but revealed that a lot of Kaneez's comedic dialogue was invented by herself. Sarker calls the phrases 'Kaneezisms'. She referenced a joke she made about the Spice Girls in the first series that caused the people on set to laugh, therefore it was implemented into the script, since they knew it would appeal to viewers. Sarker described the second series of Ackley Bridge as a liberating series for Kaneez, stating that her split from her husband contributed to Kaneez having "found her wings" wanting to "fly a little bit". She felt that Kaneez had become open to life's possibilities and that the first of these is learning to drive. Sarker deems herself a good driver in real life and found it difficult to play a bad driver. She joked that she would never get into a car with Kaneez, but that despite being bad, Kaneez "thinks she knows it all and should be on Top Gear". She also noted that the importance of the relationship she has with her children is reflected in the series. In the fourth series, Sarker affirmed that Kaneez is "still a force to be reckoned with". Sarker also took on the role of associate producer for the series. Kaneez is promoted to a school counsellor, which Sarker enjoyed playing. Due to a cast overhaul in the fourth series, Sarker was glad to have stayed on the show and felt that Kaneez had become a "foundation character", but confirmed that she would still have her own storylines. Kaneez's relationship with Rashid is further explored in the series when his mother Zainab arrives, who Sarker described as the "mother-in-law from hell". The series also sees Kaneez's relationship with nephew Tahir explored due to the exit of Nasreen in the third series. ## Reception Shout Out UK described Kaneez as a "matriarch", stating that they were glad to continue seeing her after three series. Viewers have a positive opinion of Kaneez's humor, with her being described as an "icon" and a "queen of comedy". Dan Seddon of Digital Spy wrote that her scenes have "comic ingenuity", that himself and viewers are "blown away by Kaneez's knee-slapping antics" and joked that a statue of her should be placed at the fictional school. Following the storyline which saw Kaneez's inhibitions about dating Rashid, viewers praised both the series and the character for Kaneez's more serious scenes, with one describing her as "the feminist icon we need". Dianne Houghton of Digital Spy described the story as a "genuinely moving arc" and praised the character's development, adding that her kiss with Rashid was "one of the most heartwarming onscreen kisses we've seen". At the 2019 Asian Media Awards, Kaneez won the award for Best TV Character. Then at the 2021 TV Choice Awards, Sarker was nominated for Best Actress.	[ "## Storylines", "## Development", "## Reception" ]	2,761	36,590
1,326,466	Grabbed by the Ghoulies	1,168,564,098	2003 video game	[ "2003 video games", "Action-adventure games", "Beat 'em ups", "Cancelled GameCube games", "Horror video games", "Microsoft games", "Rare (company) games", "Single-player video games", "Video games about zombies", "Video games developed in the United Kingdom", "Video games scored by Grant Kirkhope", "Video games with cel-shaded animation", "Xbox One X enhanced games", "Xbox One games", "Xbox Originals games", "Xbox games", "Xbox-only games" ]	Grabbed by the Ghoulies is an action-adventure game developed by Rare and published by Microsoft Game Studios exclusively for the Xbox. It was released in North America in October 2003, and in Europe in November. It was re-released worldwide on the Xbox 360 as a downloadable Xbox Live Originals game in February 2009. This was removed from the store in June 2015, two months before a remastered version was released as part of the Rare Replay compilation for Xbox One. The game follows a young boy, Cooper, who sets out to rescue his girlfriend from a haunted mansion infested with supernatural creatures. Having originally been in development for the GameCube, Grabbed by the Ghoulies was the first Rare game to be published by Microsoft after Rare was bought out from Nintendo. The game was met with mixed reviews upon release. Criticism was directed at the gameplay, but the game's graphics and style were praised. Grabbed by the Ghoulies was nominated for the Console Family Game of the Year prize at the 2004 Academy of Interactive Arts & Sciences Annual Interactive Achievement Awards. ## Gameplay Grabbed by the Ghoulies is a 3D action-adventure game with beat 'em up elements. Breaking with the style of previous Rare platformers, the gameplay is simple in design, utilizing the premise of moving through areas of the game's mansion and completing the required challenges in each room. Such challenges include eliminating all ghoulies in a room, beating only a specified kind of ghouly while avoiding eliminating the rest, or finding a key hidden inside a ghouly before the player-character, Cooper, can continue. All combat and melee attacks are maneuvered by the control sticks, whereas the game's camera can be rotated by both triggers. Most of the objects in the mansion are destructible, with the chance of finding Super Soup power-ups inside. The Super Soups can have negative effects, like reversing the player's controls or lowering Cooper's speed, or positive effects, such as making Cooper invulnerable or immobilizing all ghoulies in the room. When the player fails a challenge or takes longer than a set time limit to complete one, rather than immediately restarting the room, the Grim Reaper will chase after Cooper; the Reaper will instantly kill Cooper if he's touched and the player will have to restart the room over, but the Reaper can also be used to the player's advantage, as he will also kill any ghouly that he touches. Standard enemies in the game include zombies, mummies, imps, skeletons and zombie pirates. Many objects in the game with which the character can interact—including chairs, knives, and axes—can be used as weapons. The game also features various bonus challenges. Each room the player visits contains one of 100 hidden Bonus Books to be collected. For every five books the player collects, a bonus challenge is unlocked. The main objective of the bonus challenges is to revisit one of the rooms and perform a different task within it, such as defeating a number of enemies in a certain amount or time or surviving a duel with the Grim Reaper. If a player successfully completes a bonus challenge, they are awarded a bronze, silver, gold or platinum medal based on their performance. For every platinum medal earned, a piece of the game's concept art is unlocked. If the player earns a gold or platinum medal for all 20 challenges, a final challenge is unlocked that tasks players with completing the entire game again as Cooper's girlfriend Amber, who has very low health and cannot use power-ups. Completing the 21st challenge unlocks the game's E3 trailer and a deleted cutscene in the bonus gallery. ## Plot Cooper and his girlfriend Amber are looking for shelter from a storm when they come across Ghoulhaven Hall, a mansion owned by Baron Von Ghoul. When Cooper calls him a creep, Von Ghoul kidnaps Amber in retaliation. Cooper chases after Amber, encountering the many ghoulies inhabiting Ghoulhaven Hall. Crivens, the mansion's butler, agrees to assist Cooper, guiding him through the manor. Cooper eventually finds Amber, but before the two of them can escape, the mad scientist Dr. Krackpot appears and transforms Amber into a hideous ghouly. Cooper asks the cook Ma Soupswill for help, and she tasks him with collecting three ingredients she needs to synthesize a cure. Along the way, he is aided by the mansion's other inhabitants, including groundskeeper Fiddlesworth Dunfiddlin, Soupswill's skeletal assistant Mr. Ribs, and cleaning lady Barbara Buffbrass. After gathering the ingredients, Soupswill gives Cooper a jar of the cure. When Cooper pours the cure on Amber, Soupswill is shown to have mixed up one of the ingredients, resulting in Amber transforming into a bigger, hostile ghouly. Cooper is nearly overpowered by Amber, but Soupswill arrives and applies the correct cure, transforming Amber back to normal. Cooper and Amber prepare to leave the mansion, but Mr. Ribs begs Cooper to help free other children imprisoned throughout the manor. Crivens tells Cooper that Von Ghoul has the key to free the children, but the door to his quarters is locked by a powerful spell, which can only be broken using a counterspell that is in three pieces scattered throughout the mansion. Cooper collects the three pieces and enter's Von Ghoul's quarters, but finds that Crivens is already there seemingly attacking Von Ghoul and retrieving the key. When Cooper attempts to take the key, Crivens attacks him and removes his disguise, revealing he was Von Ghoul all along. Cooper fights and defeats Von Ghoul, throwing him out of the mansion and collecting the key. Cooper then follows Mr. Ribs throughout the mansion and races to free all the children before the mansion's doors are permanently locked, trapping them inside forever. If Cooper succeeds in freeing all ten children before time runs out, he and Mr. Ribs are ambushed by imps outside the mansion. Cooper is knocked unconscious and Mr. Ribs is decapitated, but before the imps can feast on them, Ma Soupswill arrives and fights back the imps. Cooper regains consciousness and is thanked for his efforts by Soupswill, Mr. Ribs, Dunfiddlin and Buffbrass. Cooper and Amber then walk off to a nearby village, unaware that Baron Von Ghoul is following behind them in his makeshift plane. If Cooper does not save all the children in time, the scene in which Soupswill defends Cooper and Mr. Ribs from the imps is omitted. ## Development and release The development of Grabbed by the Ghoulies began in 2000, after the completion of Banjo-Tooie. The idea for the game began with the name, which is a pun on "goolies", a British slang term for "testicles". According to designer Gregg Mayles, the name of the game materialised after he overheard someone mention "being grabbed by the goolies", and thought that it would make a suitable name for an upcoming Rare game. Before any details of the game were publicised, it was rumoured that Grabbed by the Ghoulies would be the subtitle to the next Conker the Squirrel game. After Microsoft purchased Rare for £375 million in 2002, development of the game for the GameCube was delayed until Rare converted it to the Xbox console. Development of the game took under three years. It was originally conceived as a larger, non-linear open platform game for the GameCube. However, a simpler design and simpler concept were adopted due to the Microsoft buyout and increasing time constraints. After Microsoft's purchase of Rare, the studio re-affirmed their "simple design" of the game so that players would be able to easily adapt and devote less commitment to it. In a retrospective interview, Mayles stated that the change from GameCube to Xbox was difficult and required a lot of changes as Grabbed by the Ghoulies was "an original game that started life as a Nintendo product". According to Mayles, Grabbed by the Ghoulies was not inspired by Rare's similar-themed Atic Atac. The cel-shaded art style and design of the characters in Grabbed by the Ghoulies were inspired by Hanna-Barbera cartoons, and the various character personalities were based both on historical figures and people from Mayles' childhood. Antagonist Baron von Ghoul was "a mix" of the Red Baron and British aristocracy, whereas supportive characters, such as Ma Soupswill, were loosely based on staff from a school. Mayles considered the conversion of the game to the Xbox to be one of the hardest challenges during development, as Rare had less than a year to finish the game once it was converted. The game was revealed at E3 2003, with a playable demo being a mostly complete version of the game, albeit with a few levels missing. Grabbed by the Ghoulies was released in North America on 21 October 2003, in Europe on 21 November and in Japan on 29 April 2004, becoming Rare's first game to be released under Microsoft. It was later re-released as an Xbox Originals game for the Xbox 360 on 16 February 2009, later being removed from the store on 16 June 2015, before the Rare Replay compilation game which included it was released on 4 August 2015. The game was remastered to run natively on the Xbox One, increasing its resolution and framerate relative to the original Xbox release. Grabbed by the Ghoulies was one of the first original Xbox games to be compatible with Xbox One via backwards compatibility. ## Reception The game was met with mixed reviews from critics upon release. It holds an average score of 66/100 at Metacritic, based on an aggregate of 42 reviews. The graphics and animation were praised by critics. Kevin Gifford of 1UP stated that the cel-shaded graphics were "perfect" for the "spooky" theme of the game, and that the smooth animation resulted in the enemies appearing "endearing". Ronan Jennings of Eurogamer was less impressed by the graphics, stating that the game "never blew him away" but always kept a high standard of creativity. However, Jennings did praise the animation and character designs. Reviewers of Game Revolution gave praise to the game's visuals, comparing them to be sharper and clearer to the visuals of Banjo-Kazooie, but noted that the character designs still seemed "tied down to the past", being more suited to the Nintendo 64 than to the Xbox. The game was criticised for its simplistic gameplay and lack of innovation. Gifford noted that the game's "biggest problem" was its unchallenging gameplay, stating that it was "repetitive"; he compared it to gameplay of the 16-bit era. Game Revolution stated that the gameplay appeared "interesting" at first, but grew tiresome the longer the game is played, despite its short length. Jennings noted that the gameplay was not "groundbreaking" and similarly stated that the game relied heavily on "what is practically 16-bit gameplay". The camera controls were another criticised aspect of the game, due to the control sticks being allocated for attack functions. Gifford labelled the "forced shunt" idea as a "terrible drag" which became troublesome during the latter half of the game. Game Revolution's review also criticised the camera controls, stating that the use of triggers to rotate the camera was "on the clunky side". Jennings, however, felt that the camera was "fine" and did not provide any obstruction. The game was similarly criticised when it was reviewed retrospectively as a part of the Rare Replay compilation game. Marty Sliva of IGN stated that it was among the games on the compilation that had "failed to withstand the test of time", describing it as "very boring". Similarly, Dan Whitehead of Eurogamer felt that the game represented Rare's "slump period", calling it a "particularly awkward gear change" for the developer. Despite its problems however, Whitehead also felt that the game "has a charm and character that is almost entirely absent from the AAA console space in 2015". Grabbed by the Ghoulies was nominated for "Console Family Game of the Year" and "Outstanding Achievement in Original Music Composition" at the 7th Annual Interactive Achievement Awards; the first award was ultimately given to EyeToy: Play and The Sims: Bustin' Out (in a tie), while the latter was given to Medal of Honor: Rising Sun.	[ "## Gameplay", "## Plot", "## Development and release", "## Reception" ]	2,598	20,660
733,442	The Aztecs (Doctor Who)	1,173,706,903	null	[ "1964 British television episodes", "Aztecs in fiction", "Doctor Who historical serials", "Doctor Who serials novelised by John Lucarotti", "Fiction set in the 15th century", "First Doctor serials", "Television episodes about human sacrifice", "Television episodes set in Mexico" ]	The Aztecs is the sixth serial in the British science fiction television series Doctor Who, which was first broadcast on BBC1 in four weekly parts from 23 May to 13 June 1964. It was written by John Lucarotti and directed by John Crockett. In the serial, the First Doctor (William Hartnell), his granddaughter Susan (Carole Ann Ford), and teachers Ian Chesterton (William Russell) and Barbara Wright (Jacqueline Hill) arrive in Mexico during the Aztec empire. Barbara becomes mistaken for the goddess Yetaxa, and accepts the identity in hope of persuading the Aztecs to give up human sacrifice, despite the Doctor's warnings about changing history. Lucarotti became fascinated by the Aztec civilisation while living in Mexico, largely due to the Aztec tradition of human sacrifice. He wrote the episodes while his other serial, Marco Polo, was in production. Designer Barry Newbery based his set designs on books and documentaries about the Aztecs, though faced difficulty due to the limited information on the civilisation available. Costume designer Daphne Dare used artistic licence with the serial's costumes, due to the limited clothing worn by the Aztecs. The serial premiered with 7.9 million viewers, maintaining audience figures throughout the four weeks. Response for the serial was positive, and it has since been described as one of the show's greatest stories. It later received several print adaptations and home media releases. ## Plot The TARDIS crew arrive in Mexico in the 15th century. With the TARDIS trapped in a tomb, Barbara Wright (Jacqueline Hill) is mistaken for a female reincarnation of the ancient high priest Yetaxa, and assumes her guise and identity. From her new position of power, Barbara sees her chance to bring an end to human sacrifice. She sees the good side of Aztec culture manifested in Autloc (Keith Pyott), the High Priest of Knowledge, and the gruesome side embodied in the High Priest of Sacrifice, Tlotoxl (John Ringham). As a history teacher, she sees how advanced their culture really is and believes that if sacrifice were abolished, they would be spared destruction at the hands of the Spanish. The urgent warnings of the First Doctor (William Hartnell) that Barbara cannot change history fall on deaf ears, much to his fury. The bloodthirsty Tlotoxl begins to suspect Barbara is not Yetaxa returned, especially because she is trying to ban human sacrifice. He sets a series of elaborate traps for her and her companions. For example, Ian Chesterton (William Russell) has been compelled into the military and fights the strongest warrior, Ixta (Ian Cullen), to prove his ability to command the Aztec forces. Thus Ixta develops a grudge against Ian and is used by Tlotoxl to try to prove that Barbara is not Yetaxa. The Doctor unwittingly tells Ixta how to defeat Ian in combat using a drugging agent, and this battle nearly ends in the Doctor witnessing his friend's death. When this fails to be conclusive, Tlotoxl convinces the subordinate priest Tonila (Walter Randall) to make a poison for Barbara; the death of Barbara following consumption of the poison would prove she is not immortal and therefore not a god. However, Ian silently warns her from his hiding place, and Barbara refuses to drink the poison. She tells Tlotoxl that she is not Yetaxa but warns him not to tell the people. Susan Foreman (Carole Ann Ford) and the Doctor have meanwhile both become involved in marriage-making scenarios: Susan has transgressed Aztec law by refusing to marry the Perfect Victim (André Boulay), who has been scheduled for sacrifice by Tlotoxl on the day of the next eclipse; while the Doctor, who knows little of Aztec customs, has become accidentally engaged to an Aztec woman named Cameca (Margot Van der Burgh) after they shared a cup of cocoa. Cameca helps the Doctor and Ian find a way to re-enter the tomb by a secret entrance. Ian braves a treacherous tunnel in which he is almost drowned to re-enter the tomb by a secret door and soon tells his friends that they can flee. Despite her efforts, Barbara realises that she cannot change an entire culture, although she does succeed in changing the views of Autloc. Autloc helps Barbara reunite with her friends before exiling himself to the desert to meditate on what remains of his faith. In a pitched battle to gain access to the tomb door, Ian kills Ixta in a fight to the death to protect the TARDIS crew. The Doctor and his companions leave knowing that despite their intervention, history will take its pre-destined course. As they depart, Tlotoxl is very much in control and sacrifices the Perfect Victim to end the naturally-occurring eclipse. The Doctor comforts Barbara by telling her she did help Autloc find a better belief system. ## Production ### Conception and writing Writer John Lucarotti was commissioned to write The Aztecs by script editor David Whitaker on 25 February 1964, while another of his stories—the show's fourth serial, Marco Polo—was in production. Having lived in Mexico, Lucarotti was fascinated by the Aztec civilisation. He described them as "a highly civilised and cultured race", and was particularly fascinated by their obsession with human sacrifice. Lucarotti wrote the scripts aboard his boat in Majorca, delivering the completed scripts on 18 March 1964. John Crockett was assigned to direct the serial due to his knowledge of history, having previously worked on the fourth episode of Marco Polo. Designer Barry Newbery found the serial difficult for research, due to the limited information on the Aztecs at the time. Researching using books provided by the BBC, he designed the tomb door based on the "comic book" style of Aztec design. He had also watched a documentary about Aztec archaeology on ITV, and was concerned that a larger studio would be required for production. Costume designer Daphne Dare used artistic license with her costumes in the serial, since male Aztecs usually only wore brief loincloths and cloaks, while women were often topless. ### Casting and characters Keith Pyott was chosen for the role of Autloc, the High Priest of the Aztecs, while Ian Cullen and Margot Van der Burgh played Ixta and Cameca, respectively. Cullen recalled that William Hartnell "wasn't the friendliest person, but he was trying to remember all those lines". John Ringham, an old colleague of Crockett, was chosen to play Tlotoxl; for the character, Crockett told Ringham to "make all the children in the country hate you". Crockett's secretary June McMullen suggested Walter Randall for the role of Tonila, having met him at a party. Producer Verity Lambert required Randall to shave his face for the role. Martial arts expert David Anderson, who had previously appeared in Marco Polo, was cast as the Captain of the Guard. Anderson also arranged the fight between Ian and Ixta for the second episode, and acted as William Russell's stunt double in the final episode. Lucarotti used Aztec-sounding names for the characters; for example, the character Ixta was derived from the Aztec city Ixtapalapa. ### Filming Carole Ann Ford took a two-week holiday during filming; she appeared in pre-filmed inserts for the second and third episodes. These were filmed on 13 April 1964, during production of the previous serial. Silent model and background shots were filmed at Ealing Studios on 14 April. Rehearsals for the first episode ran from 27 to 30 April, and recording took place on 1 May in Lime Grove Studio D. The second and third episodes were recorded on 8 and 15 May, respectively, at the BBC Television Centre. Upon discovering that some of the scenery had been broken up since the recording of the first episode, Crockett quickly rearranged parts from other sets, as well as some plants, to build the set. The final episode was filmed on 22 May in Lime Grove Studio D. ## Reception ### Broadcast and ratings The first episode was broadcast on BBC1 on 23 May 1964, and was watched by 7.4 million viewers, maintaining audience figures from the final two episodes of The Keys of Marinus. The second and fourth episodes maintained these figures, while the third episode saw a rise to 7.9 million viewers; the third episode became the first episode of the show to place in the top 20 of the BBC's audience measurement charts. The serial's Appreciation Index dropped slightly across the four episodes: the first two episodes received 62, while the third and fourth received 57 and 58, respectively. ### Critical response The Aztecs received positive reviews. After the broadcast of the first episode, Television Today's Bill Edmunds praised the villainous nature of the characters Tlotoxl and Ixta, but felt that Barbara should have "a chance to look beautiful instead of worried". Edmunds also praised Newbery's design work, noting distinct accuracy in the sets. Following the second episode, Bob Leeson of the Daily Worker felt that the serial had "charm", applauding the "painstaking attempts for historical accuracy" and noting a "much tighter plot" than previous serials. The third episode was the subject of a BBC Audience Research Report in July 1964, in which a panel of 225 viewers deemed a "falling-off of interest" in the show; many viewers preferred the show's "earlier space-time encounters". Retrospective reviews of the serial were also positive. In 1986, Tim Munro of Star Begotten considered the serial "one of the shining jewels of the Hartnell era" and of the entire classic series to date, praising Lucarotti's writing and characters, especially of the Doctor, considering the story one of his best. In The Discontinuity Guide (1995), Paul Cornell, Martin Day, and Keith Topping described the serial as a "lyrical piece of BBC costume drama and a gem to cherish". In The Television Companion (1998), David J. Howe and Stephen James Walker felt that, while it lacks the epic nature of Marco Polo, The Aztecs is a "fascinating and compelling depiction of the Aztec civilisation", praising Lucarotti's characterisation. In A Critical History of Doctor Who (1999), John Kenneth Muir called The Aztecs "perhaps the best-written of Doctor Who's first-year serials", and Lucarotti's script as "among the best written and best executed stories" of the classic series; he praised the characterisation, tension, and philosophical nature of the script, as well as the central role of Barbara and the performances of Hill, Russell, and Ringham. In 2008, Radio Times reviewer Mark Braxton called The Aztecs one of the best Doctor Who adventures, highlighting Barbara's dilemma about changing history, the art direction, and the "sense of impending tragedy"; he noted minor issues, such as the backdrops and unconvincing fight scenes. In 2011, Christopher Bahn of The A.V. Club described The Aztecs as "a classical tragedy infused with just enough hope toward the end to keep it from being unbearably bleak" and discussed the inability of changing history and the Doctor's only romantic entanglement in the classic series, which he called "sweet and funny". In 2013, Ian Berriman of SFX described the serial as "Jacqueline Hill's finest hour", but felt that "the show is stolen by John Ringham as Tlotoxl". Though mostly positive, Berriman felt that some of the education content was forced and "it's a shame that much of the dialogue is so fustily formal". Ian Jane of DVDTalk praised Hill's portrayal of Barbara, though questioned the character's motivations. Digital Spy's Morgan Jeffrey named it the tenth best Doctor Who story, praising the script, performances and emotional impact of the serial. Jeffrey summarised the serial as "quite simply 100 minutes of sensational drama – it's William Hartnell's finest hour on Doctor Who and one of the show's very best offerings". ## Commercial releases ### In print A novelisation of this serial, written by John Lucarotti, was published by Target Books on 21 June 1984, with artwork by Nick Spender; for the paperback reissue by Virgin Books in September 1992, the cover was designed by Andrew Skilleter. An audiobook reading of the novelisation, narrated by William Russell, was published by AudioGO in August 2012. ### Home media The serial was released on VHS on 2 November 1992, reusing the art by Skilleter, and on DVD in October 2002. A special edition DVD was released in March 2013, featuring additional special features, including audio commentary, interviews with the original cast and the surviving third episode of Galaxy 4 ("Airlock") complete with an abridged 40-minute reconstruction of the other three missing episodes. The serial was also included as part of The Doctors Revisited 1–4, alongside a documentary on the First Doctor. An action figure of Tlotoxl was released by Harlequin Miniatures in 1999.	[ "## Plot", "## Production", "### Conception and writing", "### Casting and characters", "### Filming", "## Reception", "### Broadcast and ratings", "### Critical response", "## Commercial releases", "### In print", "### Home media" ]	2,790	9,073
35,823,796	I Can See the Whole Room...and There's Nobody in It!	1,163,412,210	Painting by Roy Lichtenstein	[ "1961 paintings", "Paintings by Roy Lichtenstein" ]	I Can See the Whole Room...and There's Nobody in It! (sometimes I Can See the Whole Room and There's Nobody in It! or simply I Can See the Whole Room!) is a 1961 painting by Roy Lichtenstein. It is a painting of a man looking through a peephole. It formerly held the record for highest auction price for a Lichtenstein painting. The work is based on a William Overgard-drawn comics panel from a Steve Roper cartoon. Lichtenstein's derivation augments the presentation of the narrative and expands the use of color in the image. As with the original the image employs the theme of vision, and focuses specifically on mechanized vision as well as monocularity. ## Description of the artwork Based on a 1961 William Overgard drawing for a Steve Roper cartoon story published by the Publishers Syndicate on August 6, 1961, Lichtenstein’s I Can See the Whole Room!...and There's Nobody in It! (1961) measures four-foot by four-foot and is in graphite and oil. The painting depicts a man looking through a hole in a door. His finger is extended to open a circular peephole, while simultaneously allowing the artist to present his face. The painting also uses a speech balloon. The picture teases the viewer who is given the feeling that they are in a dark room being viewed by the main subject of the painting who is a man that peeks through a hole in the door. The narrative element of the image, which included a speech bubble that presents the caption "I Can See the Whole Room and There's Nobody in It", clarifies that the man can not see anything in the room although he has a good look at it. The work is a satirical reference to abstraction because it can be imagined as a monochrome canvas that is affected by an actor that has inserted his finger as well as a narrative that also violates this imagining. This finger is also regarded as phallic. The speech bubble makes the entire canvas relevant by broadening the attention to the entire width of the painting and the curves of the bubble unite the narrative with several of the picture's other graphical elements. Lichtenstein has added color, including all of the primary colors, while transforming the original and making reference to mechanical reproduction via Ben-Day dots. Like Look Mickey, there is reason to describe this image as a self-portrait of sorts. The subject is extending a finger through a circular opening, which is a self-reference because it is representative of Lichtenstein's technique of stenciling Ben-day dots by pressing the fluid onto the painting surface through a screen with a device not too different in size and shape from a finger. An alternative self-representation is interpreted as a singular peephole that represents the monocular subject matter of Lichtenstein's training, while the entire canvas represents a doubt in this training's representation of the physical body, its perception and its actual view. However, the corporeal is depicted quite adequately in the intense phallicism and the dotted coloration of the skin. The work is an example of Lichtenstein's presentation of the uncertainty of the one-eyed perspective. It is considered to be a work on the subject of "focal vision and blindness", and it is a prominent example of the theme running through Lichtenstein's art relating to vision. He uses the narrative to emphasize this theme, while playing on both the circular peephole and the circular eyes. The depicted mechanical device, a peephole in this case, forces the vision into a monocular format. Monocularity is funnelled through the primitive peephole apparatus that almost mimics a camera lens. In some senses, monocularity of this work is a strong theme that is directly embodied although only by allusion. In addition, the work is considered to be closely related to his later work, Image Duplicator (1963), which is regarded as a correction of I Can See the Whole Room! with its glaring and aggressive binocularity. The monocularity of I Can See the Whole Room! should be viewed as a concentrated form of monocularity, such as "the common experience of closing one eye in order to fix an object in the gaze", but a subordinated form of monocularity that is enhanced by technology. ## Ownership of the artwork, and at auction The painting was purchased by art and design director / collector Emily Hall Tremaine and her husband in 1961 for \$550. From 1961-87, Tremaine lent the artwork to many exhibitions, and she extensively facilitated reproduction of the artwork in various media. Several photos of the artwork were taken over the years as installed in a glass barn on the Tremaine farmhouse property in Madison, CT. A photograph of an installation view, featuring I can see the whole room... and there’s nobody in it!, was taken as part of Louise Lawler's Tremaine pictures series in 1984. This second artwork has also been in many exhibitions over the years. After Tremaine's death, the painting was sold at Christie's New York for \$2.1 million to Steve Ross. His wife, collector Courtney Sale Ross, then sold the artwork for \$43.2 million, double its estimate, at Christie's New York. It surpassed the \$42.6 million record set for the artist the previous November by Ohhh...Alright... The following May, it was surpassed by Lichtenstein's Sleeping Girl, which sold for \$44.8 million. ## See also - 1961 in art	[ "## Description of the artwork", "## Ownership of the artwork, and at auction", "## See also" ]	1,132	16,874
9,654,538	Josh Sims (lacrosse)	1,143,055,872	Lacrosse player	[ "1978 births", "American lacrosse players", "Colorado Mammoth players", "Lacrosse midfielders", "Living people", "Major League Lacrosse players", "National Lacrosse League All-Stars", "Philadelphia Wings players", "Princeton Tigers men's lacrosse players", "Sportspeople from Annapolis, Maryland", "Washington Stealth players" ]	Joshua S. Sims (born July 29, 1978) is an American former professional lacrosse player. He played in Major League Lacrosse through 2013 and last played box lacrosse in the National Lacrosse League with the Philadelphia Wings in 2010. He starred as a member of the Princeton Tigers men's lacrosse team from 1997 through 2000. He is a two-time NCAA champion, three-time MLL champion, and one-time NLL champion. At Princeton, he earned Ivy League Player of the Year honors, three first team United States Intercollegiate Lacrosse Association (USILA) All-American recognitions and three first team All-Ivy League selections, two NCAA midfielder of the year honors, NCAA Top VIII Award recognition and two-time Academic All-American (first team once) honors. During his college career, Princeton earned four Ivy League championships, four NCAA Men's Lacrosse Championship tournament invitations and two NCAA championships. As a professional, he is a five-time MLL All-star and an NLL All-star. In the MLL, he has earned two league championships and holds the all-time league record for playoff goals scored. He also has an NLL championship. He was selected to the MLL 10th Anniversary team in August 2010 and the Colorado Mammoth 10th Anniversary team in 2011. Sims is currently Head of Lacrosse for the Premier Lacrosse League. ## Background As an ambidextrous junior lacrosse midfielder, he scored 20 goals and had 16 assists for the Severn School, earning him All-Anne Arundel County honors from the Baltimore Sun. Sims was an All-Anne Arundel County selection by the Baltimore Sun again as a senior captain when he was also named an All-Metro selection for controlling 72% of his face-offs, while scoring 28 goals and adding 12 assists. Sims was a member of the Under-19 Team USA that won the World Championship in Tokyo in 1996. ## Collegiate career After graduating from Severn, Sims attended Princeton University. He was the first Princeton Student-Athlete to be presented with the NCAA Top VIII Award (the first lacrosse player to be presented with the award since 1983). He was only the fourth Ivy League athlete honored in the award's 27-year history. He was awarded the 1998 & 2000 McLaughlin Award as the best NCAA lacrosse midfielder. He was a first team USILA All-American Team selection in 1998, 1999 and 2000. He was also first team All-Ivy League in 1998, 1999 and 2000. Sims earned the 2000 Men's Ivy League Player of the Year. As a freshman, he was a member of the 1997 team that is regarded as the best in school history with a record number of wins during its 15–0 season. He served as co-captain of the 2000 team. Sims is one of two Princeton Lacrosse two-time Academic All-Americans. Following the 1999 season, he was selected as an at-large second team Academic All-American, and following the 2000 season, he was a first team selection. He was also a 2000 USILA Scholar All-American. The 1997–2000 teams were 6–0 undefeated outright Ivy League Conference champions. Two of these undefeated league champions won the 1997 and 1998 NCAA Division I Men's Lacrosse Championships, becoming the first team to threepeat since Syracuse from 1988–90 and the first to be recognized to have done so without an NCAA scandal since Johns Hopkins from 1978–80. The 1999 and 2000 teams also earned NCAA Men's Lacrosse Championship invitations, bringing the schools streak to eleven consecutive seasons. In Sims' first game as a Tiger, he scored the game-winning goal in a 1997 overtime 7–6 victory over Johns Hopkins. Ten years later, ESPN described the goal as a "leaping, behind-the-back" shot, while the Baltimore Sun described the shot by saying that ". . .Sims flicked in a rebound shot blindly behind his back." He was recognized twice in 1997 as Ivy League Rookie of the Week. During the 1998 season, Sims became a scoring threat from midfield as most defenses focused on the All-American trio of Princeton attackmen (Jesse Hubbard, Chris Massey and Jon Hess). In the 1998 NCAA Division I Men's Lacrosse Championship tournament, Sims scored a game-high four goals in the quarterfinal 11–9 victory over Duke and a team-high three goals, including the game-winning goal in the semifinal 11–10 victory against Syracuse. For his efforts, he was named to the All-tournament team. In 1999, he scored a quadruple overtime game-winning goal helping Princeton secure it invitation to the 1999 NCAA Division I Men's Lacrosse Championship tournament with its seventh consecutive victory. In the 2000 NCAA Division I Men's Lacrosse Championship tournament, he posted two goals and two assists in the 10–7 quarterfinal victory over Maryland. He also scored in the 12–11 semifinal victory against Virginia. Sims' two goals made him the only person to score multiple goals for Princeton in the championship game 13–7 loss to Syracuse. ## Professional career ### NLL career Sims played the 2000 and 2001 seasons for the Washington Power of the National Lacrosse League. ` He then played the 2003 through 2009 seasons with the Colorado Mammoth. Sims was an original member of the Mammoth when they moved from Washington. He helped lead the Mammoth to their 2006 National Lacrosse League Champion's Cup. In 2007 Season he was recognized by the league as one of the top transition players in the game by being named Transition Player of the Week three times and being named to his first National Lacrosse League All-Star Game as a reserve. Prior to the 2009 NLL season, Sims announced his retirement from the indoor lacrosse league, and officially retired after the 2009 season. However, he returned to play the 2010 season for the Philadelphia Wings.` ### MLL career Sims, who did not play in the 2014 season, has played in the MLL since 2001: Baltimore Bayhawks (2001–2005); Denver Outlaws (2006–2009, 2012), Toronto Nationals (2010) and Chicago Machine (2010). Sims was a starter and scored in the inaugural MLL All-Star Game in 2001. In 2002 and 2005 he was a member of the Baltimore Bayhawks Major League Lacrosse Champion Steinfeld Cup winners. In the 2002 All-Star game he had a goal and an assist. In the 2002 championship game, he scored four second half goals in the 21–13 victory over the Long Island Lizards, which followed a two-goal semifinal performance in a 15–10 victory over the Boston Cannons. During the 2005 season, he made his third MLL All-Star Game appearance. During the playoff semifinals, he 3 goals and 9 ground balls. One of his goals put the Bayhawks ahead for good. Sims was acquired by the Denver Outlaws on March 6, 2006, for the Outlaws 2006 first-round, 2nd overall, Collegiate Draft Pick that eventually became Kyle Dixon. Sims returned to the MLL All-Star game in 2006 and 2007 representing the Outlaws. He scored two goals (one for two points) in the 2006 contest. In December, 2009, Sims was picked up by the Washington Bayhawks during the MLL supplemental draft. On February 12, 2010, Sims was traded from the Bayhawks to the Toronto Nationals. In June, Sims was traded from the Nationals to the Chicago Machine. , Sims was the Major League Lacrosse All-Time leader in post-season goals scored (29). That month, during the MLL championship weekend, he was named to the 11-man MLL 10th Anniversary team. He did not play in 2011, but in 2012 he returned to the Denver Outlaws and even scored 5 goals in one game for them. He began 2013 on the sideline with a hamstring injury for the Bayhawks. ## Personal life Sims was the founder of Icon Lacrosse, LLC, and former Director of the Boulder Valley Lacrosse Association. According to his Denver Outlaws biography, he is married to Meghan Bauer Sims. In college, he helped the Tigers to raise approximately \$60,000 for the Central Jersey Pediatric AIDS foundation and worked with the Special Olympics. He was an economics major at Princeton and an honors graduate, maintaining a 3.54 GPA. In the season 9 December 9, 2011 episode of Extreme Makeover: Home Edition on ABC, Sims' helped build a house in Mardela Springs, Maryland over a span of 106 hours in just five days. The nonprofit Project 911 (911nfp.org) along with The Fusion Cos., an Annapolis modular-home builder, built The Johnson-Goslee Family house. In 2009, Sims was inducted into the Athletic Hall of Fame at his high school, Severn School. In 2020, during the George Floyd protests, Sims renounced this recognition over the school's "failed leadership" in addressing systemic racism. ## Statistics ### NLL The following are his NLL career stats: ### MLL The following are his MLL career stats: ### Princeton University	[ "## Background", "## Collegiate career", "## Professional career", "### NLL career", "### MLL career", "## Personal life", "## Statistics", "### NLL", "### MLL", "### Princeton University" ]	2,004	15,337
35,597,569	Miriam Auhea Kekāuluohi Crowningburg	1,167,019,958	High chiefess during the Kingdom of Hawaiʻi (c. 1839–1899)	[ "1839 births", "1899 deaths", "Hawaiian Kingdom people of English descent", "House of Kalaimamahu", "People of Native Hawaiian descent", "Royalty of the Hawaiian Kingdom" ]	Miriam Auhea Kekāuluohi Crowningburg Kamai (c. 1839–1899) was a Hawaiian high chiefess (aliʻi) during the Hawaiian Kingdom. She was a cousin of King Lunalilo and namesake of his mother Kekāuluohi who ruled as Kuhina Nui (premier) under Kamehameha III. A collateral relation of the House of Kamehameha, she was connected to the ruling family of the Hawaiian Kingdom from her cousin to King Lunalilo to his successors King Kalakaua and Queen Liliʻuokalani. She married firstly German-American Jesse Crowningburg and later Paul Kamai. Auhea became the kahu (caretaker or guardian) of the Lunalilo Mausoleum, her cousin's personal family tomb on the grounds of the Kawaiahaʻo Church. She witnessed the overthrow of the Hawaiian Kingdom in 1893, the establishment of the Republic of Hawaii in 1894 and finally Hawaii's annexation to the United States in 1898. Auhea died on May 16, 1899, and was buried next to her cousin on the grounds of the Lunalilo Mausoleum. Her descendants have traditionally held the position of kahu of the Royal Mausoleum at Mauna ʻAla. ## Ancestry Born in 1839, Auhea's parents were the High Chief John Harold Kaiheʻekai and High Chiefess Namahana, from the aliʻi (nobility) class. Kaiheʻekai was the son of Hoʻolulu, son of Kameʻeiamoku, one of the royal twins (with Kamanawa) who advised Kamehameha I in his conquest of the Hawaiian Islands. Hoʻolulu and his brother Hoapili were chosen to conceal the bones of King Kamehameha I in a secret hiding place after his death and her family have become the traditional kahu (guardians) of the royal burial sites. Kaiheʻekai's mother was Charlotte Halaki Cox, whose father lent his name to Keʻeaumoku II, the Governor of Maui. Through her great-grandfather Captain Harold Cox, Auhea was either one-eighth English or American descent. Her mother Namahana was the daughter of Peleuli, daughter of High Chief Kalaʻimamahu, half-brother of Kamehameha I. Her grandmother was the half-sister of Miriam Auhea Kekāuluohi, who ruled as Kuhina Nui of the Hawaiian Kingdom under Kamehameha III from 1839 to 1845, making the younger Auhea a second cousin of King Lunalilo. It was alleged that she was betrothed to Lunalilo but eloped instead with Jesse Crowningburg. After Lunalilo's death during his short reign as King, Auhea was considered to have a claim to the throne herself. In fact, her descent from a collateral line of the House of Kamehameha made her granddaughters possible claimants to the Crown Lands of Hawaii during the Hawaiian Territorial days. ## Later life and death After the death of her cousin Lunalilo, Kalākaua was elected as the new Hawaiian monarch in 1874. The new king and Auhea shared a common ancestor in Kameʻeiamoku. However, from the start, Kalākaua and his siblings were openly challenged by Hawaiians loyal to Queen Emma, the widow of Kamehameha IV and a collateral descendant of the Kamehamehas in her own right. Wishing to quiet oppositions in the Hawaiian community to the new reigning family in regards to their genealogy, Auhea along with Ruth Keʻelikōlani openly acknowledged the House of Kalākaua. In later life, Auhea became the kahu (caretaker or guardian) of the Lunalilo Mausoleum, her cousin's personal family tomb on the grounds of the Kawaiahaʻo Church. The aging chiefess witnessed the 1893 overthrow of the Hawaiian Kingdom with Queen Liliʻuokalani, the establishment of the Republic of Hawaii in 1894 and finally Hawaii's annexation to the United States in 1898. Auhea died in Honolulu on May 16, 1899. In acknowledgement of her chiefly status, she was buried in the lot outside the vault of Lunalilo's Mausoleum. Her grandson William Bishop Taylor is also buried near the mausoleum. After her death, her cousin High Chiefess Maria Beckley Kahea, the kahu of Mauna ʻAla since 1893 and another scion of the Hoʻolulu line, replaced her as kahu of the Lunalilo Mausoleum. Hoʻolulu Street, near Kapahulu, Honolulu, was named by Auhea after her ancestor. ## Marriage and descendants Auhea married Jesse Crowningburg (a German-American settler in Hawaii), sometime before 1859. He served as the tax collector for Lahaina and Wailuku on Maui. They had three children: William Charles Keʻeaumoku Crowningburg (died 1881) and Elizabeth Keomailani Crowningburg (1859–1887). Another daughter Lydia Kalola died at Lahaina on November 21, 1859, at the age of eight months and twenty-seven days. Their marriage ended in divorce. On January 20, 1873, she remarried to Paul Kamai, a maternal uncle of Helen Manaiula Lewis Isenberg and her half-sister Abigail Kuaihelani Campbell. They had a son named Albert Edward Kameeiamoku Kamai or Charles Harold Kameeiamoku-Kaiheekai, who died young. Auhea's descendants survive today through her first two children. Her maternal grandson William Edward Bishop Kaiheʻekai Taylor (1882–1956), who Bernice Pauahi Bishop unsuccessful attempted to hānai (adopt), would later serve as a trustee for the Lunalilo Home. Taylor would succeed the Kaheas', descendants of Auhea's aunt Kahinu-o-Kekuaokalani Beckley, as the kahu (caretaker) of the Royal Mausoleum at Mauna ʻAla in 1947, serving till his death. All subsequent kahu of Mauna ʻAla have been descendants of Auhea and her ancestor Hoʻolulu except for Taylor's widow and Hawaiian kumu hula ʻIolani Luahine. Her most controversial descendant is her great-great-great-grandson Sammy Amalu (1917–1986), a longtime columnist at The Honolulu Advertiser. Amalu was described as a con man by Craig Gima of the Honolulu Star-Bulletin editorial staff. A self-proclaimed royal, who titled himself High Chief Kapiikauinamoku, Prince of Keawe and Duke of Konigsberg, he attempted to buy up several Waikiki hotels with phony checks in the 1940s and ended up in jail. Under the alias Kapiikauinamoku, he later wrote "The Story of Hawaiian Royalty" and "The Story of Maui Royalty," in a series of columns written for The Honolulu Advertiser, which accounts much of the genealogy of Hawaii's aliʻi families including his ancestress Auhea.	[ "## Ancestry", "## Later life and death", "## Marriage and descendants" ]	1,592	37,781
4,720,284	Jessica Martin	1,173,806,423	English entertainer (born 1962)	[ "1962 births", "20th-century English actresses", "21st-century English actresses", "Actors from Fulham", "Actresses from London", "English female dancers", "English impressionists (entertainers)", "English musical theatre actresses", "English people of Singaporean descent", "English stage actresses", "English television actresses", "English voice actresses", "English women singers", "Living people", "Singers from London" ]	Jessica Cecelia Anna Maria Martin (born 25 August 1962) is an English actress, singer, and illustrator. Specializing as an impressionist, her television roles have included Spitting Image, Copy Cats and two series with Bobby Davro. She featured as the werewolf Mags in the 1988 Doctor Who serial The Greatest Show in the Galaxy, and provided the voice of the Queen in the 2007 Doctor Who Christmas special, "Voyage of the Damned". On stage, Martin starred with Gary Wilmot in the West End show Me and My Girl for two years at the Adelphi Theatre and then on a national tour. She went on to play leading musical roles including Mabel in the 1996 production of Mack and Mabel at the Piccadilly Theatre, Nellie Forbush in South Pacific, Mrs Lovett in Sweeney Todd, Norma Desmond in Sunset Boulevard and the Lady of the Lake in the national tour of Spamalot. Her autobiography, as a graphic novel, Life Drawing: A Life Under Lights, was published in 2019. ## Life and career ### Early life Jessica Cecelia Anna Maria Martin was born on 25 August 1962. She graduated with a degree in English and Drama from Westfield College, London University and also studied at the Central School of Speech and Drama. Her first job, in 1983 when she was 21, was as a resident singer at St James's Hotel and Club. Her father, Placido Martin, was a cocktail pianist there. Speaking about her father in a 2019 interview, Martin said that he "was a complex character and much as I loved him, I wanted to give an honest portrayal [in my book] of how self-centred and destructive a 'creative' person can be." ### Performance roles Martin became an impressionist on the fringe circuit in 1983. In a 1984 review of her lunchtime show at the Palace Theatre, London bar, Roy Robert Smith of The Stage wrote that Martin was "armed with guts, determination, and talent [and] must surely soon gain the public recognition she deserves." He noted that she refined her material and renewed her material between shows, and particularly praised her impressions of Gloria Hunniford and Judy Garland. After seeing Martin perform at the Edinburgh Festival Fringe, Rory Bremner persuaded her to focus on impressions, and the pair appeared on radio together. In 1985, Martin was quoted as saying that she had only started doing impressions in public at the fringe for relaxation after appearing in performances Women of Troy there. She auditioned for several roles, and became a regular voice cast member for the satirical puppet show Spitting Image. where her roles included Barbra Streisand, and members of the British royal family. She was then invited to audition for London Weekend Television's Copy Cats. Fellow team members included Bobby Davro, with whom she partnered for three series of his weekly show Bobby Davro's TV Weekly. In 1985 she joined Jimmy Cricket on the Central TV production And There's More. In the Nottingham Evening Post, a staff writer commented that Martin "is proving herself to be an accomplished actress, singer, dancer and mickey-taker – definitely a name to watch out for in the future." Martin and Bremner both quit Central TV in September 1985; Bremner had been offered his own BBC2 series, while Martin was due to join Davro in shows for TVS. Bremner and Martin toured UK theatres together in 1987, with a show of impressions. In 1988, Milton Shulman of The Evening Standard described Martin performing "The Lady Is a Tramp" in Babes in Arms at the Maynardville Open-Air Theatre as "pert and saucy". Martin played the lead role of Dorothy in a touring production of The Wizard of Oz. Charles Barron of the Aberdeen Evening Express praised Martin's "exuberance" in the role, and wrote that she sang "with great charm". From 1989, Martin and Gary Wilmot starred in the West End show Me and My Girl for two years at the Adelphi Theatre and then on a national tour. Martin went on to play leading musical roles including Mabel in the 1996 production of Mack and Mabel at the Piccadilly Theatre, Nellie Forbush in South Pacific, Mrs Lovett in Sweeney Todd, and Norma Desmond in Sunset Boulevard. She also guest-starred in the 1988 Doctor Who serial The Greatest Show in the Galaxy, starring Sylvester McCoy as the Doctor, in which she played a punk werewolf called Mags. Many years later, she provided the voice of the Queen in "Voyage of the Damned", the 2007 Christmas special, which starred David Tennant as the Doctor. She played the Lady of the Lake in the national tour of Spamalot in 2011, Lottie Ames in Mack and Mabel, and Lottie Lacey in the revival of William Inge's The Dark at the Top of the Stairs (both 2012). In October 2015, Martin joined the cast of Elf: The Musical, playing the role of Emily Hobbs at the Dominion Theatre. In September 2016, she was featured in Robert J. Sherman's Bumblescratch playing the dual roles of Bethesda Bumblescratch and the Widow MacGregor at the Adelphi Theatre. She was named a Variety Club Celebrity Ambassador for her work in Bumblescratch and her other works. Martin played role of Dame Shirley Porter in Shirleymander by Greg Evans at the Playground Theatre, London in 2018, for which she was nominated for the Best Female Performance in the Off West End Awards 2018. In the Daily Telegraph, Ben Lawrence wrote that Martin "best known for her impersonations .. does a terrific impression, but it is hard to reach inside the soul of this Rottweiler in a pussycat bow". She also received an Off West End Awards nomination for Lead Performance in a Musical for portraying Mrs. Blitzstein in Blitz! at the Union Theatre, London in 2020. Martin is a patron of the Music Hall Guild of Great Britain and America, and performed at the 50th anniversary Memorial Service for Lupino Lane at St Paul's, Covent Garden in 2009. ### Audio work Martin appeared on The Impressionists on BBC Radio 2 in 1985. She starred in a 1987 special for the same channel, Jessica Martin's Variety: The Gossip Column Murders. She was a voice actor for the PlayStation 2 game Dragon Quest VIII, and has also performed as a voice over artist for a range of animations and commercials. She has also recorded audio books including Vindication of the Rights of Men written by Mary Wollstonecraft. Martin has appeared in several Doctor Who audio dramas from Big Finish Productions. ### Graphic novels In 2010, Martin took up sketching for the first time since studying A-level art. The following year, whilst touring in Spamalot with Phill Jupitus, she showed him one of her sketches. Jupitus praised the sketch and suggested that Martin should do a graphic novel. Martin has referred to this as a "lightbulb moment." In 2012, Martin showed her work to established comics artist Mark Buckingham, who supported and encouraged her. Her first comic written and drawn by herself was It Girl about silent film actress Clara Bow. It was self-published in November 2013 and was selected in the "Ten Must Own Small-Press Comics 2013" by Broken Frontier. Elsie Harris Picture Palace, which is set in the 1930s British film industry, was her first full-length graphic novel. It was shortlisted for the Myriad First Graphic Novel Prize 2014. In 2018, Martin illustrated a Doctor Who story, "Hill of Beans", that featured her character Mags from the television series. Life Drawing: A Life Under Lights, a graphic novel memoir about her life as an actress, singer and artist was published by Unbound in Spring 2019. ## Filmography ### Theatre ### Television ### Radio ### Film ### Video games ## Publications ## Awards and nominations	[ "## Life and career", "### Early life", "### Performance roles", "### Audio work", "### Graphic novels", "## Filmography", "### Theatre", "### Television", "### Radio", "### Film", "### Video games", "## Publications", "## Awards and nominations" ]	1,710	27,660
23,730,573	Action of 9 July 1806	1,056,460,132	Minor naval engagement during the French Revolutionary Wars	[ "1800s in Sri Lanka", "Conflicts in 1806", "July 1806 events", "Naval battles involving France", "Naval battles involving the United Kingdom", "Naval battles of the Napoleonic Wars" ]	The action of 9 July 1806 was a minor engagement between a French privateer frigate and British forces off Southern Ceylon during the Napoleonic Wars. French privateers operating from the Indian Ocean islands of Île Bonaparte and Île de France were a serious threat to British trade across the Indian Ocean during the Wars, and the British deployed numerous methods of intercepting them, including disguising warships as merchant vessels to lure privateers into unequal engagements with more powerful warships. Cruising near the Little Basses Reef on the Southern coast of Ceylon, the 34-gun privateer Bellone was sighted by the 16-gun British brig HMS Rattlesnake, which began chasing the larger French vessel. At 15:15, a third ship was sighted to the south, which proved to be the 74-gun ship of the line HMS Powerful, disguised as an East Indiaman. Although Bellone would normally be much faster than the large British warship, the light winds and Rattlesnake's determined pursuit prevented the privateer from escaping and at 17:00, Powerful was close enough to open fire. Despite the uneven nature of the combat, Bellone unexpectedly resisted the British attack for another hour and 45 minutes, causing more damage to Powerful than she received herself. The privateer was later taken into British service as a sixth rate frigate and prize money was paid for the captured vessels, but the action prompted questions in subsequent histories about the lack of efficiency in British gunnery. ## Background During the French Revolutionary Wars and the Napoleonic Wars that followed them, British dominance in the Indian Ocean was repeatedly challenged by the depredations of French vessels sailing from the isolated and well protected French colonies of Réunion (later Île Bonaparte) and Île de France. Although French Navy cruisers were periodically stationed on the islands, the majority of ships that preyed on British commerce from the islands were privateers, independently funded armed ships issued with letters of marque giving them permission to attack military and civilian ships belonging to the enemies of France. French naval strategy in the Indian Ocean was so reliant on privateers that entire squadrons developed, including a powerful force under the wealthy privateer captain Robert Surcouf. Although most privateers were small, carrying only a few cannon, some could be very large, rivalling professional warships in size. One such ship was the Bellone, which carried 34 guns, a crew of nearly 200 men and was commanded by Captain Jacques François Perroud, a notorious privateer who had caused significant damage to British trade in the Indian Ocean. In 1803, Perroud had gained significant notoriety with the capture of the valuable East Indiaman Lord Nelson on 14 August 1803. The principal target of the privateers were the East Indiamen, huge and well-armed merchant vessels operated by the Honourable East India Company, which controlled British mercantile operations to the east of Africa. These ships often weighed over 1,000 tons and carried as many as 30 cannon, although their crews were not military men and they could not usually resist a determined attack by a well-trained warship. Despite the size and power of these vessels, they were a primary target for French ships operating in the Indian Ocean as they often carried goods worth thousands of pounds: the annual convoy from China alone was worth over \$8 million in 1804. To combat these ships, the British naval authorities at Madras tried a number of solutions, including blockades of the French island colonies which failed due to the huge distances involved, armed military convoys escorting the most valuable ships and small fast cruisers patrolling the most dangerous trade routes. One solution tried in 1806 was to disguise Royal Navy warships as the East Indiamen they superficially resembled in the hope of luring French ships into attacking them, unaware of their true identity. In December 1805, two French squadrons departed Brest under orders to disrupt British trade in the Atlantic Ocean, beginning the Atlantic campaign of 1806. Several British squadrons were despatched in pursuit, including one under Vice-Admiral Sir John Thomas Duckworth originally assigned to blockade Cadiz. On 25 December, Duckworth discovered one of the French squadrons, under Vice-Admiral Jean-Baptiste Willaumez, in the mid-Atlantic and gave chase. For the next two days the squadrons sailed westwards across the Atlantic, until Duckworth abandoned the pursuit, believing that his dispersed squadron was in danger of piecemeal defeat by Willaumez's force. In the aftermath of the pursuit, Willaumez turned towards the South Atlantic while Duckworth, in urgent need of supplies, turned northwest towards the British West Indies. Duckworth was concerned that Willaumez might attempt to pass the Cape of Good Hope and operate in the Indian Ocean, and so despatched one of his ships to augment Rear-Admiral Sir Edward Pellew's small squadron at Madras. This ship was HMS Powerful, a 74-gun ship of the line commanded by Captain Robert Plampin. ## Battle On 9 July 1806, the small British brig HMS Rattlesnake under Commander John Bastard was cruising off the Southern coast of the British colony of Ceylon in search of French privateers that had been attacking small British traders, known as country ships, in the region. Most notorious of these was the Bellone, known to be operating in the area. In the early afternoon, lookouts on Rattlesnake spotted sails near the Little Basses Reef and approached the ship, which turned with the wind and fled to the southwest. Bastard immediately gave chase, and soon came close enough to identify the vessel as the Bellone. Although Bellone was much larger than the British warship, Captain Perroud was unwilling to risk his vessel in an unprofitable confrontation with Rattlesnake and seemed to be making an effective withdrawal when, at 15:15, a large ship came within sight directly ahead. Although it was not immediately obvious to the men on Bellone, the new arrival was Plampin's Powerful, which had arrived in Indian waters on 13 June 1806. Finding no trace of Willaumez, who had elected to remain in the Atlantic, Plampin briefly anchored at Madras and subsequently cruised off Ceylon. There, following intelligence sent by Pellew, he captured the 20-gun French privateer Henriette near Trincomalee after an 11-hour chase. From information possibly supplied by prisoners removed from Henriette or possibly from a merchant ship sailing from Colombo, Plampin learned of Perroud's operations and had arranged to meet Rattlesnake off the Little Basses Reef. In the hope of luring the privateer into a confrontation, he disguised his large warship to look like an East Indiaman. Perroud rapidly saw through the disguise, and also noticed that while the wind remained strong off the coast, Powerful was further out to sea and appeared becalmed. Realising that his only option was to sail between Powerful and the shore, Perroud turned eastwards, but the wind gradually strengthened for Powerful and by 17:00 the ship of the line was within range of Bellone with her bow chasers. Although faced with overwhelming opposition, Perroud did not surrender, maintaining a steady cannonade on the approaching ship of the line with Bellone's own stern chasers and occasionally turning to release a full broadside. The variable winds prevented Rattlesnake joining the battle and also delayed Powerful's approach; Bellone succeeded in causing casualties on Plampin's deck but failed to damage the ship of the line's rigging or sails, which would have facilitated her own escape. For an hour and 45 minutes the battle continued with neither ship able to land a decisive blow on the other, until, at 18:45, it was clear that Powerful would soon be within range with her main broadside. Perroud surrendered rather than see his ship destroyed. ## Aftermath Although the defeat of Bellone by such an overwhelming force of professional warships would seem inevitable, the resistance given by the French privateer was considered impressive both at the time and by subsequent historians. Although largely undamaged, Powerful had suffered two men killed and 11 wounded, compared to French losses of one dead and six or seven wounded. Bellone was also largely undamaged, only surrendering when Powerful was in position to open a full broadside. After the battle, Bellone was taken into port and subsequently commissioned as HMS Blanche albeit with a reduction in class to a 28-gun sixth rate frigate. Head-money, a reward for the men captured or killed aboard enemy ships, was subsequently paid to the men of Powerful and Rattlesnake, as was head money for Henriette, although in both cases there was a delay in payment until January 1814. Pellew especially was delighted by the capture of Bellone, writing "I reflect with much pleasure on the capture of La Bellone in particular, as from her superior sailing, as her uncommon success in the present and preceding war against the commerce, in the Indian and European seas". Historical reaction to the engagement has focused on two aspects: Perroud's bravery in attempting to combat a vastly superior British force and the inaccuracy of Plampin's gunnery. Contemporary historian William James described Perroud's actions as "extraordinary" and notes that this was the second engagement in the Indian Ocean during 1806 in which British gunnery had proven ineffective, citing an inconclusive engagement on 21 April in which the 74-gun HMS Tremendous had been outgunned by the French frigate Canonnière, the frigate escaping pursuit by damaging the larger vessel's rigging. He also notes that Powerful was able to bring six guns into regular use during the engagement as opposed to Bellone's four, concluding that Plampin "might have made a better use of [the extra cannon]". Later historian William Laird Clowes, writing in 1900, agreed with James' assessment, commenting that "This action serves to again illustrate the lamentable decline in British gunnery".	[ "## Background", "## Battle", "## Aftermath" ]	2,116	16,022
44,058,481	The Boat Race 1964	1,081,894,514	null	[ "1964 in English sport", "1964 in rowing", "1964 sports events in London", "March 1964 sports events in the United Kingdom", "The Boat Race" ]	The 110th Boat Race took place on 28 March 1964. Held annually, the event is a side-by-side rowing race between crews from the Universities of Oxford and Cambridge along the River Thames. The Oxford crew was the heaviest in Boat Race history. The race was won by Cambridge by six-and-half lengths. Cambridge won the Women's Boat Race. ## Background The Boat Race is a side-by-side rowing competition between the University of Oxford (sometimes referred to as the "Dark Blues") and the University of Cambridge (sometimes referred to as the "Light Blues"). The race was first held in 1829, and since 1845 has taken place on the 4.2-mile (6.8 km) Championship Course on the River Thames in southwest London. The rivalry is a major point of honour between the two universities, followed throughout the United Kingdom and broadcast worldwide. Oxford went into the race as reigning champions, having won the previous year's race by five lengths, while Cambridge led overall in the event with 60 victories to Oxford's 48 (excluding the "dead heat" of 1877). The first Women's Boat Race took place in 1927, but did not become an annual fixture until the 1960s. Up until 2014, the contest was conducted as part of the Henley Boat Races, but as of the 2015 race, it is held on the River Thames, on the same day as the men's main and reserve races. This year's women's race was the first to be held since 1952. Writing in the Financial Times, Joseph Mallalieu noted that the Boat Race was subsidised by The Varsity Match every year. Despite Oxford being "firm favourites" upon their arrival at the Tideway, Cambridge put in better performances in training, and by the time of the race were considered the favourites themselves. The main race was umpired for the eighth and final time by the former Olympian Kenneth Payne who had rowed for Cambridge in the 1932 and 1934 races. ## Crews Although it was the heaviest Cambridge crew ever, they weighed an average of 13 st 4.75 lb (84.5 kg), almost 3 pounds (1.4 kg) per rower less than Oxford, who were the heaviest crew in Boat Race history. Oxford saw two former Blues return in Miles Morland and Duncan Spencer, while Cambridge's crew included four Boat Race veterans in Donald Legget, Mike Bevan, John Lecky and Christopher Davey. Lecky was a Canadian international rower who had won a silver medal in the men's eight at the 1960 Summer Olympics. Six of Oxford's crew came from Keble College, five of those schooled at Eton College. ## Race Cambridge won the toss and elected to start from the Surrey station, handing the Middlesex side of the river to Oxford. With a "calm, following wind", the race commenced at 2.20 p.m., and within a minute, Cambridge had a quarter-length lead before Oxford closed the gap at Craven Cottage. The Light Blues reached the Mile Post three seconds ahead and crossed over to the midstream. By Harrods Furniture Depository they had extended their lead out to two lengths and passed below Hammersmith Bridge a further half-length ahead. Despite a surge from Oxford, Cambridge were sixteen seconds ahead at Chiswick Steps and increased the gap to twenty seconds by Barnes Bridge. Cambridge won by 6+1⁄2 lengths in a time of 19 minutes 18 seconds, 23 seconds ahead of Oxford. The victory was Cambridge's 61st in the contest, taking the overall score to 61–48. The Cambridge boat club president and stroke Christopher Davey said: "Everything went as planned, but Oxford hung on more than I would have liked at the end. I would have liked to have taken it to 10 lengths if possible but Oxford kept going splendidly at the end." In the 20th running of the Women's Boat Race, Cambridge triumphed, their third consecutive victory.	[ "## Background", "## Crews", "## Race" ]	845	17,997
38,239,989	1920 Louisiana hurricane	1,170,501,954	Category 2 Atlantic hurricane in 1920	[ "1920 in Cuba", "1920 in Louisiana", "1920 in Texas", "1920 meteorology", "1920 natural disasters in the United States", "1920s Atlantic hurricane seasons", "Category 2 Atlantic hurricanes", "Hurricanes in Louisiana" ]	The 1920 Louisiana hurricane was a strong tropical cyclone that caused significant damage in parts of Louisiana in September 1920. The second tropical storm and hurricane of the annual hurricane season, it formed from an area of disturbed weather on September 16, 1920, northwest of Colombia. The system remained a weak tropical depression as it made landfall on Nicaragua, but later intensified to tropical storm strength as it moved across the Gulf of Honduras, prior to making a second landfall on the Yucatán Peninsula. Once in the Gulf of Mexico, the storm quickly intensified as it moved towards the north-northwest, reaching its peak intensity as a Category 2 hurricane with winds of 100 mph (160 km/h) prior to making landfall near Houma, Louisiana with no change in intensity. Afterwards, it quickly weakened over land, before dissipating on September 23 over eastern Kansas. As it approached the United States Gulf Coast, the hurricane forced an estimated 4,500 people to evacuate off of Galveston Island, and numerous other evacuations and precautionary measures to occur. At landfall, the hurricane generated strong winds along a wide swath of the coast, uprooting trees and causing damage to homes and other infrastructure. Heavy rainfall associated with the storm peaked at 11.9 in (300 mm) in Robertsdale, Alabama. The heavy rains also washed out railroads, leading to several rail accidents. Across the Gulf Coast, damage from the storm totaled to \$1.45 million, and one death was associated with the hurricane. ## Meteorological history In mid-September, a trough moved across the central Caribbean Sea and into the vicinity of the Colombian islands. Becoming more organized, it developed a closed circulation on September 16, and as such was classified as a tropical depression at 0600 UTC that day. For much of its early existence the depression remained weak, with winds remaining at 35 mph (55 km/h) and a minimum barometric pressure below 1,005 mbar (29.7 inHg). The weak disturbance later made landfall at that intensity on the Mosquito Coast near the border of Honduras and Nicaragua by 0600 UTC on September 18. The small system gained intensity as it moved over Honduras, attaining tropical storm strength on September 19 prior to entering the Gulf of Honduras near Trujillo. In the Gulf of Honduras, the tropical storm slightly intensified to maximum sustained winds of 50 mph (80 km/h) on September 20, and later made landfall on the Yucatán Peninsula as it accelerated towards the north-northwest. Despite initially being reported to have maintained intensity across the peninsula, a reanalysis of the storm determined that it had weakened to minimal tropical storm strength, before entering the Gulf of Mexico late on September 20. The weakened tropical storm began to intensify once in the Gulf of Mexico. On September 20 at 0600 UTC, the storm reached hurricane intensity as a modern-day Category 1 hurricane. Continuing to intensify in the Gulf, the hurricane attained Category 2 hurricane intensity at 0000 UTC on September 22, and subsequently reached its peak intensity with winds of 100 mph (160 km/h) and an estimated minimum pressure of 975 mbar (28.8 inHg). The hurricane later made landfall at peak intensity near Houma, Louisiana at 0100 UTC later that day. Maximum winds spanned 32 mi (51 km) from the center at landfall. Ships offshore the Louisiana coast also reported an eye associated with the hurricane. Once over land, the system began to quickly weaken, degenerating to tropical storm strength by 0600 UTC the same day, while located near Iberville Parish. Continuing to accelerate towards the north-northwest, it is estimated that the tropical cyclone dissipated on September 23 over Kansas, based on observations from nearby weather stations. ## Preparations and impact Hurricane warnings were initially issued for areas of the Gulf Coast between Morgan City, Louisiana and Corpus Christi, Texas, but were later moved eastward to coastal regions between Pensacola, Florida and New Orleans as the hurricane progressed closer to the coast. Additional marine warnings were also issued for offshore regions that could be potentially affected by the hurricane, and boats were evacuated into Gulf Coast ports. Onshore, freight trains on Galveston Island were moved to the mainland in preparation for the storm. Interurban railways also evacuated people out of the island, with an estimated 4,500 people being evacuated. The United States Coast Guard were ordered to be ready for immediate service in the event of an emergency, while the US National Guard on strike duty in Galveston's Camp Hutchings were transferred to a barracks in Fort Crockett. Oil companies abandoned operations in coastal oil fields in advance of the hurricane. People along Lake Pontchartrain evacuated into New Orleans, causing hotels to overflow and forcing refugees to take shelter in other public buildings including post offices. Strong winds and gusts were reported across the Gulf Coast and in the Gulf of Mexico. A ship reported a minimum central barometric pressure of 999 mbar (29.5 inHg) just prior to the storm's intensification into a hurricane. Grand Isle, Louisiana reported sustained winds of 90 mph (145 km/h), and winds of at least 60 mph (95 km/h) were reported as far east as Bay St. Louis, Mississippi. As a result, numerous trees were uprooted and power lines were downed. One death occurred New Orleans after being electrocuted by an electric wire that had been downed by the hurricane's strong winds. The downed power lines also caused a lack of communication from areas affected, hampering relief efforts. In New Orleans, at least 2,500 telephones were without service, and homes were unroofed by the strong winds. Along the coast and further inland, rainfall was concentrated primarily on the eastern half of the cyclone, with most rain occurring from September 21 to the 23rd. In Robertsdale, Alabama, 11.9 in (300 mm) of rain was recorded, the most associated with the hurricane. A 24–hour September rainfall record was set when 1.60 in (41 mm) of rain was measured in Kelly, Louisiana. However, due to the system's rapid dissipation over land, rainfall amounts remained generally less than 2 in (51 mm) in interior regions of Louisiana. In Texas, rainfall peaked at 1.20 in (30 mm) in Beaumont. The heavy rains caused washouts and damage to railroads across Louisiana. A train running from Louisville, Kentucky to Nashville, Tennessee was left stranded after being washed out near Chef Menteur Pass, and other rail operations were stopped between New Orleans and Mobile, Alabama. Tides of 5–6 ft (1.5–1.8 m) above average were reported in Lake Borgne and Mississippi Sound as the hurricane moved over the coast, while tides of 5.4 ft (1.6 m) above average were reported in Biloxi, Mississippi. The strong storm surge caused considerable damage to Grand Isle and Manilla Village, Louisiana. Due to the hurricane's landfall near low tide, however, major storm surge impacts were mitigated. Overall infrastructural damage caused by the hurricane totaled to \$750,000, while crop related damage, particularly to rice and sugar cane, totaled to \$700,000. ## See also - Hurricane Eight (1893) - Hurricane Three (1926) - Hurricane Three (1888)	[ "## Meteorological history", "## Preparations and impact", "## See also" ]	1,553	17,723
2,441,019	Fort Manoel	1,136,589,433	Star fort in Gzira, Malta	[ "18th Century military history of Malta", "18th-century fortifications", "Baroque architecture in Malta", "Barracks in Malta", "Buildings and structures by French architects", "Buildings and structures completed in 1733", "Gżira", "Hospitaller fortifications in Malta", "Limestone buildings in Malta", "Military installations closed in 1964", "National Inventory of the Cultural Property of the Maltese Islands", "Reportedly haunted locations in Malta", "Star forts in Malta", "World War II sites in Malta" ]	Fort Manoel (Maltese: Forti Manoel or Fortizza Manoel) is a star fort on Manoel Island in Gżira, Malta. It was built in the 18th century by the Order of Saint John, during the reign of Grand Master António Manoel de Vilhena, after whom it is named. Fort Manoel is located to the north west of Valletta, and commands Marsamxett Harbour and the anchorage of Sliema Creek. The fort is an example of Baroque architecture, and it was designed with both functionality and aesthetics in mind. After a brief French occupation which began in 1798, the British military took over the fort in 1800, and it remained in use by them until 1964. The fort was severely damaged in World War II, but it was restored in the early 21st century and it is now in good condition. Fort Manoel has been on Malta's tentative list of UNESCO World Heritage Sites since 1998, as part of the Knights' Fortifications around the Harbours of Malta. ## History ### Background and failed proposals In the 16th century, the Marsamxett Harbour was one of the two major harbours in the Maltese city of Valletta. In the centre of the harbour was an island, originally known as l'Isolotto and now known as Manoel Island after the fort, which overlooked the city. Shortly after Valletta's construction, the Order of Saint John realised this was a potential vulnerability in the city's defences. As early as 1569, it was proposed that a small fort with a cavalier be built on the Isolotto to prevent the enemy from taking the island and building batteries on it. This proposal was presented by Francesco Collignon. The threat was again highlighted by the Spanish military engineer Scipione Campi in 1577, and by Giovanni Battista in 1582. The next proposal to build a fortification on the island was made by the Italian military engineer Antonio Maurizio Valperga in 1670. He proposed a roughly hexagonal fort with a hornwork, in the Dutch style of fortification. The proposal was criticized by the Order's engineers, and a third proposal was drawn up by the Flemish military engineer Carlos de Grunenbergh in 1687. Grunenburgh's proposal consisted of a fort with four bastions and a ravelin, surrounded by a ditch, covertway and faussebraye. Other proposals were made in 1715, this time by the knight René Jacob de Tigné and a team of French engineers. There were several different plans, including building a coastal battery and a redoubt. Other plans included building a four-bastioned fort, or combining all three (fort, battery and redoubt) for the defence of the island. ### Construction Eventually, the final design was agreed in 1723, and it incorporated the work of de Tigné as well as Charles François de Mondion, the Order's military engineer. The new fort was to be square in shape, with four bastions and two cavaliers. The fort was financed by, and named after, the Portuguese Grand Master, António Manoel de Vilhena. He also set up the Manoel Foundation, a fund responsible for the maintenance and garrison of Fort Manoel and its outworks. The first stone was laid by de Vilhena on 14 September 1723, and work progressed rapidly. By 1727, the enceinte, cavaliers and gateway were complete. The ditch had been excavated by 1732, while the chapel, barracks, magazines and countermines were completed in around 1733. The fort was an active military establishment by 1734. When Mondion died in 1733, he was buried in the crypt under the fort's chapel. In 1757, Lembi Battery was added near Tigné Point, Sliema. The battery was funded by the Manoel Foundation and it was considered to be an outwork of Fort Manoel, since it was intended to prevent an enemy from bombarding the fort's northern flank. It was decommissioned following the construction of Fort Tigné in 1795. The construction of the latter fort was also partially funded by the Manoel Foundation. By 1761, Fort Manoel was considered to be as one of the best completed fortifications, and Comte de Bourlamaque has commented that the fort is a "modèle de fortification fait avec soin." ### French occupation The fort first saw use during the French invasion of Malta in June 1798, in the French Revolutionary Wars. At the time, it was commanded by the Portuguese knight Gourgeau, and it was garrisoned by the Cacciatori, who were a volunteer chasseur light infantry regiment, as well as a few men from the Birchircara militia. The fort surrendered after Grand Master Hompesch officially capitulated to Napoleon. A French garrison of a few hundred men took over the fort on 12 June. During the subsequent Maltese uprising and insurrection against the French, Maltese insurgents built Għargħar and Sqaq Cappara batteries to bombard Fort Manoel. The Maltese attacked the fort on a number of occasions, and the French retaliated with their own bombardment at least once. On 12 September 1799, a company of French troops from Fort Manoel attempted to silence an insurgent gun position in San Ġwann, but were repelled by the Maltese insurgents. ### British rule When Malta became a British protectorate in 1800, Fort Manoel was officially taken over by the British military that September. The piazza of Fort Manoel was the subject of the earliest known photographs of Malta, which were taken in 1840 by Horace Vernet while he was quarantined at the Lazzaretto but are now believed to be lost. In the late 19th century, the echaugettes on the bastions facing Valletta were dismantled to make way for gun emplacements. Later on, significant alterations were made to St. Anthony Bastion, when its gunpowder magazine was demolished to make way for a battery of three QF 12-pounder guns. The British military finally decommissioned the fort's guns in 1906, although it remained a military establishment. It was included on the Antiquities List of 1925. The fort saw use again during World War II, when a battery of 3.7-inch heavy anti-aircraft guns was deployed there. The guns were mounted in concrete gun emplacements and deployed in a semicircle in and around the fort. The fort suffered considerable damage to its ramparts, barracks and chapel as a result of aerial bombing during the war. The fort was eventually decommissioned in 1964. ### Recent history After being decommissioned, Fort Manoel was abandoned and fell into a state of disrepair. Parts of it were also vandalized. In 1970, the Royal Malta Yacht Club acquired part of the fort as its club house, and the yacht club remained there until it acquired new premises in Ta' Xbiex in 2008. In August 2001, the development company MIDI plc began restoration work on the fort. Phase One of the project, which included the restoration of the piazza and the reconstruction of the ruined chapel, was completed in 2009. The second phase, including the restoration of the outer fortifications and glacis, was approved by the Malta Environment and Planning Authority in 2012. The restoration of Fort Manoel together with that of the nearby Fort Tigné cost a total of €30 million. ## Layout Fort Manoel is built in the shape of a square, with a pentagonal bastion on each corner, giving it the shape of a star fort. The four bastions are called St. Helen, St. Anthony, St. John and Notre Dame Bastions. St. Helen and St. Anthony Bastions are located on the seaward side, facing Valletta. They originally had echaugettes and gunpowder magazines, but the echaugettes on both bastions were dismantled in the 19th century, and the magazine on St. Anthony Bastion was demolished to make way for three QF 12-pounder gun emplacements. The magazine on St. Helen Bastion is still intact. The curtain wall linking these two bastions contains the main gate, which is protected by a lunette known as the Couvre Porte. St. John and Notre Dame Bastions are located along the landward side of the fort. Each bastion is protected by a low cavalier. The curtain wall between the two bastions is further protected by a pentagonal ravelin, which is largely rock hewn. A Piazza is located inside the fort, and it contains the rebuilt Chapel of St Anthony of Padua, several barrack blocks, an armoury and other buildings. A bronze statue of Grand Master Vilhena, possibly designed by Pietro Paolo Troisi, once stood in the square but it was removed in the 19th century and relocated to Valletta. It was later relocated again and it is now in Floriana. ## Ghost story The fort is supposedly haunted by the Black Knight, who wears the armour and regalia of the Order of St. John, and resembles Grand Master de Vilhena. In the 1940s, the knight began to appear out of thin air near the ruins of the Chapel of St Anthony of Padua, which had just been bombed in World War II. The apparition was reportedly seen by Maltese and English men within the fort. When the rubble from the ruined chapel began to be cleared, the workmen reported that the knight was supervising their work. When the crypt beneath the chapel was opened, it was found that it had been vandalized, and the remains of knights which had been buried there were scattered around. After the crypt was restored and the bones were reburied, the Black Knight stopped appearing. In 1980, the crypt was vandalized for a second time, and the Black Knight reportedly began to appear again. ## In popular culture - Fort Manoel is featured in the 2007 fiction book Il-Misteru tal-Forti Manoel (The Mystery of Fort Manoel) by Charles Zarb. - The fort served as a location for the shooting of the climactic scene of Baelor, the ninth episode of the TV series Game of Thrones, in 2011. - The fort hosted a Pit Stop during the eighth episode of The Amazing Race 25. - The fort was also used in the filming of the 2016 films Risen and Assassin's Creed. - The fort is also visible in the 2016 film 13 Hours: The Secret Soldiers of Benghazi.	[ "## History", "### Background and failed proposals", "### Construction", "### French occupation", "### British rule", "### Recent history", "## Layout", "## Ghost story", "## In popular culture" ]	2,304	389
58,731,901	William Farrar (settler)	1,173,739,971	Early settler, member of the Virginia Council, and Commissioner in the Virginia colony	[ "1583 births", "1637 deaths", "English emigrants to British North America", "First Families of Virginia", "History of Virginia", "People from Lincolnshire", "Virginia colonial people" ]	William Farrar (April 1583 – c. 1637) was a landowner and politician in colonial Virginia. He was a subscriber to the third charter of the Virginia Company who immigrated to the colony from England in 1618. After surviving the Jamestown massacre of 1622, he moved to Jordan's Journey. In the following year, Farrar became involved in North America's first breach of promise suit when he proposed to Cecily Jordan. In 1626, Farrar was appointed to the Council of Virginia where he served as an advisor to the royal governor, a judge of the highest court in the colony, and a member of the Virginia General Assembly of Colonial Jamestown. He was also appointed magistrate of the upper James River community. In both these roles, he served as a voice of the early planters' interest as the colony transitioned from being managed by the Virginia Company and becoming a royal colony under Charles I of England. Farrar was also on the Council when it arrested Governor John Harvey for misgovernance and forced his temporary return to England. By the time of his death around 1637, Farrar had sold off his remaining assets in England and established rights to a 2000 acre patent on Farrar's Island, located on a curl of the James River. ## Background William Farrar was born before April 28, 1583, the date of his christening, in Croxton, Lincolnshire, England. He was the 3rd son of John Farrar of Croxton and London, Esquire, a wealthy merchant and landowner with various holdings in West Yorkshire, Lincolnshire, and Hertfordshire, and Cecily Kelke, an heiress and direct descendant of Edward III of England. The nineteenth century historian of Virginia, Alexander Brown, states that while in England, William Farrar received an education in law. ## Relation to the Virginia Company and immigration to the New World When Farrar went to Virginia, it was still part of the Virginia Company of London, a joint-stock company, sanctioned by Royal Charter. Farrar was a subscriber to the Third Charter of the Virginia Company, where his name appears as "William Ferrers". His subscription consisted of three shares that were bought for a total of £37 10s (equivalent to about \$ today). Farrar also had family interests in the Virginia Company as two of his second cousins, the brothers John Ferrar and Nicholas Ferrar, played key roles in the managing the company's interests. Farrar left London on Neptune on March 16, 1617/18 along with Virginia's governor, Thomas West, Baron De La Warr. De La Warr had been commissioned by the Virginia Company to return to the colony with fresh people and supplies to help it achieve political and economic stability, but he died en route. When Farrar arrived in August 1618, news of the governor's death threw Jamestown into turmoil, Deputy Governor Samuel Argall, who was already unpopular with many colonists, was accused of mismanagement and the unauthorized misappropriation of Neptune'''s passengers and cargo. After a prolonged series of accusations from both the Virginia Company and colonists against Argall's governing, he finally stepped down in April 1619. In June 1619, the Virginia Company instructed that 40 indentured servants be put at the disposal of Farrar when they arrived in Virginia. The payment for the cost of transporting these colonists would have resulted in a 2000 acre headright at 50 acres a head. However, Garland never arrived in Jamestown because it was damaged in a hurricane while en route. Instead of proceeding to Virginia, the Garland's captain, William Wye left the remaining passengers in Bermuda and sailed the repaired ship directly back to England. As his personal headright, Farrar did receive a land patent for 100 acres on the Appomattox River close to where it flows into the James River, near what is now known as Hopewell, Virginia. In the meantime, the resultant legal suits between Wye and the Virginia Company regarding the financial responsibility for the Garland fiasco were not resolved until the end of 1622, when Farrar had already quit residence at his patent as a result of the Powhatan surprise attack of 1621/22. ## Move to Jordan's Journey and marriage During the Powhatan surprise attack, ten settlers on Farrar's land on the Appomattox River were killed. However, Farrar survived and got to Samuel Jordan's settlement at Beggars Bush, part of the plantation known as Jordan's Journey. After the attack, William Farrar stayed at Jordan's Journey as it had become a relatively safe fortified rallying place for the survivors. Samuel Jordan died before June 1623. Sometime afterward, Farrar proposed marriage to Jordan's pregnant widow, Cecily, which involved him in the first breach of promise suit filed in North America. Reverend Greville Pooley claimed he had first proposed marriage three or four days after Samuel Jordan had died and Cecily had accepted. However, Cecily denied his proposal and accepted Farrar's, which resulted in Pooley filing the suit. The case continued for almost two years. During the suit, Alexander Brown suggests that Farrar may have acted as Cecily's legal representative. Eventually, Pooley signed an agreement in January 1624/5 that acquitted Cecily Jordan of her alleged former promises. Even as the case was ongoing, William Farrar and Cecily Jordan continued to work together at Jordan's Journey. In November 1623, Farrar was bonded to execute Samuel Jordan's will regarding the management of his estate and Cecily Jordan was warranted to put down the security to guarantee Farrar's bondage. During this time, "Farrar assumed the role of plantation 'commander' or 'head of hundred'" for Jordan's Journey. A year later, the Jamestown muster of 1624/25 lists "fferrar William mr & Mrs. Jordan"[sic] as sharing the head of a Jordan's Journey household with three daughters and ten manservants. During this time, Jordan's Journey prospered. By May 1625 Farrar and Jordan were finally married, as it was then that Farrar was released from his bond to Jordan's estate.They had three children together: Cecily (born 1625), William (birth year uncertain), and John (born around 1632). ## Roles in the royal colony On March 14, 1625/6, William Farrar was appointed councillor to the Council of Virginia by Charles I of England. Farrar held this position, which entitled him as an esquire'' of Virginia, until at least 1635 when Governor John Harvey was deported. Farrar became a councillor during a period of uncertainty for the colonists. The 1619 Great Charter of the Virginia Company had established self-governance through the Virginia Assembly, but James I dissolved the charter in 1624, and put the colony under direct royal authority. Just before James I died in March 1625, Charles I announced his intention to be the sole factor of his royal colonies. To this end, he commissioned a new structure, consisting of a governor, Sir George Yeardley, and 13 councillors, including William Farrar, to govern the royal colony on behalf of the Crown's interest. Because the assembly was not included in the commission, the Council was the only legal body representing the interests of the Virginia planters. This state of affairs continued until the petitions of the colonists allowed the continuance of the House of Burgesses and the re-convention of the Virginia Assembly in 1628. The Council also functioned as the highest court in Virginia and as the advisory board to the governor regarding the creation of legislative acts. Just as importantly, the members of the Council could determine the fate of the governor. Farrar was on the Council when it elected John Pott as governor in 1628. He was also on the Council when it temporarily deported Governor Harvey in 1635. Harvey's silencing of Farrar when he questioned the governor's proceedings with the council initiated the protest that eventually led to the governor's arrest and expulsion. In August 1626, Farrar was also appointed by Yeardley as commissioner (i.e., magistrate) of the "Upper Partes"[sic] which lies along the James River west of Piersey's Hundred having jurisdiction over Charles City and the City of Henrico. Farrar was the head commissioner of six commissioners appointed: he was the one given the right of final judgement when present and allowed the discretion to hold monthly courts at either Jordan's Journey or Shirley Hundred. When his commission was renewed by Governor Sir John Harvey in 1632, it also mandated that the court could only be in session when Farrar was present. After 1619, settlers could purchase the cost of transporting white indentured servants from England to the New World as a contract that could be redeemed as a headright, and these headright contracts could be used for speculation by being sold, bought, or bartered. William Farrar was one of the settlers involved in this activity. For example, he is listed in patents as selling headrights to the settler William Andrewes around 1628 and surrendering land to Nathan Martin for the transport of servants in 1636. ## Sale of inheritance When William Farrar's father, John the elder, died sometime before May 1628, he willed his various landholdings in Hertfordshire to William. In addition, John Farrar also stipulated that William and his family receive a £20 annuity from his older brother from rents in Halifax Parish, Yorkshire and that William receive £50 upon his return to England. In 1631, William Farrar returned to England to claim his inheritance. He then sold the assets from his inheritance to his brothers, including his annuity for £240 and his landholdings for £200, for a total of £440 (equivalent to about \$ today) and returned to Virginia. ## Farrar's Island At the time of his death sometime before June 11, 1637, Farrar was described as being "of Henrico", one of eight shires established in Virginia three years previously. By the time of his death, he had established his headright to a 2000 acre land patent at a site that included Dutch Gap and the former settlement of Henrico. This headright was given for 40 indentured servants, who were named in the patent. After Farrar's death, the headright was repatented to his oldest son, his namesake who was twelve years old at the time, by John Harvey, who had returned from England and resumed his role as governor of the colony. The patent was issued for land that included a peninsula formed by meander loop, or curl, of the James River subsequently known as Farrar's Island. It is described in the patent as abutting the glebe lands of Varina in the east, and extending to the James River in the south, the end of the island (i.e., peninsula) in the west, and "to the woods" in the north. Farrar's Island remained with the Farrar family until it was sold in 1727.	[ "## Background", "## Relation to the Virginia Company and immigration to the New World", "## Move to Jordan's Journey and marriage", "## Roles in the royal colony", "## Sale of inheritance", "## Farrar's Island" ]	2,322	25,559
2,594,590	Marge in Chains	1,168,754,664	null	[ "1993 American television episodes", "Cultural depictions of Jimmy Carter", "David Crosby", "Japan in non-Japanese culture", "Television episodes about influenza outbreaks", "Television episodes about theft", "Television episodes set in Osaka", "Television episodes set in prisons", "The Simpsons (season 4) episodes" ]	"Marge in Chains" is the twenty-first and penultimate episode of the fourth season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on May 6, 1993. In the episode, Marge is arrested for shoplifting after forgetting to pay for an item at the Kwik-E-Mart. The family hires attorney Lionel Hutz to defend her at trial, but she is found guilty and sentenced to 30 days imprisonment. Homer and the rest of the family have trouble coping without Marge. The townspeople start a riot when an annual bake sale missing Marge fails to raise enough money for a statue of Abraham Lincoln and they have to settle for a statue of Jimmy Carter. Mayor Quimby has Marge released from jail in order to save his career and quell the riot. The episode was written by Bill Oakley and Josh Weinstein, and directed by Jim Reardon. After its initial airing on Fox, the episode was later included as part of a 1997 video release titled The Simpsons: Crime and Punishment. It was released again on the 2005 edition of the same set. The episode is included on The Simpsons – The Complete Fourth Season DVD box set released on June 15, 2004. "Marge in Chains" received a positive reception from television critics. The authors of I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide commented positively on the episode, as did reviews in The Daily Mirror and The Observer. ## Plot Troy McClure and Dr. Nick star in a TV advertisement for a juicer called the "Juice Loosener", which is manufactured in and shipped from Osaka. Many of Springfield's residents are persuaded to buy Juice Looseners because of the advertisement. However, one of the packers in Osaka has the flu and every package contains some of his germs. The "Osaka Flu" spreads through Springfield. Every member of the Simpson family catches the flu, except Marge, who quickly becomes exhausted by caring for four family members. On a trip to the Kwik-E-Mart, Marge's exhaustion causes her to forget to pay for a bottle of bourbon that Grampa Simpson had requested, and she is soon charged with shoplifting. Mayor Quimby dramatically reveals Marge's shoplifting to the town in a public address. Marge's reputation is damaged and the townspeople no longer trust her. The Simpson family hires Lionel Hutz to defend Marge, but due to Hutz's incompetence, Marge is convicted and sentenced to 30 days in prison. Marge's absence is felt by the family and the house falls into disarray. The annual bake sale also suffers – without Marge's marshmallow squares, the Springfield Park Commission fails to raise enough money to pay for a statue of Abraham Lincoln; they instead purchase a statue of Jimmy Carter. The townspeople are enraged by this, and riot. When Marge is released early on the orders of Quimby, she is given a hero's welcome. They unveil a statue for her, though it is just the Carter statue with Marge's hair added. The statue is then converted into a tetherball post, which Bart and Lisa play with. ## Production "Marge in Chains" was written by Bill Oakley and Josh Weinstein and was the first episode that they wrote as staff writers. The script was assigned to them after somebody else had come up with the idea. The first draft of the script was "slightly more realistic" than the final version of the episode because Oakley and Weinstein had done a lot of research about women in prison, much of which was later replaced. For Apu and Sanjay's brief lines of Indian dialogue, the writers called the Embassy of India in Washington to get them to translate. The Embassy was not "interested or happy" but still did it. In the episode, Jimmy Carter is referred to as "history's greatest monster". In the 2004 Season 4 DVD commentary for this episode, show runners Mike Reiss and Al Jean reveal that they did not like Carter, although they would vote for him ahead of George W. Bush. Kwik-E-Mart operator Apu testifies in a courtroom scene in the episode that he is able to recite 40,000 decimal places of the number pi. He correctly notes that the 40,000th digit is the number one. The episode's writers prepared for this scene by asking David H. Bailey of the National Aeronautics and Space Administration (now at Lawrence Berkeley National Laboratory) for the number of the 40,000th decimal place of pi. Bailey sent them back a printout of the first 40,000 digits. The Troy McClure movie title P is for Psycho is Mike Reiss' favorite joke he ever wrote for The Simpsons. "Marge in Chains" originally aired on the Fox network in the United States on May 6, 1993. The episode was selected for release in a 1997 video collection of selected episodes titled: The Simpsons: Crime and Punishment. Other episodes included in the set were "Homer the Vigilante", "Bart the Fink", and "You Only Move Twice". It was included again in the 2005 DVD release of the Crime and Punishment set. "Marge in Chains" is also featured on The Simpsons' season 4 DVD set, The Simpsons – The Complete Fourth Season, which was released on June 15, 2004. ## Cultural references David Crosby portrays himself in a cameo appearance in the episode as the 12-step sponsor for Lionel Hutz. The classic Crosby, Stills, and Nash song "Teach Your Children" is referenced when Crosby tells Hutz on the phone, "and know that I love you." During Marge's trial for shoplifting, prosecutors show the Zapruder film and assert that Marge was present on the grassy knoll when President John F. Kennedy was assassinated. The scene where Maude Flanders peers through a hole in a wall at Marge is a reference to the 1960 film Psycho. In Lionel Hutz's dream of what the world would be like without lawyers, the writers had wanted to use the song "I'd Like to Teach the World to Sing", which was used in Coca-Cola advertisements, but they could not get the rights to it. Instead, they used a similar instrumental theme. The episode's title is a reference to the Seattle grunge band Alice in Chains, which at the time of this episode had aired received mainstream success and popularity. Homer also complains in the episode that "[he'll] miss Sheriff Lobo". ### COVID-19 "predictions" During the COVID-19 pandemic, media outlets reported that The Simpsons had "predicted" the outbreak with this episode. Episode writer Bill Oakley alleged that Internet trolls were using the episode for "nefarious purposes", including creating memes replacing "Osaka flu" with "coronavirus." Oakley stated his reference for the "Osaka" plot device was the 1968 flu pandemic, which began in British Hong Kong, stating it was "just supposed to be a quick joke about how the flu got here." When speaking on "predictions" from The Simpsons in general, Oakley continued "It's mainly just coincidence because the episodes are so old that history repeats itself." Comparisons to the episode experienced a resurgence in May 2020, following advisories by Washington state regarding Asian giant hornets in the region, citing a scene where an angry crowd tips over a truck they believed contained a "placebo" for Osaka flu, and accidentally unleashing a swarm of killer bees from a crate in the process. In real life, killer bees were the subject of much media attention in the United States in the late 1980s and early 1990s. In this episode occurs, Mayor Quimby pretends to be in his office, while actually he is in the Caribbean on vacation. This was likened to many politicians who violated their own "stay-at-home" orders during the pandemic, as well as Ted Cruz allegedly abandoning his constituents during the 2021 Texas power crisis to flee to Cancún. However, even before this incident occurred, Cruz has had a history of openly acknowledging that he is a Simpsons fan. In December 2022, it was reported that U.S. President Joe Biden was visiting the U.S. Virgin Islands during a time when Americans were facing problems at home, such as problems stemming from the impact of a major snow blizzard. ## Reception In its original broadcast, "Marge in Chains" finished 31st in ratings for the week of May 3–9, 1993, with a Nielsen rating of 11.1, equivalent to approximately 10.3 million viewing households. It was the second highest-rated show on the Fox network that week, following Beverly Hills, 90210. In a review of the episode in The Observer, Caroline Boucher wrote: "My domestic Simpsons correspondent, Simon, reports a particularly fine episode, Marge in Chains to the extent that he watched the tape twice." Karl French of Financial Times characterized the plot of the episode as a "modern version" of It's a Wonderful Life. Dusty Lane of The News Tribune cited a quote from Lionel Hutz in the episode among his list of "Eight Great 'Simpsons' Quotes" – "Well, he's kind of had it in for me since I kinda ran over his dog. Well, replace the word 'kinda' with the word 'repeatedly,' and the word 'dog' with 'son'." Jessica Mellor of The Daily Mirror highlighted the episode in a review of The Simpsons season four DVD release, along with "Kamp Krusty", "New Kid on the Block", and "I Love Lisa", commenting: "Springfield's finest prove once again why they are the cleverest thing on telly." In a section on the episode in their book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood wrote: "We like Bart's plan to rescue Marge from prison by becoming the glamorous Bartina, and Lionel Hutz is supremely inept". ## See also - "Orange Is the New Yellow"	[ "## Plot", "## Production", "## Cultural references", "### COVID-19 \"predictions\"", "## Reception", "## See also" ]	2,108	27,237
16,722,327	Washington State Route 173	1,056,496,387	Highway in Washington	[ "State highways in Washington (state)", "Transportation in Douglas County, Washington", "Transportation in Okanogan County, Washington" ]	State Route 173 (SR 173) is an 11.86-mile-long (19.09 km) state highway serving Douglas and Okanogan counties in the U.S. state of Washington. The highway travels northwest along the Columbia River from SR 17 in Bridgeport to U.S. Route 97 (US 97) in Brewster. It serves as an alternate route to SR 17, which travels north of the Columbia River, and serves the Chief Joseph State Park and the Bridgeport Bar State Wildlife Recreation Area. SR 173 was established during the 1964 highway renumbering and codified in 1970, but it has been a part of the state highway system since 1931 as a branch of State Road 10, later Primary State Highway 10 (PSH 10). The highway crosses the Columbia River on the Brewster Bridge, which originally opened in 1928 and was destroyed in 1967 before being re-built a decade later. ## Route description SR 173 begins at an intersection with SR 17 southwest of the Bridgeport Bridge in Bridgeport, a city in rural Douglas County. The two-lane street travels northwest through Bridgeport as Foster Creek Avenue and turns northeast onto 17th Avenue and later northwest as Columbia Avenue to Bridgeport Park, where SR 173 turns southwest onto 10th Street and Maple Street to leave the city. The highway turns northwest, following the Columbia River towards Chief Joseph State Park. SR 173 continues west, forming the southern boundary of the Bridgeport Bar State Wildlife Recreation Area before crossing the Columbia River into Okanogan County on the Brewster Bridge. The highway enters Brewster and becomes Bridge Street, traveling north over Swamp Creek to end at an intersection with US 97. Every year, the Washington State Department of Transportation (WSDOT) conducts a series of surveys on its highways in the state to measure traffic volume. This is expressed in terms of average annual daily traffic (AADT), which is a measure of traffic volume for any average day of the year. In 2011, WSDOT calculated that between 970 and 3,400 vehicles per day used the highway, mostly in Brewster. ## History SR 173 follows the route of wagon roads built in the late 19th century between Brewster Ferry and Bridgeport Ferry on the east side of the Columbia River. The Brewster Bridge was completed in June 1928 and the roadway was first codified in 1931 as part of a State Road 10 branch that connected Brewster to Coulee City. State Road 10 became PSH 10 and retained the branch during the creation of the primary and secondary state highway system in 1937 as the state purchased the Brewster Bridge. The branch was moved to the west side of the Columbia River, located north of Bridgeport, in 1951 and a new branch between Bridgeport and Brewster was created to continue maintenance of the paved highway. During the 1964 highway renumbering, SR 173 was established on the route of the PSH 10 branch between Bridgeport and Brewster, later re-aligned into a straighter highway and codified in 1970. The Brewster Bridge later was destroyed in a fire in August 1967, being replaced by a 15-minute ferry until the new span was opened in the 1970s. No major revisions to the route of the highway have occurred since 1970, however the state tried unsuccessfully to transfer ownership of SR 173 and the Brewster Bridge in 1986. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	731	37,903
65,350,129	Gozo Phoenician shipwreck	1,171,868,417	Phoenician shipwreck near the coast of Malta	[ "2007 archaeological discoveries", "2007 in Malta", "Ancient shipwrecks", "Archaeological discoveries in Malta", "Gozo", "Phoenician pottery", "Phoenician shipwrecks", "Shipwrecks in the Mediterranean Sea", "Shipwrecks of Malta", "Trade in Phoenicia" ]	The Gozo Phoenician shipwreck is a seventh-century-BC shipwreck of a Phoenician trade ship lying at a depth of 110 meters (360 ft). The wreck was discovered in 2007 by a team of French scientists during a sonar survey off the coast of Malta's Gozo island. The Gozo shipwreck archaeological excavation is the first maritime archaeological survey to explore shipwrecks beyond a depth of 100 meters (330 ft). ## Historical background The Phoenicians, a thalassocratic people known for trading and shipbuilding, had a long-standing presence in, and influence on the history of, the Maltese islands. From the middle of the second millennium BC, the Phoenicians undertook seaborne traffic from their mainland cities on the coast of modern-day Lebanon; their far-reaching trade routes spanned from the British Isles to Mesopotamia. The Phoenicians built trade outposts and colonies throughout the Mediterranean to facilitate the supply and storage of raw materials and goods. Sometime after 1000 BC, Phoenician traders colonized the Maltese islands that were conveniently located at the center of the Mediterranean between Europe and North Africa. They inhabited the area now known as Mdina and its surrounding town of Rabat which they called Maleth. The area came under the control of Carthage after the fall of Tyre in 332 BC. Punic influence remained on the Maltese islands during the early Roman era, as demonstrated by the famous second century BC Cippi of Melqart that were pivotal in deciphering the Phoenician language. ### Phoenician shipwrecks There are about six Phoenician shipwreck sites datable from the eighth to the sixth century BC in the Mediterranean. Two of these are located off the coast of Palestine/Israel, at a depth of \~400 meters (1,300 ft), three in shallow waters facing the Spanish coast and one in France. ## Location and discovery The Gozo shipwreck was discovered in 2007 by a team of the French National Research Agency (ANR) during a seabed survey around 900 meters (3,000 ft) off the coast of Xlendi, on the Maltese island of Gozo. The team detected sonar anomalies at a depth of 110 meters (360 ft), prompting further investigation that led to the discovery of a sunken Phoenician trade ship with its well-preserved cargo dating to the seventh century BC. The Gozo shipwreck archaeological excavation is the first maritime archaeological survey to explore shipwrecks beyond a depth of 100 meters (330 ft). Further archaeological research off the coast of Malta was conducted by the ANR's GROPLAN project in collaboration with the University of Malta and Texas A&M University. ## Description The shipwreck is 12 by 5 meters (39 by 16 ft). Archaeological artifacts are buried under up to 1.8 meters (5.9 ft) of sediment. The ship remains and its upper layer of cargo lay exposed 1 meter (3.3 ft) above a relatively flat seabed of coarse sand; it consists of quern-stones and earthenware containers used to transport wine, olive oil, and other consumables. Quern-stones, used to grind grains, were stored at both ends of the ship; they were discovered in pristine condition, indicating that they were never used and were destined for trade. Studies show that the grinding stones were made from volcanic rock sourced in Pantelleria in Sicily. The wreck site is very well-preserved, save for some minor damage caused by local fishermen's bottom-fishing techniques. ## Cargo and artifacts Digital mapping and high resolution imaging of the site and of the visible artifacts was done in 2014 by an international team of scientists. The survey was performed using a manned submarine that was deployed to produce a 3D photogrammetric image, which helped identify at least seven types of ceramic vessels. In 2016–2017, exploration of the wreckage resulted in the recovery of 12 objects, including uniquely shaped urns that appear to have been made on the island of Gozo. Divers supervised by maritime archeologists from the Department of Classics and Archaeology at the University of Malta also recovered six intact ceramic objects numerous ceramic shards, among which were Tyrrhenian-style amphorae typical of Italy and western Sicily. ### Artifact recovery challenges The extraction of artifacts from other parts of the ship proved difficult due to the depth of the shipwreck site. To facilitate artifact surfacing, a mooring dead weight was sunk to anchor the researcher's ship close to the shipwreck site. It took experienced divers eight minutes to reach the site, where they could stay for no longer than 14 minutes; surfacing objects took an additional two and a half hours. ## Conservation In June 2021, Maltese culture minister José Herrera discussed options to lift the shipwreck from the bottom of the sea, and exhibit it at the planned Gozo Museum or another, standalone museum. Another option the minister discussed is to leave the ship in place as an underwater tourist attraction. ## See also - Archaeology of shipwrecks - Marsala Ship - Uluburun shipwreck	[ "## Historical background", "### Phoenician shipwrecks", "## Location and discovery", "## Description", "## Cargo and artifacts", "### Artifact recovery challenges", "## Conservation", "## See also" ]	1,093	22,734
33,029,218	Bridie Kean	1,157,043,741	Australian Paralympic wheelchair basketball player	[ "1987 births", "Amputee category Paralympic competitors", "Australian amputees", "Australian expatriate sportspeople in the United States", "Australian women's wheelchair basketball players", "Forwards (basketball)", "Illinois Fighting Illini Paralympic athletes", "Living people", "Medalists at the 2008 Summer Paralympics", "Medalists at the 2012 Summer Paralympics", "Paralympic bronze medalists for Australia", "Paralympic medalists in wheelchair basketball", "Paralympic silver medalists for Australia", "Paralympic wheelchair basketball players for Australia", "People from Parkdale, Victoria", "Sportspeople from Melbourne", "Sportswomen from Victoria (state)", "Wheelchair basketball players at the 2008 Summer Paralympics", "Wheelchair basketball players at the 2012 Summer Paralympics" ]	Dr. Bridie Kean (born 27 February 1987) is an Australian wheelchair basketball player and canoeist. She won a bronze medal at the 2008 Summer Paralympics in Beijing, and a silver medal at the 2012 Summer Paralympics in London. In 2016, she became a va'a world champion. ## Personal life Dr. Kean was born 27 February 1987. When she was two, her feet were amputated due to meningococcal septicaemia. She is nicknamed Bird because her friend Kate Dunstan in high school thought it was funny that her name sounded like Bird. Then, when she moved to the United States, her friends struggled to pronounce her first name correctly – it rhymes with "tidy" – when she was living there. And so, the nickname stuck. Her hometown is Parkdale, Victoria. An award in Kean's honour, acknowledging qualities of compassion and bravery, is each year presented to a student at Kilbreda College, where she went to school. As of 2012, she lives in Alexandra Headland, Queensland. Kean did a gap year in England in 2005. She earned a Bachelor of Science from the University of Illinois, Urbana-Champaign in 2010, and in graduated with a Master of Public Health from the University of Queensland. In 2018, she completed her PhD at the University of the Sunshine Coast. She became the manager of its Sports Elite and Education Dual (SEED) program, which enabled elite athletes with a disability to combine study with high performance training and competition, in 2016. Bridie is engaged to long-term partner and fellow Paralympian Chris Bond. The couple had their first child in late 2019. Her brother Michael works on channel 10's The Project ## Wheelchair basketball When she was 15, Kean was encouraged to take up wheelchair basketball by Liesl Tesch. She was invited to a training camp, and started playing the sport on the state and national level in 2003. In 2011/2012, the Australian Sports Commission gave her a A\$17,000 grant as part of their Direct Athlete Support (DAS) program. A 4 point player, she plays as a forward. ### University Kean had a wheelchair basketball scholarship with the University of Illinois at Urbana–Champaign that ended in 2010. ### Club Kean made her Women's National Wheelchair Basketball League (WNWBL) debut in 2007. In 2012, she played club basketball for the Brisbane-based Minecraft Comets. That season, she was the team's captain. In September 2012, she played for Hamburger SV, which returned to Germany's top league after a two-season absence. Hamburger SV won the national championship for the eighth time in 2013. In 2014 she returned to Australia, where she spearheaded the Minecraft Comets to their first ever national title win, which was clinched by a crucial three point field goal by Kean in the final stages. ### National team She made her national team debut in 2007 when she competed in the IWBF Qualification tournament. She was selected to represent Australia at the 2009 Four Nations tournament in Canada, one of six players who played for the Dandenong Rangers in the WNWBL. In July 2010, she played in a three-game test series against Germany. In 2010, she was a member of the team that played in the Osaka Cup. She represented Australia at the 2010 World Championships where her team finished fourth. #### Paralympics She was part of the bronze medal-winning Australia women's national wheelchair basketball team, known as the Gliders, at the 2008 Summer Paralympics. Her team defeated Canada 53–47 in earning their medal. She said of her team's 2008 performance, "We worked together as a team really well and our medal is a credit to a lot of hard work and dedication." In October 2011, she was named as part of the senior national squad that would compete at the Paralympic qualifying tournament for the 2012 Summer Paralympics in London. She was the captain of the Gliders at the 2012 Summer Paralympics. In the gold medal game against Germany, she played 13:02 minutes. Her team lost 44–58, but earned a silver medal. She scored 1 point and had four rebounds in the game. ## Canoeing The Gliders failed to qualify for the 2016 Summer Paralympics in Rio de Janeiro. Kean took up canoeing, coached by Gayle Mayes, who represented Australia at the 1992 Summer Olympics in Barcelona. With her No Limits teammates from Mooloolaba, Queensland, she won gold in the Para Mixed V12 500m and the Para Mixed V6 1000m finals in at the IVF Va'a World Elite and Club Sprints Championships at Lake Kawana on the Sunshine Coast.	[ "## Personal life", "## Wheelchair basketball", "### University", "### Club", "### National team", "#### Paralympics", "## Canoeing" ]	1,057	16,041
57,442,600	1981 Mississippi's 4th congressional district special election	1,171,842,372	Election for the 4th congressional district of Mississippi	[ "1981 Mississippi elections", "1981 United States House of Representatives elections", "Mississippi special elections", "Special elections to the 97th United States Congress", "United States House of Representatives elections in Mississippi", "United States House of Representatives special elections" ]	A special election to determine the member of the United States House of Representatives for Mississippi's 4th congressional district was held on June 23, 1981, with a runoff held two weeks later on July 6. Democrat Wayne Dowdy defeated Republican Liles Williams in the runoff by 912 votes. Dowdy replaced Republican U.S. Representative Jon Hinson, who resigned from Congress following his arrest for engaging in sodomy. Mississippi's state law requires the Governor of Mississippi to call for a special election to be held to fill any vacancies. The election date is held 40 to 60 days after the Governor has officially sent out notice. All candidates run on one ballot, with a runoff election scheduled for the first- and second-place finishers if no candidate received 50% of the vote. After Hinson's resignation, Republican Liles Williams won a primary nominating convention and faced multiple Democrats in the first round of the campaign. Williams finished in first place but failed to reach the majority vote required to avoid a runoff. He was seen as the favorite to with the election against the Democratic Mayor of McComb, Wayne Dowdy, who reached the runoff election with him. Williams ran his campaign sticking closely to President Ronald Reagan's policies – the 4th district had backed Reagan in the 1980 presidential election. Dowdy opposed the Reagan administration's tax cuts, specifically citing its cuts to Social Security and education. Another key point in the campaign was the Voting Rights Act of 1965, which Dowdy publicly supported renewing. In an upset, Williams lost to Dowdy in a closely fought runoff election by 912 votes. Dowdy successfully put together a coalition of rural whites and African American voters. His support of the Voting Rights Act successfully mobilized African American voters in the district and was seen as being a key factor in his victory. Dowdy continued to serve in the U.S. Congress until he decided to run for the open U.S. Senate seat in 1988 and lost to Congressman Trent Lott. ## Background ### District and campaigns Mississippi's 4th congressional district was created in 1841, and had consistently been held by Democrats for over a century as part of the Solid South. Democrats held the 4th for 90 years since the end of Reconstruction, until the election of Republican Prentiss Walker in 1965 on the back of support from Republican Presidential nominee Barry Goldwater. Thad Cochran's victory in 1972 led to longer-term Republican control of the seat and cemented GOP dominance in the district for a decade. After Cochran's 1978 election to the U.S. Senate, Jon Hinson easily held the seat for Republicans in a 1978 election. In 1981, Mississippi's 4th district contained much of the Southwestern portion of the state, just South of the Mississippi Delta. 53% of the district's registered voters came from Hinds County, where the district reached into portions of Jackson, Mississippi. 11 other mostly rural counties made up the rest of the district, including predominantly African-American Claiborne County. ### Hinson scandal and resignation Prior to his election to Congress, Jon Hinson was charged in 1976 with committing an obscene act at the Marine Corps War Memorial in Washington, D.C. He admitted during an August 1980 press conference to both the charge and to being one of the survivors of the 1977 fire at Cinema Follies, a theater frequented by the LGBT community. Hinson decided to preempt his opponents from leaking the information and held the press conference, stating, "I am not, never have been, and never will be a homosexual. I am not a homosexual. I am not a bisexual." Hinson went on to win reelection in 1980. Even though a sizable majority of the electorate opposed Hinson, the Democratic nominee Britt Singletary and Leslie B. McLemore, an African American independent, evenly split the remaining vote between them and allowed Hinson to win. Hinson's vote share among white voters in the district dropped precipitously from his 1978 performance, which Mississippi reporter Bill Minor felt was "probably because of the homosexual questions." In 1981, Hinson was arrested by United States Capitol Police at the Library of Congress on the felony charge of committing oral sodomy. Minority U.S. House Whip Trent Lott of Mississippi threatened to start House proceedings against Hinson, and his GOP allies in Mississippi quickly withdrew support from him. U.S. Senator Thad Cochran, Mississippi GOP Chairman Clarke Reed, former Mississippi GOP Chairman Wirt Yerger, and Haley Barbour among others in the state's GOP delegation and leadership called for Hinson's resignation. Democrats mostly stayed out of the fray, with Governor William Winter saying "it is not for me to judge" in regards to Hinson's scandal. The person Hinson was engaged in sexual activity with when arrested was African American, and the racial component made the charge harder for Hinson to overcome in Mississippi. McLemore, who had run against Hinson as an independent in 1980, said, "The fact that the employee Hinson was caught with was black added insult to injury here in Mississippi." Congressman Hinson admitted himself to a Washington-area hospital "for professional care, counseling, and treatment" for a dissociative reaction, according to Hinson's administrative assistant. Hinson initially pleaded not guilty to a lesser misdemeanor charge of attempted sodomy. Hinson later changed his plea to "no contest" and received a 30-day suspended jail term along with a year's long probation, provided that he continued to seek medical treatment. In a March letter to Governor Winter, Hinson announced he would be resigning effective April 13, 1981. After Hinson's resignation, the election was scheduled for June 23, 1981. ## Candidates ### Democratic Party - Wayne Dowdy, Mayor of McComb - Ed Ellington, State Senator - Britt Singletary, 1980 Democratic Nominee for the 4th district - Michael Herring ### Republican Party - Liles Williams, businessman - Sarah Smith, inn owner - Robert Weems, former Ku Klux Klan leader ### Independent - Eddie McDaniel, former Ku Klux Klan member ## General election ### First round #### Campaign Mississippi Republicans decided to hold a convention to nominate one candidate, nervous that a wide field of Democrats could lock out their party from being in a runoff. They endorsed Liles Williams, a businessman from Clinton, at a nominating convention in April. The Democrats chose not to endorse a particular candidate in the first round. Williams emerged as the early frontrunner in the race due to his money lead and endorsements from President Ronald Reagan, Vice President George H. W. Bush and other Republican leaders. U.S. Senator Thad Cochran endorsed Williams two weeks out from Election Day. Labor groups in the district largely backed Democratic candidates: Wayne Dowdy was endorsed by the Mississippi AFL–CIO and both Dowdy and Britt Singletary were endorsed by the Mississippi Association of Educators. One of the largest issues in the first round was the amount of money the campaigns had on hand. Democrat Michael Herring said, "I've learned that to be a viable candidate, you've got to have one speech and a lot of money to snow people on TV." Williams led the fundraising with more than \$206,000 raised a week before the election, leading Democrats Britt Singletary and Ed Ellington to both focus on attacking Williams's money haul for the last week of the campaign. Both Singletary and Ellington attacked Williams for the amount of outside money that he received in particular, with Singletary saying, "[Williams] is not his own man." Other candidates tried to carve out niches to make it to the runoff. Robert Weems ran for the Republican nomination with the campaign slogan of "Vote Right, Vote White, Vote Weems". He was kicked out of his leadership position with the Ku Klux Klan after going to a Jackson house party attended by neo-Nazis. Singletary tried to capitalize on his role as the Democratic nominee in the 4th congressional district from 1980, and State Senator Ed Ellington attempted to use his experience in the Mississippi Legislature as a way to make the runoff. The Clarion-Ledger felt that Williams was a lock for first place, and that the real battle was for the second slot in the runoff to face him. Wayne Weidie with The Political Scene felt that Singletary would be the Democrat to make the runoff. The extension of the Voting Rights Act of 1965 became a contentious issue in the campaign leading into the runoff. Where Singletary had focused extensively on tying Hinson's scandals to Williams, Dowdy was the only major candidate from either party to support the Act's extension. The other candidates in the race believed that Dowdy had "completely alienated his white base". #### Results The results were seen as a strong win for the GOP and marked Williams as the favorite in the runoff. The extension of the Voting Rights Act was one of the main reasons why Dowdy made it through the first round. The Clarion-Ledger noted that Williams ran up respectable numbers in African American precincts and was in a strong position to gain the votes needed to win. The election itself was marred by poll workers asking for social security numbers from voters, which was heavily criticized by the League of Women Voters and local residents. Poll workers in Hinds County were instructed to ask for the numbers to help purge the voter rolls of inactive voters, but the County Election Commission failed to notify the public about the procedure. One poll worker when asked did not know why they were collecting the social security information. A District Commissioner had to go on local radio stations to stop poll workers from asking for the numbers. The Election Commission and the Circuit Clerk were inundated with phone calls from irate voters throughout the day and State Senator Henry Kirksey felt that it was a violation of the Voting Rights Act. ### Runoff election #### Campaign After the first round results, Democrat Wayne Dowdy faced Republican Liles Williams in a two-week runoff campaign. In late June, Williams had raised \$276,514 while Dowdy had only brought in \$115,691. Williams was seen as the favorite to win the runoff. Williams ran his campaign sticking closely to President Ronald Reagan's policies – the 4th district had backed Reagan in the 1980 presidential election. Dowdy opposed the Reagan administration's tax cuts, specifically citing its cuts to Social Security and education. Letters bearing Reagan's signature were sent to 85,000 of the district's Republicans to support Williams. President Reagan made a phone call that was piped through to a Republican rally. Addressing a cheering crowd, Reagan told Williams "We're waiting for you up here and need your help." Dowdy criticized Williams as a "rubber stamp" for President Reagan's policies, although Dowdy avoided directly criticizing Reagan himself throughout the campaign. Dowdy instead focused on local issues and couched criticism of Reagan through that lens. Another key point in the campaign was the Voting Rights Act of 1965, which Dowdy publicly supported keeping. Dowdy would talk about his support for the legislation in debates when pressed, and avoided talking about the issue in his television ads. However, in front of the African American community, Dowdy aggressively and publicly supported the Act. Medgar Evers's niece cut a radio ad for Dowdy targeting African Americans and invoked Martin Luther King Jr.'s legacy to vote Dowdy. Dowdy challenged Williams to a series of 12 Lincoln–Douglas-style debates across the 4th district, which the Williams campaign characterized as "grandstanding". The two eventually agreed to a televised debate on WAPT. In the final stretch of the campaign, Williams continued his fundraising advantage. The Clarion-Ledger and The Jackson Daily News both endorsed Williams in the closing stretch of the runoff. On Election Day, voters were generally not asked for their social security number as they had been in the primary, although some voters in Hinds County were still asked for their numbers. #### Results In what reporters considered an upset, Wayne Dowdy won a narrow election by just 912 votes. Election turnout went past 110,000 voters for one of the largest contemporary runoff turnouts nationwide. Dowdy won with a coalition of African Americans who supported his stance on the Voting Rights Act, along with rural white voters. Williams ran ads attacking labor unions, which helped drive rural white voters towards Dowdy. The Clarion-Ledger noted that rural and African American turnout was up past expectations, and felt this increase was responsible for Dowdy's win. Dowdy credited African American voters for his win, saying they were "very, very helpful". Speculation that some of Senator Ed Ellington's vote in Hinds County would shift to Williams in a runoff ended up not coming to fruition. Williams did not concede defeat on Election night and decided to wait until the results could be confirmed with full accuracy. He conceded defeat the next afternoon at a 2PM press conference once an arithmetically accurate count had been completed. Dowdy denied that his victory was a plebiscite on President Reagan's policies, saying that it was a "vote between two candidates" and pushed back on his race's national implications. Dowdy explained that their campaign went to "great lengths not to run against [President Reagan]." The Chairman of the Democratic Congressional Campaign Committee Tony Coelho called the victory a repudiation of "the idea of a Solid South for Reagan." Republicans publicly attributed Williams's loss to the challenges created by Hinson's scandals. The Washington Post reported, however, that Republicans in DC were concerned about the implications of losing a conservative House seat for the 1982 midterm elections. ## Aftermath Liles Williams announced his candidacy in 1982 to face Congressman Dowdy in a rematch from their special election matchup. Unlike in the special where Williams was the heavy favorite, Congressman Dowdy was viewed as the stronger contender for re-election while Reagan's numbers sagged nationally. Dowdy was able to fend off both Williams and an independent African American challenger and comfortably won re-election by over 11,000 votes. Dowdy continued to serve in the U.S. House of Representatives until he decided to run for the open U.S. Senate seat in 1988 and lost to Congressman Trent Lott.	[ "## Background", "### District and campaigns", "### Hinson scandal and resignation", "## Candidates", "### Democratic Party", "### Republican Party", "### Independent", "## General election", "### First round", "#### Campaign", "#### Results", "### Runoff election", "#### Campaign", "#### Results", "## Aftermath" ]	2,970	23,266
31,119,446	Pixel Force: Left 4 Dead	1,169,222,539	2010 video game	[ "2010 video games", "Action games", "English-language-only video games", "Fan games", "GameMaker Studio games", "Multiplayer and single-player video games", "Post-apocalyptic video games", "Video game demakes", "Video games about zombies", "Video games developed in the United States", "Windows games", "Windows-only games" ]	Pixel Force: Left 4 Dead is a fan-made, 8-bit-styled demake of Valve's 2008 first-person shooter game Left 4 Dead. It was developed by indie developer Eric Ruth Games and released as freeware on January 4, 2010. It was designer Eric Ruth's first attempt at an 8-bit demake, with the most difficult part for Ruth being the music composition due to Left 4 Dead's soundtrack depth and the limited audio that Ruth could work with. Pixel Force: Left 4 Dead allows players to control one or more of four survivors. It is an overhead shooter, similar to NES games Ikari Warriors and Fester's Quest. It was the first of the Pixel Force series, followed by Pixel Force: Halo and Pixel Force: DJ Hero. The trailer was the target of mostly positive reception, though the post-release reception was more positive, with Left 4 Dead's publisher Valve calling the idea behind it "hilarious". Ruth was praised for his ability to demake Left 4 Dead into a Nintendo Entertainment System-style video game. ## Gameplay Pixel Force: Left 4 Dead is based on the Valve game Left 4 Dead, which is a first-person shooter, while the Pixel Force demake is a top-down shooter. The game adapts all four maps as well as featuring the same cast of characters: Zoey, Bill, Louis, and Francis. These maps have five areas each. In addition to standard zombies, the game features zombies called the Special Infected. It features multiplayer for up to two players and two difficulty modes. Players are tasked with making it through these levels while killing infected that stand in their way. Along the way, they can upgrade their weaponry to make the task easier. ## Development Pixel Force: Left 4 Dead was developed by independent video game designer Eric Ruth under Eric Ruth Games. It was his first attempt at creating an 8-bit-styled remake of a previously existing title, regarding Left 4 Dead as a game he cherished. The idea of making an 8-bit remake of Left 4 Dead originally took form when he suggested to his friend the idea of remaking Left 4 Dead as a Nintendo Entertainment System (NES) game to his friend, who liked the idea. Ruth was the sole developer of the game, while friends provided quality assurance. While developing another game called Mean Kathleen and the Great Quack Machine, he began working on sprites for the four survivors and special infected from Left 4 Dead for fun. They turned out well enough that he decided to expand the sprites. The composition of the music was the most difficult part of the game's development for him, due to Valve's Left 4 Dead's composition, citing "heavy string sections, brass, digital choruses, and more". This made it difficult to adapt it to only four channels of sound, two square waves, a triangle wave, and a noise channel in order to reproduce the NES' sound limitations. Despite Left 4 Dead's four-player support, the Pixel Force version only has two-player support for technical reasons. Ruth also had to cut the Survivor and Versus modes from the original Left 4 Dead, along with some of the weapons. As of November 15, 2009, Ruth had completed one map — No Mercy — as well as most of the core game mechanics. The game was released on January 4, 2010, for Microsoft Windows. Pixel Force: Left 4 Dead started a series of fan-made retro game demakes of newer games under the Pixel Force label, followed by Pixel Force: DJ Hero and Pixel Force: Halo. A Pixel Force demake of the video game Psychonauts was considered. ## Reception Before its release, Pixel Force: Left 4 Dead received mostly reception for its trailers. In response to the first trailer, Kotaku writer Owen Good felt that the infected were too docile and the game seemed too easy. GameSpy writer Tyler Barber thought it was cute, though felt that a fast-paced action game like Robotron 2084 would fit Left 4 Dead better. However, he still intended to download it. Retronauts' Bob Mackey called it "impressive", noting that while the first trailer was disappointing, the more recent one showed its ambition. 1Up.com writer Chris Pereira also found it impressive due to it being made by only one person. Rock Paper Shotgun writer Alec Meer thought the game looked "lovely". Upon release, the game was met with positive reception, with Valve describing the idea behind the game as "hilarious". Destructoid writer Jonathan Holmes called it "pretty fun", comparing its play style to NES games Fester's Quest and Ikari Warriors. Fellow Destructoid writer Jordan Devore called it a "cool little project", though he wished zombies moved faster. The Escapist writer John Funk noted it as a good choice for fans of both zombie and retro games. Eurogamer writer Tom Bramwell felt it was worth it for its "cutesy" take on Left 4 Dead. GameSpot writer Marco Martinez did an indie spotlight on the game, calling it "fun", while The Escapist writer Marshall Lemon included it in their list of demake recommendations, praising it for how "faithful" it is. GamePro writer Dave Rudden, while not having played it, hoped that it would inspire more demakes.	[ "## Gameplay", "## Development", "## Reception" ]	1,101	31,618
1,180,131	USS Canonicus (1863)	1,162,411,322	1863 Canonicus-class monitor	[ "1863 ships", "American Civil War monitors of the United States", "Canonicus-class monitors", "Ships built in Boston", "Ships of the Union Navy" ]	USS Canonicus was a single-turret monitor built for the United States Navy during the American Civil War, the lead ship of her class. The ship spent most of her first year in service stationed up the James River, where she could support operations against Richmond and defend against a sortie by the Confederate ironclads of the James River Squadron. She engaged Confederate artillery batteries during the year and later participated in both attacks on Fort Fisher, defending the approaches to Wilmington, North Carolina, from December 1864 to January 1865. Canonicus was transferred to the South Atlantic Blockading Squadron at Charleston, South Carolina, after the capture of Fort Fisher in January, and helped to capture one blockade runner. She was sent to Havana, Cuba, to search for the Confederate ironclad CSS Stonewall and became one of the first ironclads to visit a foreign port. The ship was intermittently in commission from 1872 until she was permanently decommissioned in 1877. Canonicus was exhibited at the Jamestown Exposition of 1907, before she was sold for scrap the following year. ## Design The Canonicus class was an enlarged and improved version of the preceding Passaic class. They were 224 feet (68.3 m) long overall, had a beam of 43 feet 4 inches (13.2 m) and had a maximum draft of 13 feet 6 inches (4.1 m). Canonicus had a tonnage of 1,034 tons burthen and displaced 2,100 long tons (2,100 t). Her crew consisted of 100 officers and enlisted men. Canonicus was powered by a two-cylinder horizontal Ericsson vibrating-lever steam engine that drove one propeller using steam generated by two Stimers horizontal fire-tube boilers. The 320-indicated-horsepower (240 kW) engine gave the ship a top speed of 8 knots (15 km/h; 9.2 mph). She carried 140–150 long tons (140–150 t) of coal. Canonicus's main armament consisted of two smoothbore, muzzle-loading, 15-inch (381 mm) Dahlgren guns mounted in a single gun turret. Each gun weighed approximately 43,000 pounds (20,000 kg). They could fire a 350-pound (158.8 kg) shell up to a range of 2,100 yards (1,900 m) at an elevation of +7°. The exposed sides of the hull were protected by five layers of 1-inch (25 mm) wrought iron plates, backed by wood. The armor of the gun turret and the pilot house consisted of ten layers of one-inch plates. The ship's deck was protected by armor 1.5 inches (38 mm) thick. A 5-by-15-inch (130 by 380 mm) soft iron band was fitted around the base of the turret to prevent shells and fragments from jamming the turret as had happened during the First Battle of Charleston Harbor in April 1863. The base of the funnel was protected to a height of 6 feet (1.8 m) by 8 inches (200 mm) of armor. A "rifle screen" of 1⁄2-inch (13 mm) armor 3 feet (0.9 m) high was installed on the top of the turret to protect the crew against Confederate snipers based on a suggestion by Commander Tunis A. M. Craven, captain of her sister ship Tecumseh. ## Construction The contract for Canonicus, the first Navy ship to be named for the chief of the Narragansett Indians, was awarded to Harrison Loring; the ship was laid down in 1862, at their Boston, Massachusetts, shipyard. She was launched on 1 August 1863, and commissioned on 16 April 1864, with Commander E. G. Parrott, in command. The ship's construction was delayed by multiple changes ordered while she was being built that reflected battle experience with earlier monitors. This included the rebuilding of the turrets and pilot houses to increase their armor thickness from 8 inches (203 mm) to 10 inches, and to replace the bolts that secured their armor plates together with rivets, to prevent them from being knocked loose by the shock of impact from shells striking the turret. Other changes included deepening the hull by 18 inches (457 mm) to increase the ship's buoyancy, moving the position of the turret to balance the ship's trim, and replacing all of the ship's deck armor. As far as is known the ship was not modified after her completion. ## Service history Canonicus sailed from Boston, on 22 April 1864, and arrived at Newport News, Virginia, on 3 May, for service with the James River Flotilla. She reached the mouth of the Appomattox River, by 5 May. By 22 May, the ship was deployed with her sisters Saugus and Tecumseh on the James River, where they protected the transports of Major General Benjamin Butler's Army of the James, supplying the army as it operated on the south bank of the river during the Bermuda Hundred Campaign. On 21 June, Commander Craven, of Tecumseh, spotted a line of breastworks that the Confederates were building at Howlett's Farm, and his ship opened fire at the workers. The Confederates replied with a battery of four guns near the breastworks and Saugus and Canonicus joined in the bombardment. A half-hour later, Confederate ships near Dutch Gap joined in, but their fire was ineffective because they were firing blindly at the Union monitors. During the engagement Canonicus fired forty 15-inch shells and was hit twice by Confederate shells. One shell pierced the upper part of the funnel and the other struck the deck and ricocheted into the turret; no one was wounded or killed during the engagement. The ship dueled with Howlett's Battery on 5 and 6 December, firing 46 shells without being hit in return. The only damage sustained was from the muzzle blast of the right gun that forced the armor at the gun port out about one inch (25 mm) and broke a number of bolts. Reassigned to the North Atlantic Blockading Squadron, the monitor arrived at Beaufort, North Carolina, accompanied by the sidewheel gunboat Rhode Island, on 15 December 1864, and took part in the attacks on Fort Fisher, North Carolina. In the first engagement on 24–25 December, Canonicus anchored at ranges from 900–1,200 yd (820–1,100 m) and fired 144 rounds, Lieutenant Commander George Belknap claiming to have dismounted two Confederate guns. The ship was hit four times, but suffered no casualties and no significant damage. On 13–15 January 1865, during the second attack, Canonicus fired 279 shells at the fort, most on the first day, again claiming to have dismounted two guns. She was hit at least 38 times in return but was only lightly damaged, and three crewmen were wounded. The ship's flag was twice shot away and replaced each time by Quartermaster Daniel D. Stevens. Stevens was later awarded the Medal of Honor for his actions. On 17 January 1865, Canonicus, towed by the steam sloop-of-war Tuscarora, was ordered to join the South Atlantic Blockading Squadron and arrived at Charleston, on 19 January. The following month, Canonicus and the monitors Monadnock and Catskill captured a blockade runner that had run aground on Sullivan's Island, on the night of 18 February. The ship, towed by the steamer Fahkee, together with Monadnock and other ships steamed to Havana, Cuba, in late May, in search of CSS Stonewall and arrived there after the ship had been turned over to the Spanish authorities by her captain. The two monitors were the first American ironclads to arrive at a foreign port. They returned to the United States, on 6 June. Canonicus arrived at the Philadelphia Navy Yard, on 25 June 1869, and was decommissioned five days later. The ship was renamed Scylla on 15 June 1869, but resumed her former name on 10 August 1869. She was recommissioned on 22 January 1872, and cruised the coastal waters of the Atlantic and Gulf of Mexico whenever she was in commission. Canonicus was finally decommissioned in 1877, at Pensacola, Florida. The elderly monitor was towed to Hampton Roads, Virginia, in mid-1907, as an exhibit during the Jamestown Exposition as the last survivor of the Civil War monitors. Canonicus was sold for scrap on 19 February 1908.	[ "## Design", "## Construction", "## Service history" ]	1,836	25,743
25,746,710	Anderson Street station	1,164,045,519	NJ Transit rail station	[ "1869 establishments in New Jersey", "Demolished railway stations in the United States", "Former Erie Railroad stations", "Former National Register of Historic Places in New Jersey", "Hackensack, New Jersey", "NJ Transit Rail Operations stations", "Railway stations in Bergen County, New Jersey", "Railway stations in the United States opened in 1869" ]	Anderson Street is a New Jersey Transit rail station on the Pascack Valley Line. The station is one of two rail stations in Hackensack (the other being Essex Street) and located at Anderson Street near Linden Street. The station house was built in 1869 (and opened on September 9, 1869) by the Hackensack and New York Railroad on a track extension from Passaic Street in Hackensack. The station was turned over to the Erie Railroad in 1896 and New Jersey Transit in 1983. The next year, the station was listed on the National Register of Historic Places. The station building, which was 139 years old, was destroyed in a three-alarm fire and explosion at 5:55 a.m. on January 10, 2009. At the time, the station house was the second-oldest (active service) in New Jersey (second to Ramsey's Main Street station). The station building was also the site for the Green Caboose Thrift Shop, a charity gift shop maintained by a branch of the Hackensack University Medical Center from 1962 until the station depot burned in 2009. ## History ### Hackensack and New York Railroad The original alignment of the Anderson Street station dates back to the chartering of the Hackensack and New York Railroad in 1856 by David P. Patterson and other investors. Their intent in creating the rail line was to help maintain a steam-powered train line in the Pascack Valley and have future ambitions to build the system northward. Construction on the new 21-mile (34 km) long line began in 1866, with trains heading from New York City to the Passaic Street station in Hackensack. Although Hackensack was not a large hub, there were several rail lines serving the city, including the New Jersey Midland Line (now the New York, Susquehanna and Western Railroad) with stops at Main Street (at the Mercer Street intersection) and at Prospect Avenue. During the 1860s, service was extended to north, terminating at Essex Street. Residents from the Anderson Street area donated \$2,600 (1869 USD) to have a new station depot constructed along new tracks heading northward. Although most Hackensack and New York trains ended at Passaic Street, service was extended northward on September 5, 1869, when that stop was abandoned in replacement for Anderson Street. Just next year, service was extended northward on the Hackensack and New York Railroad Extension Railroad to Cherry Hill (now North Hackensack / New Bridge Landing) and onto Hillsdale. The Anderson Street Station had a wood siding with a shingled roof, two brick chimneys off the roof and two asphalt platforms in both directions. The station also had a garage door on the southern side of the building. No official style of architecture was mentioned for Anderson Street in the 1920 Final Engineering Report due to lack of design. Nearby, a wooden watchman's shanty was constructed near the team track. The station had two tracks run through it (one main track and a team track) and had a rail crossing between tracks. By 1870, the tracks had been extended northward to Hillsdale, and public service began on the line on March 4 of that year. Trains terminated at Hillsdale with fare of only \$0.75 (1870 USD), but just one year later, the extension northward. The service was extended northward to the community of Haverstraw, New York, and in 1896, the rail line was leased by the private company to the Erie Railroad. ### Erie Railroad station and restoration After the leasing of the New Jersey and New York Railroad to the Erie Railroad, the history of Anderson Street station remained rather quiet, with minor changes to the station building and site occurring over the next sixty years. The Erie had repainted the station to a common green and white Erie Railroad paint scheme. By 1964, there were new asphalt pavement platforms on both the northbound main track and the southbound team track, crossing gates had been installed and the paint scheme was fading to a darker green. By September 1966, the Erie Lackawanna (a merge of the Erie Railroad and Delaware, Lackawanna and Western) sold off the station building to become the site of the Green Caboose Thrift Shop, and repainted a teal green color. The nearby watchman's shanty, closed on Sundays, were repainted to tan and green with a red roof. The team track was also being dismantled by this point. Later, in 1972, the station experienced minor changes, with the Green Caboose Thrift Shop remaining in service the station building being repainted by the Erie Lackawanna a dark green (with the Erie Lackawanna's red doors). The nearby watchman's shanty was not repainted, remaining the railroad's common red color and the team track had been long removed, with no remains were noticeable. In 1976, the Erie Lackawanna was combined with several other railroads to create the Consolidated Rail Corporation, who continued maintenance of the New Jersey and New York Line for the next seven years, until the newly formed New Jersey Transit took over the station in 1983. On March 17, 1984, the station building, now 114 years old, was added to the New Jersey Register of Historic Places and by that June, the station was added to the National Register of Historic Places. The station building was restored in 2001 by contractors from Jablonski Building Conservation Incorporated in Midtown Manhattan, who had experience restoring train stations. The building conservation repainted the old station's wooden siding yellow and the bay windows to a brand new brown on the station's ground-level platform. ### Station building fire and explosion At approximately 5:55 a.m. on January 10, 2009, the station building for Anderson Street caught fire and ruptured two propane tanks, which caused the building to explode. Two nearby cars were damaged as well. The three-alarm fire destroyed the building, and caused damage to a nearby apartment complex. Twelve fire companies were called to battle the blaze, including fire stations from Teaneck, Ridgefield Park, Bogota and South Hackensack. Service on the Pascack Valley Line had to be stopped indefinitely until they could demolish the unsafe site of the former station building and inspect the area to allow train usage. Hackensack city manager Stephen Lo Iacono was notified of the fire and deemed it a "devastating loss for the community." At 11 a.m., city officials were digging up the area around the station to stop the gas line near the new station. The Green Caboose Thrift Shop, a charity gift shop run by a ladies auxiliary of the Hackensack University Medical Center which was housed in the station, received a major blow after the explosion, which destroyed all their merchandise. The Green Caboose has since moved to Orchard Street in Hackensack. On February 7, 2011 an application was filed to remove the destroyed structure from both the New Jersey and National Registers of Historic Places, to prevent a person from constructing a new station that would not be considered "historic". On May 18, 2011, the station was removed from the National Register and its listing with the 51 other stations in the original 1984 package. ### New train station In March 2013, construction began on a new station. The cost of the new station was \$571,061. The new building completed in 2014 has a waiting room with three walls and ticket machines. ## Station layout The Anderson Street station is located at the intersection with Anderson Street and Linden Avenue in Hackensack. The station has one track running through it, with one lone asphalt side platform appearing on the northbound side. The station has a nearby parking lot at the same intersection, with 50 parking spaces maintained by Park America (under lease from New Jersey Transit). Two of these 50 parking spaces are handicap accessible, although the station itself is not. These parking spots are permit-only, but are free to use on evenings and weekends. Tickets may be purchased at the station. There is nearby access to the 175 and 770 New Jersey Transit bus lines. ## See also - Operating Passenger Railroad Stations Thematic Resource (New Jersey) - National Register of Historic Places listings in Bergen County, New Jersey	[ "## History", "### Hackensack and New York Railroad", "### Erie Railroad station and restoration", "### Station building fire and explosion", "### New train station", "## Station layout", "## See also" ]	1,744	28,207
32,710,403	Sitti Nurbaya	1,065,917,862	Book by Marah Roesli	[ "1922 debut novels", "1922 novels", "Balai Pustaka books", "Indonesian romance novels", "Novels adapted into television shows", "Novels set in Indonesia" ]	Sitti Nurbaya: Kasih Tak Sampai (Sitti Nurbaya: Unrealized Love, often abbreviated Sitti Nurbaya or Siti Nurbaya; original spelling Sitti Noerbaja) is an Indonesian novel by Marah Rusli. It was published by Balai Pustaka, the state-owned publisher and literary bureau of the Dutch East Indies, in 1922. The author was influenced by the cultures of the west Sumatran Minangkabau and the Dutch colonials, who had controlled Indonesia in various forms since the 17th century. Another influence may have been a negative experience within the author's family; after he had chosen a Sundanese woman to be his wife, Rusli's family brought him back to Padang and forced him to marry a Minangkabau woman chosen for him. Sitti Nurbaya tells the story of two teenage lovers, Samsul bahri and Sitti Nurbaya, who wish to be together but are separated after Samsul bahri is forced to go to Batavia. Not long afterwards, Nurbaya unhappily offers herself to marry the abusive and rich Datuk Meringgih as a way for her father to escape debt; she is later killed by Meringgih. It ends with Samsulbahri, now a member of the Dutch colonial army, killing Datuk Meringgih during an uprising and then dying from his wounds. Written in formal Malay and including traditional Minangkabau storytelling techniques such as pantuns, Sitti Nurbaya touches on the themes of colonialism, forced marriage, and modernity. Well-received upon publication, Sitti Nurbaya continues to be taught in Indonesian high schools. It has been compared to Romeo and Juliet and the Butterfly Lovers. ## Writing Sitti Nurbaya was written by Marah Rusli, a Dutch-educated Minangkabau from a noble background with a degree in veterinary science. His Dutch education led him to become Europeanized. He abandoned some Minangkabau traditions, but not his view of the subordinate role of women in society. According to Bakri Siregar, an Indonesian socialist literary critic, Rusli's Europeanisation affected how he described Dutch culture in Sitti Nurbaya, as well a scene where the two protagonists kiss. A. Teeuw, a Dutch critic of Indonesian literature and lecturer at the University of Indonesia, notes that the use of pantuns (a Malay poetic form) shows that Rusli was heavily influenced by Minangkabau oral literary tradition, while the extended dialogues show influence from the tradition of musyawarah (in-depth discussions by a community to reach an agreement). Indonesian critic Zuber Usman credits another, more personal, experience as influencing Rusli in writing Sitti Nurbaya and his positive view of European culture and modernity. After expressing interest in choosing a Sundanese woman to become his wife, which "caused an uproar among his family", Rusli was told by his parents to return to his hometown and marry a Minangkabau woman chosen by them; this caused conflict between Rusli and his family. ## Plot In Padang in the early 20th century Dutch East Indies, Samsulbahri and Sitti Nurbaya–children of rich noblemen Sutan Mahmud Syah and Baginda Sulaiman–are teenage neighbours, classmates, and childhood friends. They begin to fall in love, but they are only able to admit it after Samsu tells Nurbaya that he will be going to Batavia (Jakarta) to study. After spending the afternoon at a nearby hillside, Samsu and Nurbaya kiss on her front porch. When they are caught by Nurbaya's father and the neighbours, Samsu is chased out of Padang and goes to Batavia. Meanwhile, Datuk Meringgih, jealous of Sulaiman's wealth and worried about the business competition, plans to bankrupt him. Meringgih's men destroy Sulaiman's holdings, driving him to bankruptcy and forcing him to borrow money from Meringgih. When Meringgih tries to collect, Nurbaya offers to become his wife if he will forgive her father's debt; Datuk Meringgih accepts. Writing to Samsu, Nurbaya tells him that they can never be together. However, after surviving Meringgih's increasingly violent outbursts, she runs away to Batavia to be with Samsu. They fall in love again. Upon receiving a letter regarding her father's death, Nurbaya hurries back to Padang, where she dies after unwittingly eating a lemang rice cake poisoned by Meringgih's men on his orders. Receiving news of her death by letter, Samsu seemingly commits suicide. Ten years later, Meringgih leads an uprising against the Dutch colonial government to protest a recent tax increase. During the uprising, Samsu (now a soldier for the Dutch) meets Meringgih and kills him, but is mortally wounded himself. After meeting with his father and asking for forgiveness, he dies and is buried next to Nurbaya. ## Characters Sitti Nurbaya Sitti Nurbaya (sometimes spelled Siti Nurbaya; abbreviated Nurbaya) is the title character and one of the main protagonists. Indonesian short-story writer and literary critic Muhammad Balfas describes her as a character who is capable of making her own decisions, indicated by her decision to marry Datuk Meringgih when he threatens her father, willingness to take control with Samsulbahri, and dismissal of Datuk Meringgih after the death of her father. She is also independent enough to move to Batavia to look for Samsulbahri on her own. Her actions are seen as being heavily against adat—the strong Indonesian cultural norms—and this eventually leads to her being poisoned. Her beauty, to the point that she is called "the flower of Padang", is seen as a physical manifestation of her moral and kind nature. Samsulbahri Samsulbahri (sometimes spelled Sjamsulbahri; abbreviated Samsu) is the primary male protagonist. He is described as having skin the colour of langsat, with eyes as black as ink; however, from afar he can be confused with a Dutchman. These physical attributes have been described by Keith Foulcher, a lecturer of Indonesian language and literature at the University of Sydney, as indicating Samsu's mimicry and collaborationist nature. His good looks are also seen as a physical manifestation of his moral and kind nature. Datuk Meringgih Datuk Meringgih is the primary antagonist of the story. He is a trader who originated from a poor family, and became rich as a result of shady business dealings. Indonesian writer and literary critic M. Balfas described Meringgih's main motivations as greed and jealousy, being unable to "tolerate that there should be anyone wealthier than he". Balfas writes that Datuk Meringgih is a character that is "drawn in black and white, but strong enough to create serious conflicts around him." He later becomes the "champion of anti-colonist resistance", fuelled only by his own greed; Foulcher argues that it is unlikely that Datuk Meringgih's actions were an attempt by Rusli to insert anti-Dutch commentary. ## Style According to Bakri Siregar, the diction in Sitti Nurbaya does not reflect Marah Rusli's personal style, but a "Balai Pustaka style" of formal Malay, as required by the state-owned publisher. As a result, Rusli's orally-influenced story telling technique, often wandering from the plot to describe something "at the whim of the author", comes across as "lacking". Sitti Nurbaya includes pantuns (Malay poetic forms) and "clichéd descriptions", although not as many as contemporary Minangkabau works. The pantuns are used by Nurbaya and Samsul in expressing their feelings for each other, such as the pantun Its main messages are presented through debates between characters with a moral dichotomy, to show alternatives to the author's position and "thereby present a reasoned case for [its] validation". However, the "correct" (author's) point of view is indicated by the social and moral standing of the character presenting the argument. ## Themes Sitti Nurbaya is generally seen as having an anti-forced marriage theme or illustrating the conflict between Eastern and Western values. It has also been described as "a monument to the struggle of forward-thinking youth" against Minangkabau adat. However, Balfas writes that it is unjust to consider Sitti Nurbaya as only another forced marriage story, as the marriage of Nurbaya and Samsu would have been accepted by society. He instead writes that Sitti Nurbaya contrasts Western and traditional views of marriage, criticising the traditionally accepted dowry and polygamy. ## Reception Rusli's family was not pleased with the novel; his father condemned him in a letter, as a result of which Rusli never returned to Padang. His later novel, Anak dan Kemenakan (1958) was even more critical of older generation's inflexibility. Until at least 1930, Sitti Nurbaya was one of Balai Pustaka's most popular works, often being borrowed from lending libraries. After Indonesia's independence, Sitti Nurbaya was taught as a classic of Indonesian literature; this has led to it being "read more often in brief synopsis than as an original text by generation after generation of Indonesian high school students". As of 2008, it has seen 44 printings. Sitti Nurbaya is generally considered one of the most important works of Indonesian literature, with its love story being compared to William Shakespeare's Romeo and Juliet and the Chinese legend of the Butterfly Lovers. Some Western critics, including Dutch critic A. Teeuw and writer A. H. Johns, consider it to be the first true Indonesian novel, as opposed to Azab dan Sengsara, which was less developed in its theme of forced marriage and the negative aspects of adat. Teeuw wrote that the moral messages and sentimentality in Sitti Nurbaya are overdone, similar to Azab dan Sengsara. However, he considers the plot of Sitti Nurbaya more interesting for a reader from a Western background than the older novel. Siregar wrote that Rusli "in many things acts as a dalang", or puppet master, occasionally removing the characters in order to speak directly to the reader, making the message too one-sided. He considered the plot to be forced in places, as if the author were preventing the story from flowing naturally. He considered Rusli a mouthpiece of the Dutch colonial government, who had controlled Indonesia since the early 17th century, for making Samsul, "the most sympathetic character", a member of the Dutch forces and Datuk Meringgih, "the most antipathetic character", the leader of Indonesian revolutionary forces, as well as for Rusli's antipathy to Islam in the novel. Sitti Nurbaya inspired numerous authors, including Nur Sutan Iskandar, who stated that he wrote Apa Dayaku Karena Aku Perempuan (What Am I to Do Because I Am a Girl, 1924) as a direct result of reading it; Iskandar later wrote Cinta yang Membawa Maut (Love that Brings Death, 1926), which deals with the same themes. The Sitti Nurbaya storyline has often been reused, to the point that Balfas has referred to similar plots as following "the 'Sitti Nurbaya' formula". ## Adaptations Sitti Nurbaya has been translated into numerous languages, including Malaysian in 1963. It has been adapted into a sinetron (soap opera) twice. The first, in 1991, was directed by Dedi Setiadi, and starred Novia Kolopaking in the leading role, Gusti Randa as Samsulbahri, and HIM Damsyik as Datuk Meringgih. The second, starting in December 2004, was produced by MD Entertainment and broadcast on Trans TV. Directed by Encep Masduki and starring Nia Ramadhani as the title character, Ser Yozha Reza as Samsulbahri, and Anwar Fuady as Datuk Meringgih, the series introduced a new character as a competitor for Samsul's affections. In 2009, Sitti Nurbaya was one of eight classics of Indonesian literature chosen by Taufik Ismail to be reprinted in a special Indonesian Cultural Heritage Series edition; Sitti Nurbaya featured a West Sumatran-style woven cloth cover. Actress Happy Salma was chosen as its celebrity icon. In 2011, Sitti Nurbaya was translated into English by George A Fowler and published by the Lontar Foundation.	[ "## Writing", "## Plot", "## Characters", "## Style", "## Themes", "## Reception", "## Adaptations" ]	2,747	10,854
214,484	White wagtail	1,170,031,033	Species of bird	[ "Articles containing video clips", "Birds described in 1758", "Birds of Japan", "Holarctic birds", "Motacilla", "National symbols of Latvia", "Taxa named by Carl Linnaeus", "Taxobox binomials not recognized by IUCN" ]	The white wagtail (Motacilla alba) is a small passerine bird in the family Motacillidae, which also includes pipits and longclaws. The species breeds in much of Europe and the Asian Palearctic and parts of North Africa. It has a toehold in Alaska as a scarce breeder. It is resident in the mildest parts of its range, but otherwise migrates to Africa. In Ireland and Great Britain, the darker subspecies, the pied wagtail or water wagtail (M. a. yarrellii) predominates; this is also called in Ireland willie wagtail, not to be confused with the Australian species Rhipidura leucophrys which bears the same common name. In total, there are between 9 and 11 subspecies of M. alba. The white wagtail is an insectivorous bird of open country, often near habitation and water. It prefers bare areas for feeding, where it can see and pursue its prey. In urban areas it has adapted to foraging on paved areas such as car parks. It nests in crevices in stone walls and similar natural and human-made structures. It is the national bird of Latvia and has featured on the stamps of several countries. Though it is 'of least concern', there are several threats against it, like being kept as pets and being used as food. ## Taxonomy and systematics The white wagtail was one of the many species originally described by Carl Linnaeus in his landmark 1758 10th edition of Systema Naturae, and it still bears its original name Motacilla alba. The Latin genus name originally meant "little mover", but certain medieval writers thought it meant "wag-tail", giving rise to a new Latin word cilla for "tail". The specific epithet alba is Latin for "white". Within the wagtail genus Motacilla, the white wagtail's closest genetic relatives appear to be other black-and-white wagtails such as the Japanese wagtail, Motacilla grandis, and the white-browed wagtail, Motacilla madaraspatensis (and possibly the Mekong wagtail, Motacilla samveasnae, the phylogenetic position of which is mysterious), with which it appears to form a superspecies. However, mtDNA cytochrome b and NADH dehydrogenase subunit 2 sequence data suggests that the white wagtail is itself polyphyletic or paraphyletic (i.e. the species is not itself a single coherent grouping). Other phylogenetic studies using mtDNA still suggest that there is considerable gene flow within the races and the resulting closeness makes Motacilla alba a single species. A study has suggested the existence of only two groups: the alboides group, with M. a. alboides, M. a. leucopsis and M. a. personata; and the alba group, with M. a. alba, M. a. yarrellii, M. a. baicalensis, M. a. ocularis, M. a. lugens, and M. a. subpersonata. ## Description The white wagtail is a slender bird, 16.5 to 19 cm (6.5 to 7.5 in) in length (East Asian subspecies are longer, measuring up to 21 cm (8.3 in)), with the characteristic long, constantly wagging tail of its genus. Its average weight is 25 g (0.88 oz) and the maximum lifespan in the wild is about 12 years. There are a number of other subspecies, some of which may have arisen because of partial geographical isolation, such as the resident British and Irish form, the pied wagtail M. a. yarrellii, which now also breeds in adjacent areas of the neighbouring European mainland. The pied wagtail, named for naturalist William Yarrell, exchanges the grey colour of the nominate form with black (or very dark grey in females), but is otherwise identical in its behaviour. Other subspecies, the validity of some of which is questionable, differ in the colour of the wings, back, and head, or other features. Some races show sexual dimorphism during the breeding season. As many as six subspecies may be present in the wintering ground in India or Southeast Asia and here they can be difficult to distinguish. Phylogenetic studies using mtDNA suggest that some morphological features have evolved more than once, including the back and chin colour. Breeding M. a. yarrellii look much like the nominate race except for the black back, and M. a. alboides of the Himalayas differs from the Central Asian M. a. personata only by its black back. M. a. personata has been recorded breeding in the Siddar Valley of Kashmir of the Western Himalayas. It has also been noted that both back and chin change colour during the pre-basic moult; all black-throated subspecies develop white chins and throats in winter and some black-backed birds are grey-backed in winter. The call of the white wagtail is a sharp chisick, slightly softer than the version given by the pied wagtail. The song is more regular in white than pied, but with little territorial significance, since the male uses a series of contact calls to attract the female. ### Subspecies Nine or eleven subspecies are currently recognised. This is because the black backed wagtail may be a separate species and M. a. dukhunensis may be part of M. a. alba. Information on the plumage differences and distribution of the subspecies of the white wagtail is shown below. The British subspecies Motacilla alba yarellii was named after William Yarrell (1784-1856), the writer of the History of British Birds (first ed. 1843). ## Distribution and habitat This species breeds throughout Eurasia up to latitudes 75°N, only being absent in the Arctic from areas where the July isotherm is less than 4 °C. It also breeds in the mountains of Morocco and western Alaska. It occupies a wide range of habitats, but is absent from deserts. White wagtails are residents in the milder parts of its range such as western Europe and the Mediterranean, but migratory in much of the rest of its range. Northern European breeders winter around the Mediterranean and in tropical and subtropical Africa, and Asiatic birds move to the Middle East, India, and Southeast Asia. Birds from the North American population also winter in tropical Asia. ## Behaviour and ecology The most conspicuous habit of this species is a near-constant tail wagging, a trait that has given the species, and indeed the genus, its common name. In spite of the ubiquity of this behaviour, the reasons for it are poorly understood. It has been suggested that it may flush prey, or signal submissiveness to other wagtails. A study in 2004 has suggested instead that it is a signal of vigilance to potential predators. ### Diet and feeding The exact composition of the diet of white wagtails varies by location, but terrestrial and aquatic insects and other small invertebrates form the major part of the diet. These range from beetles, dragonflies, small snails, spiders, worms, crustaceans, to maggots found in carcasses and, most importantly, flies. Small fish fry have also been recorded in the diet. The white wagtail is somewhat unusual in the parts of its range where it is non-migratory as it is an insectivorous bird that continues to feed on insects during the winter (most other insectivorous birds in temperate climates migrate or switch to more vegetable matter). ### Breeding White wagtails are monogamous and defend breeding territories. The breeding season for most is from April to August, with the season starting later further north. Both sexes are responsible for building the nest, with the male responsible for initiating the nest building and the female for finishing the process. For second broods in the subspecies personata the female alone builds the nest, which is a rough cup assembled from twigs, grass, leaves and other plant matter, as the male is still provisioning the young. It is lined with soft materials, including animal hair. The nest is set into a crevice or hole—traditionally in a bank next to a river or ditch—but the species has also adapted to nesting in walls, bridges and buildings. One nest was found in the skull of a walrus. White wagtails will nest in association with other animals: particularly, where available, the dams of beavers and also inside the nests of golden eagles. Around three to eight eggs are laid, with the usual number being four to six. The eggs are cream-coloured, often with a faint bluish-green or turquoise tint, and heavily spotted with reddish brown; they measure, on average, 21 mm × 15 mm (0.83 in × 0.59 in). Both parents incubate the eggs, although the female generally does so for longer and incubates at night. The eggs begin to hatch after 12 days (sometimes as late as 16 days). Both parents feed the chicks until they fledge after between 12 and 15 days, and the chicks are fed for another week after fledging. Though it is known to be a host species for the common cuckoo, the white wagtail typically deserts its nest if it has been parasitised. Moksnes et al. theorised that this occurs because the wagtail is too small to push the intruding egg out of the nest, and too short-billed to destroy the egg by puncturing it. ## Status This species has a large range, with an estimated extent of more than 10 million square kilometres (3.9 million square miles). The population size is between 130 and 230 million. Population trends have not been quantified, but the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated to be of least concern. The population in Europe appears to be stable. The species has adapted well to human changes to the environment and has exploited human changes such as human-made structures that are used for nesting sites and increased open areas that are used for foraging. In a number of cities, notably Dublin, large flocks gather in winter to roost. They are therefore rated as of least concern. However, they are caught for sport and often then placed into collections. They are also kept as pets and eaten as food. Climate change may be affecting the time of their migration. ## In culture They have featured on stamps from Bahrain, Belarus, Belgium, Finland, Georgia, Hong Kong, Hungary, Iceland, Iran, Ireland, Israel, Jersey, Kuwait, Latvia, Norway, Poland, the United Kingdom and Vietnam. The white wagtail is the national bird of Latvia, and has been often mentioned in Latvian folk songs.	[ "## Taxonomy and systematics", "## Description", "### Subspecies", "## Distribution and habitat", "## Behaviour and ecology", "### Diet and feeding", "### Breeding", "## Status", "## In culture" ]	2,310	17,235
47,235,054	Henry Dewar (rugby union)	1,085,680,160	New Zealand rugby union footballer	[ "1883 births", "1915 deaths", "Deaths in Turkey", "New Zealand Army soldiers", "New Zealand Military Forces personnel of World War I", "New Zealand international rugby union players", "New Zealand military personnel killed in World War I", "New Zealand rugby union players", "People from Foxton, New Zealand", "Rugby union flankers", "Rugby union hookers", "Rugby union players from Manawatū-Whanganui", "Taranaki rugby union players", "Wellington rugby union players" ]	Henry "Norkey" Dewar (13 October 1883 – 9 August 1915) was a New Zealand rugby union forward, who played for the All Blacks, and represented Taranaki and Wellington provinces. Playing for the Melrose Club in Wellington, he was selected in 1908 for the provincial team that played and defeated the Anglo-Welsh team on tour in New Zealand. After moving to Taranaki in 1910, he was soon selected to represent the province. Coming close to winning the Ranfurly Shield in 1912, a subsequent challenge the following year was successful against the longtime holders Auckland. He earned selection to the North Island team for the annual Inter-Island match and thereafter was picked to play for the All Blacks, first to play Australia and then for the tour of North America, in which he played 14 of the 16 games, including the 51–3 defeat of the All America team. Soon after the British Empire declared war on Germany on 5 August 1914, Dewar signed up to the New Zealand Expeditionary Force, and took part in the expedition to occupy German Samoa, departing the day after he played for Taranaki defending a challenge from Wairarapa. On his return, he volunteered again for active service and enlisted in the Wellington Mounted Rifles, joining the machine gun section. After promotion to sergeant, he departed in October for Egypt. There, he captained his regiment's rugby team in matches against other New Zealand and Australian regiments. He landed at Anzac Cove on 8 August 1915 and participated in the action to capture Chunuk Bair in the Gallipoli Campaign. The following day he was killed in action. ## Early life Henry Dewar, born 13 October 1883 in Foxton, New Zealand, was the son of Alexander and Lydia Dewar. He spent most of his early years in Wellington until moving to Taranaki in 1910 where he worked as an iron moulder for B. Harkness of Stratford. ## Rugby career Dewar first played for the Melrose Club in Wellington and was selected for Wellington province in 1907. In 1908, he was a member of the Wellington team that defeated the touring Anglo-Welsh 19–13 on 27 May. The visitors played much of the game with fourteen players, only six forwards, after an injury in the first half: the captains, before the game, had agreed that there would be no substitutions for injury. Dewar and Rush, in particular, as well as Harding and Cracroft Wilson, bore the "heat and burden of a truly Homeric struggle." Later in the year, on 15 August, he took part in a Ranfurly Shield challenge, which resulted in a heavy 24–3 defeat for Wellington at the hands of Auckland. The challengers, away to Auckland, were the underdogs but it was expected to be a close game, and at half-time Auckland were just leading by a conversion, 5–3. In the second half, Auckland's forwards imposed themselves on Wellington, who struggled to maintain the pace and were unable to respond to Auckland's scoring. Dewar moved to Taranaki in 1910, where he played his club rugby for Stratford; he captained the team in 1913. He was first selected for Taranaki that year and continued to represent the club until the outbreak of the First World War. In 1912, Taranaki, with Dewar in the team, came close to winning the Ranfurly Shield from Auckland, losing 6–5. In front of a 12,000-spectator home crowd, Auckland dominated in the first half, scoring six points through a try and a penalty kick. The second half saw Taranaki's forwards take control for long periods, resulting in a converted try, but despite ongoing attacks, the visitors were unable to add to their score and lost by just one point. ### 1913 Season 1913 saw Dewar's best season. His provincial form saw him selected for the North Island in the annual Inter-Island match, having been nominated for inclusion the previous year but not selected. In the event, the North was beaten 25–0. He was then part of the Taranaki team that ended Auckland's long tenure of the Ranfurly Shield, in a game described as "the finest match... and the most exciting... ever witnessed in the history of the Ranfurly Shield". Taranaki controlled the first half, with the forwards stronger than their opponents in every aspect, scoring the first points. The visitors' lead of 0–3, however, changed to a half-time score of 5–3 in Auckland's favour after an injury temporarily reduced the opposition to fourteen men. Soon after the break, Taranaki took the lead through a try, and then a second — scored by Dewar, who was continuously "in the thick of it" — took them four points ahead, 5–9. The home side responded with two tries of their own to take back a two-point lead. Towards the end of the game, Taranaki scored one more try, which was converted and gave them a 14–11 victory to win the Shield for the first time: Auckland was the first team to be awarded the Shield in 1902 and, after Wellington won it in 1904, regained it and held on to it continuously from 1906. He also played in the Taranaki side that was only narrowly beaten by the touring Australians in 1913. His form in these games earned him a place with the All Blacks. On 6 September 1913, he played in the 30–5 first test win over Australia at Athletic Park: Albert Downing and George Sellars played alongside him and were also later killed in action in the First World War. Dewar was then selected, along with four other Taranaki players, for the tour of North America, playing in 14 of the 16 games, including the 51–3 victory over the All America team for his second test cap. He received particular mention in the test match for a cunning dummy pass to Downing on his right, drawing the defence and passing to five-eighths McKenzie on his left to run in for a try. He scored just one try. There was little interest in the American press about the tour. A single short paragraph in the New-York Tribune reports on the 51–3 defeat of the USA team on 15 November. In 1914, Dewar participated in Taranaki's defence of the Shield against Wellington on 24 June, winning 14–10; Wanganui, on 27 June, winning 17–3; Manawatu, on 23 July, winning 11–3, with Dewar "prominent"; Horowhenua; and Wairarapa, on 14 August, winning 22–3. Within days of this last game, a number of Taranaki's players, including Dewar, left to join the New Zealand Expeditionary Force: "a brilliant forward... who would almost certainly have gone to Australia this season [on the All Blacks tour] if he had been available for selection". Although defeating Canterbury on 20 August, Taranaki's pack was particularly weakened by Dewar's absence, and only managed to win 6–5 with a last minute try. Against a second challenge from Wellington on 10 September, the conspicuous absence of this "fine leader of forwards" contributed to the loss of the Shield. His obituary in The Sun described him as "one of the best forwards in the New Zealand team which visited California... he was fast and very clever, and always gave of his best. He was a good all-round athlete — an excellent boxer and no mean cricketer." ### International appearances ## Military career Dewar enlisted early, joining the New Zealand Expeditionary Force leaving on 15 August 1914 for German Samoa. On his return he volunteered again, joining the 9th Wellington Mounted Rifles as a machine gunner and was based at Awapuni Racecourse, Palmerston North; he was promoted quickly to sergeant. On 16 October 1914, after training, Dewar embarked on the Orari at Wellington en route for Egypt. There, Dewar captained the Wellington Mounted Rifles rugby team in several matches against other regiments — beating the First Australian Light Horse, the Canterbury Mounted Rifles, and the Auckland Mounted Rifles — before his regiment landed on 8 August 1915 at Anzac Cove, Gallipoli. Twenty-four hours later, on 9 August 1915, Dewar lost his life in the assault on Chunuk Bair — Albert Downing was killed in the same action, the first All Black to be killed in the war. Sergeant Henry Dewar is commemorated on the Chunuk Bair (NZ) Memorial Turkey (Panel 4). His mother, sister and brother published these words in memoriam: > Our thoughts they ever wander to a soldier's honoured grave, > Never will we forget the noble sacrifice you made; > For our hearts arc still united in that same fond love for you, > And loving thoughts are cherished of one so brave and true. > > Your cheery, sunny countenance will not from memory fade, > For we see you in the photo, in the home you died to save; > And when our hearts are sore for you we seem to hear you say, > Break not your heart, dear mother, we will meet on that Eternal Day. > > So widely known; so highly esteemed.	[ "## Early life", "## Rugby career", "### 1913 Season", "### International appearances", "## Military career" ]	1,993	36,769
2,715,037	Girly Edition	1,168,898,490	null	[ "1998 American television episodes", "Fictional television shows", "The Simpsons (season 9) episodes" ]	"Girly Edition" is the twenty-first episode in the ninth season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on April 19, 1998. In the episode, Lisa and Bart Simpson must co-anchor a new news program, though when Bart is seen as a more successful news anchor, Lisa becomes jealous and seeks revenge. Meanwhile, in the subplot, Homer Simpson gets a monkey helper because of his laziness. "Girly Edition" was the first episode written by Larry Doyle and was directed by Mark Kirkland. Much of the subplot was inspired by the film Monkey Shines. Critics gave the episode positive reviews and it is also one of Yeardley Smith's favorite episodes of the series. ## Plot After Groundskeeper Willie takes away Bart's skateboard for destroying his leaf pile, Bart fills up Willie's shack with creamed corn as he is sleeping, destroying it. As Willie is taken away for medical attention, he swears revenge on Bart. Meanwhile, Krusty the Clown's show comes under criticism by the Federal Communications Commission for not being educational enough for children. The Channel 6 executive proposes that Krusty cut 10 minutes from his show to make room for a kids' news program, Kidz Newz, where children deliver and report news items. Lisa is recruited as a news anchor along with other Springfield Elementary School children. Bart is not chosen at first, but is made sportscaster after he complains to Marge. Lisa is deemed to be boring by the channel's staff, though they are impressed by Bart's performance. Bart is then promoted to be the co-anchor, causing Lisa to become jealous and resentful. After Bart hears Lisa talking behind his back, he seeks advice from Kent Brockman, who teaches him about the power of human interest stories. Bart becomes successful after creating a segment called "Bart's People", which Lisa disapproves of due to its sappy, emotionally manipulative content. She attempts to copy the segment, but is twice hampered by the Crazy Cat Lady. In a plot to expose Bart's insincerity, she writes and sends a letter, purportedly from an immigrant living in a junkyard who wants to be featured as one of Bart's People. Bart rushes to the city dump to do a live broadcast but is attacked by Willie, who has been living there since his shack was destroyed. Feeling guilty for putting Bart in danger, Lisa hurries to the dump and saves him by using some of his own methods to appeal to Willie's emotions. Bart and Lisa decide to combine their talents in order to get children to really care about the news, only to have Kidz Newz canceled immediately afterward and replaced by a cartoon show intended to sell candy and toys. Meanwhile, Homer discovers that Apu has been wounded in a robbery at the Kwik-E-Mart and has obtained a helper monkey to assist in running the store while he recovers. Homer gets a monkey of his own named Mojo to help around the house, but Mojo instead picks up Homer's bad habits and becomes lazy and overweight. At Marge's insistence, Homer returns Mojo to the agency that provided him. ## Production "Girly Edition" was the first episode Larry Doyle wrote for the show. He conceived both the main plot and the subplot. The subplot about Mojo was inspired by the film Monkey Shines; show runner Mike Scully asked the staff to consult the film for reference when they were making the episode. The animators also studied the behavior of monkeys from other resources, looking at their movements and how they interact with humans. Eric Stefani, a former animator for the show who had left and now was part of the band No Doubt, was called back by episode director Mark Kirkland to animate the scenes with Homer and Mojo. This was the final work Stefani did for The Simpsons. At the end of the episode, an incapacitated Mojo is only able to type "Pray for Mojo" into a computer; this line was written by George Meyer, who cited it as his favorite personal contribution to The Simpsons. Recurring character the Crazy Cat Lady was introduced in this episode. ## Analysis In his book Watching with The Simpsons: Television, Parody, and Intertextuality, Jonathan Gray analyses a scene from the episode in which it is announced that Kidz News has been replaced by the children's cartoon The Mattel and Mars Bar Quick Energy Chocobot Hour (a reference to the Mattel toys and the Mars chocolate bar). He says this mocks "how many children's programs have become little more than the ad to the merchandise". Gray also writes that The Simpsons "illustrates how the ad as genre has itself already invaded many, if not all, genres. Ads and marketing do not limit themselves to the space between programs; rather, they are themselves textual invaders, and part of The Simpsons' parodic attack on ads involves revealing their hiding places in other texts." A real-life journalist named Reid, who Gray interviewed for his book, states that "Girly Edition" mirrors well how some journalists actually work. She said the episode shows "the ludicrous nature of, you know, what we do in a lot of things. The kids news with Bart and Lisa: I mean, you see them do really stupid stories about the news, and 'news you can use,' and 'how to get rid of your sheets when you wet them.' I mean, people really do stories like that." Steven Keslowitz writes in his book The World According to the Simpsons that the episode showcases the fact that "the viewing of attractive newscasters and the use of persuasive tones of voice often do have an impact on the minds of many intelligent members of American society." ## Reception The episode originally aired on the Fox network in the United States on April 19, 1998. It finished 26th in the ratings for the week of April 13–19, 1998, with a Nielsen rating of 8.7, translating to around 8.5 million viewing households. The episode was the third highest rated show on Fox that week, following The X-Files and King of the Hill. "Girly Edition" was well received by 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, thought well of the episode, calling it "a great episode, full of more than the normal quota of good jokes", adding, "best of all is Lisa's revenge on Bart, and the mad cat-lady who goes around chucking her cats at people." Ryan Keefer of DVD Verdict gave the episode a B rating and stated that he enjoyed the subplot with Mojo more than the main plot. Colin Jacobson of DVD Movie Guide commented that "Girly Edition" takes "a clever concept and turns into something more than expected as it digs into the usual Bart/Lisa rivalry. I’m not quite sure why Bart reacts so sadly to Lisa’s comments about his stupidity when 'Lisa the Simpson' just delved into the dumbness of the male Simpsons. There’s enough to like here to make the episode fun, though." This episode is one of Yeardley Smith's favorite episodes. She says, "I don't actually remember a lot of the episodes because they all blend in together for me, and I don't have a really good memory anyway, but I do remember this one and thinking that it was terrific."	[ "## Plot", "## Production", "## Analysis", "## Reception" ]	1,525	4,070
37,405,755	Lenox Library (New York City)	1,171,050,725	Library in New York City	[ "Buildings and structures demolished in 1912", "Demolished buildings and structures in Manhattan", "Fifth Avenue", "Libraries established in 1870", "Libraries in Manhattan", "New York Public Library" ]	The Lenox Library was a library incorporated and endowed in 1870. It was both an architectural and intellectual landmark in Gilded Age–era New York City. It was founded by bibliophile and philanthropist James Lenox, and located on Fifth Avenue between 70th and 71st Streets on the Upper East Side of Manhattan. Renowned architect Richard Morris Hunt designed the building, which was considered one of the city's most notable buildings, until its destruction in 1912. The library's collection was unsurpassed in its collection of Bibles, and included the first Gutenberg Bible to cross the Atlantic. It was also known for its collection of Shakespeare, Milton, and early American literature. The library became a part of the founding collection of the New York Public Library (NYPL) in 1895, and opened to the public as part of the NYPL's Main Branch in 1911. ## Early history The Lenox Library began as the personal collection of James Lenox, and was housed in his home at 53 Fifth Avenue, on the corner of Fifth Avenue and 12th Street. Lenox began collecting principally books, but also fine paintings and sculpture, around 1845. He worked briefly with the London literary agency Wiley & Putnam, and then with Henry Stevens of Vermont for the next thirty-five years, or the remainder of his life. Stevens worked mostly in Europe, locating fine and rare volumes for the growing Lenox collection. He bought them and sold them to Mr. Lenox with a ten percent commission. James Lenox had a cataloging system known only to him, and kept his books bound and piled in the rooms of his townhouse, not on shelves or in according to any organized system. It was this overcrowding and lack of ease of use of the library that inspired him to build a separate institution with the express purpose of housing his book collection. ## Construction and opening The Lenox Library was incorporated by an act of the New York State Legislature on January 20, 1870. The nine named trustees were James Lenox, William H. Aspinwall, Hamilton Fish, Robert Ray, Alexander Van Rensselaer, Daniel Huntington, John Sheafe, James Donaldson, and Aaron Belknap. Lenox built his library on a lot on Fifth Avenue between 70th and 71st streets. James Lenox had inherited some thirty acres of farmland between 68th and 73rd streets and Fifth and Madison avenues from his father, Robert, in 1839. Even after the construction of the Lenox Library, the Lenox farm continued operations in the surrounding lots. Robert Lenox advised his son before his death not to sell the land too soon, for he predicted the city would expand uptown towards his land and raise its value. He was correct, and when James Lenox did choose to sell some of his land in lots to wealthy homebuilders, he made a great deal of money. Lenox hired architect Richard Morris Hunt to design his library in 1870, and by March 1871 work had begun on the foundation. Work progressed slowly from there, and it was not completed until 1877. The library was incredibly grand, and was considered one of New York City's greatest architectural works at the time of its completion at a cost of over \$510,000 (equivalent to \$ million in ), with the land valued at nearly the same amount. It was a fire-proof structure, with outside walls of Lockport limestone, with a front of 200 feet and a depth of 114 feet. It contained four spacious reading rooms, a gallery for paintings, and another for sculpture. The galleries of paintings and sculpture opened to the public on January 15, 1877, and the rare book rooms opened later that year. The reading room was not available to the public until 1880. Even in 1880, none of these resources were easily accessible to all. The first librarian, Samuel Austin Allibone, was appointed in 1879. On November 7, 1887, the library ceased requiring admission tickets, and the visitation increased rapidly. ## Collection The collection of the Lenox Library (around 85,000 books) was impressive by any standard – the collection of Bibles, in particular, was considered superior even to the libraries of Oxford, Cambridge, and the British Museum. Lenox was in possession of the Mazarin Bible, the first Gutenberg Bible to enter the New World. According to bibliographic legend, Henry Stevens instructed customs officials to remove their hats when they saw the bible, as it was such a great treasure that is deserved reverence. Lenox also focused on Milton, Shakespeare, and Americana. His library was "patchy" to a librarian seeking to have a broad array of resources, but incredibly valuable to a bibliophile like himself who developed passions about specific fields. The library was described by Wilberforce Eames as lacking "books on almost every subject besides the few subjects on which Mr. Lenox collected." The library held 83,331 books in 1894, composed chiefly of books from James Lenox (\~30,000 books), Evert Augustus Duyckinck (15,000 books), Felix Astoin (4,500 books), Joseph William Drexel (5–6,000 books), Robert Lenox Kennedy (5,000), Robert L. Stuart (12,000 books), George Bancroft (15,000 books, purchased in 1893 for \$84,492), Wendell Prime (450 books), and 45,000 newspapers purchased in 1894 (composed of 21,000 from Thomas Emmet, 14,000 from the Historical Society of Pennsylvania, and the rest from smaller acquisitions). Lenox's art collection was also remarkable, and included what are believed to be the first J. M. W. Turner paintings to cross the Atlantic. It also included works by Thomas Gainsborough, Albert Bierstadt, Gilbert Stuart, Thomas Cole, and Sir Joshua Reynolds, among others. There were 145 paintings on display, 15 sculptures, and 59 items classified as "paintings on porcelain, enamels, mosaics, etc." The Digital Recreation of the Lenox Library Picture Gallery, an interactive, 3D recreation of Lenox's art collection as it hung in the Lenox Library in the late 19th century, provides a deeper view of the collection, a glimpse into the mind of James Lenox as an art collector, and a peek into late Victorian interior design strategies. This digital humanities project by Sally Webster and David Schwittek provides researchers with "varied functionalities: links that connect the paintings to the accompanying text, the ability to see the gallery from different angles, pre-programmed arrangements of paintings that illustrate juxtapositions stated in the text, and an information (or text) panel for each painting accessible by clicking on each individual painting. Included in a given text panel is the title of the painting, the name of the artist, and other tombstone information, as well as short explanatory content." ## Visitation In 1894, 26,156 people visited the library. The library's resources were limited to scholars who had to apply for admission. Likewise, visitors to the gallery were only welcome two days per week with advance tickets they requested via mail. Eames wrote that "The intention of the founder was to establish a museum of book rarities which would supplement, and not duplicate the collections in other libraries." > Every librarian knows that the Lenox Museum as it should have been called, was not intended to be a free circulating library for the benefit of the poor of New York, nor even a library of reference for the literary man anxious to throw off a magazine article or a leader in some newspaper in the quickest possible time. The latter we are now told, is the function of the Astor. The Lenox has not the books to perform these offices, it has not the money to pay the attendants that a public library in a great city needs, and its situation is entirely unfit for any such purpose, and its books are still more unfit... One might as well complain that the Zoological Museum does not give up its stuffed birds to furnish Christmas dinners to the poor. ## Legacy After James Lenox's death in 1880, his library's finances began to suffer. In 1895, the Samuel Tilden Trust provided the funds for the creation of a public library in New York, and was the catalyst for the consolidation of the Lenox Library and the Astor Library into the New York Public Library. John Bigelow, along with other allies, assumed control of the project until the parties signed the agreements on May 23, 1895. The first director was Dr. John Shaw Billings, and he oversaw the construction of the Fifth Avenue building that still stands. It opened to the public in 1911. The Lenox Library was demolished in 1912 after all books were transferred to the new New York Public Library Main Branch. At this time, there was an unsuccessful proposal to transfer the Lenox Library's collection to the sheepfold at Sheep Meadow in nearby Central Park. Henry Clay Frick, who had purchased the land on which the library stood in 1906, immediately began building his own home and future museum, which was completed in 1914 and opened to the public as the Frick Collection in 1935. The name James Lenox is still inscribed on the façade of the New York Public Library, in the center over the middle door, along with the names John Jacob Astor and Samuel Jones Tilden. The legacy of James Lenox lives on today in that institution, as do many of the treasures of his collection. The portrait of George Washington by Gilbert Stuart that was in Lenox's collection, and then the New York Public Library, was put up for sale at auction at Sotheby's in 2005, as part of a campaign to raise money for the library's endowment. It failed to sell, likely due to its size (95×64in) and the fact that another Stuart Washington portrait was also for sale in the same auction. It has since sold to New York collectors Judy and Michael Steinhardt for an undisclosed amount, but for no less than \$5 million. ## Highlights from the collection	[ "## Early history", "## Construction and opening", "## Collection", "## Visitation", "## Legacy", "## Highlights from the collection" ]	2,123	10,312
6,132,874	Greece in the Eurovision Song Contest 2004	1,155,740,552	null	[ "2004 in Greek television", "Countries in the Eurovision Song Contest 2004", "Greece in the Eurovision Song Contest", "Sakis Rouvas" ]	Greece competed in the Eurovision Song Contest 2004, held at the Abdi İpekçi Arena in Istanbul, Turkey. The Greek broadcaster Hellenic Broadcasting Corporation (ERT) internally selected Sakis Rouvas with the song "Shake It", written by Nikos Terzis and Nektarios Tyrakis, to represent the nation. Prior to Rouvas' selection, the broadcaster had organised a public selection process entitled Eurostar, consisting of live semi-final heats, leading to a three-participant national final to select their entrant. While the event did take place and Apostolos Psichramis was selected as the Greek entrant, the song selection portion did not materialize after the Rouvas announcement and Psichramis instead joined Rouvas as a backing vocalist. To promote the entry, a music video for the song was released and Rouvas made appearances at events in Greece, Finland, Lithuania, Malta, France, Spain, and the United Kingdom. Greece was drawn to appear 10th in the semi-final, which was held on 12 May. There, the nation placed third with 238 points and qualified for the final, held three days later. At the final, Greece placed third with 252 points, tying its best contest placement to this point. ## Background The Hellenic Broadcasting Corporation (ERT) is the European Broadcasting Union (EBU) member for Greece and is responsible for selection of the nation's entry. Prior to the 2003 contest, Greece had participated in the Eurovision Song Contest twenty-three times since its first entry in 1974. To this point, its best result was third place which was achieved in with the song "Die for You". Greece's least successful result was in when it placed 20th with the song "Mia krifi evaisthisia" by Thalassa, receiving only twelve points in total, all from Cyprus. ## Before Eurovision ### Eurostar In early October 2003, ERT began airing trailers encouraging participation by new artists for a talent show entitled Eurostar, which was intended to be used to select the Greek entry for the Eurovision Song Contest 2004. At a press conference held on 22 October, ERT managing director Johnny Kalimeris explained that the decision to arrange the event centered around increased interest in Eurovision in Greece combined with the desire to discover new talented solo artists. Eurostar was produced by ERT in cooperation with Fremantle and sponsors Minos EMI and Vodafone. As announced, the show would travel throughout Greece, holding auditions for interested artists who would sing a song of their choosing in front of a jury. The jury would then select finalists who would partake in live semi-final style rounds, referred to as "heats", leading up to a three-participant final round. By the end of the auditions round, 36 contestants were selected by a three-member jury consisting of Dafni Bokota (singer and television presenter), Artemis Gounaki (vocal teacher) and Andreas Roditis (composer and television presenter) to participate in the show, which concluded with the final on 12 March 2004. Despite rumours that the final would be canceled in favor of instead internally selecting a high profile artist, specifically Sakis Rouvas, ERT ensured that the event would proceed as planned. Rouvas had previously stated in interviews on both MAD TV and Star Channel that he would love the chance to represent Greece, further fueling the rumours. In the final, the remaining three contestants competed and the winner, Apostolos Psichramis, was selected by a combination of televoting (40%) and jury voting (60%). Psichramis was then scheduled to perform three songs, all written by Nikos Terzis, during a song selection show to be held on 17 March, with the result determined solely by public televoting. Terzis had previously written two of Greece's prior Eurovision entries, including "Pia prosefhi" for Elina Konstantopoulou in 1995 and "Die for You" for Antique in 2001, the latter of which was Greece's highest placing to this point. ### Internal selection On 13 March 2004, Bokota confirmed the rumours that Sakis Rouvas would instead represent Greece in the Eurovision Song Contest 2004, adding that Kalimeris and Rouvas would be meeting to discuss a duet with Eurostar winner Psichramis. However, the duet never materialised as Bokota stated that with the late finish of Eurostar, Terzis was unable to compose a song that would be a good fit for Psichramis. Nevertheless, it was later revealed that Psichramis as well as the second and third place finalists of Eurostar would serve as backing vocalists for Rouvas. Rouvas' song for the contest was revealed during a special program on NET on 20 March 2004. Presented by Bokota, the show saw Rouvas joined by two dancers and the three Eurostar finalists performing "Shake It", written by Terzis and lyricist Nektarios Tyrakis. The event also featured a performance by Greece's 2003 entrant Mando singing her entry "Never Let You Go" as well as Psichramis performing "All Right", his upcoming solo release. ### Promotion To promote the entry, Rouvas took part in the annual Arion Music Awards in Greece in late March, where he was joined by Greek representatives from previous Eurovision Song Contests. He performed "Shake It" during the event, where he also received the award for Best Male Pop Singer. To further promote the entry, a music video for "Shake It" was filmed on the Greek island of Santorini in April 2004. It was first presented to the public during a farewell event hosted by sponsor Vodafone in Athens on 3 May before the singer left for the contest in Istanbul. The video was later posted online for viewing by 9 May. Rouvas also embarked on a promotional tour, visiting many countries that were to participate in the contest. On 14 April, he visited Helsinki, Finland where he was interviewed on the Finnish-Swedish television channel FST's talk show Bettina S.. This was followed by several radio interviews on stations including Radio Vega and Radio Sputnik. The visit concluded with a performance of "Shake It" at the Hercules nightclub. Additional countries on his tour included Lithuania, Malta, France, Spain, and the United Kingdom. ## At Eurovision The Eurovision Song Contest 2004 took place at Abdi İpekçi Arena in Istanbul, Turkey, and consisted of a semi-final on 12 May and the final on 15 May 2004. For the first time, a semi-final round was introduced to accommodate the influx of nations that wanted to compete in the contest. As Greece had not finished in the top 11 at the 2003 Contest the previous year, its song had to compete in the semi-final. According to the Eurovision rules, all participating countries, except the host nation and the "Big Four", consisting of , , and the , were required to qualify from the semi-final to compete for the final, although the top 10 countries from the semi-final progress to the final. Greece was set to compete in the semi-final of the Eurovision Song Contest 2004 at position 10, following and preceding . Bokota provided commentary for the broadcast within Greece, a task she had performed for ERT since the 1999 contest. ### Performances The stage presence for "Shake It" was choreographed by Fokas Evangelinos, and included Rouvas with two female dancers and the three Eurostar finalists as backing vocalists. "Shake It" was performed 10th following Monaco's Maryon with "Notre planète" and preceding Ukraine's Ruslana with "Wild Dances". At the close of voting, it had received 238 points, placing third in the 22-strong field and qualifying for the final. At the final, held three days later, the nation appeared 16th following Macedonia's Toše Proeski with "Life" and preceding Iceland's Jónsi with "Heaven". At the close of voting, it had received 252 points, placing third in a field of 24. This matched Greece's best placing to this point, which it has received in 2001. ### Voting Below is a breakdown of points awarded to Greece in the semi-final and final of the Eurovision Song Contest 2004, as well as by the nation on both occasions. Voting during the two shows involved each country awarding a set of points from 1–8, 10 and 12 based on results from their respective public televote. In the semi-final, Greece placed third with a total of 238 points, including the top 12 from seven nations: Albania, Cyprus, Israel, Malta, Romania, Turkey and United Kingdom. In the final, the nation's 252 points included five sets of 12 points from Albania, Cyprus, Malta, Romania and the United Kingdom. For both the semi-final and final, Greece awarded its 12 points to Cyprus. #### Points awarded to Greece #### Points awarded by Greece	[ "## Background", "## Before Eurovision", "### Eurostar", "### Internal selection", "### Promotion", "## At Eurovision", "### Performances", "### Voting", "#### Points awarded to Greece", "#### Points awarded by Greece" ]	1,922	5,311
2,993,135	Inns of Chancery	1,166,102,329	Former legal buildings and institutions in London	[ "English law", "Inns of Chancery", "Legal buildings in London" ]	The Inns of Chancery or Hospida Cancellarie were a group of buildings and legal institutions in London initially attached to the Inns of Court and used as offices for the clerks of chancery, from which they drew their name. Existing from at least 1344, the Inns gradually changed their purpose, and became both the offices and accommodation for solicitors (as the Inns of Court were to barristers) and a place of initial training for barristers. The practice of training barristers at the Inns of Chancery had died out by 1642, and the Inns instead became dedicated associations and offices for solicitors. With the founding of the Society of Gentleman Practisers in 1739 and the Law Society of England and Wales in 1825, a single unified professional association for solicitors, the purpose of the Inns died out, and after a long period of decline the last one (Clement's Inn) was sold in 1903 and demolished in 1934. ## History The Inns of Chancery evolved in tandem with the Inns of Court. During the 12th and early 13th centuries the law was taught in the City of London, primarily by the clergy. But during the 13th century an event occurred which ended legal education by the Church. A papal bull in 1218 prohibited the clergy from practising in the secular, common law courts. As a result, law began to be practised and taught by laymen instead of by clerics. To protect their schools from competition, Henry II and Henry III issued proclamations prohibiting the teaching of the civil law within the City of London. These schools were based in hostels or "inns", which later took their name from the landlord of the inn in question. The Inns of Chancery sprung up around the Inns of Court, and took their name and original purpose from the chancery clerks, who used the buildings as hostels and offices where they would draft their writs. As with the Inns of Court the precise dates of founding of the Inns of Chancery are unknown, but the one commonly said to be the oldest is Clifford's Inn, which existed from at least 1344. Thavie's Inn, founded in 1349, is considered to be the next oldest, and several legal historians mistakenly considered it the oldest of them all. For several centuries, education at one of the Inns of Chancery was the first step towards becoming a barrister. A student would first join one of the Inns of Chancery, where he would be taught in the form of moots and rote learning. He would also be taught by Readers sent from the Inn of Court that his Inn of Chancery was attached to, who would preside over the moots and discuss cases with the students. At the end of each legal term, particularly promising students would be transferred to the parent Inn of Court and begin the next stage of their education. By 1461 there were approximately 100 students studying at the Inns of Chancery at any one time. At the same time, the Inns of Chancery was used as accommodation and offices by solicitors, the other branch of the English legal profession. During the sixteenth and seventeenth centuries the purpose of the Inns changed. After the outbreak of the First English Civil War in 1642, the practice of teaching barristers in the Inns ceased, and as a result the Inns of Chancery became a dedicated association for solicitors instead, offering offices and accommodation. The foundation of the Society of Gentlemen Practisers and Law Society of England and Wales in 1739 and 1825 respectively as professional bodies for the solicitors profession relegated the Inns of Chancery to little more than eccentric dining clubs, and they were gradually dissolved and sold. In 1897 a popular book reported that nobody could remember the purpose of the buildings and that an 1850 investigation had failed to uncover their origins. The last Inn to be sold was Clement's Inn, which was sold in 1903, and demolished in 1934. ## Inns John Fortescue wrote of ten Inns of Chancery, each one attached to an Inn of Court "like Maids of Honour to a Princess". Only nine are known of in detail; the other was St George's Inn. The ten Inns were: - Clement's Inn, Lyon's Inn and Clifford's Inn attached to the Inner Temple, - St George's Inn, Strand Inn, and New Inn attached to the Middle Temple, - Furnival's Inn and Thavie's Inn attached to Lincoln's Inn, and - Staple Inn and Barnard's Inn attached to Gray's Inn. (An eleventh Inn of Chancery, the Outer Temple, was said to exist by the legal historian John Baker in 2008. This is denied by other writers.) Many Inns were originally independent of the Inns of Court, and fell in and out of allegiance with them, with some claiming independence right up to the nineteenth century. Most Inns became directly attached to Inns of Court during the sixteenth century, however, when the Inns of Court began charging higher acceptance fees to students trained in independent Inns of Chancery than they did to students trained in "their" Inns of Chancery. ### Inner Temple attachments Clement's Inn was the last to be dissolved, being shut down in 1903. Located near St Clement Danes, the Inn was also named after Saint Clement and took as its coat of arms his, with a large letter C in sable. The buildings were completely rebuilt in the 19th century in the Queen Anne Style. Noted members included Sir Edmund Saunders, and William Shakespeare made Justice Shallow, a character in Henry IV, Part 2, a member of the Inn. Members were noted as "a wild lot" known for their drinking and parties. In its later years the Inn was a poor one, and had no library or chapel, with most of the funds being spent on repairs and maintenance for the building. Lyon's Inn was "a place of considerable antiquity", with records from 1413. Originally a hostel, it was purchased by the inhabitants and turned into an Inn of Chancery. Initially a small but respected Inn that educated people as noted as Sir Edward Coke, Lyon's Inn became a disreputable institution that "perished of public contempt long before it came to the hammer and the pick". By the time it was dissolved it was inhabited only by the lowest lawyers and those struck off the rolls, and when surveyed it was found that it was run by only two Ancients, neither of whom had any idea what their duties were, and the Inn had not dined for over a century. The Inn was dissolved in 1863, pulled down in 1868 and replaced with the third Globe Theatre. Clifford's Inn was the oldest of the Inns of Chancery, and was first mentioned in 1344. Although generally considered a dependent of the Inner Temple, its members always maintained that they were independent. As a note of that "independence" it became custom for the Inner Temple to send them a message once a year, which would be received but deliberately not replied to. Their coat of arms was a modified form of the Clifford family arms, with "cheque or and azure, a fess gules, a bordure, bezantée, of the third." Noted students include John Selden; Sir Edward Coke was also said to have studied there, but historical records find no evidence of this, and he was always associated with Lyon's Inn more than Clifford's. ### Middle Temple attachments The first lawyers to occupy the premises which later became the Middle Temple came from St George's Inn, arriving by 1346. The inn was later deserted in favour of New Inn. Strand Inn, also called Chester Inn, was the shortest lived of the Inns of Chancery. Founded in the fifteenth century it was pulled down in the 1540s by Lord Somerset in his role as Lord Protector so that he could build Somerset House. The students instead went to New Inn, and Strand Inn was absorbed into that Inn. Thomas Occleve was said to have studied at Strand Inn. New Inn was founded in the late 15th century on the premises of Our Lady Inn, a hostel. Noted students included Sir Thomas More, who attended New Inn before going to Lincoln's Inn. The buildings of New Inn were pulled down in 1902 to make way for a road between Holborn and the Strand. After the destruction of Strand Inn, New Inn was the only Inn of Chancery left attached to the Middle Temple. ### Lincoln's Inn attachments Furnival's Inn was founded before or during the reign of Henry IV and named after the Lords Furnival. During the 1820s the Inn was completely rebuilt. Noted tenants include Charles Dickens, who began to write The Pickwick Papers whilst living there. The Inn was demolished in 1897. Thavie's Inn was the second oldest Inn of Chancery, and was founded around 1349. It was sold in 1769. Lawyers from Thavie's Inn were the first to occupy the premises which became Inner Temple in the 1320s. ### Gray's Inn attachments Staple Inn dated from at least 1415, and was originally an inn where wool merchants stayed and haggled. In reference to this, the Inn coat of arms contained a bale of wool. During the reign of Elizabeth I it was the largest of the Inns of Chancery, with 145 students and 69 as permanent residents. The buildings survived the great fire of London and were rebuilt in the seventeenth century, and again in the nineteenth. The Inn was shut down and the building sold to the Prudential Assurance Company in 1884, and part of it is now used as the headquarters of the Institute of Actuaries. Barnard's Inn, originally known as Mackworth's Inn after its owner, John Mackworth, was established in 1454 as an Inn of Chancery. A large Inn, Barnard's had 112 students a year during the reign of Elizabeth I with 24 in permanent residence. When it was an institute of legal education, it enforced the odd practice of fining a student when he got something wrong: a halfpenny for a defective word, a farthing for a defective syllable and a penny for an improper word. Barnard's was under the supervision of Gray's Inn, who traditionally sent a Reader to the Inn every year, who was treated with great respect. Noted pupils included Sir John Holt, later a distinguished jurist. The Inn was badly damaged in the Gordon Riots after a rioter set fire to the distillery next door. In 1880 it was bought by the Worshipful Company of Mercers and used to house the Mercers' School. ## See also - List of demolished buildings and structures in London	[ "## History", "## Inns", "### Inner Temple attachments", "### Middle Temple attachments", "### Lincoln's Inn attachments", "### Gray's Inn attachments", "## See also" ]	2,300	25,740
51,996,988	Sofía Espinosa	1,162,825,825	Mexican actress, producer, writer (born 1989)	[ "1989 births", "21st-century Mexican actresses", "Actresses from Mexico City", "Ariel Award winners", "Living people", "Mexican film actresses" ]	Sofía Espinosa Carrasco (born September 22, 1989) is a Mexican actress, writer and director. She began her artistic preparation at the National Conservatory of Music, and followed with studies at Casazul in Mexico, Claudio Tolcachir's school in Argentina, the Stella Adler Studio in New York City, and the Royal Academy of Dramatic Art in London. She received recognition for her role of Mati in the Mexican film La Niña en la Piedra (Nadie Te Ve) (2006), for which she was nominated for an Ariel Award for Best Actress. She subsequently starred in the TV series Capadocia (2010) and Bienvenida Realidad (2011). Espinosa is also featured in several other films including Sea of Dreams (2006), La Vida Inmune (2006), El Brassier de Emma (2007), The Kid: Chamaco (2009), I Miss You (2010), Vete Más Lejos, Alicia (2010), and Asteroide (2014). She also co-produced, co-wrote and starred in Los Bañistas (2014). For her lead performance in the biopic Gloria, based on the life of Mexican singer-songwriter Gloria Trevi, she received the Diosa de Plata and the Ariel Award for Best Actress. ## Background Espinosa was born on September 22, 1989 in Mexico City, to Mario Espinosa, a theatre director, and Gloria Carrasco Altamirano, an art director. Espinosa has a younger brother named Sebastián, and is the niece of Diódoro Carrasco Altamirano, a former Governor of Oaxaca and Secretariat of the Interior. At age 4, she joined the National Conservatory of Music, and at age 13 she enrolled in Casazul, a Mexican drama school, both in Mexico City; while in Casazul, she performed in the chamber theatre version of the play Romeo and Juliet. She continued her studies at the Claudio Tolcachir school in Argentina, the Stella Adler Studio in New York City, and the Royal Academy of Dramatic Art in London. In 2011, she earned a scholarship by the National Fund for Culture and Arts (FONCA) for upcoming performers. ## Career ### Early career and first lead role Espinosa appeared in the short film Cuidado con el Tren, written and directed by Ignacio Ortiz in 2004, and in the films Sea of Dreams and La Vida Inmune, in 2006. At age 15, after six months in a workshop with Maryse Systach and Clarissa Malheiros, Espinosa starred in her first lead role in La Niña en la Piedra (Nadie Te Ve), which was co-directed by Systach and José Buil and is the last chapter of the trilogy about teenagers in Mexico that started with Perfume de Violetas (Nadie Te Oye) (2001) and Manos Libres (Nadie Te Escucha) (2003). Espinosa was nominated for the Ariel Award for Best Actress for her work in the film. Espinosa and Systach re-teamed for the film El Brassier de Emma. In 2006, Espinosa performed in the short film Ver Llover by Elisa Miller, which was screened at the 2007 Cannes Film Festival and won the Short Film Palme d'Or. Miller and Espinosa worked together again five years later in the film Vete Más Lejos, Alicia (2011). She was also featured in Capadocia playing the character Paty, and also joined the cast of the telenovela Bienvenida Realidad, produced by Epigmenio Ibarra for Cadenatres in 2011, in which she played Vanessa, a lesbian teenager. ### Breakthrough role with Gloria Espinosa landed the lead role of the film Gloria in 2014. The film is a biopic about singer-songwriter Gloria Trevi, and her relation with her manager, record producer Sergio Andrade [es]. The movie chronicles the rise and fall of the singer's career, detailing Trevi's first encounter with Andrade (who became her mentor), her brief tenure in a band, her rise to musical stardom, a sex scandal involving minors, and her imprisonment in Brazil. Espinosa won the role after a month-and-a-half casting process, stating that "I do not know how many actresses were [on the castings], or who they were, but once I got the role I knew it was a big responsibility, because it is a character who is alive and has a lot of fans, I had to do it well. It is a very complex character, full of nuances, with great force". Espinosa took singing lessons and had to learn Trevi's accent. Also, to fully prepare for the role, the actress was assigned a choreographer and worked with the film director to find the right tone for the scenes. Espinosa watched Trevi's interviews, concerts and films to be able to play her. "The role was meant for me", Espinosa said to Noticine. Marco Pérez (who plays Andrade in the film) referred to Espinosa's performance as "a fascinating freshness", praising her musical training for the role and her attention to detail, further detailing that "it would have been easy to create a sensationalized, one-dimensional portrait of Gloria, but Sofía goes behind the public persona to the heart of the woman". The film premiered in Mexico on January 1, 2015, as it was distributed by Universal Pictures with about 1,000 copies. Espinosa and Pérez received positive reviews for their performances from Jessica Oliva of Cine Premiere magazine, who stated that the actors "seem to blend in with their characters. Sofía Espinosa stands out with her voice (singing all the songs), and her physical interpretation and charisma, while Marco Pérez, Sergio Andrade, manages to embody the duality of that genius of the industry, perverse and visionary at the same time". Sofía Ochoa Rodríguez and Verónica Sánchez of En Filme were "surprised by [Espinosa's] performance" as it was "very close to Gloria Trevi's, albeit with a nasally accent, and cadence which lets through the hoarse, sarcastic and melancholic style that permeates on every one of the songs the actress sings. Her acting work and physical resemblance let her move naturally from comedy to pain, loneliness to longing, to the easy smile, to the dance, to the jumps on stage and the twinkle in her eyes". In contrast, David Noh of Film Journal International was not impressed by Espinosa's acting, saying that she "lacks appeal and is quite ordinary in a role that calls for some of the electricity the very young Jennifer Lopez managed to ratchet up in her musical biopic, Selena". Gloria Trevi praised the work of Espinosa in the film, stating that "it is shocking to see yourself on film, the girl [Espinosa] did an extraordinary job". Espinosa won the Diosa de Plata and the Ariel Award for Best Actress for Gloria. ### 2015 to 2017 In 2015, she played Graciela Arias in the film Los Crímenes de Mar del Norte, based on the true story of Goyo Cárdenas, the strangler of Tacuba. The following year, Espinosa played Mexican singer Lola Beltrán on Hasta Que Te Conocí, based on the life of Mexican artist Juan Gabriel, for which she had to perform the track "Cucurrucucú Paloma", Beltrán's signature song. Espinosa co-produced, co-wrote, and starred in Los Bañistas, a film that had a limited release in Mexico (10 copies) in 2016. In the film, directed by Max Zunino, she plays Flavia, a young protester who gets involved with an older man, Juan Carlos Colombo. Espinosa's performance was met with positive reviews, such as the one written by Luis Fernando Galván of En Filme, stating that the actress "effectively embodies the hope for social renewal from a convincing performance where she goes on a trip into a social space with the intention of finding her place in the world and helping others to do the same". Espinosa and Zunino re-teamed for Bruma, in which the actress plays Martina, and according to John Hopewell of Variety, "follows a young woman (Espinosa) from Mexico's stifling upper middle-classes who, pregnant, escapes to Berlin and finds a kind of father figure and freedom in a Berlin club drag queen chanteuse and a final sense of her individual identity". The film was written by Espinosa and Zunino and won five awards at the 10th Works in Progress Guadalajara Festival. In 2016, it was announced by Variety magazine that Espinosa would join Mexican actors Demián Bichir and Diego Luna in the film The Black Minutes; in the same year, Espinosa played Rocío in the TV series Las Trece Esposas, produced by Blim and inspired by One Thousand and One Nights. Espinosa also had a voice role in the American animated film Kubo and the Two Strings (2016) and a role in La Gran Promesa, directed by Jorge Ramirez Suárez. Espinosa voiced the role of Miguel's mother in the animated film Coco (2017). ### Theater work Espinosa funded with fellow actors Belén Aguilar, Fernanda Echevarría and Armando Espitia the theater company Conejo Sin Prisa and debuted an adaptation of Paula Vogel's play How I Learned to Drive on May 15, 2017 at the Centro Cultural del Bosque (es) in Mexico City. Espinosa was joined in the cast by Belén Aguilar, Fernanda Echevarría, and Armando Espitia. Later that year, Espinosa was cast as Ana in the play Después del Ensayo, an adaptation of Ingmar Bergman's film After the Rehearsal. The play was directed by her father, Mario Espinosa, and also featured actors Juan Carlos Colombo and Julieta Egurrola. ## Filmography ### Film ### Television	[ "## Background", "## Career", "### Early career and first lead role", "### Breakthrough role with Gloria", "### 2015 to 2017", "### Theater work", "## Filmography", "### Film", "### Television" ]	2,196	25,968
36,518,353	Pareh	1,097,289,759	1936 film by Mannus Franken, Albert Balink	[ "1930s romance films", "Dutch East Indies films", "Films directed by Albert Balink", "Indonesian black-and-white films", "Indonesian romance films" ]	Pareh (Sundanese for "rice"), released internationally as Pareh, Song of the Rice, is a 1936 film from the Dutch East Indies (modern day Indonesia). Directed by the Dutchmen Albert Balink and Mannus Franken, it featured an amateur native cast and starred Raden Mochtar and Soekarsih. The story follows the forbidden love between a fisherman and a farmer's daughter. Balink began work on the film in 1934, working with the Wong brothers, who served as cinematographers. They gathered a budget of 75,000 gulden – several times the budget of other local productions – and brought Franken from the Netherlands to assist in production. The film was edited in the Netherlands after being shot in the Indies. The film was a commercial and critical success with European audiences, but disliked by native ones; despite this success, Pareh bankrupted its producers. Pareh resulted in a change in the cinema of Dutch East Indies, which had been Chinese-oriented for several years; films began to make more effort at targeting local audiences. Balink later found commercial success with Terang Boelan (1937). The American visual anthropologist Karl G. Heider considers Pareh and Terang Boelan the two most important cinematic works from the Dutch East Indies during the 1930s. ## Premise Mahmud (Rd. Mochtar), a fisherman, is in love with Wagini (Soekarsih), a farmer's daughter. However, local superstition dictates that their relationship will bring disaster. This seems to prove true after the village leader's keris is stolen, but eventually Mahmud and Wagini are able to unite with the help of his fellow villagers. ## Production During 1934 and early 1935, all feature films released in the Dutch East Indies had been produced by The Teng Chun, based on Chinese mythology or martial arts, and targeted at low-class audiences, generally ethnic Chinese. This situation was created by the Great Depression, which had led to the Dutch East Indies government collecting higher taxes, advertisers asking for more money, and cinemas selling tickets at lower prices; this ensured that there was a very low profit margin for local films. During this period cinemas in the country mainly showed Hollywood productions. Albert Balink, a Dutch journalist, began work on what was to become Pareh in 1934. Unlike The Teng Chun, the inexperienced Balink chose to target his film at Dutch audiences. He brought in two of the Wong brothers, Chinese filmmakers who had been inactive since making Zuster Theresia (Sister Theresa) in 1932. The Wongs donated their studio – an old tapioca flour factory – as well as filmmaking equipment. Meanwhile, much of the funding came from other backers. According to the Indonesian film historian Misbach Yusa Biran, the money came from the cinema mogul Buse, while EYE Film Institute records indicate that the film was backed by the Centrale Commissie voor Emigratie en Kolonisatie van Inheemschen and meant to promote migration from Java to Sumatra. Balink and the Wongs spent most of two years compiling the necessary funds, with Balink in charge of general operations as the head of Java Pacific Film, a joint operation. Balink insisted on perfection and had a clear idea what kind of actor he wanted in the film. Unlike earlier filmmakers in the country, Balink invested time and money in searching for the best locations and actors possible, without considering whether a person was already a celebrity. Ultimately, most of those cast for Pareh had not acted before, including stars Mochtar and Soekarsih. The role of Mahmud was filled when Balink was out with coffee with Joshua and Othniel Wong and saw a young man, tall, strong, and handsome – as he expected for the role – driving by. Balink called the Wongs and they got into their car, then chased and caught the young man. The man, Mochtar, a Javanese of noble descent, was told to use the title Raden for the film, which he and his family had already abandoned. According to the Indonesian anthropologist Albertus Budi Susanto, the emphasis on Mochtar's title was meant as a way to draw a higher-class audience. Artistic direction and some of the screenwriting was handled by Mannus Franken, an avant-garde documentary filmmaker from the Netherlands, whom Balink had brought to the Indies. Franken insisted on including ethnographic shots to better present the local culture to international audiences. Franken took an interest in the documentary and ethnographic aspects of the film, directing the shots for these portions, while the Wongs handled the general shots. According to Biran, this was reflected in the camera angles used. Pareh, which had been recorded on 35 mm film using single-system devices, was brought to the Netherlands for editing. There the original voices of the cast were dubbed by actors in the Netherlands, resulting in stilted language use and heavy Dutch accents. Though initially the filmmakers had planned on using gamelan music, the poor quality of the recording equipment in the Indies led to the soundtrack being redone, using European-style music, in the Netherlands. From start to finish the production of Pareh cost 75,000 gulden (approximately US\$ 51,000), 20 times as much as a regular local production. After editing there were 2,061 metres of film, equivalent to 92 minutes of runtime. ## Release and reception Pareh was screened in the Netherlands as Pareh, een Rijstlied van Java (also noted as Het Lied van de Rijst) beginning on 20 November 1936. The film was also shown in the Indies. It was unable to recoup its costs and bankrupted the producers. The film was critically acclaimed in the Netherlands, partially owing to the emphasis of Franken's involvement. Although it was a commercial success amongst the intelligentsia in the Indies, Pareh was a failure with lower-class native audiences. Mochtar never viewed the film in full. Historical reception of Pareh has generally been positive. Writing in 1955, the Indonesian author and cultural critic Armijn Pane opined that Pareh was technically unparalleled in contemporary Indies cinema, with careful continuity and dynamic cuts. He was critical, however, of the film's tendency to see the Indies' native population through European eyes and depict them as "primitive". The American film historian John Lent, writing in 1990, described Pareh as a "meticulously detailed and costly" film which attempted to not only earn money, but show the local culture. The American visual anthropologist Karl G. Heider considers Pareh one of the two most important cinematic works from the Dutch East Indies during the 1930s; Balink's later work Terang Boelan (Full Moon; 1937) was the other. Heider, John H. McGlynn, and Salim Said note that the film was of acceptable technical quality but is best remembered for changing the path of cinematic developments in the country. ## Legacy The release of Pareh was followed by a shift in genres popularised by the local cinema. The Teng Chun, who – together with Balink – continued to be the only active filmmaker in the country until 1937, began focusing on more modern stories and those which would be popular with native audiences. Biran suggests that this was influenced by Pareh. Other filmmakers in the late 1930s, partially inspired by Pareh, began to improve the quality of the audio in their films. Pane notes that, following Pareh, films produced domestically no longer centred around ethnic European casts. Mochtar and Soekarsih, who first met on the set of Pareh, married after appearing together in Terang Boelan. This later production included much of the same cast and was highly successful, leading to a renewed interest in filmmaking in the Indies. Terang Boelan proved to be the most successful local production until 1953's Krisis (Crisis), released after Indonesia had become independent. ## See also - List of films of the Dutch East Indies	[ "## Premise", "## Production", "## Release and reception", "## Legacy", "## See also" ]	1,686	17,707
23,053,480	1980 National League West tie-breaker game	1,172,292,194	1980 Major League Baseball tie-breaker game	[ "1980 Major League Baseball season", "1980 in Los Angeles", "1980 in sports in California", "Houston Astros postseason", "Los Angeles Dodgers postseason", "Major League Baseball tie-breaker games", "October 1980 sports events in the United States" ]	The 1980 National League West tie-breaker game was a one-game extension to Major League Baseball's (MLB) 1980 regular season, played between the Houston Astros and Los Angeles Dodgers to decide the winner of the National League's (NL) West Division. The game was played on October 6, 1980, at Dodger Stadium in Los Angeles, California. It was necessary after the Dodgers overcame a three-game deficit in the final three games of the season and both teams finished with identical win–loss records of 92–70. The Dodgers won a coin flip late in the season which, by rule at the time, awarded them home field for the game. The Astros won the game, 7–1, with Houston starter Joe Niekro throwing a complete game. This victory advanced the Astros to the 1980 NL Championship Series (NLCS), in which they lost to the Philadelphia Phillies, ending the Astros' season. In baseball statistics, the tie-breaker counted as the 163rd regular season game for both teams, with all events in the game added to regular season statistics. ## Background The Cincinnati Reds won the West division the previous season with the Astros finishing 1.5 games back in second, and the Dodgers 11.5 back in third. However, the Reds went on to lose the 1979 NLCS in three games to the Pittsburgh Pirates, ending their season. The Astros acquired Joe Morgan and Nolan Ryan via free agency during the offseason and the Dodgers signed Dave Goltz. Dave Kindred of The Washington Post, George Vecsey of The New York Times, and Astros' relief pitcher Joe Sambito all credited Morgan's leadership with the Astros' success in 1980. The Reds maintained early success in 1980 with an eight-game winning streak to open the season and held at least a share of first place in the division until April 30. They were not as successful over the remainder of the season, only occasionally taking the division lead and last holding it on August 16. The Astros held the lead for the majority of the season thereafter, including a three-game lead over Los Angeles entering the final series of the season. The series matched the Astros with the Dodgers for three games at Dodger Stadium. The Dodgers won all three games, all by a single run, stopping the Astros from clinching a division championship as the two teams sat tied at 92–70. Kindred described the Astros as losing each game of the series by "fail[ing] to make elementary fielding plays." The final game included a run-scoring pinch hit single by Manny Mota, who had been almost exclusively a coach and not a player that season, and a home run by Ron Cey which also scored Steve Garvey, who had reached base in the previous at bat on an error. The Dodgers needed each of these runs as they won the game 4–3. ## Game summary The Astros took their lead early, scoring in the top of the first inning. Terry Puhl led off the game reaching base on an error by the second baseman. Enos Cabell followed Puhl with a single and, while Joe Morgan batted, stole second base to put runners at second and third. Morgan struck out and José Cruz appeared to hit into a fielder's choice but a catching error by the catcher allowed Puhl to score, Cabell to advance to third base, and Cruz to reach safely all with no out recorded. Cabell then scored on a César Cedeño ground out to make the game 2–0. Art Howe singled to advance Cruz to third, but Dodgers' starting pitcher Dave Goltz escaped the inning without further scoring. The Astros' Joe Niekro retired the Dodgers in order in the first and second innings. The Astros added to their lead in the top of the third as Cedeño singled, stole second (after Cruz had been caught stealing earlier in the inning), and scored on Art Howe's home run to make the game 4–0. Niekro allowed two successive singles to lead off the bottom of the inning, but proceeded to retire three straight Dodgers without allowing either runner to score. The Astros further added to their lead in the fourth, as Puhl singled on a bunt to third base and then stole second and third base while Cabell batted. Both he and Morgan walked to load the bases with one out. Puhl scored on a Cruz sacrifice fly, Cedeño walked to re-load the bases, and finally a Howe single gave the Astros another two runs to make the game 7–0. The Dodgers scored their only run in the bottom of the fourth as Dusty Baker singled, advanced to second on an error, and scored on another single. They threatened again in the sixth inning, loading the bases, though they failed to score. That was the only inning after the fourth in which a Dodgers' runner reached scoring position. Niekro steadied again after the sixth, allowing just one baserunner on a two-out ninth-inning single over the remaining three innings before Dave Bergman fielded the final out on a groundball near first base to clinch the first division title in Astros history. ## Aftermath Houston's win clinched the team's first postseason berth in franchise history. The Astros lost the five-game NLCS to the Phillies 3–2, ending their season. Due to the 1981 Major League Baseball strike, the following season was split into halves and the winner of each half advanced to the postseason. The Dodgers won the first half and the Astros the second and so met in the first National League Division Series. The Dodgers won the series 3–2 after Houston held a 2–0 series lead heading to Los Angeles (reminiscent to Los Angeles needing all three games at home during this season to force this tiebreaker), and went on to win the 1981 World Series. The Astros did not return to the NLCS until 1986 and did not win a NL pennant until 2005, leading to a loss in the 2005 World Series. In baseball statistics, tie-breakers counted as regular season games, with all events in them added to regular season statistics. Niekro, for example, reached his 20th win to break a tie with Jim Bibby for the second most wins in the NL that season. Similarly, Steve Garvey played in his 163rd game of the season, leading the league with a figure which could not have been equaled by anyone not on the Astros or Dodgers. Dusty Baker won a Silver Slugger Award and Steve Howe, who pitched the final two scoreless innings of the tie-breaker for the Dodgers in relief, won the Rookie of the Year Award for their performances in the regular season. Additionally six Dodgers (Garvey, Davey Lopes, Bill Russell, Reggie Smith, Jerry Reuss, and Bob Welch) and two Astros (J. R. Richard and Cruz) were named to the National League's All-Star team. In later years, after his retirement in 1996, Lasorda stated he regretted using a 19-year old Fernando Valenzuela out of the bullpen during the October 5 game vs. the Astros, thinking he could have saved Fernando to start in a potential tie-breaker game instead. This decision caused the team to start Dave Goltz in the tie-breaker game. Goltz recorded double-digit wins for six straight seasons in Minnesota, but his first season in Dodger Blue was a disappointment. He entered the most important game of the season with a 7–10 record. Nevertheless, Valenzuela still pitched in the tie-breaker game and threw two scoreless innings, though at that point, the score was 7–1. A year later, Valenzuela would have a breakout season, helping lead the Dodgers to a World Championship. Due to tiebreaker games being abolished in 2022, this would end up being the only time that two teams had played each other in a tiebreaker game and a regularly-scheduled series at the same stadium back to back.	[ "## Background", "## Game summary", "## Aftermath" ]	1,664	463
12,586,398	Nikephoros Melissenos	1,097,617,402	null	[ "1040s births", "1104 deaths", "11th-century Byzantine people", "Byzantine generals", "Byzantine governors of Thessalonica", "Byzantine people of the Byzantine–Norman wars", "Byzantine people of the Byzantine–Seljuk wars", "Byzantine usurpers", "Caesars (Byzantine nobles)", "Generals of Alexios I Komnenos", "Magistroi", "Melissenos family", "People from Eskişehir" ]	Nikephoros Melissenos (Greek: Νικηφόρος Μελισσηνός, c. 1045 – 17 November 1104), Latinized as Nicephorus Melissenus, was a Byzantine general and aristocrat. Of distinguished lineage, he served as a governor and general in the Balkans and Asia Minor in the 1060s. In the turbulent period after the Battle of Manzikert in 1071, when several generals tried to seize the throne for themselves, Melissenos remained loyal to Michael VII Doukas and was exiled by his successor Nikephoros III Botaneiates. In 1080–1081, with Turkish aid, he seized control of what remained of Byzantine Asia Minor and proclaimed himself emperor against Botaneiates. After the revolt of his brother-in-law Alexios I Komnenos, however, which succeeded in taking Constantinople, he submitted to him, accepting the rank of Caesar and the governance of Thessalonica. He remained loyal to Alexios thereafter, participating in most Byzantine campaigns of the period 1081–1095 in the Balkans at the emperor's side. He died on 17 November 1104. ## Biography ### Origins and early career Nikephoros Melissenos was probably born c. 1045 at Dorylaeum, where his family had extensive estates. Through both his father and his mother, he was of aristocratic descent: his father belonged to the Bourtzes line, while his mother to the illustrious Melissenos family, which dated back to the 8th century and had produced several distinguished generals. Sometime before 1067, Nikephoros married Eudokia Komnene. Born c. 1052, she was the second daughter of the Domestic of the Schools John Komnenos and Anna Dalassene and sister of the future Byzantine emperor Alexios I Komnenos (r. 1081–1118). They had at least one known son, the parakoimomenos John Komnenos. By 1067, Melissenos held the rank of magistros and the post of military governor (doux) in Triaditza (modern Sofia). In 1070, he joined the field army commanded by his eldest brother-in-law, Manuel Komnenos, in a campaign against the Seljuk Turks. The campaign ended in defeat near Sebasteia (modern Sivas), and Melissenos along with Manuel Komnenos were captured by a Turkish chieftain whom the Byzantines called Chrysoskoulos. Manuel, however, quickly persuaded the Turk to enter into Byzantine service, and their captivity ended. Melissenos remained loyal to Michael VII Doukas (r. 1071–1078) during the rebellion of the strategos of the Anatolic Theme, Nikephoros Botaneiates (Nikephoros III), which began in October 1077. Michael VII rewarded him by appointing him to Botaneiates's post, but after Botaneiates's victory and entry into Constantinople in April 1078, Melissenos was exiled to the island of Kos. ### Rebellion In autumn 1080, Melissenos left Kos and returned to Asia Minor. There, he succeeded in gaining the support of the local population, and in recruiting many Turkish tribesmen as mercenaries to his army. One by one, the cities of western and central Asia Minor opened up their gates to him, and Turkish garrisons were installed in them. Botaneiates tried to send Alexios Komnenos, who had recently suppressed the revolts of Nikephoros Bryennios and Nikephoros Basilakes, against him, but he refused. In February 1081, Melissenos's troops took Nicaea, where he was acclaimed as emperor. A loyalist army under the eunuch protovestiarios John, George Palaiologos and Kourtikes was sent against him, but was defeated almost without battle, and withdrew to the capital. In March 1081, Melissenos was encamped with his army at Damalis, on the Asian shore across the Bosporus from Constantinople. There, he received news of the revolt of the Komnenoi against Botaneiates and the proclamation of Alexios Komnenos as emperor. He sent letters to the Komnenoi, suggesting a division of authority over the imperial territory, with the Balkans remaining under Komnenian control and himself keeping Asia Minor, although he also emphasized that the Byzantine Empire should remain formally united. In reply, the Komnenoi offered to recognize him as Caesar – the second highest dignity after the imperial title itself – and to give him the governance of Thessalonica – the Empire's second-most important city – if he would submit to them. Melissenos initially refused to accept this offer, but as the Komnenoi were on the verge of taking Constantinople and might refuse to make similar concessions later, he eventually agreed. At the same time, Nikephoros Botaneiates tried to forestall the capital's fall to the Komnenoi by sending for Melissenos and asking him to enter the city and assume imperial authority. His envoys, however, were obstructed by George Palaiologos and never reached Melissenos. Thus Constantinople fell to the Komnenian forces, and on 8 April 1081, Melissenos too entered the imperial capital. True to his word, Alexios I raised him to Caesar and gave him authority over Thessalonica, as well as allotting the city's revenues to his income. At the same time, however, Alexios raised his brother Isaac Komnenos to the newly created dignity of sebastokrator, which he placed above that of Caesar, bypassing Melissenos. This act of submission, unique among the various rebels of the time, may throw some light on Melissenos's motivation for his uprising, according to the historian Jean-Claude Cheynet. Cheynet believes that Melissenos was probably more concerned with safeguarding his Asian estates from the depredations of the Turks rather than claiming the throne, and when Alexios granted him Thessalonica and equivalent estates around it – some of which Melissenos later distributed to his clients, like the Bourtzes family – he readily gave up the contest for the Byzantine throne. Despite the end of Melissenos's revolt, it left a profound and detrimental legacy for Byzantium: although Melissenos himself submitted to Alexios Komnenos, the towns he had occupied and garrisoned with Turkish soldiers in Ionia, Phrygia, Galatia, and Bithynia remained in their hands. Thus, by becoming involved in the Byzantine civil wars as mercenaries and allies – especially through their use by Botaneiates and Melissenos during their respective revolts to hold down various cities for them – the Turks completed their relatively peaceful take-over of central and western Asia Minor. ### Service under Alexios Komnenos Melissenos continued to serve Alexios I faithfully throughout the rest of his life. In autumn 1081, he marched alongside Alexios in his campaign against the Italo-Normans of Robert Guiscard. In the Battle of Dyrrhachium, which ended in a crushing Byzantine defeat, he commanded the Byzantine army's right wing. In the 1083 campaign in Thessaly against the Normans, who, under Guiscard's son Bohemond were besieging Larissa, Melissenos was used by Alexios as the centerpiece to a ruse de guerre. The emperor gave him the imperial insignia and a detachment of the army, which Bohemond proceeded to attack in the belief that this was the main Byzantine force, since the emperor was present with it. While the Normans pursued Melissenos's men, Alexios with the main army took and looted the Norman camp, forcing Bohemond to lift the siege and withdraw. Melissenos fought alongside Alexios in the Battle of Dristra in late August 1087 against the Pechenegs, commanding the Byzantine left wing. The battle ended in a heavy Byzantine defeat, and Melissenos was taken captive along with many other Byzantines, to be ransomed by the emperor after some time. In spring 1091, Melissenos was sent to Ainos to recruit soldiers from among the Bulgarians and Vlachs. Occupied with this task, he did not join the imperial army in time for the crushing Byzantine victory over the Pechenegs at the Battle of Levounion on 29 April, arriving the next day. Later in the same year, he participated in the family council of Philippopolis which examined the accusations of conspiracy raised against John Komnenos, the doux of Dyrrhachium by the Archbishop of Ochrid Theophylact. The council degenerated into a heated family quarrel, where John's father, the sebastokrator Isaac, accused Melissenos and Adrian Komnenos of slandering his son, but in the end Alexios dismissed the charges. In the 1095 campaign against the Cumans, Melissenos, along with George Palaiologos and John Taronites were left in charge of defending the region of Berrhoe (modern Stara Zagora) against Cuman attacks. This is the last mention of Melissenos in Anna Komnene's Alexiad, and he apparently retired to his estates around Thessalonica. He died on 17 November 1104. The date of his wife's death is unknown, but was before 1136.	[ "## Biography", "### Origins and early career", "### Rebellion", "### Service under Alexios Komnenos" ]	2,026	26,175
45,055,340	Shine (Gwen Stefani song)	1,146,717,040	2015 song by Gwen Stefani	[ "2015 songs", "American reggae songs", "Gwen Stefani songs", "Paddington Bear", "Reggae fusion songs", "Ska songs", "Song recordings produced by Pharrell Williams", "Songs written by Gwen Stefani", "Songs written by Pharrell Williams", "Songs written for films", "Unreleased songs" ]	"Shine" is a song written and recorded by American singer Gwen Stefani featuring fellow American musician Pharrell Williams, who solely produced the song. Originally intended for Stefani's band No Doubt, it is a reggae pop and ska song that is featured in the 2014 animated film Paddington. The lyrics revolve around the lead character Paddington Bear's journey to London and his identity crisis. Stefani initially disagreed with Williams' choice to use direct references to Paddington in the lyrics, but praised this decision after watching the film with her children. She reported that her involvement with the recording was inspired by her then-husband Gavin Rossdale and her children's connection to England. A lyric video for the track was released on January 31, 2015, on The Weinstein Company's YouTube channel, and included on the DVD and Blu-ray releases of the film. The song was featured in the American trailer for the movie, and made available as a promotional CD as a result of its submission for the Academy Award for Best Original Song. Although a low-quality version leaked on December 31, 2014, a full version of the recording was not released for public consumption. It was omitted from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like (2016). Critical response to "Shine" was mixed; some praised Stefani and Williams' chemistry, while others compared it negatively to their previous collaborations. Commentators frequently likened it to Williams' 2013 single "Happy" and Stefani's 2014 song "Spark the Fire". ## Concept and development `"Shine" was written by Pharrell Williams and Gwen Stefani, and produced by Williams. In November 2014, the pair announced that they were collaborating on a recording for the animated film Paddington. They had previously worked together on four singles: "Hella Good" (2002), "Can I Have It Like That" (2005), "Hollaback Girl" (2005), and "Spark the Fire" (2014).` Williams initially pitched "Shine" as a song for No Doubt, of which Stefani was lead vocalist. She immediately noticed similarities between the demo and her music with No Doubt and played it for the rest of the band to get their reaction. No Doubt recorded their version in late 2014. According to Rolling Stone, Stefani was collaborating with the band for a song for the Paddington soundtrack. Despite this announcement, Rolling Stone's Patrick Doyle suggested that it would be recorded by Williams and Stefani instead. In an official statement, film executive Bob Weinstein called Stefani and Williams "the perfect artistic duo", saying their work "brought to life the charm that Paddington represents". Stefani said her involvement was motivated by her personal connection to the film's setting through her marriage to English musician Gavin Rossdale. She added that the film and the track allowed her children to recognize their origins. Williams considered the song to be "a wonderful opportunity, as a parent, to contribute to something as classic, authentic and generational to all of our lives, as Paddington Bear"; Stefani said that she was "honored to join forces with Pharrell and be part of bringing this beloved classic to life for Paddington's next big adventure". Williams called the song "a trailer into a wonderful family experience" and developed its concept from his children's interest in Paddington Bear. ## Composition and lyrical interpretation "Shine" is a reggae pop and ska song that lasts three minutes and 24 seconds. It is composed in the key of E minor using common time and a moderately fast tempo of 140 beats per minute. Instrumentation is provided by strings, horns, a guitar, and a piano, to create what Music Times' Carolyn Menyes described as a "crawling beat". March Robisch of Thought Catalog described the single as having "that ska quality that made No Doubt so successful". Digital Spy'''s Lewis Corner and Amy Davidson wrote that it is a "ska-flecked romp of pumped-up foghorns and plodding brass". A writer from Capital XTRA described it as having a "mellow beat", while Rolling Stone's Daniel Sannwald wrote it has a "party-vibe production". During the track, Stefani's vocal range spans from the low note of D<sub>3</sub> to the high note of A<sub>4</sub>. Williams equated Stefani's tone to that of a "child whisperer" due to her ability to make music that appeals to children. The lyrics are about Paddington Bear and his travels; Rolling Stone called it "a pop-reggae allegory about a bear with an identity crisis". The song opens with Stefani singing the first verse and Williams joining in the chorus, the lyrics including "When you're trying to get home / When you don't wanna be alone / Look at yourself in the mirror / That's your way home". The hook features Stefani repeatedly singing "Shine!" and Williams screaming "Hey!". Andy Morris from Gigwise noted the lyrics, "So we're in a strange new land in Paddington station / But you end up in good hands in the fancy British nation" and "that bear with the red hat", as obvious references to Paddington. According to Sannwald, the lyrics include "Pharrell's 'Happy"-ish 'Everybody is the same inside' bridge" that allows the song to appeal to both children and their parents "without sounding overly patronizing". "Shine" ends with Williams singing in the falsetto register. When discussing the development of the single with MTV News, Stefani said that she initially disagreed with Williams' approach to the lyrics. Williams was more "specific" regarding the lyrics as he wanted to include words directly connected to the film and its character like "bear", "Paddington", and "station"; Stefani said that she preferred for the song to be a "little more abstract". She later reversed this view, saying that she agreed with Williams' interpretation after watching the film with her children and seeing the complete animations of the Paddington Bear character. In an interview with American Top 40, Stefani credited Williams as being central to the recording's development, saying that he was "the one who really got in there and was able to channel the film lyrically and make it really happen". ## Critical reception "Shine" received mixed reviews from music critics. E! News' Bruna Nessif gave the single a positive review, stating: "When it comes to feel-good music, leave it up to Gwen Stefani and Pharrell to get the job done". A reviewer from Vibe praised it as "the perfect theme song". Abe Dewing, a member of the Cambridge Symphony Orchestra, described it as a "sharp, hip tune" in the Boston Herald. He compared its opening trumpet riff to music by British composer Herbert Chappell, who created the theme for the 1975 television series Paddington. Chappell also composed music for the 1986 concerto "Paddington Bear's First Concert". Dewing praised Stefani and Willams' ability "to compose new music for existing source material intended for children". A reviewer from the website antiMusic described the recording as "even more feel good" than the pair's collaboration on "Spark the Fire". Daniel Sannwald gave it three and a half stars out of five, favorably comparing its melody to the chorus of Irish rock band The Cranberries's 1994 single "Zombie". He felt that it would appeal to both children and their parents. Some reviewers criticized "Shine" for lacking the energy of Williams' and Stefani's previous releases. MTV's John Walker questioned whether it could repeat the success of Williams' previous single "Happy" from the 2013 animated film Despicable Me 2. In response to the leaked version, Carolyn Menyes wrote that it was too slow in comparison to the "crazy, happy beats and earwormmy hand claps" of "Happy" and the "inane catchiness" of Stefani's previous singles "Spark the Fire" and "Baby Don't Lie" (2014). Menyes was critical of Stefani's vocals, saying she used "an oddly harsh tone" throughout the track. Steven Pond of TheWrap wrote that Stefani's vocal delivery "never quite crosses the line to catchy". ## Promotion and music video Although a low-quality version leaked on December 31, 2014, a full version of the recording was not made available for the public. A limited quantity edition CD single was issued in January 2015, and sent to the Academy of Motion Picture Arts and Sciences as part of the submission process to be considered for the Academy Award for Best Original Song. The single was included in the list of 79 contenders for the award, but it did not receive a nomination. A lyric video was uploaded onto The Weinstein Company's YouTube channel on January 13, 2015. It was a minute and 35 seconds, and featured clips from the film. The video received over two million views in 24 hours. The video featured scenes from the film in which "the iconic Peruvian bear finds himself in all manner of mishaps while trying to find a home and ultimately working his way into our hearts". The visual was included on the DVD and Blu-ray releases of Paddington along with a behind-the-scenes feature on the making of the track. Matthew Jacobson of The Spectrum, a newspaper which is part of the USA Today Network, criticized the video for being "just clips of the movie set to a song" rather than a proper music video. Alternatively, Cinemablend.com's Jessica Rawden found the video to be "satsifying". "Shine" is featured in the American trailer and the closing credits for Paddington, but was not included in the British version of the film. Idolator's Christina Lee wrote that the track was an exclusive release for the United States and Canada. The song was excluded from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like'' (2016). During an interview with Stefani and Williams on January 21, 2015, radio host Ryan Seacrest erroneously announced the track was available for purchase on the iTunes Store. ## Credits and personnel Credits adapted from the American Society of Composers, Authors and Publishers: Management - ASCAP/Harajuku Lover Music - Gwen Stefani appears courtesy of Interscope Records - Pharrell Williams appears courtesy of Columbia Records and i am OTHER Entertainment Personnel - Writers – Gwen Renee Stefani, Pharrell Williams - Performance – Gwen Stefani, Pharrell Williams ## Release history ## See also - List of songs recorded by Gwen Stefani	[ "## Concept and development", "## Composition and lyrical interpretation", "## Critical reception", "## Promotion and music video", "## Credits and personnel", "## Release history", "## See also" ]	2,239	38,215
8,419,731	Michaela Tabb	1,172,864,008	Scottish Snooker Referee	[ "1967 births", "Alumni of the University of Glasgow", "Living people", "People from Dunfermline", "Pool referees and officials", "Scottish people of English descent", "Scottish pool players", "Scottish women referees and umpires", "Snooker referees and officials", "Sportspeople from Bath, Somerset" ]	Michaela Tabb (born 11 December 1967) is a Scottish snooker and pool referee. She established significant milestones for female officials in professional cue sports, beginning in pool, where she officiated at top tournaments such as the WPA World Nine-ball Championship and the Mosconi Cup. She qualified in 2001 to referee on the World Snooker Tour and was the sport's highest profile female referee for the next 14 years. She became the first woman to officiate at a professional ranking snooker tournament at the 2002 Welsh Open, and the first woman to referee a ranking tournament final at the 2007 Welsh Open. As of 2022, she is the only woman to have refereed the World Snooker Championship final, which she did twice, in 2009 and 2012. Tabb left the professional snooker tour in March 2015 following a dispute with the sport's commercial arm, World Snooker Ltd, against which she brought a case alleging sex discrimination, unfair dismissal, and breach of contract. The parties reached an out-of-court settlement in September 2015, under which World Snooker Ltd paid Tabb an undisclosed financial sum. She has continued to referee at pool events and on the World Seniors Tour. Tabb is also a former pool player. In the 1990s and early 2000s, she competed on the women's eight-ball pool circuit, where she won a number of titles as a solo competitor and as a member, and later captain, of the Scottish Ladies' Pool Team. ## Personal life Born on 11 December 1967, in Bath, England, Tabb moved to Scotland with her family when she was three years old. She studied chemistry, biology, and psychology at the University of Glasgow, although she dropped out before receiving her degree. Before becoming a full-time professional referee, she worked as a sales representative for a number of blue-chip companies. She was also a sales representative for the Ann Summers lingerie retailer. Tabb resides in Dunfermline, Scotland, with her husband, pool player Ross McInnes. The couple met while playing on the men's and women's Scottish pool teams. They have two sons, Morgan and Preston, both of whom play competitive pool. Morgan McInnes has played on Scotland's under-23 A team at the European Pool Championships. ## Playing career Tabb started playing competitive blackball in 1991, at the age of 23. Selected the following year to play on the Scottish Ladies' Pool Team, she went on to captain the team to two consecutive Grand Slam titles in 1997 and 1998 by winning the Nations Cup, European Championships, and World Championships in the same season. She remained on the team until 2003. Her sister Juliette also played on the Scottish ladies' team. As an individual competitor, Tabb won the UK women's singles title in 1997. The following year, she won the European Pool Championships held in Gibraltar. ## Refereeing career ### Pool Tabb began refereeing in the mid-1990s when she and her husband, Ross McInnes, began running amateur eight-ball and nine-ball pool tournaments. McInnes subsequently encouraged her to pursue refereeing professionally. She made her professional refereeing debut at the St. Andrew's Cup nine-ball pool tournament in September 1997, while pregnant with her first son. She refereed on television for the first time the following year, when the 1998 St. Andrew's Cup, sponsored by Matchroom Sport, was broadcast on Sky Sports. She went on to become one of pool's top officials, refereeing at the WPA World Nine-ball Championship and the Mosconi Cup. In 2017 Tabb became the head referee on the World Pool Series. ### Snooker Stating that he wanted to change the dowdy, all-male image of snooker referees, Jim McKenzie, then chief executive of the World Professional Billiards and Snooker Association, recruited Tabb to referee snooker events in 2001. Exempted from the customary five-year refereeing apprenticeship, she qualified as a Class 3 snooker referee in September 2001. She conceded that this fast-tracking generated resentment among her fellow officials and referees. On 23 January 2002, Tabb became the first woman to referee at a professional ranking snooker tournament when she took charge of a first-round match between Ken Doherty and James Wattana at the 2002 Welsh Open in Newport. In 2003, she made her World Snooker Championship debut at the Crucible Theatre in Sheffield, refereeing a first-round match between Mark King and Drew Henry. In July 2003, dwindling sponsorship revenue forced the WPBSA to cut its tournament referees from ten to eight. Tabb's contract, along with that of Dutch referee Johan Oomen, was terminated on a last-in, first-out basis, threatening her future in the sport. However, the WPBSA soon reversed its decision to dismiss Tabb and she signed a new contract in September 2003. On 18 February 2007, Tabb became the first woman to officiate at a ranking event final, taking charge as Neil Robertson defeated Andrew Higginson 9–8 to win the 2007 Welsh Open. On 20 January 2008, she refereed her first Triple Crown final at the 2008 Masters, which saw Mark Selby defeat Stephen Lee 10–3. On 5 April 2009, she took charge of the China Open final in Beijing, where Peter Ebdon beat John Higgins 10–8. Tabb became the first woman to referee a World Snooker Championship final in 2009, officiating as John Higgins defeated Shaun Murphy 18–9 to capture his third world title. She also refereed the 2012 World Snooker Championship final, in which Ronnie O'Sullivan defeated Ali Carter 18–11 to win his fourth world title. As of 2022, she remains the only female referee to have officiated at a world championship final. On 19 March 2015, World Snooker Ltd announced that Tabb had left the professional refereeing circuit. In September 2015, appearing under her married name of Michaela McInnes, Tabb brought an Employment Tribunal against World Snooker Ltd, claiming sexual discrimination, unfair dismissal and breach of contract. World Snooker Ltd made an undisclosed out-of-court financial settlement. Since leaving the main professional circuit, Tabb has continued to referee World Seniors Tour events, including the World Seniors Championship finals in 2019, 2020, 2022, and 2023. The professional snooker tour now features a significant number of female referees, including Desislava Bozhilova, Maike Kesseler, and Tatiana Woollaston. Tabb has commented on her groundbreaking role in opening the sport up to female referees, saying: "I know that my legacy is that all these young ladies that I can see on the television are doing that job because I did it”. ## See also	[ "## Personal life", "## Playing career", "## Refereeing career", "### Pool", "### Snooker", "## See also" ]	1,485	12,387
21,641,546	Cyclone Fanele	1,169,090,802	South-West Indian cyclone in 2009	[ "2008–09 South-West Indian Ocean cyclone season", "2009 in Madagascar", "Cyclones in Madagascar", "Intense Tropical Cyclones", "Tropical cyclones in 2009" ]	Intense Tropical Cyclone Fanele was the first cyclone of tropical cyclone status to strike western Madagascar since Cyclone Fame one year prior. It formed on January 18, 2009 in the Mozambique Channel, and rapidly organized as it remained nearly stationary. Fanele ultimately turned toward the southwest Madagascar coastline, reaching peak winds of 185 km/h (115 mph), according to the Réunion Météo-France office (MFR). It weakened before moving ashore in Menabe Region southwest of Morondava, and rapidly weakened over land. Fanele briefly re-intensified after reaching open waters, only to become an extratropical cyclone by January 23. The cyclone caused heavy damage near where it moved ashore and along its path, resulting in ten deaths. Fanele struck Madagascar just two days after Tropical Storm Eric brushed the northeastern portion of the country. The two storms affected over 50,000 people, of which at least 4,000 were left homeless. Fanele struck the country during a series of government protests, and consequentially relief efforts were hindered. ## Meteorological history For several days in the middle of January 2009, a very weak low-level circulation persisted in the Mozambique Channel, accompanied by intermittent and disorganized convection, or thunderstorms. By January 17, an area of convection persisted about 510 kilometres (320 mi) west-southwest of Antananarivo, Madagascar. Early on January 18; the circulation rapidly consolidated and organized while the thunderstorms developed into tightly curved rainbands. Environmental conditions favored further development; an anticyclone formed over the disturbance, an approaching trough provided favorable outflow, and the system benefited from both light wind shear and warm water temperatures. At 0600 UTC on the 18th, the Réunion Météo-France office (MFR) initiated advisories on Tropical Disturbance 07, noting its intensification as it drifted southwestward. Six hours after being declared a tropical disturbance, MFR upgraded it to tropical depression status, and the agency predicted the system would eventually reach peak winds of 130 km/h (81 mph) before moving ashore. Its track was expected to follow that of another tropical cyclone east of Madagascar, which would become Tropical Storm Eric. Late on January 18, the system briefly became disorganized, only to re-organize and attain tropical storm status on January 19; upon doing so, the Malagasy Weather Service named it Fanele. Around the same time, the Joint Typhoon Warning Center (JTWC) began issuing advisories on the storm. The agency noted uncertainty in the future track of the storm, due to interaction with Tropical Storm Eric east of Madagascar, and Fanele was located within an area of weak steering currents. Tropical Storm Fanele quickly strengthened, developing an eye feature, and late on January 19 the JTWC estimated sustained winds of 120 km/h (75 mph); the agency predicted further strengthening to peak winds of 140 km/h (87 mph). Around that time, Fanele began rapid deepening under very favorable environmental conditions, and the MFR upgraded the storm to tropical cyclone status with winds of 150 km/h (93 mph). Upon attaining tropical cyclone status, the MFR forecast Fanele would intensify further to peak winds of 185 km/h (115 mph). Early on January 20, Cyclone Fanele began a northeast motion, tracking along the eastern periphery of a ridge located over Mozambique. Later it turned southeastward under the influence of another ridge further to the east. The thunderstorms organized further around the eye, and at 1200 UTC on January 20 the MFR estimated Fanele attained peak winds of 185 km/h (115 mph) about 180 km (110 mi) west-northwest of Morondava along the Madagascar coast. At the same time, its atmospheric pressure was estimated at 927 hPa (mbar), and peak wind gusts were estimated at 261 km/h (162 mph). The JTWC also assessed peak winds of 185 km/h (115 mph). As it approached the coast, the cyclone became slightly less organized, with weaker convection and a less distinct eye; the weakening was due to an eyewall replacement cycle. At around 0215 UTC on January 21, Fanele made landfall on the western Madagascar coastline, to the southwest of Morondava. Cyclone Fanele weakened quickly over land; within four hours of moving ashore, its winds decreased to 150 km/h (93 mph), and its wind field expanded. The eye feature dissipated as the system weakened to tropical storm status, and increased wind shear contributed to further weakening. By January 22, the poorly defined circulation moved over open waters, by which time its winds weakened to about 45 km/h (28 mph). Upon reaching the ocean, convection began to reform near the circulation, and Fanele re-attained tropical storm status. Cooler waters caused convection diminish near the center, which began the process of extratropical transition. Late on January 22, the JTWC issued its last advisory on the storm. By January 23, Fanele completed the transition into an extratropical storm as it accelerated toward the south-southeast. It persisted as a distinct tropical cyclone until later that day. ## Impact Though the cyclone developed quickly, authorities were prepared for the storm; earlier in the year, Madagascar's National Office for Natural Disasters Preparedness implemented a plan for localized storm warning. Officials deployed warnings via radio to citizens in the path of Fanele, as well as to fishermen who were told to avoid leaving port. Cyclone Fanele made landfall on western Madagascar in Menabe Region, where it destroyed many buildings, flooded large areas, and left thousands of people isolated. In the city of Morondava near the landfall location, the cyclone flooded 80% of buildings and damaged about half of the houses, leaving 3,000 people homeless. Throughout the region, the winds damaged 158 classrooms attended by 9,000 children. Further inland, the cyclone damaged bridges and roads, leaving some areas isolated. The outer rainbands of the storm produced heavy rainfall in the northwest portion of the country, resulting in flooding that left about 250 people homeless in Sofia Region. The passages of Cyclones Eric and Fanele affected 54,802 people, leaving 4,102 without shelter. At least 28,000 people were affected directly by Fanele, and the cyclone killed a total of ten people. The cyclone disrupted work to rebuild areas that were affected by Cyclone Ivan in February 2008. Cyclone Fanele struck the country during a series of government protests, and consequently the national government provided little response to the storm. Instead, United Nations (UN) agencies quickly provided relief to affected citizens. The World Food Programme prepared 87 metric tons (MT) of cereal and 13 MT of various types of pulses. Five United Nations Children's Fund (UNICEF) trucks arrived in Morondova on January 25 with various supplies. In the days after the storm, contaminated floodwaters resulted in cases of dysentery. To prevent the spread of disease, UNICEF provided vaccines, de-worming tablets, and water cleaning devices. Within three days of the storm's landfall, the agency also began distributing health kits and bed nets. As many schools were affected, UNICEF set up temporary classrooms in tents, while workers began fixing and cleaning the damaged buildings. Despite the quick response by the UN, thousands of people were left without aid. The Malagasy Red Cross deployed its volunteers to affected areas, although disrupted transportation services and the political situation hindered relief efforts. ## See also - Geography of Madagascar - 2009 Malagasy protests	[ "## Meteorological history", "## Impact", "## See also" ]	1,635	9,340
1,192,602	William Edward Sanders	1,166,993,535	Recipient of the Victoria Cross	[ "1883 births", "1917 deaths", "British military personnel killed in World War I", "Military personnel from Auckland", "New Zealand Companions of the Distinguished Service Order", "New Zealand World War I recipients of the Victoria Cross", "Royal Naval Reserve personnel", "Royal Navy officers of World War I", "Royal Navy recipients of the Victoria Cross" ]	Lieutenant Commander William Edward Sanders, (7 February 1883 – 14 August 1917) was a First World War New Zealand recipient of the Victoria Cross (VC), the highest award for gallantry "in the face of the enemy" that could be awarded to British and Commonwealth forces at the time. Born in Auckland, Sanders took up a seafaring career in 1899. He initially worked aboard steamships before transferring to sailing ships to enhance his career prospects. Sanders earned a master's certificate in late 1914, following the outbreak of the First World War. He then served aboard troopships in the Merchant Navy until April 1916, when he was commissioned in the Royal Naval Reserve. He completed his military training in the United Kingdom, after which he served aboard Helgoland, a Q-ship that operated against German submarines. His performance on his first two patrols earned him his own command, HMS Prize, in February 1917. Sanders was awarded the VC for his actions while on his first patrol as captain, when Prize engaged and saw off a German U-boat that had earlier attacked and damaged his ship. He was killed in action during Prize's fourth patrol, when his ship was sunk by a U-boat. His VC, the first and only such medal to be awarded to a New Zealander serving with a naval force, was presented to his father and is held by the Auckland War Memorial Museum. There are several tributes to Sanders, including the Sanders Memorial Cup, a sailing trophy for 14-foot (4.3 m) yachts. ## Early life William Edward Sanders was born in the Auckland suburb of Kingsland on 7 February 1883. His father, Edward Helman Cook Sanders, was a boot maker, who with his wife Emma Jane Sanders (née Wilson), would have three more children. William's maternal grandfather was a sea captain and worked for the family's shipping company. Sanders attended Nelson Street School until 1894, when his family moved to Takapuna. He shifted to Takapuna School, which was close to Lake Pupuke, where he learned to sail. He earned the nickname "Gunner Billy" for his exploits with a small cannon that a classmate brought to school. He left school at the age of 15 and, at the urging of his parents, was apprenticed to a mercer in Auckland's Queen Street. He was not particularly interested in the trade and, desiring a career at sea, would go down to the wharves to inspect the berthed ships and chat with their captains and crewmen. In 1899, Sanders became aware of a vacancy for a cabin boy aboard Kapanui, a steamer that worked the coast north of Auckland. An officer on the ship was an acquaintance and had given Sanders the tip that a position was available. Sanders promptly applied to join the vessel and was the successful applicant. He remained with the company that operated Kapanui for three years. In 1902 he joined Aparima, operated by the Union Steam Ship Company, which traded between New Zealand and India. In 1906, as an ordinary seaman, he transferred to NZGSS Hinemoa, a government steamer servicing lighthouses along the New Zealand coast and depots on offshore islands. With his seafaring career to date spent working on steamships, Sanders decided to gain experience under sail with the Craig Line. At the time, steam was looked down upon by seafarers, sailors being regarded as more skillful. From 1910, Sanders sailed on a series of vessels and by 1914, after taking his mate's certificates, he was mate of the barque Joseph Craig. On 7 August 1914, the ship foundered on the Hokianga bar and Sanders took charge of a small boat to seek help. He appeared at the inquest held at Auckland into her sinking, the blame for which was placed on the master. ## First World War During the early part of the First World War, Sanders worked as second mate on Moeraki. He also sat for his master's certificate, passing with honours on 7 November 1914. He was discharged from Moeraki in December and applied for the Royal Naval Reserve (RNR). However, he was not called up and in the interim served as a Merchant Navy officer on the troopships Willochra and Tofua. After Sanders' repeated pleas to authorities, eventually in June 1915 the New Zealand High Commissioner wrote to the Admiralty in support of his efforts to join the RNR. This advocacy was presumably successful for in December 1915 he found passage on a steamer bound to Glasgow via the Atlantic. He reached the United Kingdom on 17 April 1916 and made his way to London where, two days after his arrival, he was appointed an acting sub-lieutenant in the RNR. After completing a three-month junior officer's course at the training facility HMS Excellent on Whale Island, Sanders was granted a position on Helgoland, a Q-ship operating against German submarines in the Western Approaches. Q-ships were merchant ships crewed by Navy personnel and bearing hidden weaponry. When attacked by U-boats, a portion of the ship's crew (referred to as a panic party) would appear to evacuate the vessel, sometimes setting smoke fires to simulate damage. This would encourage its attacker to approach and when the U-boat was close enough, the Q-ship's guns would be revealed and open fire, targeting the approaching submarine. Helgoland was a Dutch brigantine armed with 12-pounder guns and a machine gun. Sanders, second in command to fellow New Zealander Lieutenant A.D. Blair, helped oversee its conversion to a Q-ship. On its first patrol in September 1916, his ship participated in two actions against U-boats and, on its second the following month, it again encountered U-boats on two occasions. During the first engagement, Helgoland was becalmed due to lack of wind, without engines and extremely vulnerable. With limited manoeuvrability and with the attacking U-boat content to fire on the ship from a distance, Helgoland was forced to reveal its identity early in the action. The U-boat was able to get away but not without first firing two torpedoes which passed harmlessly under Helgoland. In the second engagement, Helgoland came to the assistance of a steamer being attacked by a U-boat. In doing so, Sanders had to expose himself to gunfire in order to remove a jammed screen obscuring the ship's gun. ### HMS Prize Sanders' conduct on Helgoland resulted in a promotion to lieutenant, and he was also recommended for command of his own ship. In early 1917, he was appointed captain of HMS Prize, a three-masted topsail schooner that was sailing under the German flag when it was the first enemy ship to be seized by the British after the outbreak of the First World War. Originally sold by the Admiralty to a shipping company, it was later offered to the Royal Navy for use as a decoy vessel and converted to a Q-ship in early 1917. This involved the addition of diesel engines, radio equipment and armament, including two 12-pounder guns; one was inside a collapsible deckhouse while the other was on a platform that was raised from the hold. A pair of Lewis guns and a Maxim machine gun were also fitted. The conversion work on Prize was carried out near Falmouth and Sanders arrived there in mid-April 1917 to supervise the final stages of the work and fitting out of the ship. Prize was formally commissioned into the Royal Navy a few days later, on 25 April, with a crew of 27, including Sanders. It departed for its first patrol the next day. In the evening of 30 April, near the Isles of Scilly in the Atlantic, Prize was attacked by a U-boat, U-93, commanded by Kapitänleutnant Edgar von Spiegel von und zu Peckelsheim. The Q-ship was badly damaged by shellfire from the U-boat's deck gun. Sanders, having dispatched the panic party to a small boat, remained under cover with his men. Despite several of them being wounded, the crew remained in place to maintain the facade of an abandoned ship. After 20 minutes of shelling, Prize appeared to the Germans to be sinking. The U-boat approached her port quarter, whereupon Sanders ordered the White Ensign hoisted and Prize opened fire. Within a few minutes the submarine had received severe damage to her conning tower, with several crew members blown into the water. After moving away, the U-boat disappeared from sight in mist, and was believed by the crew of Prize to have been sunk. The panic party, still in its boat, collected three survivors, including the captain of the U-boat, and brought them back to Prize. The damage to the ship was serious, and the German prisoners assisted in repairs as it made for the Irish coast and received a tow as it approached Kinsale. In the meantime, U-93 managed to struggle back to the island of Sylt, near the German coast, nine days later. While Prize was being repaired, the First Sea Lord, Admiral Sir John Jellicoe, offered Sanders command of a destroyer of his choosing, which he declined. Preferring to remain in his current role, Sanders returned to sea in late May with Prize conducting a second patrol for three weeks. Sanders was wounded slightly in the arm during an action on 12 June, in which Prize encountered another German submarine, UC-35, on the surface. It was fired at 30 times by the U-boat as it approached. Once Sanders gave the order to fire, the U-boat turned away. Only a few shots from Prize were fired and the U-boat quickly submerged and got away. After being repaired, Prize undertook another patrol in late June and early July. On 22 June, while Sanders was at sea, his award of the Victoria Cross (VC) for his actions on 30 April was gazetted. The VC, instituted in 1856, was the highest award for valour that could be bestowed on members of the military of the British Empire. All of the crew present on 30 April received awards; Sanders' lieutenant received the Distinguished Service Order (DSO), two other officers the Distinguished Service Cross, and the rest of the crew was awarded the Distinguished Service Medal. Sanders was also promoted to lieutenant commander. Because the use of Q-ships such as Prize was still secret, the particulars of the action leading to the awards made to Sanders and his crew were not made publicly available. Instead, the published details of his VC when it was gazetted simply read: > In recognition of his conspicuous gallantry, consummate coolness, and skill in command of one of H.M. Ships in action. ### Final patrol Sanders, becoming increasingly fatigued from the stress of his duties, embarked on Prize for another patrol in early August 1917. Before he left, he made a request to be relieved of his command citing "overstrain". The Admiralty approved a few days later but Sanders had already departed on patrol. Sailing into the Atlantic under a Swedish flag, the ship was accompanied by a British submarine, HMS D6. It was intended that D6 would submerge and observe Prize throughout the day. When an enemy ship was sighted, the crew of Prize would place discreet signals in the rigging to indicate the ship's position to the watching D6. The submarine would then attempt to move into a position where it could torpedo the approaching enemy. On 13 August 1917, a lookout spotted UB-48. Sanders opted to use the guns of Prize to shell the German U-boat; UB-48 was undamaged and it submerged to evade the attack. Prize and D6 remained on station. Oberleutnant Wolfgang Steinbauer [de], the captain of UB-48, was determined to sink Prize and stalked the ship. Soon it was dark and he surfaced his submarine and sighted a light in the distance. He believed that it was likely to be someone aboard Prize opening a porthole or lighting a pipe or cigarette. He launched two torpedoes, one of which struck Prize and exploded. Investigating what remained of Prize he found only wreckage and the body of a British sailor. The D6, still nearby, heard the explosion of the torpedo. At dawn on 14 August, D6 surfaced but no trace was found of Prize or her crew and it was presumed that she had been sunk. ## Medals and legacy Sanders, a bachelor, died without knowledge of the award of a DSO for his actions during the engagement with UC-35 on 12 June 1917. He was also entitled to the British War Medal, the Mercantile Marine War Medal and the Victory Medal. In June 1918, Sanders' father received his son's VC and DSO from the Earl of Liverpool, the Governor-General of New Zealand, in a ceremony at the Auckland Town Hall. Sander's VC, the first and only one awarded to a New Zealander serving with a naval force, and DSO are on display at the Auckland War Memorial Museum. The museum also holds a framed exhibit of photographs of Sanders and his citations that was originally presented to Takapuna Primary School, his old school, by Earl Jellicoe in September 1919. Sanders is remembered in a number of ways, including by a bronze tablet in the church at Milford Haven, the home port of Prize, a plaque in the Auckland Town Hall, and The Sanders Memorial Scholarship at the University of Auckland for children of members of the Royal Navy or the Mercantile Marine. His name is on one of the gravestones in the family plot in Purewa Cemetery in Meadowbank. In 1921, the Sanders Memorial Cup, named in his honour, was established for competition between 14-foot (4.3 m) yachts. Sanders Avenue in Takapuna is named after him. Each year, cadets from the Training Ship Leander hold a memorial parade in commemoration of Sanders.	[ "## Early life", "## First World War", "### HMS Prize", "### Final patrol", "## Medals and legacy" ]	2,947	38,888
5,431,301	Milwaukee Airport Railroad Station	1,161,501,298	Railway station in Milwaukee, Wisconsin, US	[ "2005 establishments in Wisconsin", "Airport railway stations in the United States", "Amtrak stations in Wisconsin", "Railway stations in the United States opened in 2005", "Transportation in Milwaukee" ]	Milwaukee Airport Railroad Station is an Amtrak railway station located near the western edge of Milwaukee Mitchell International Airport in Milwaukee, Wisconsin, United States. It is served by the seven daily round trips of the Hiawatha Service, with a free shuttle between the station and the airport terminal. The station opened on January 18, 2005. ## Service and facilities The Milwaukee Airport Rail Station's primary functions are to serve as an airport rail link for Milwaukee Mitchell International Airport and to serve as an alternate to the downtown Milwaukee station for residents of the southern portions of the Milwaukee metropolitan area. The station is served only by the Amtrak Hiawatha Service, and sees fourteen daily arrivals, seven each from Milwaukee Intermodal Station and Chicago Union Station. The station is the first stop en route to Chicago, 8 miles (13 km) from Milwaukee with a with a travel time of about 10 minutes. It is also the third stop en route to downtown Milwaukee, with a travel time along the 78-mile (126 km) section taking one hour and 14 minutes. In Amtrak's , the station handled passengers. The 1,600-square-foot (150 m<sup>2</sup>) station includes a Quik-Trak ticket machine, restrooms, a seating area, and covered walkways to both the drive-up area and the boarding platform. As the station is unstaffed, all tickets from the station need to be purchased online, from the Quik-Trak machine or on the train from a conductor. Passengers needing checked baggage service are advised to use the downtown station. The station parking lot contains 300 spaces and a fee is charged to park. All revenue generated from parking fees is used to finance the station's operating costs. Transport to and from the airport terminal is provided by the free shuttle buses operated by the airport. ## History The idea of opening an Amtrak station in the vicinity of Mitchell Airport had been discussed since the mid-1970s. The justification for not building the station at the time was based on infrequent Amtrak service and relatively congestion-free access to the airport from the south via I-94 and WI 119. By the late 1990s, a station at the airport was proposed as part of the Midwest Regional Rail Initiative. In June 2001, the Wisconsin Department of Transportation authorized \$100,000 to start the preliminary design for the station, with an original opening slated for late-2003. How to fund construction of the station became an issue following objections from both airport and Milwaukee County officials. Although supported by both airport and local officials, they stated that financing a facility to transport persons primarily away from Milwaukee should not be done with local, but rather state and federal sources. As a result of this sentiment, Senator Herb Kohl requested \$5 million for its construction as part of a federal transportation appropriations bill in July, only to see it reduced to \$2.5 million in the final bill in December. With an additional \$4 million in funding secured by Kohl in February 2003, combined with the \$2.5 million previously appropriated, construction of the \$6.5 million station could commence. Groundbreaking for the facility occurred on June 28, 2004. Included in the \$6.8 million project budget were funds for the construction of the station and track improvements to reduce delays between Milwaukee and Chicago. State and local economic development officials saw its construction as an opportunity for travelers from the Chicago metropolitan area to use the station as a rail link to reach Milwaukee Mitchell International Airport as an alternative for both Chicago's Midway and O'Hare airports. The station opened for Hiawatha Service trains on January 18, 2005, as a regular stop along Amtrak's . At the time of its opening, this became only the fourth Amtrak station to have direct service to an airport, after Baltimore, Newark and Burbank. The station was designed for trains carrying only four coach cars, but service was expanded to five cars by 2009, with a sixth proposed. In 2010, the Wisconsin Department of Transportation was awarded \$678,000 in ARRA funds to double the length of the 400-foot (120 m)-long platform. The work was completed in October 2012. From March 21 to June 29, 2020, the Empire Builder temporarily stopped at Milwaukee Airport and Sturtevant while Hiawatha Service trains were suspended due to the COVID-19 pandemic. In February 2019, the Federal Railroad Administration awarded \$5 million in Consolidated Rail Infrastructure and Safety Improvements funds to the Wisconsin Department of Transportation to add a second platform and a footbridge at the station. Construction began in June 2023, with completion expected in June 2025.	[ "## Service and facilities", "## History" ]	971	16,128
6,824,081	Simultaneous release	1,113,354,702	Film release on multiple platforms at the same time	[ "Film and video terminology", "Film distribution", "Home video" ]	A simultaneous release, also known as a day-and-date release, is the release of a film on multiple platforms—most commonly theatrical and home video—on the exact same day, or in very close proximity to each other. This is in contrast to the industry standard of having a window of exclusivity (usually 90 days) between the theatrical and home video releases. The concept was used by several independent films released in the 2000s. In the mid-2010s, the subscription streaming service Netflix began to perform simultaneous releases of its feature films, by means of a limited theatrical release, accompanied by international availability on the Netflix service. As of Roma in 2018, Netflix began a practice of giving its films a three-week limited release before they become available on the service, which is still shorter than standard. Due to their disruptive nature, simultaneous releases have faced mixed reactions from the industry. Advocates have considered them a means of catering to consumer choice and improving the accessibility of film, and critics arguing that they dilute box office revenue by requiring cinemas to compete with premature availability of a film on home video, and are detrimental to the traditional movie-going experience. Most major cinema chains require films to have an exclusive theatrical window of a minimum length (which in some countries is also enforced by law), so films that pursue a simultaneous release or shorter window are typically screened at independent and art house cinemas only. Until 2020, the only film that had been released in such a manner by a major film studio was The Interview, which resorted to simultaneous releases via cinemas and digital rentals due to unforeseen circumstances inhibiting a wide theatrical release. The COVID-19 pandemic resulted in the re-evaluation of alternate release models due to the closures of cinemas under public health orders: Warner Bros. ## Justification Typically, the release of a film is governed by staggered exclusivity "windows" of specific lengths, to prevent releases of a film at different outlets from having to compete directly with each other. Release windows are enforced primarily by major cinema chains, which usually requires distributors to agree to a 74-day window before a film is offered via electronic sell-through. There is usually a 90-day window between the theatrical and home video releases. By the 2000s, improving home cinema technology such as DVD, and the growth of piracy, gave studios an incentive to release films on home video sooner. In 2005, Disney CEO Bob Iger suggested that simultaneous releases of films at theaters and on DVD could help to counter piracy, going as far as suggesting that DVDs could be sold directly at the theater (providing an additional source of revenue to their owners). In the late-1980's, the average length of time between theatrical and home video releases was usually six months, but some blockbuster films enjoyed windows of nine to twelve months. By 2012, the average window before a home release was 112 days, which decreased to 85 by 2017. A simultaneous release only requires a single marketing campaign, which can be beneficial for studios with lower budgets. ## Notable examples - In 2005, British distributor Dogwoof experimented with the concept for its July 25 release EMR, with a theatrical release, a DVD, and digital purchase in partnership with British ISP Tiscali. - The January 2006 release of Steven Soderbergh's Bubble was one of the first high-profile examples of a simultaneous and "end-to-end" film release. Bubble was financed by Mark Cuban and Todd Wagner through their studio 2929 Productions, which screened the film via their art house chain Landmark Theatres, and distributed the film on DVD. The film was also given airings on Cuban's HDNet and HDNet Movies cable networks. 2929 offered a 1% cut of revenue from DVD sales to cinemas who wanted to screen the film. Due to resistance over the model, major chains declined to screen Bubble. - In March 2006, The Road to Guantánamo premiered on the British television network Channel 4 (who commissioned the film), and was released in selected theaters and on home media the following day. Andrew Eaton, co-founder of the film's distributor Revolution Films, explained that "with a film like this that's starting with what would traditionally be the last outlet—a television broadcast—we thought it would be better to go with everything else at once." - In 2014, the wide release of the film The Interview —a film that satirizes the North Korean regime—was cancelled by Sony Pictures, after multiple chains pulled the film due to terrorist threats by a group that had also hacked Sony Pictures' internal servers, and was believed to have ties to North Korea. Sony elected to instead offer the film for digital purchase on December 24, coupled with a limited theatrical release the next day, and streaming online for a limited time. - In 2015, the subscription streaming service Netflix began to acquire feature films, such as Beasts of No Nation. The film was distributed by Bleecker Street in a limited release to ensure award eligibility (the Academy Awards require films to have been screened in Los Angeles for a week with at least three showings per-day, in order to be eligible for nomination. They do not mandate theatrical exclusivity or bar simultaneous releases) and released on Netflix's streaming service internationally day-and-date with the theatrical release. Since Roma in 2018, Netflix has given its feature films a limited, three-week release prior to their debut on the service. ### Use during the COVID-19 pandemic The 2020 onset of the COVID-19 pandemic led to the mandated closure of cinemas worldwide in order to prevent large public gatherings. On March 16, DreamWorks Animation announced that its film Trolls World Tour would be given a simultaneous release as a digital rental on April 10, as part of a larger announcement that parent company Universal Pictures would also offer early rentals for several recent films still in theaters (including Emma, The Hunt, and The Invisible Man). As promotional campaigns and tie-ins for the film (including corporate synergy across the properties of Universal parent company NBCUniversal) were already in progress, it would have been difficult to cleanly postpone its release. The film itself had already been moved up to an Easter weekend release, replacing the James Bond film No Time to Die (which was deferred to November 2020 due to the pandemic, but ultimately delayed to October 2021) on Universal's schedule. Trolls World Tour did receive theatrical screenings at around 25 drive-in theaters in the United States; Deadline Hollywood estimated that these screenings grossed \$60,000 on its opening weekend (full box office numbers are not available, as Universal Pictures and Comscore suspended their reports of figures beginning March 19 and 20). Universal announced on April 13 that Trolls World Tour was its largest-ever debut for a digital release (surpassing Jurassic World: Fallen Kingdom ten-fold), with exact figures pending because they are not reported in the same manner as conventional box office figures. It became the top rental on a variety of VOD services (including FandangoNow, iTunes Store, Google Play Movies/YouTube, and Vudu) over its opening weekend, with FandangoNow (majority-owned by Universal parent Comcast) announcing that the film was its most pre-ordered rental of all-time, its most-ordered rental within the first day of availability, and its most-ordered rental within the first three days of availability. Deadline Hollywood estimated that based on its budget, the film could break-even with around \$200 million in revenue if between 9–12 million rentals were purchased. On April 28, NBCUniversal CEO Jeff Shell reported to The Wall Street Journal that Trolls had reached around 5 million rentals and nearly \$100 million in revenue, and stated that the company planned to release films "on both formats" as soon as cinemas reopen. On November 18, 2020, Warner Bros. announced that Wonder Woman 1984 would be released in U.S. cinemas on December 25 and become available day-and-date on WarnerMedia streaming service HBO Max for one month after its release at no additional charge. On December 3, Warner Bros. subsequently announced that this model would be extended to all of the studio's 2021 releases. The announcement was met with backlash across the industry, showing concerns that this would further erode the cinema industry, and that the move had been performed unilaterally without forewarning. Disney pursued a similar strategy for selected films, with day-and-date rentals for films such as Mulan, Raya and the Last Dragon, Cruella, and Black Widow available to Disney+ subscribers via the "Premier Access" feature. Restrictions began to ease in key markets such as the United States and United Kingdom over 2021. The major studios began to phase out these strategies pursuant to agreements with exhibitors; in March 2021, Warner Bros. confirmed an agreement with Cineworld that requires a 45-day exclusivity window for its releases beginning in 2022, while Universal agreed to 17-day windows with multiple chains (including shares of rental revenue). In September 2021, Disney announced that it would switch back to theatrical-only releases for the remainder of its 2021 slate, citing the successful performance of Shang-Chi and the Legend of the Ten Rings. Concerns over SARS-CoV-2 variants and the lack of approved COVID-19 vaccines for children at the time led to delays and simultaneous releases for several family films, such as Clifford the Big Red Dog (theaters and Paramount+), The Addams Family 2 (theaters and digital rental), and Turning Red (Disney+, theaters in regions where Disney+ had not yet launched, as well as limited runs at selected cinemas in the U.S. and UK). In 2022, Universal shifted several of its films to simultaneous releases on NBCUniversal's streaming service Peacock, such as Marry Me, Firestarter, Halloween Ends, and Honk for Jesus. Save Your Soul. ## Reception and responses Advocates of simultaneous releases argue that they promote consumer choice, by allowing viewers to choose how and when they want to watch a film, especially if they do not have access to a cinema. Netflix stated its model "[provides] access for people who can't always afford, or live in towns without, theaters. Letting everyone, everywhere enjoy releases at the same time. Giving filmmakers more ways to share art. These things are not mutually exclusive." In April 2019, Steven Spielberg similarly stated that "everyone should have access to great stories", and that they should be able to "find their entertainment in any form or fashion that suits them". Film industry figures have argued that simultaneous releases can dilute box office revenue, and detract from the communal experience of movie-going. Following the announcement of Bubble's simultaneous release, M. Night Shyamalan stated that the distributor's plans were "heartless and soulless and disrespectful", and argued that cable and internet companies needed to "wait their turn". Major cinema chains often refuse to carry films that do not adhere to an industry-standard exclusivity window, which can reduce a film's ability to reach a wider audience; IndieWire acknowledged that a peak of 500 U.S. cinemas reached by Martin Scorsese's Netflix-distributed The Irishman (relying on independent and art house cinemas) was "close to the maximum number" it could be screened at without involvement from major chains. In 2018, the Cannes Film Festival instituted a rule requiring all films screened to have a scheduled theatrical release in the country. Under French law at the time, theatrically released films were prohibited from being distributed on subscription video on demand services until three years after their original release. At the time, there was a proposal to shorten this to 15 months, if the service agrees to pay levies and perform investments in domestic productions. The move came following criticism of Netflix's submissions at the 2017 festival, which raised questions over whether it was appropriate to exhibit a film intended for a simultaneous release at a festival devoted to showcasing theatrical film. Netflix's day-and-date streaming of On My Skin (2018) upon its theatrical release in Italy was widely criticized by the local film industry, who felt that Netflix's use of the publicly funded Venice Film Festival to promote its service and content (including On My Skin and Golden Lion winner Roma) was detrimental to Italian and European film. In November 2018, Italy's Minister of Culture Alberto Bonisoli announced that the industry's 105-day window between theatrical and streaming releases of a film (usually enforced via gentleman's agreement) would be enshrined in law. Since 2019, the Toronto International Film Festival has been restricted from scheduling films submitted by streaming services at the Scotiabank Theatre Toronto (the main venue of the event), due to theatrical windowing requirements enforced by its owner Cineplex Entertainment. The Verge felt that Trolls World Tour "could be a case study for Hollywood's digital future" even after the COVID-19 pandemic, acknowledging that although the vast majority of high-profile blockbuster films were more likely to receive a windowed release as to not erode relationships with the cinema industry (a preference endorsed by the National Association of Theatre Owners, which has led to such films having their releases repeatedly postponed, such as F9 and No Time to Die, rather than a simultaneous or straight-to-digital release), studios may be more likely to explore simultaneous releases on a case-by-case basis, especially for mid-budget films with lower revenue expectations (which could benefit from a wider multi-platform release). On April 28, 2020, AMC Theatres announced that it will no longer screen Universal Pictures films, in direct retaliation for Shell's comments praising simultaneous releases. The studio later agreed to allow AMC a cut of revenue from premium VOD rentals in exchange for a 17-day minimum on the theatrical window. In March 2021, Disney CEO Bob Chapek argued that the shifts in distribution models for films would likely become permanent, as consumers had become "impatient" and have "had the luxury of an entire year of getting titles at home pretty much when they want them", but that "we certainly don't want to do anything like cut the legs off a theatrical exhibition run."	[ "## Justification", "## Notable examples", "### Use during the COVID-19 pandemic", "## Reception and responses" ]	2,918	11,623
5,167,330	Sussex Spaniel	1,063,069,585	null	[ "Dog breeds originating in England", "FCI breeds", "Gundogs", "Rare dog breeds", "Spaniels", "Vulnerable Native Breeds" ]	The Sussex Spaniel is a breed of dog native to Sussex in southern England. It is a low, compact spaniel and is as old a breed as and similar in appearance to the Clumber Spaniel. They can be slow-paced, but can have a clownish and energetic temperament. They suffer from health conditions common to spaniels and some large dogs, as well as a specific range of heart conditions and spinal disc herniation. The Sussex Spaniel was first recorded in 1795 in East and West Sussex, being at Goodwood and Rolvenden for specific hunting conditions. The breed nearly became extinct during the Second World War, but was bred back to sustainable numbers. It is now more popular in the United Kingdom and the United States than any other countries, and is recognised by all major kennel clubs. The breed was one of the first to be recognised by the UK Kennel Club in 1872. Sussex Spaniel Stump won the best in show in 2009 at the 133rd Westminster Kennel Club. ## Description The Sussex Spaniel is a low compact spaniel similar in appearance, but not in colour, to a Clumber Spaniel. It is normally no taller than 15–16 in (38–41 cm) at the withers and the usual weight range is 45–50 lb (20–23 kg) with a roughly rectangular appearance. The Clumber Spaniel meanwhile is normally between 17–20 in (43–51 cm) high at the shoulder, and weighing 55–85 lb (25–39 kg). One of the noticeable features is their golden liver-coloured coat which is unique to the breed. Historically however, there have also been examples of black, black and tan and golden liver and white coloured Sussex Spaniels. coat is thick (sometimes with a slight wave to it), feathering on the chest, legs and ears and consists of a weather-resistant undercoat with a silky outer coat. The eyes are hazel in colour. The long silky ears are lobe-shaped typical of the Spaniel, and set moderately low. The Sussex is a short, stocky kind of dog. ## Temperament The Sussex Spaniel is a slow-paced, calm breed with somewhat clownish behaviour that normally keeps his energy and enthusiasm in check. He is always eager to be around people, is excellent around children, and can be quite protective of the family. They make excellent candidates for therapy dog work. Most Sussex Spaniels are primarily family pets, but they are competent enough to aid a hunter though quite stubborn to train. They tend to have a natural ability to quarter in the field, have excellent noses, and can be used to retrieve, given training. The breed is the only spaniel to howl once a game's scent is picked up. ## Health The breed is generally healthy with an average life span of 12 to 15 years. Hip dysplasia, a genetic malformation of the hip joint, may be a concern but because of the breed's compact nature is not often seriously debilitating. Surveys conducted by the Orthopedic Foundation For Animals showed that 41.5% of Sussex Spaniels were affected by hip dysplasia, and the breed was ranked 9th worst affected out of 157 breeds. Another common condition is otitis externa (outer ear infections), which is common to a variety of spaniels, as the long floppy ears trap moisture, making them more prone to recurrent infections than dogs with more upright ears. The infections can be caused by a variety of reasons including mites, ear fungi and generally dirt and germs. Treatment is relatively simple and can range from prescribed antibiotics to over-the-counter ear cleaning liquids. Whelping sometimes presents difficulties and require caesarean section for successful delivery of the puppies. The Sussex Spaniel is considered difficult to breed. Heart conditions in the Sussex Spaniel can include pulmonary valve stenosis, which is the most common of the congenital heart defects. Essentially, in an animal with this condition, the pulmonary valve is improperly formed which causes the heart to work much faster to pump blood around the body. The final results of this condition can be swelling of fluid in the chambers of the heart, thickening of the heart muscle known as ventricular hypertrophy leading to eventual heart failure. Patent ductus arteriosus also appears in the breed. It is a condition where a small blood vessel connecting two major arteries does not close following birth. It can cause complications as it is positioned to allow the blood flow to bypass the lungs. It also appears in American Staffordshire Terriers. A heart condition uncommon to the breed is tetralogy of Fallot, which is more common in the Keeshond and English Bulldog breeds relatively. It is actually a combination of up to four conditions, including the previously mentioned pulmonary valve stenosis, with a secondary condition of right ventricular hypertrophy. The other conditions are ventricular septal defect which is a defect or hole in the wall of the heart between the two ventricles and the aorta which carries the blood from the left to the right side of the heart can be mis-positioned. The effect on the dog depends on the severity of the condition, and can range from a heart murmur through to reduced activity levels to death. Symptoms in puppies are generally a failure to grow and a reduced tolerance for exercise. Active treatment is effective in around 50% of cases. ### Intervertebral disc syndrome Also commonly called spinal disc herniation, this is where the intervertebral disc bulges or ruptures into the vertebral canal where the spinal cord resides. When the cord is compressed, the dog can experience symptoms ranging in scope from mild back or neck pain to paralysis of limbs, loss of sensation, and loss of bladder or bowel control. It is most commonly seen in the mid-back area, but can occur anywhere along the spine. Mild cases that do not result in paralysis can be treated medically by confining the animal in a crate to restrict movement to a minimum for several weeks, which can be accompanied by pain medication. Surgery can restore sensation to a dog's legs following paralysis but the success rate depends on how severe the herniation was. ## History The Sussex is a native breed to the county, known to be bred at Goodwood, West Sussex in 1792 and by Augustus Elliot Fuller of Rose Hill (now known as Brightling Park, Brightling in East Sussex, England. The Sussex is a breed of gun dog able to work in districts where the terrain is rough and the undergrowth very dense where a spaniel was needed which could give tongue or to alert the hunter on his quarry. The Sussex as a breed is older than the liver and white Norfolk Spaniel (now extinct), the Field Spaniel, and English Springer Spaniels. The Sussex was bred specifically to inherit the barking ability ( giving tongue) that was not common in most Spaniel breeds. The Sussex Spaniel was one of the first to be registered by the UK Kennel club when it formed in 1872 and was one of the first ten breeds admitted into the stud book by the American Kennel Club in 1884, but lost what little popularity it had achieved in the 1940s. During World War II, breeding was discouraged but the Sussex saved from extinction by English breeder Joy Freer. All modern Sussex Spaniels are descended from the dogs she saved. In 1947, only ten Sussex Spaniels were registered in the English Kennel Club. In 2004 the breed was identified as a vulnerable native breed by Kennel Club of Great Britain which are described as having annual registration figures of less than 300 per year. In 2008, only 56 puppies were registered. In 2009 a Sussex Spaniel named "Clussexx Three D Grinchy Glee," call name "Stump," won best in show at the 133rd Westminster Kennel Club Dog Show. At 10 years old, Stump is the oldest dog to win this title. The breed is more popular in the United Kingdom and the United States than any other countries. It is recognised by the Continental Kennel Club, Fédération Cynologique Internationale, American Kennel Club, Kennel Club of Great Britain, Canadian Kennel Club, National Kennel Club, New Zealand Kennel Club, and the American Canine Registry.	[ "## Description", "## Temperament", "## Health", "### Intervertebral disc syndrome", "## History" ]	1,725	6,010
19,208,268	Cyclone Graham	1,092,406,174	Category 1 Australian region cyclone in 2003	[ "2002–03 Australian region cyclone season", "Category 1 Australian region cyclones", "Retired Australian region cyclones", "Tropical cyclones in 2003" ]	Cyclone Graham of the 2002–03 Australian region cyclone season was a weak tropical storm that affected Australia during late February and early March 2003. Graham originated from an area of convection that emerged onto water after sitting over Australia on 23 February. The interaction with a monsoon trough formed an area of low pressure that developed into Tropical Cyclone Graham on 27 February. The storm moved slowly to the east-southeast, and after turning to the south it peaked as a tropical storm and made landfall on Western Australia the next day. The cyclone weakened as it moved inland, and dissipated on 1 March. The storm dropped heavy rainfall and caused high winds, which produced flooding and downed trees. One fatality occurred, though no significant damages were reported. ## Meteorological history On 23 February 2003, an area of convection that was situated over land for roughly a week emerged over open waters along the northern coast of Australia. The strengthening of a deep, persistent monsoon trough contributed to cyclogenesis, and a low pressure area formed. By 25 February, the low developed a banding feature in which the highest winds were located. Though the storm was located in an area of unfavorable wind shear, the Australian Bureau of Meteorology (BoM) began to issue gale warnings on the system at 0100 UTC the next day, while the low was located several hundred miles north-northeast of Port Hedland. The disturbance was initially nearly stationary as it showed signs of organization due to relaxed shear, and at 0700 UTC on 27 February, the Joint Typhoon Warning Center (JTWC) designated the storm as Tropical Cyclone Graham, as it had attained 80 km/h (50 mph) 10-minute maximum sustained winds. The first warning was issued on Graham later that day. Initially exhibiting characteristics of a monsoonal low, a mid-level ridge to the south of Graham caused strong westerly winds that moved the storm slowly east-southeastward. However, a deep trough eroded the ridge, allowing the cyclone to move more towards the south. According to the JTWC, the storm had intensified late on 28 February, though at the same time the BoM noted the slight weakening of the storm. Graham reached its peak intensity that day while nearing the coast. The storm made landfall at Western Australia's Eighty Mile Beach at 1400 UTC on 28 February, and began to weaken. The storm had dissipated on 1 March; the BoM issued their last advisory on the cyclone at 0400 UTC that day, while similarly, the JTWC issued their last advisory just two hours later. The storm's remnants died out in the country's desert. ## Impact In advance of the cyclone, the communities of Wallal, Sandfire, Punmu and Telfer were put on alert. A warning was issued for Bidyadanga, Pardoo and Cotton Creek. The storm's landfall in Western Australia brought heavy rainfall and high winds. The storm dropped 163 mm (6.4 in) of rain at Telfer in one night, over half the town's annual average; total rainfall reached 175 mm (6.9 in) there. The heavy rain caused flooding and road closures, and swelled a river passing through Fitzroy Crossing, though the river only topped its banks slightly. Near that town, at Blue Bush Creek, while a group of people attempted to cross floodwaters, two men were swept away. Both men were rescued, though one died before emergency services arrived. In addition to the flooding, a number of trees were downed. No significant damages were reported. Following the storm, the name Graham was retired from the Australian region basin. ## See also - Cyclone Inigo	[ "## Meteorological history", "## Impact", "## See also" ]	780	10,095
42,656,382	West Creek (Pennsylvania)	1,155,021,709	Tributary in Pennsylvania, United States	[ "Rivers of Columbia County, Pennsylvania", "Rivers of Pennsylvania", "Tributaries of Fishing Creek (North Branch Susquehanna River)" ]	West Creek is a tributary of Fishing Creek, in Columbia County and Sullivan County, in Pennsylvania, in the United States. It is 9.1 miles (14.6 km) long and flows through Davidson Township in Sullivan County and Jackson Township, Sugarloaf Township, Benton Township, and Benton in Columbia County. The water temperature of the creek ranges from 0 °C (32 °F) to 25 °C (77 °F). The discharge ranges from nearly zero to ten cubic meters per second (0 to 353 cu ft/s). Rock formations in the watershed include the Trimmers Rock Formation, the Catskill Formation, and the Huntley Mountain Formation. The creek's watershed has an area of 16.6 square miles (43 km<sup>2</sup>), most of which is agricultural, forested, or urban land. A small number of dams, mills, and schoolhouses were built on West Creek in the 19th and early 20th century. West Creek has the highest level of biodiversity of any stream in the upper Fishing Creek watershed. ## Course West Creek begins on Huckleberry Mountain in Davidson Township, Sullivan County. It flows east for several hundred feet before turning south-southeast for several tenths of a mile, exiting Sullivan County and entering Jackson Township, Columbia County. It then turns south-southwest for a short distance, reaching the base of Huckleberry Mountain and crossing Pennsylvania Route 118, before southeast for a few miles in a valley, receiving one unnamed tributary from the left and another from the right. The creek then enters Sugarloaf Township and receives another unnamed tributary from the left and turns south. For the next few miles, it flows alongside West Creek Road and receives another unnamed tributary from the right. It then crosses Pennsylvania Route 239 and receives York Hollow, its first named tributary, from the right. The creek then turns southeast for several miles, flowing alongside Pennsylvania Route 239 and receiving another unnamed tributary from the left and entering Benton Township. It turns south for more than a mile, still flowing alongside Pennsylvania Route 239 and crossing it several times. The creek then exits its valley and turns south-southwest, flowing along the edge of a plain. After several tenths of a mile, it receives Spencer Run, its second and final named tributary, from the right and then turns south for more than a mile, passing along the western border of Benton. The creek then turns south-southeast and exits Benton. A few tenths of a mile further downstream, it reaches its confluence with Fishing Creek. West Creek joins Fishing Creek 21.72 miles (34.95 km) upstream of its mouth. ## Hydrology The water temperature in West Creek in the summer can be as high as 25 °C (77 °F), which is 3°C (5.4°F) higher than coldwater fish can tolerate. Between May 2010 and July 2011, it ranged from below 0 °C (32 °F) in February and March 2011 to 25 °C (77 °F) in August 2010. Between May 2010 and July 2011, the concentration of dissolved oxygen in West Creek ranged from slightly under eight milligrams per liter (4.6×10<sup>−6</sup> oz/cu in) in May 2010 to nearly seventeen milligrams per liter (9.8×10<sup>−6</sup> oz/cu in) in late January 2011. This is well above the minimum required concentration of dissolved oxygen for optimal fish habitation. West Creek is less affected by episodic acidification than most of the rest of the upper Fishing Creek watershed, with the exception of Coles Creek. The pH of West Creek is at its lowest in late winter and spring, when it is typically around 6.3. During the rest of the year, it is above 7.0. The entire pH range of the creek ranges from just over 6.0 to 7.2 or 7.3. The concentration of dissolved aluminum in West Creek is under 70 micrograms per liter (0.0049 gr/imp gal), considerably less than the concentration needed to kill fish. The aluminum concentration is, in fact, usually approximately zero and is often under 40 micrograms per liter (0.0028 gr/imp gal). However, early in 2011, the concentration was observed twice to be nearly 60 micrograms per litre (0.0042 gr/imp gal). The discharge of West Creek is usually less than two cubic meters per second (71 cu ft/s). However, it sometimes is between two and five cubic meters per second (71 and 177 cu ft/s) and has occasionally been as high as nearly ten cubic meters per second (350 cu ft/s). The conductance of the creek ranges from slightly over 40 to more than 60 micro-siemens per centimeter. ## Geography and geology The elevation near the mouth of West Creek is 735 feet (224 m) above sea level. The elevation of the creek's source is between 1,780 and 1,800 feet (540 and 550 m) above sea level. The rock in the southern part of the watershed of West Creek is of the Trimmers Rock Formation. This consists of siltstone and shale and comes from the Devonian period. The northern part of the watershed has rock belonging to the Catskill Formation, which consists of sandstone and siltstone and also comes from the Devonian. The Huntley Mountain Formation can be found at the headwaters of the creek. This formation consists of sandstone and siltstone and comes from the Mississippian and Devonian periods. ## Watershed The watershed of West Creek has an area of 17.2 square miles (45 km<sup>2</sup>). The creek's mouth is in the United States Geological Survey quadrangle of Benton. However, its source is in the quadrangle of Elk Grove. There is significant agricultural activity done in the lower reaches of the watershed of West Creek and there are also some residential areas. Additionally, there are some agricultural lands in the upper reaches of the watershed. Much of the rest of the watershed is forested land. Some of the most downstream parts of the watershed are urban. ## History and etymology West Creek has been known by its current name since at least the late 1830s. The creek was entered into the Geographic Names Information System on August 2, 1979. Its identifier in the Geographic Names Information System is 1192054. In 1799, a schoolhouse was constructed on West Creek near Benton. It was one of the first schoolhouses in the vicinity of Benton. During the 1864 elections, at least two Union soldiers were stationed on the creek, guarding the polling venues. A mill called the Thomas Mill was built on the creek in 1865 and remained operational in 1914, when it was owned by N.B. Cole. In the late 1800s and early 1900s, there was a timber-producing business on the creek, run by J. Harvey Creveling. In 1881, J. J. McHenry constructed a queen truss covered bridge over West Creek for \$348.00. The bridge was moved to South Branch Roaring Creek when it was sold to H. H. Knoebel in 1936. A two-span concrete tee beam bridge carrying Pennsylvania Route 239 was built over the creek in 1934. It is 65.9 feet (20.1 m) long and is located 2 miles (3.2 km) north of Benton. Another bridge of the same type, but with only a single, was built 3.5 miles (5.6 km) north of Benton in the same year. This bridge is 47.9 feet (14.6 m) long. A two-span steel stringer/multi-beam or girder bridge was constructed over the creek in Benton in 1951. It is 81.0 feet (24.7 m) long and carries State Route 4030. A bridge of the same time, was built 0.2 miles (0.32 km) north of Benton in 1958. It is 65.0 feet (19.8 m) long and carries T-720. A prestressed box beam or girders bridge carrying Pennsylvania Route 239 was built in 2004. It is located 1 mile (1.6 km) north of Benton and is 55.1 feet (16.8 m) long. In 1914, the Benton Water Supply Company constructed a dam on West Creek upstream of Benton. A 10-acre (4.0 ha) private campground called the West Creek Gap Campgrounds was established at the headwaters of West Creek in 1979 by the wife of George Mikulski. ## Biology There are 41 macroinvertebrate taxa that have been observed in West Creek, more than have been observed in all of upper Fishing Creek. The number of macroinvertebrates per square meter in West Creek at the site WC1 (in the lower reaches of the creek) is nearly 900, which is far higher than the number of macroinvertebrates per square meter in any other site except the site WC2, in the middle reaches of the creek. Site WC2 has a macroinvertebrate density of 600 macroinvertebrates per square meter. Approximately 60% of the taxa are Ephemeroptera (mayflies), 10% each are Plecoptera (stoneflies), and approximately 5% are Trichoptera (caddisflies). There are a total of eight species of wild fish in West Creek. Brook trout and brown trout both inhabit West Creek, although brook trout are slightly more common than brown trout, with nine brook trout and only seven brown trout being observed in a 2010 or 2011 electrofishing survey. Trout are more common upstream of the Pennsylvania Route 239 crossing of the creek than downstream of it. The most common fish in the creek are sculpin, eastern blacknose dace, and cutlips minnows. In the aforementioned electrofishing survey, a total of 81 sculpin, 34 black-nosed dace, and 17 cutlips minnows were observed. Other species of fish in the watershed include johnny darter, white sucker, and creek chub. In 2011, the habitat quality of upper Fishing Creek and its tributaries were rated on a scale of 1 to 200 (with a higher rating indicating better habitability) by Point Park University and the Fishing Creek Sportsmans' Association. The headwaters of West Creek were given a rating of 192. The rating is significantly lower further downstream, with it being 175 downstream of the crossing of Pennsylvania Route 239. The rating averages 138 where the creek is in Benton and the lowest rating is 115. This rating occurred downstream of the Market Street bridge in Benton. The Shannon Diversity Index, which is commonly used to measure the diversity of biological communities, of West Creek is slightly over 2.5. The Hilsenhoff Biotic Index, a measure of pollution-tolerant macroinvertebrates, on much of the creek ranges from 1.6 to 2.5, although an area of the creek near Benton ranges from 2.6 to 3.5. There is little riparian buffering along the sections of West Creek where agriculture is done. ## See also - Coles Creek (Pennsylvania), next tributary of Fishing Creek going upstream - Culley Run, next tributary of Fishing Creek going upstream - List of tributaries of Fishing Creek (North Branch Susquehanna River) - List of rivers of Pennsylvania	[ "## Course", "## Hydrology", "## Geography and geology", "## Watershed", "## History and etymology", "## Biology", "## See also" ]	2,477	2,391
5,346,974	Minnie Pwerle	1,172,095,413	Australian artist (died 2006)	[ "2006 deaths", "20th-century Australian painters", "20th-century Australian women artists", "20th-century births", "21st-century Australian painters", "21st-century Australian women artists", "Artists from the Northern Territory", "Australian Aboriginal artists", "Australian women painters", "Year of birth uncertain" ]	Minnie Pwerle (also Minnie Purla or Minnie Motorcar Apwerl; born between 1910 and 1922 – 18 March 2006) was an Australian Aboriginal artist. She came from Utopia, Northern Territory (Unupurna in local language), a cattle station in the Sandover area of Central Australia 300 kilometres (190 mi) northeast of Alice Springs. Minnie began painting in 2000 at about the age of 80, and her pictures soon became popular and sought-after works of contemporary Indigenous Australian art. In the years after she took up painting on canvas until she died in 2006, Minnie's works were exhibited around Australia and collected by major galleries, including the Art Gallery of New South Wales, the National Gallery of Victoria and the Queensland Art Gallery. With popularity came pressure from those keen to acquire her work. She was allegedly "kidnapped" by people who wanted her to paint for them, and there have been media reports of her work being forged. Minnie's work is often compared with that of her sister-in-law Emily Kame Kngwarreye, who also came from the Sandover and took up acrylic painting late in life. Minnie's daughter, Barbara Weir, is a respected artist in her own right. ## Personal life Minnie was born in the early 20th century near Utopia, Northern Territory, 300 kilometres (190 mi) north-east of Alice Springs, Northern Territory. Utopia was a cattle station that was returned to Indigenous ownership in the late 1970s. It is part of a broader region known as the Sandover, containing about 20 Indigenous outstations and centred on the Sandover River. Minnie was one of the traditional owners of Utopia station recognised in the 1980 Indigenous land claim made over the property; her particular country was known as Atnwengerrp. Pwerle (in the Anmatyerre language) or Apwerle (in Alyawarr) is a skin name, one of 16 used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners, and may be associated with particular totems. Although they may be used as terms of address, they are not surnames in the sense used by Europeans. Thus "Minnie" is the element of the artist's name that is specifically hers. Estimates of Minnie's birthdate vary widely. The National Gallery of Victoria estimates around 1915; Birnberg's biographical survey of Indigenous artists from central Australia gives a birth date of around 1920; The new McCulloch's Encyclopedia of Australian Art suggests around 1922; Elizabeth Fortescue's biographical essay in Art of Utopia offers a range between 1910 and 1920. The uncertainty arises because Indigenous Australians often estimate dates of birth by comparison with other events, especially for those born before contact with European Australians. Minnie was one of six children, and had three sisters: Molly, born around 1920, Emily, born around 1922, and Galya, born in the 1930s. She was of the Anmatyerre and Alyawarre Aboriginal language groups. In about 1945, Minnie had an affair with a married man, Jack Weir, described by one source as a pastoral station owner, by a second as "an Irish Australian man who owned a cattle run called Bundy River Station", and by another as an Irish "stockman". A relationship such as that between Minnie and Weir was illegal, and the pair were jailed; Weir died shortly after his release. Minnie had a child from their liaison, who was partly raised by Minnie's sister-in-law, artist Emily Kngwarreye, and became prominent Indigenous artist Barbara Weir. Barbara Weir was one of the Stolen Generations. At about the age of nine, she was forcibly taken from her family, who believed she had then been killed. The family were reunited in the late 1960s, but Barbara did not form a close bond with Minnie. Barbara married Mervyn Torres, and as of 2000 had six children and thirteen grandchildren. Minnie went on to have six further children with her husband "Motorcar" Jim Ngala, including Aileen, Betty, Raymond and Dora Mpetyane, and two others who by 2010 had died. Her grandchildren include Fred Torres, who founded private art gallery DACOU in 1993, and artist Teresa Purla (or Pwerle). Minnie began painting in late 1999 or 2000, when she was almost 80. When asked why she had not begun earlier (painting and batik works had been created at Utopia for over 20 years), her daughter Barbara Weir reported Minnie's answer as being that "no-one had asked her". By the 2000s, she was reported as living at Alparra, the largest of Utopia's communities, or at Urultja (also Irrultja, again in the Sandover region). Sprightly and outgoing, even in her eighties she could outrun younger women chasing goannas for bushfood, and she continued to create art works until two days before her death on 18 March 2006. She was outlived by all her sisters except Maggie Pwerle, mother of artists Gloria and Kathleen Petyarre (or Pitjara). ## Career In the 1970s and 1980s Utopia became well known for the design and production of batiks. By 1981 there were 50 artists at Utopia creating batik works; 88 artists participated in a major design project supported by the Central Australian Aboriginal Media Association. Although several sources comment that artistic activity at Utopia began with batik and only later moved to painting, they do not state whether or not Minnie was a textile artist before she took up the brush. The National Gallery of Victoria's brief biography suggests that she did not participate in the making of batik, but she was aware of it. When Minnie decided to take up painting in 2000 while she waited for her daughter Barbara to complete a canvas in an Adelaide workshop, the reception was immediately positive: she had her first solo exhibition that same year at Melbourne's Flinders Lane Gallery. She was first selected to exhibit in the National Aboriginal and Torres Strait Islander Art Award in 2002. One of her pieces, Awelye Atnwengerrp, was exhibited in the 2003 Award, in which her name was given as Minnie Motorcar Apwerl (Pwerle). The artist's asking price for the picture, A\$44,000, was the second-highest in the exhibition and the highest for an artist from the central and western deserts. Her painting Awelye Atnwengerrp 2 was exhibited in the 2005 competition. She was named by Australian Art Collector as one of Australia's 50 most collectible artists in 2004. There were many group and solo exhibitions of Minnie's work at private galleries between 2000 and 2006. These included exhibitions at Japinka Gallery in Western Australia in 2003 and 2005, Adelaide's Dacou Gallery in 2000 and 2002, Sydney's Gallery Savah between 2000 and 2002 as well as in 2006, and Melbourne's Flinders Lane Gallery in 2000, 2004 and 2006, the last of which was a joint exhibition conducted with her three sisters, all of whom are artists in their own right. Desert art specialist Professor Vivien Johnson noted that Minnie was one of the Utopia artists whose style was "radically different from [that of] all the other painting communities in the Western Desert—and stunningly successful in the market place". Her most famous fellow artist was Emily Kngwarreye, whose painting Earth's Creation in 2007 sold for over \$1 million, setting a record for the price paid for a painting by an Indigenous Australian artist. Unlike Minnie, Emily had been an active participant in the early batik movement at Utopia. Minnie (like Emily) was often placed under considerable pressure to produce works. She was reportedly "kidnapped" by people "keen to go to often quite bizarre lengths to acquire" her work. Minnie's experience reflected broader issues in the industry surrounding artists, who were often older, had limited education or English language ability, and faced serious poverty both themselves and amongst their families. In addition to being pressured to paint by others, there were media reports suggesting that some of the vast number of paintings traded under Minnie's name were not created by her at all. ## Style of painting Minnie's style was spontaneous, and typified by "bold" and "vibrant" colour executed with great freedom. Her works, such as Anunapa, Akali held by the National Gallery of Victoria, were executed in acrylic (often referred to as synthetic polymer) paint on canvas. As with other contemporary artists of the central and western deserts, her paintings included depictions of stories or features for which she had responsibility within her family or clan, such as the Awelye Atnwengerrp dreaming (or Women's Dreaming). Indigenous art expert Jenny Green believes Minnie's work continues the tradition of "gestural abstractionism" established by Emily Kngwarreye, which contrasted with the use of recognisable traditional motifs—such as animal tracks—in the works of Western Desert artists. Brisbane artist and gallerist Michael Eather has likened her work not only to that of Emily, but also to Australian abstract impressionist artist Tony Tuckson. Minnie's paintings include two main design themes. The first is free-flowing and parallel lines in a pendulous outline, depicting the body painting designs used in women's ceremonies, or awelye. The second theme involves circular shapes, used to symbolise bush tomato (Solanum chippendalei), bush melon, and northern wild orange (Capparis umbonata), among a number of forms of bushfood represented in her works. Together, the designs were characterised by one reviewer as "broad, luminescent flowing lines and circles". ## Legacy Minnie's art was quickly added to major public collections such as the Art Gallery of NSW, Art Gallery of South Australia, National Gallery of Victoria and Queensland Art Gallery. It was also included in a 2009 exhibition of Indigenous Australian painting at the New York Metropolitan Museum of Art. Her works later formed the basis of a series of designer rugs, and, together with paintings by her sisters, illustrated the cover of art critic Benjamin Genocchio's book, Dollar Dreaming. Described by art dealer Hank Ebes as the works of "a genius", Minnie's paintings were typically selling for \$5,000 in 2005; the highest price fetched on the secondary market at that time was \$43,000. Regarded as one of Australia's leading contemporary women artists, Minnie ranks alongside other notable Indigenous female painters Dorothy Napangardi, Gloria Petyarre and Kathleen Petyarre. One of a number of women such as Emily Kngwarreye who dominated central and western desert painting in the first decade of the 21st century, Minnie is considered to be one of Australia's best-known Indigenous artists, whose work "the market couldn't get enough [of]". ## Major collections - Art Gallery of NSW - Art Gallery of South Australia - redrock gallery - Kelton Foundation - Kreglinger Collection - National Gallery of Victoria - Queensland Art Gallery - Thomas Vroom Collection - Hank Ebes Collection - AMP Collection	[ "## Personal life", "## Career", "## Style of painting", "## Legacy", "## Major collections" ]	2,467	42,415
48,971,308	Virgin Atlantic Little Red	1,160,312,263	Defunct domestic airline of the United Kingdom (2012—2015)	[ "Aer Lingus", "Airlines disestablished in 2015", "Airlines established in 2013", "Defunct airlines of the United Kingdom", "Virgin Atlantic" ]	Virgin Atlantic Little Red (also referred to as Virgin Little Red and Little Red) was a short-lived British domestic airline subsidiary owned by Virgin Atlantic. It was created in 2012 as a way to provide competition for aviation giant British Airways (BA) on UK domestic mainland flights to Aberdeen, Edinburgh, and Manchester from London Heathrow Airport. During its operation, the airline operated four Airbus A320s wet leased from Irish airline Aer Lingus and served a network of four domestic destinations. The airline ceased operations in 2015 following low passenger numbers. ## History ### Foundation and start of operations In 2012, British Airways took over British Midland International (BMI) which gave them a monopoly on UK mainland flights from Heathrow. In order for the deal to be completed, the European Union Competition Commissioner decreed that BA would have to give up 14 of BMI's landing slots at Heathrow to comply with EU competition regulations. 12 of these slots were set aside for domestic usage, which were bought by Virgin Atlantic after they outbid Aer Lingus for the required British domestic operating licence. Virgin announced that they would set up Virgin Atlantic Little Red as a subsidiary to use these slots to cover domestic UK mainland routes as Aer Lingus already provided competition for BA on flights to Northern Ireland from Heathrow. Little Red was later revealed to be operated on a wet-lease by Aer Lingus whereby the planes would be operated by Aer Lingus but would bear Virgin Atlantic livery. The pilots would be employed by Aer Lingus, with cabin crew supplied by McGinley Aviation. The cabin crew would wear Virgin Little Red uniforms and had training from Virgin, despite the fact that airline had not recently operated narrow-body aircraft. Virgin announced that initially the airline would operate four daily flights between London Heathrow Airport and Manchester Airport, six daily flights between Heathrow and Edinburgh Airport, and three daily flights between Heathrow and Aberdeen Airport. The airline brand made its first flight on 31 March 2013, flying from Manchester to Heathrow. The new service was launched in 2013 with owner Sir Richard Branson stating his intent to compete with BA domestically with "Virgin's rock and roll spirit" and to allow Virgin Atlantic's long haul passengers to connect to the rest of the UK using Virgin. In its first six months of operation, Little Red transported 250,000 passengers. Despite Branson's aim and a rise in passenger numbers during the first few months of Little Red's existence, the majority of Little Red's passengers were eventually using it for domestic flights only, rather than as long-haul connections, which led to flights often departing with only a third of seats sold. This was attributed to the fact that Little Red had to operate out of Terminal 1 and later Terminal 2 as Terminal 3 (where Virgin Atlantic flew out of) had no gates for domestic flights. The Civil Aviation Authority published figures that revealed that Little Red had the worst load figures of any airline in aviation at the time with 37.6% of passenger seats occupied. International Airlines Group CEO, Willie Walsh had criticised Little Red calling it a "mistake" and stated "You cannot make money flying aircraft that are less than half full." ### Losses and shutdown Virgin had claimed that they were prepared to take losses on Little Red, estimated to be up to £3 million a week, in order to wait for an expansion in brand awareness. Virgin then stated that losses on Little Red would be covered by Virgin Atlantic's transatlantic routes. Despite this, as a result of the low passenger numbers in October 2014, it was announced that Little Red would cease to operate from September 2015. This was attributed to BA's dominance of the UK domestic market and Heathrow's restrictions of the usage of the small number of slots available. The slot limitation issue had been mentioned at Little Red's foundation in that the slots to Scottish airports could only be used to fly to Edinburgh and Aberdeen. It was also claimed in the media that passengers preferred to use low-cost carriers such as EasyJet to fly to and from other London airports aside of Heathrow for domestic travel owing to pricing. Little Red's flights to Manchester ended in March 2015 with the final flights to Edinburgh and Aberdeen departing on 26 September 2015. The planes were returned for Aer Lingus' sole use in the Republic of Ireland following the final passenger flights of Little Red. After the closure of Little Red, all but three of the Heathrow slots were returned to BA and absorbed back into their operation, thus granting them a monopoly on UK mainland domestic flights at Heathrow for the first time since British Midland Airways (as BMI were named at the time) moved into Heathrow in 1982. However this was dependent on another airline not being willing to take the place of Little Red in running domestic flights from Heathrow. Virgin leased out the three slots it retained. In 2017, the remaining Little Red slots were taken over by Flybe. ## Destinations During its operation, Virgin Atlantic Little Red operated to four destinations in the United Kingdom. ## Fleet During its operation, Virgin Atlantic Little Red's fleet consisted of four Airbus A320s wet leased from Aer Lingus under a three-year contract. The aircraft had 29 rows of seating with a 3–3 configuration for a total of 174 seats. The fleet was painted with Virgin Atlantic livery with future plans to eventually repaint them with Little Red livery. However, due to the closure of operations, this rebrand of the planes never occurred and they retained their original livery. There was consideration that Aer Lingus would take over the Little Red routes under their own brand with the Little Red fleet repainted. However they declined to do this stating that they wanted more flexibility with the returned aircraft to support their current fleet and operation. Aer Lingus repainted EI-DEI and DEO, two of the aircraft operated under the Little Red brand, in its "Green Spirit" branding in May 2015, as part of its partnership with the Irish Rugby Football Union. ## See also - List of defunct airlines of the United Kingdom	[ "## History", "### Foundation and start of operations", "### Losses and shutdown", "## Destinations", "## Fleet", "## See also" ]	1,247	7,850
41,050,303	John Baker White (West Virginia politician)	1,158,511,656	American lawyer, military officer, and politician (1868–1944)	[ "1868 births", "1944 deaths", "19th-century American lawyers", "20th-century American businesspeople", "20th-century American lawyers", "20th-century American politicians", "American lawyers admitted to the practice of law by reading law", "American military personnel of the Spanish–American War", "American people of English descent", "American people of Scottish descent", "American people of Swiss descent", "Burials at Indian Mound Cemetery", "Businesspeople from Charleston, West Virginia", "Companions of the Distinguished Service Order", "Lawyers from Charleston, West Virginia", "Members of the Sons of the American Revolution", "Military personnel from Charleston, West Virginia", "National Guard (United States) officers", "People from Romney, West Virginia", "People from St. Petersburg, Florida", "Politicians from Charleston, West Virginia", "Presbyterians from West Virginia", "Robert White family of Virginia and West Virginia", "United States Army Judge Advocate General's Corps", "United States Army officers", "United States Army personnel of World War I", "United States Army reservists", "West Virginia Democrats", "West Virginia National Guard personnel", "West Virginia city council members", "West Virginia lawyers" ]	John Baker White DSO (August 24, 1868 – June 2, 1944) was an American lawyer, military officer, and Democratic politician in the U.S. state of West Virginia. White served as a captain in the West Virginia National Guard during the Spanish–American War and as a lieutenant colonel in the United States Army Judge Advocate General's Corps during World War I. White was a member of the City Council and Board of Affairs of Charleston, West Virginia from 1907 to 1911, and frequently served as the city's mayor pro tempore. He was later appointed a member of the West Virginia Board of Control, where he served as the board's treasurer, secretary, and president at various times. White was a member of the White political family of Virginia and West Virginia and was the son of Hampshire County Clerk of Court and West Virginia Fish Commission President Christian Streit White (1839–1917) and the grandson of Hampshire County Clerk of Court John Baker White (1794–1862). White was a nephew of West Virginia Attorney General Robert White (1833–1915). ## Early life and education John Baker White was born on August 24, 1868, in Romney, West Virginia. He was the only child of Hampshire County Clerk of Court Christian Streit White (1839–1917) with his first wife Elizabeth "Bessie" Jane Schultze White (1837–1869) and the eldest of his father's five children. He was a grandson of Hampshire County Clerk of Court John Baker White (1794–1862), for whom White was named, and a great-grandson of the prominent Virginia judge Robert White (1759–1831). His uncle Robert White (1833–1915) served as Attorney General of West Virginia. Through his descent from Robert White and Reverend Christian Streit, White was eligible for and attained membership in the Society of the Cincinnati and Sons of the American Revolution. White received an English education in both the local public schools and at his father's residence in Romney. White further supplemented his education with "broadened courses of reading and private study". Beginning at the age of 13, White attended school from 9 a.m. until 4 p.m. and worked on his family's farm before and after school, and during holidays. At the age of 16, White left his schooling to work on the farm and in his father's county court clerk office while studying privately at home. ## Early political career White departed his home in Romney for Charleston, West Virginia, where he was entirely dependent upon himself and his own resources. There, White commenced his career in public service in 1886 when he began serving as a messenger in the office of West Virginia Secretary of State Henry S. Walker. He received successive promotions within the Secretary of State's office beginning with clerk, then to stationery clerk, and finally to chief clerk of the office during the latter part of Walker's term in office. White was retained as the chief clerk of the office by Walker's successor, William A. Ohley. White was affiliated with the Secretary of State's office for seven years. He continued to fulfill that position until March 8, 1893, when he was appointed to serve as the private secretary to West Virginia Governor William A. MacCorkle. As a representative of Governor MacCorkle, White traveled across the state to high-profile events, such as the June 1895 strikes at the Crozier Works on Elkhorn Creek in McDowell County, to urge calm and to provide the governor with situational awareness on the strike. White performed as Governor MacCorkle's private secretary for four years until the end of his administration's term in 1897. During the West Virginia general elections of 1892 and 1896, White was recognized for his leadership efforts in support of the campaigns of Democratic candidates. ## Law career While he was employed at the West Virginia State Capitol, White began studying jurisprudence with legal coursebooks. He undertook his study of jurisprudence in the law firm of Chilton, MacCorkle and Chilton in Charleston. White was admitted to the bar in 1897 and afterward established a law practice in Charleston. White's practice began arguing cases in county, state, and federal level courts within West Virginia. On December 19, 1901, the West Virginia Secretary of State office issued a charter authorizing \$100,000 in capital stock for the incorporation of Midland Railway, of which White was a corporator with one subscribed share of \$100. ## Military career In 1888, White volunteered his service in the West Virginia National Guard, where he entered service with the rank of Private. White was gradually promoted and served in the West Virginia National Guard's 2nd Battalion, 2nd West Virginia Infantry Regiment. White and his regiment were dispatched to the scenes of several strikes throughout West Virginia, where he performed as "a special representative" of the governor. ### Spanish–American War At the onset of the Spanish–American War and shortly after his admission to the bar in 1898, White again volunteered for service with the West Virginia National Guard and served throughout the duration of the war. He received his commission from West Virginia Governor George W. Atkinson as captain in command of Company B of the 1st West Virginia Infantry Regiment in the United States Volunteers. During his service in the Spanish–American War, White received a promotion to the rank of Major. After a year of serving with his regiment in the war, White received an honorable discharge and vacated the West Virginia National Guard following ten years of service in the guard as a military officer. According to Governor Atkinson in his Bench and Bar of West Virginia (1919), White "served faithfully and efficiently until the close of the war". ### World War I Following the entry of the United States into World War I in 1917, White tendered his legal services to the United States Army and served in the Judge Advocate General's Corps. White had previously attempted to enter the service of the United States Army through its various training schools to serve in World War I, but he had been rebuffed each time due to his advanced age of 49. On December 6, 1917, White received "special permission" from United States President Woodrow Wilson to serve in the Army's Judge Advocate General's Corps with the rank of Major. Upon receiving his commission, White was ordered to London where he served as Assistant Judge Advocate General for United States Armed Forces personnel serving in the United Kingdom of Great Britain and Ireland. White continued to carry out his duties in London until June 1919 when his base section there was closed and he was transferred to the United States military's general headquarters in France. From France, White deployed to the 3rd Infantry Division occupation headquarters in Koblenz, Germany, along the Rhine where he served as the division's Judge Advocate General. While serving in that position in Koblenz, White was promoted to the rank of lieutenant colonel in April 1919. He continued to serve as the Judge Advocate General for the 3rd Infantry Division until September 1919, and shortly thereafter White was discharged from the United States Army and subsequently transferred to the United States Army Reserve. For his service to the Allies in World War I, White was created a Companion of the Distinguished Service Order by George V on behalf of the British Empire. Following his relief from active military service in Europe, White embarked upon a global journey that consisted of Egypt, Palestine, India, Burma, the Malay Peninsula, Java, China, Japan, and the Philippines. He returned to the United States in June 1920 and soon thereafter resumed his law practice in Charleston. ## Later political career Following his service in the Spanish–American War, White ran for election as a Democrat and won a seat on the Charleston City Council. White also concurrently fulfilled a four-year term from 1907 to 1911 as a member of the Charleston Board of Affairs during the period in which Charleston was organized under a commission form of government. While serving on the Board of Affairs, he frequently performed duties as the city's mayor pro tempore. Around 1931, White became a member of the West Virginia Board of Control and was serving as the board's treasurer by 1932. White later served as the board's president for two years. In 1939, Governor Homer A. Holt reappointed White to serve another term on the West Virginia Board of Control ending on June 30, 1941. ## Marriage On August 22, 1939, White married Mary Ann Williamson near Malvern in Chester County, Pennsylvania. Williamson was a native of Berkeley County, West Virginia, but resided in Athens, West Virginia, at the time of her marriage. Williamson was a graduate of Shepherd College in Shepherdstown, of Concord College in Athens, and of the University of Kentucky in Lexington. She had been a member of the faculty at Marshall College in Huntington since 1934. ## Later life and death In his later years, White and his wife resided in St. Petersburg, Florida during the winter season. White died of heart failure on June 2, 1944, at 1 p.m. at the age of 75 at his summer camp near Rupert, Greenbrier County, West Virginia. The medical certification of White's death stated the cause of his heart failure was due to age and overexertion. White's funeral was held in Charleston, and he was interred in the White family burial plot at Indian Mound Cemetery in Romney. At the time of his death, White was residing at 610+1⁄2 Capitol Street in Charleston. ## Affiliations and community service White was a practicing Mason and Knights Templar affiliated with Royal Arch Masonry and the Thirty-second Degree Ancient and Accepted Scottish Rite of Freemasonry. In addition to the Society of the Cincinnati and the Sons of the American Revolution, White was also a member of the Military Order of Foreign Wars, United Spanish War Veterans, American Legion, and the Shriners. White was also an inaugural stockholder and member in the Henry G. Davis Club, named for United States Senator from West Virginia Henry G. Davis, which received its charter on May 31, 1906. The Henry G. Davis Club was founded "for the study of political economy and the science of self-government; for the education of the young men of the State of West Virginia in these sciences and the promulgation of such information, literature and statistics as will in the judgment of its directors be best suited for such purposes". White also served on the Entertainment Committee for the West Virginia Homecoming Week in Point Pleasant which took place October 7–10, 1909, to celebrate the Battle of Point Pleasant and the unveiling of the monument to that battle. ## Legacy In his Bench and Bar of West Virginia (1919), Atkinson remarked of White's service in Charleston city government: "His chief aim was to render a service that would advance the interests of the people, without showing favors to any class or classes of the citizens of Charleston. His service in that high office marked him as a man of high honor, firmness and probity." Atkinson remarked further of White: "Such men are rarely found in this or any other portion of this wide world which we inhabit." In 1940, the four-story "Boys Dormitory" at Concord College (presently known as Concord University) in Athens, West Virginia, was renamed "John Baker White Hall" in honor of White, who was then serving as Secretary of the West Virginia Board of Control. White Hall was demolished in 2004 for the construction of Concord University's Rahall Technology Center.	[ "## Early life and education", "## Early political career", "## Law career", "## Military career", "### Spanish–American War", "### World War I", "## Later political career", "## Marriage", "## Later life and death", "## Affiliations and community service", "## Legacy" ]	2,425	35,803
2,456,854	Flash Gordon (1954 TV series)	1,153,715,514	1954 TV series	[ "1950s American science fiction television series", "1954 American television series debuts", "1955 American television series endings", "American adventure television series", "Black-and-white American television shows", "DuMont Television Network original programming", "First-run syndicated television programs in the United States", "Flash Gordon television series", "Space adventure television series", "Television series set in the 4th millennium", "Television shows filmed in France", "Television shows filmed in Germany" ]	Flash Gordon is a science-fiction television series based on the King Features characters of the Alex Raymond-created comic strip of the same name. The black and white television series was a West German, French and American international co-production by Intercontinental Television Films and Telediffusion. ## Plot Diverging from the storyline of the comics, the series set Flash, Dale Arden and Dr. Zarkov in the year 3203. As agents of the Galactic Bureau of Investigation, the team travels the galaxy in their starship, the Sky Flash, battling cosmic villains under the order of Commander Paul Richards. The series proved popular with American audiences and critical response, though sparse, was positive. Flash Gordon has garnered little modern critical attention. What little remains generally dismisses the series, although some critical thought has been devoted to its presentation of Cold War and capitalist themes. ## Cast - Steve Holland as Flash Gordon - Irene Champlin as Dale Arden - Joseph Nash as Hans Zarkov ## Production ### Development Universal Studios had held the production rights to Flash Gordon, but allowed them to lapse. Former Universal executives Edward Gruskin and Matty Fox struck a deal with Flash Gordon owners King Features Syndicate to produce the first 26 episodes of the series. The series was produced by Gruskin and Wenzel Lüdecke. Writers for Flash Gordon included Gruskin, Bruce Geller and Earl Markham. Episodes were directed by Wallace Worsley, Jr., and Gunther von Fritsch. Composers Kurt Heuser and Roger Roger provided much of the original music. ### Filming Shooting began in May 1953, with an abandoned beer hall in Spandau serving as the principal shooting location. Among the cast and crew, only the lead actors and director Worsley spoke English. Worsley recalled the production difficulties this caused: > "No matter what galaxy we explored, everyone spoke with a German accent. The use of German actors who could not speak English required us to use a lot of close-ups. I would stand behind the camera, correctly positioned for the actor's look, and read his or her line; the actor would then repeat the line, mimicking my pronunciation and emphasis." The series was budgeted at US\$15,000 per episode on a three-day-per-episode shooting schedule. Citing salary disputes, Worsley withdrew from the project after completing the first 26 episodes. Production was moved to Marseille under the direction of Gunther von Fritsch for the 13 final episodes. At that time, producer Luedecke was replaced by American producer Edward Gruskin. ### Locations The series was filmed in West Berlin and Marseille as a West German, French, and American co-production by Intercontinental Television Films and Telediffusion. ### Broadcast The series aired in syndication throughout most of the U.S., but also aired on the East Coast on the DuMont Television Network. ## Episodes ## Critical response and themes Variety noted that the series was from a technical standpoint "up to the demands of the script and the average viewer probably won't notice the differences in quality between this and home-grown produce". Flash Gordon was immediately popular in the United States and continued to run in syndication into the early 1960s. Modern critical reaction to the series has been light, but largely negative. The production values are frequently derided, with the series described as "bargain-basement". The televised series suffered in comparison to the earlier film serials with the television incarnation labeled "vastly inferior", lacking "good concepts and scripts" and "most of all, [lacking] Buster Crabbe, who was Flash Gordon". One positive comment notes Champlin's portrayal of Dale Arden, who was transformed from the typical damsel in distress of the serials into a trained scientist and a "quick thinker who often saved [Flash and Zarkov] from perishing". Film theorist Wheeler Winston Dixon, far from decrying the series for its production values, finds that "the copious [use of] stock footage and the numerous exterior sequences shot in the ruins of the bombed-out metropolis give Flash Gordon a distinctly ravaged look". He writes that its international origins give the series "an interesting new cultural dimension, even a perceptible air of a split cultural identity". Dixon quotes German cultural historian Mark Baker, who writes of a particular scene from the episode "The Brain Machine" as emblematic of this cultural split. The scene uses stock footage of a June 17, 1953 demonstration by East Berlin workers against the East German government. Soviet tanks opened fire on both demonstrators and bystanders, thus confirming East Germany's status as a Soviet puppet state in the minds of West Germans. American viewers, Baker speculates, were probably unaware of the iconic power in West Germany of the images of fleeing East Berliners, which were used to illustrate a panic on Neptune. Dixon, noting the similarities between the ideals espoused by "space operas" like Flash Gordon, Captain Video, and Rocky Jones, Space Ranger and American Cold War values, argues that such series were designed to instill those values into their young viewers. Flash Gordon, he writes, along with its fellow space operas, "have a common, unifying theme: peace in the universe can be achieved only by dangerous efforts and the unilateral dominance of the Western powers". This echoes the earlier critique of Soviet writer G. Avarin, who in the Soviet film journal Art of the Cinema had accused Gordon and other space-faring characters of being "the vanguard of a new and greater 'American imperialism'". The "ravaged look" of the series, Dixon writes, "underscores the real-world stage on which the action of the space operas played". ## Preservation status Physical copies of two episodes, "Escape into Time" (October 8, 1954) and "The Witch of Neptune" (March 4, 1955), are held in the J. Fred MacDonald collection at the Library of Congress. Twenty-four episodes are currently available in the public domain, either on various DVD releases or on websites such as the Internet Archive and YouTube: Episodes 1, 5, 6, 8, 9, 10, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 29, 34, 35, 36, 38 and 39. Video resolution varies based on the quality of source material. ## See also - List of programs broadcast by the DuMont Television Network - List of surviving DuMont Television Network broadcasts	[ "## Plot", "## Cast", "## Production", "### Development", "### Filming", "### Locations", "### Broadcast", "## Episodes", "## Critical response and themes", "## Preservation status", "## See also" ]	1,380	27,235
36,496,307	Give Peace a Chance (Grey's Anatomy)	1,092,414,597	null	[ "2009 American television episodes", "Grey's Anatomy (season 6) episodes" ]	"Give Peace a Chance" is the seventh episode of the sixth season of the American television medical drama Grey's Anatomy, and the show's 109th episode overall. Written by Peter Nowalk and directed by Chandra Wilson, the episode was originally broadcast on the American Broadcasting Company (ABC) in the United States on October 29, 2009. Grey's Anatomy centers on a group of young doctors in training. In this episode, Dr. Derek Shepherd (Patrick Dempsey) performs an operation on a hospital technician's "inoperable" tumor, despite the objections of the chief of surgery, Dr. Richard Webber (James Pickens, Jr.). The episode was designed to revolve around Dempsey's character. Katherine Heigl (Dr. Izzie Stevens) was absent from the episode, as she was filming the 2010 romantic comedy Life as We Know It. Mark Saul, Jesse Williams, and Nora Zehetner returned as guest stars, while Faran Tahir made his only appearance. "Give Peace a Chance" won Wilson an NAACP Image Award, and received positive reviews from critics, with Tahir's character receiving particular praise. The initial episode broadcast was ranked \#4 for the night with 13.74 million viewers, and a 5.2/13 Nielsen rating/share in the 18–49 demographic. ## Plot "Give Peace a Chance" opens with Seattle Grace Mercy West Hospital's chief of surgery, Dr. Richard Webber (James Pickens, Jr.) implementing a new computerized surgical scheduling system, which is disliked by many of the hospital's staff. Thereafter, Isaac (Faran Tahir), a hospital lab technician, brings Dr. Derek Shepherd (Patrick Dempsey) a scan of his tumor, which has been declared inoperable by several other physicians due to its complexity. Isaac asks Shepherd to remove it. Shepherd agrees, but Webber refuses permission for the procedure because of the high risk involved. Shepherd ignores the chief's directions and schedules the surgery. The interns and residents all want the chance to assist due to the rarity of such a tumor, so Shepherd hosts a competition in which the winner gets to join him in the operating room. After seeing Dr. Steve Mostow (Mark Saul) make a mistake, Dr. Cristina Yang (Sandra Oh) is confident that she will win the competition, but loses to Dr. Jackson Avery (Jesse Williams). Dr. Lexie Grey (Chyler Leigh) is not invited to compete because Shepherd wants her to be his caregiver in what would be a long surgery. Knowing that she will not be able to use the bathroom for the entire procedure, Lexie decides to wear a diaper into the operating room; her courage and dedication impresses Yang. Dr. Izzie Stevens (Katherine Heigl) is scheduled for an interleukin 2 (IL-2) treatment but is absent from the hospital. Dr. Alex Karev (Justin Chambers) calls her, but she does not answer or come, so Karev cries to fellow resident Dr. Reed Adamson (Nora Zehetner). Shepherd spends ten hours in the operating room contemplating what to do about the tumor, with the motivational support of fellow surgeons Dr. Mark Sloan (Eric Dane), Dr. Miranda Bailey (Chandra Wilson), and Dr. Callie Torres (Sara Ramirez). Webber orders Shepherd to end the surgery because he is wasting hospital resources. Shortly thereafter, Isaac awakens to Shepherd explaining that the surgery would not have been possible without paralyzing him. Isaac convinces Shepherd to operate again in secret the next day, and the latter maps out a diagram of the surgery on his bedroom wall while discussing it with his wife Dr. Meredith Grey (Ellen Pompeo), who is home on bed rest after donating part of her liver to her father in the episode "Tainted Obligation". Backed by his fellow attendings, Shepherd obtains Webber's permission to cut the cord but tells Avery and Lexie that they were not cutting the cord and playing by ear instead. He removes all but a tiny section of the tumor. Webber discovers that Shepherd is operating and is about to put an end to it, but Dr. Arizona Robbins (Jessica Capshaw) tells him to go away. Shepherd has to cut a nerve to remove the rest of the tumor, but does not know which will result in paralysis. He decides with a game of "Eeny, meeny, miny, moe", ultimately cutting the correct nerve and eliminating the entirety of the tumor. Despite the successful surgery, Webber is enraged and verbally fires Shepherd. Shepherd dismisses this in a light tone and goes home to drink champagne with his wife. ## Production Running for 43 minutes, the episode was written by Peter Nowalk and directed by Wilson; the latter portrays Bailey. Jenny Barak edited the music and Donald Lee Harris served as the production designer. Heigl was absent from the episode, as she was filming the romantic comedy Life as We Know It (2010). The song featured in the episode was Bat for Lashes' "Moon And Moon", featured on their second album Two Suns. Saul, Zehetner, and Williams returned to the episode as Mostow, Adamson, and Avery, respectively, while Tahir made his first and only appearance as Isaac. The scenes in the operating room were filmed at the Prospect Studios in Los Feliz, Los Angeles; Nowalk said the scenes were difficult to shoot, due to the technicality involved. Pompeo's appearances in the episode were scarce, as she was eight-and-a-half months pregnant during shooting. According to Nowalk, the idea to have Lexie wear a diaper to get through the operation was inspired by an episode of The Oprah Winfrey Show. He added: "It wasn't that big of a leap for us to go diaper. Our doctors are hardcore by nature." Nowalk said that this episode was primarily focused around Shepherd, which he considered an "experiment". He commented that the idea of Isaac's storyline came from Dr. Robert Bray, a neurosurgeon in Los Angeles. Nowalk intended the nature of the episode to be "different", attributing it to the fact that Heigl's character was absent. He also praised Wilson for directing the episode, commenting that "she acts, she sings, and now she directs". The majority of the episode involved Shepherd staring at his patient's tumor, contemplating what to do. Nowalk offered his insight on this: > "It's quieter than a typical episode. More single-minded. Derek is our sole focus. And really, what an amazing character to spend an entire episode with. Watch Patrick Dempsey on your screen and you can't help but be struck by how much he says without saying anything. The guy can pretty much give you an entire soliloquy with just one look. That's a rare talent, and we really wanted to use that to our advantage in an episode about stillness and peace." ## Reception "Give Peace a Chance" was originally broadcast on October 29, 2009 in the United States on the American Broadcasting Company (ABC). The episode underperformed the previous installment, "I Saw What I Saw", in terms of viewership. It was viewed by a total of 13.74 million people, down 1.66 percent from the previous episode, which garnered 15.04 million viewers. In terms of viewership, "Give Peace a Chance" ranked \#4 for the night, behind Game 2 of the 2009 World Series, and CBS's CSI and The Mentalist. The installment did not rank high for viewership, but its 5.2/13 Nielsen rating ranked second in its 9:00 Eastern time-slot and the entire night for both the rating and share percentages of the 18–49 demographic, losing to the 2009 World Series but beating CSI, The Mentalist, and Private Practice. Although its rating was in the top rankings for the night, it was a decrease from the previous episode, which garnered a 5.6/14 rating/share in the 18–49 demographic. Critics were positive in their reviews of the episode. The Huffington Post's Michael Pascua called "Give Peace a Chance" a "hit-and-miss" episode, criticizing the slang dialogue by saying it "sounded like it came from a MTV drama", but praising the instalment's "character-driven development". Pascua was positive on the development of Tahir's character, writing: "I hope he comes back in a later episode just to remind these people about patience and hope." TV Fanatic's Steve Marsi gave a positive review of the episode, saying it "won [him] over", and also praising Tahir's character. Marsi applauded the development of Dempsey's character, calling him "the best [doctor]", and noted that Wilson's directing may "net her an Emmy nomination". Writing for Entertainment Weekly, Jennifer Armstrong had mixed feedback on the episode, writing: "The all-medical, all-the-time episodes need to stop." However, she found it "fantastic" when Shepherd drew on the wall, and enjoyed Tahir's character, calling him "lovely". Armstrong also said that "Give Peace A Chance" was in "ER territory", adding: "I do not watch Grey's Anatomy to get my ER fix." Adam Bryant of TV Guide enjoyed this episode compared to the previous one, but disliked the possible romantic development between Karev and Adamson. In his review, he concluded that the instalment "proves that Meredith Grey doesn't have to do all the heavy lifting on this show all the time." People's Carrie Bell enjoyed the episode, praising the balance of cast members. She called Isaac "beloved", and found that the teamwork in the episode proved "there's no 'I' in a team". Former Star-Ledger editor Alan Sepinwall gave a positive review of the entry, applauding the shift in themes and Shepherd's character development. Writing for BuddyTV, Glenn Diaz found the episode comical, calling the scene in which Robbins stands up to Webber "hilarious", and naming Yang the instalment's "comic-relief". Referring to Shepherd and Webber's constant arguments, an AfterEllen senior editor said: "Seriously, these two need to drop their pants and get it over with." Peter Nowalk's writing of the episode was nominated for a Humanitas Prize in the 60 Minute Category. The episode also earned Wilson an NAACP Image Award under the Outstanding Directing in a Dramatic Series category.	[ "## Plot", "## Production", "## Reception" ]	2,175	42,108
30,825,305	12–6 elbow	1,147,940,261	Mixed martial arts illegal technique	[ "Banned sports tactics", "Mixed martial art techniques", "Strikes (martial arts)" ]	A 12–6 elbow, referred to in commentary as a "twelve to six elbow" and officially "downward elbow strikes", is a strike used in the combat sport of mixed martial arts (MMA). The name of the 12–6 elbow is based on the concept of a clock on the wall with the bringing of an elbow from straight up (12 o'clock) to straight down (6 o'clock). 12–6 elbow strikes are illegal under the Unified Rules of Mixed Martial Arts, defined as "striking downwards using the point of the elbow". Such bans were justified for medical and safety reasons, due to the possibility of serious injuries to opponents that could result from their use. ## Definition The most commonly accepted definition of a 12–6 elbow was originally based on a principle by referee John McCarthy of a clock on the wall. This came about after it was felt that the official definition of the foul was too broad. A 12–6 elbow was defined as bringing the elbow from "twelve o'clock" to "six o'clock", which is where the name comes from. An attack like this can prevent a fighter from defending due to the elbow landing vertically; in defense, a straight or bent arm is easily bypassed. Similar elbow movements from a fighter on their back does not count as a 12–6 elbow, because as explained by McCarthy, "the clock doesn't move". McCarthy's definition became accepted as the official definition of 12–6 elbows under the Unified Rules and MMA referees were encouraged to use this definition when making judgments on elbow strikes. Generally for usage of 12–6 elbows, the fight is stopped and fighters are given a warning. However, there have been occasions where points have been deducted or the fighter using that strike in competition has been disqualified due to the move incapacitating fighters. In 2009, Matt Hamill defeated Jon Jones by disqualification due to Jones using 12–6 elbows. Hamill said that he was unable to defend against the elbows. ## In mixed martial arts Before 2000, MMA had a number of different rule sets, with each one differing in ruling on downward elbow strikes (12–6 elbows). In UFC 1, the first UFC event where there were very few rules, Kevin Rosier used 12–6 elbows on Zane Frazier. In 2000, the Unified Rules of Mixed Martial Arts were drawn up to try to make the sport more mainstream. The meeting consisted of representatives of a number of major MMA organizations including Ultimate Fighting Championship (UFC), Pride Fighting Championships and International Fighting Championships (IFC) as well as doctors and referees in New Jersey, United States. In the meeting, doctors raised concerns about 12–6 elbows after seeing an IFC match where 12–6 elbows were used to the back of a fighter's head. One doctor argued that they could be life-threatening, and refused to sanction any set of rules that did not prohibit them. McCarthy argued that the rules already prohibited strikes to the back of the head and questioned if it was just the 12–6 elbow strike that was the problem. Following this discussion, Nick Lembo wrote the Unified Rules, including a rule prohibiting downward elbow strikes. McCarthy felt that Lembo wrote the rule relating to downward elbow strikes "poorly" as he felt the definition was broad and left the rule open to interpretation. Pride eventually did not adopt the Unified Rules; however, their ruleset prohibited any elbow strikes to the head. Eventually the rule on 12–6 elbows meant that very few fighters attempted them, which could also be attributed to the fact that it is difficult for fighters to get into a position where they could use them. The primary justification for banning 12–6 strikes was the damage that could result from such a strike on the orbital bone, and the potential for spinal injuries if 12–6 elbows were used in certain positions, due to size differences between fighters. This was before weight classes were standardised. There was a popular story, often repeated by Joe Rogan in UFC commentary, that the 12–6 elbows were banned because representatives of Athletic Commissions had seen traditional martial artists breaking hard objects with downward elbow strikes and felt that those strikes could be lethal and banned them. However Keith Kizer of the Nevada State Athletic Commission dismissed this as being "revisionist history". In 2006, the Association of Boxing Commissions (ABC) held a committee meeting to revise the Unified Rules. During it, Kizer and Lembo proposed altering the rule on downward elbow strikes to permit 12–6 elbows to anywhere except the head of a downed opponent. However, the proposal was strongly rejected by doctors on the committee on the grounds that 12–6 elbows could still cause serious injury, even when not done on the head. The ABC, despite endorsing the Unified Rules, does not have statutory authority over the individual state athletic commissions in the United States but instead governs through influence. As a result, in some states such as Mississippi, 12–6 elbows are permitted in MMA fights. As a result, a commission was set up by ABC to look at the regional MMA rule variations, including 12–6 elbows, to standardise MMA in the United States. ## Criticism The 12–6 elbow has often been criticized for its brutality, however, the rules prohibiting them have also been criticized. In particular, it has been argued that the term "downward elbow strikes" is too strict, as it only applies to straight motions and does not make elbows on an arc illegal. Matt Hume, chief referee of the One Fighting Championship, explained that while 12–6 elbows were illegal, "if you change the time to 11:59, it is no longer illegal." Hume felt that the authors of the Unified Rules did not have an understanding of MMA, with McCarthy affirming that view by stating that Lembo "wasn't a big MMA guy at the time". Hume also argued that the rule meant that other elbow strikes that could gain more velocity than 12–6 elbows were legal yet were hitting with the same point of the elbow. Because of the initially broad definition of 12–6 elbows in the Unified Rules, referees often had differences in interpretation of what was classed as one. Referee Herb Dean differed from McCarthy's definition and argued that elbow strikes parallel with the floor in side control (sometimes called 9–3 elbows) were classed as 12–6 elbows, as he considered 12–6 elbows as being based on where the fighter throwing them was positioned. ## See also - Soccer kick, another controversial MMA strike - 12–6 curveball, a baseball pitch with similar top-to-bottom movement	[ "## Definition", "## In mixed martial arts", "## Criticism", "## See also" ]	1,375	16,791
41,545	Avogadro constant	1,173,070,442	Fundamental metric system constant defined as the number of particles per mole	[ "Amount of substance", "Fundamental constants", "Physical constants" ]	The Avogadro constant, commonly denoted N<sub>A</sub> or L, is an SI defining constant with an exact value of 6.02214076×10<sup>23</sup> mol<sup>-1</sup> (unit of reciprocal moles). It is used as a normalization factor in the amount of substance in a sample (in SI units of moles), defined as the number of constituent particles (usually molecules, atoms, or ions) divided by N<sub>A</sub>. In practice, its value is often approximated as 6.02×10<sup>23</sup> mol<sup>-1</sup> or 6.022×10<sup>23</sup> mol<sup>-1</sup>. The constant is named after the physicist Amedeo Avogadro (1776–1856). In the SI dimensional analysis of measurement units, the dimension of the Avogadro constant is the reciprocal of amount of substance, $\mathsf{N}^{-1}$. The Avogadro number, sometimes denoted N<sub>0</sub>, is the numeric value of the Avogadro constant (i.e., without units), namely the dimensionless number 6.02214076×10<sup>23</sup>. The Avogadro constant N<sub>A</sub> is also the factor that converts the average mass of one particle, in grams, to the molar mass of the substance, in grams per mole (g/mol). The constant N<sub>A</sub> also relates the molar volume (the volume per mole) of a substance to the average volume nominally occupied by one of its particles, when both are expressed in the same units of volume. For example, since the molar volume of water in ordinary conditions is about 18 mL/mol, the volume occupied by one molecule of water is about 18/6.022×10<sup>−23</sup> mL, or about 0.030 nm<sup>3</sup> (cubic nanometres). For a crystalline substance, N<sub>0</sub> relates the volume of a crystal with one mole worth of repeating unit cells, to the volume of a single cell (both in the same units). The Avogadro constant was historically derived from the old definition of the mole as the amount of substance in 12 grams of carbon-12 (<sup>12</sup>C); or, equivalently, the number of daltons in a gram, where the dalton is defined as 1/12 of the mass of a <sup>12</sup>C atom. By this old definition, the numerical value of the Avogadro constant in mol<sup>-1</sup> (the Avogadro number) was a physical constant that had to be determined experimentally. The redefinition of the mole in 2019, as being the amount of substance containing exactly 6.02214076×10<sup>23</sup> particles, meant that the mass of 1 mole of a substance is now exactly the product of the Avogadro number and the average mass of its particles. The dalton however is still defined as 1/12 of the mass of a <sup>12</sup>C atom, which must be determined experimentally and is known only with finite accuracy. The prior experiments that aimed to determine the Avogadro constant are now re-interpreted as measurements of the value in grams of the dalton. By the old definition of mole, the numerical value of the mass of one mole of a substance, expressed in grams, was exactly equal to the average mass of one molecule (or atom) of the substance in daltons. With the new definition, this numerical equivalence is no longer exact, and is affected by the uncertainty of the value of the dalton; but it still holds for all practical purposes. For example, the average mass of one molecule of water is about 18.0153 daltons, and of one mole of water is about 18.0153 grams. Also, the Avogadro number is the approximate number of nucleons (protons and neutrons) in one gram of ordinary matter. In older literature, the Avogadro number was also denoted N, although that conflicts with the symbol for number of particles in statistical mechanics. ## History ### Origin of the concept The Avogadro constant is named after the Italian scientist Amedeo Avogadro (1776–1856), who, in 1811, first proposed that the volume of a gas (at a given pressure and temperature) is proportional to the number of atoms or molecules regardless of the nature of the gas. The name Avogadro's number was coined in 1909 by the physicist Jean Perrin, who defined it as the number of molecules in exactly 16 grams of oxygen. The goal of this definition was to make the mass of a mole of a substance, in grams, be numerically equal to the mass of one molecule relative to the mass of the hydrogen atom; which, because of the law of definite proportions, was the natural unit of atomic mass, and was assumed to be 1/16 of the atomic mass of oxygen. The name was popularized by Stanislao Cannizzaro who advocated Avogadro's work at the Karlsruhe Congress in 1860, four years after his death. ### First measurements The value of Avogadro's number (not yet known by that name) was first obtained indirectly by Josef Loschmidt in 1865, by estimating the number of particles in a given volume of gas. This value, the number density n<sub>0</sub> of particles in an ideal gas, is now called the Loschmidt constant in his honor, and is related to the Avogadro constant, N<sub>A</sub>, by $n_0 = \frac{p_0N_{\rm A}}{R\,T_0},$ where p<sub>0</sub> is the pressure, R is the gas constant, and T<sub>0</sub> is the absolute temperature. Because of this work, the symbol L is sometimes used for the Avogadro constant, and, in German literature, that name may be used for both constants, distinguished only by the units of measurement. (However, N<sub>A</sub> should not be confused with the entirely different Loschmidt constant in English-language literature.) Perrin himself determined the Avogadro number by several different experimental methods. He was awarded the 1926 Nobel Prize in Physics, largely for this work. The electric charge per mole of electrons is a constant called the Faraday constant and has been known since 1834, when Michael Faraday published his works on electrolysis. In 1910, Robert Millikan with the help of Harvey Fletcher obtained the first measurement of the charge on an electron. Dividing the charge on a mole of electrons by the charge on a single electron provided a more accurate estimate of the Avogadro number. ### SI definition of 1971 In 1971, in its 14th conference, the International Bureau of Weights and Measures (BIPM) decided to regard the amount of substance as an independent dimension of measurement, with the mole as its base unit in the International System of Units (SI). Specifically, the mole was defined as an amount of a substance that contains as many elementary entities as there are atoms in 12 grams (0.012 kilograms) of carbon-12 (<sup>12</sup>C). Thus, in particular, one mole of carbon-12 was exactly 12 grams of the element. By this definition, one mole of any substance contained exactly as many molecules as one mole of any other substance. However, this number N<sub>0</sub> (about 6.022×10<sup>23</sup>) was a physical constant that had to be experimentally determined, since it depended on the mass (in grams) of one atom of <sup>12</sup>C, and therefore it was known only to a limited number of decimal digits. The common rule of thumb that "one gram of matter contains N<sub>0</sub> nucleons" was exact for carbon-12, but slightly inexact for other elements and isotopes. In the same conference, the BIPM also named N<sub>A</sub> (the factor that converted moles into number of particles) the "Avogadro constant. However, the term "Avogadro number" continued to be used, especially in introductory works. As a consequence of this definition, N<sub>A</sub> was not a pure number, but had the metric dimension of reciprocal of amount of substance (mol<sup>-1</sup>). ### SI redefinition of 2019 In its 26th Conference, the BIPM adopted a different approach: effective 20 May 2019, it defined the Avogadro constant N<sub>A</sub> as the exact value 6.02214076×10<sup>23</sup> mol<sup>−1</sup>, thus redefining the mole as exactly 6.02214076×10<sup>23</sup> constituent particles of the substance under consideration. One consequence of this change is that the mass of a mole of <sup>12</sup>C atoms is no longer exactly 0.012 kg. On the other hand, the dalton ( universal atomic mass unit) remains unchanged as 1/12 of the mass of <sup>12</sup>C. Thus, the molar mass constant remains very close to but no longer exactly equal to 1 g/mol, although the difference (4.5×10<sup>−10</sup> in relative terms, as of March 2019) is insignificant for all practical purposes. ## Connection to other constants The Avogadro constant N<sub>A</sub> is related to other physical constants and properties. - It relates the molar gas constant R and the Boltzmann constant k<sub>B</sub>, which in the SI is defined to be exactly 1.380649×10<sup>−23</sup> J/K: R = k<sub>B</sub> N<sub>A</sub> = - It relates the Faraday constant F and the elementary charge e, which in the SI is defined as exactly 1.602176634×10<sup>−19</sup> coulombs: F = e N<sub>A</sub> = - It relates the molar mass constant M<sub>u</sub> and the atomic mass constant m<sub>u</sub> currently M<sub>u</sub> = m<sub>u</sub> N<sub>A</sub> = ## See also - Mole Day - CODATA 2018 - List of scientists whose names are used in physical constants	[ "## History", "### Origin of the concept", "### First measurements", "### SI definition of 1971", "### SI redefinition of 2019", "## Connection to other constants", "## See also" ]	2,286	35,119
8,798,950	Never Again (The X-Files)	1,091,193,809	null	[ "1997 American television episodes", "Television episodes set in Philadelphia", "Television episodes set in Tennessee", "The X-Files (season 4) episodes" ]	"Never Again" is the thirteenth episode of the fourth season of the American science fiction television series The X-Files. It was written by producers Glen Morgan and James Wong, and directed by Rob Bowman. The episode aired in the United States on February 2, 1997, on the Fox network and in the United Kingdom on BBC One on December 3, 1997. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology. The episode received a Nielsen rating of 13 and was viewed by 21.36 million viewers. It received mostly positive reviews from television critics. The show centers on FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. Mulder is a believer in the paranormal, while the skeptical Scully has been assigned to debunk his work. In this episode, Scully leaves town—and Mulder—for a solo assignment. She soon meets Ed Jerse, a man who is being mentally controlled by a drug-related side effect of his tattoo. His tattoo, affectionately named Betty, does not want to share him, especially not with Scully. Although "Never Again" was directed by Bowman, it was originally scheduled to be directed by film director Quentin Tarantino. Tarantino was unable to direct the entry due to a dispute with the Directors Guild of America. Gillian Anderson was particularly pleased with the episode showing a different side of Scully; she had specifically asked Morgan and Wong to write an episode that explored Scully's dark side. Several cast members from Morgan and Wong's series Space: Above and Beyond were cast in the episode. ## Plot In Philadelphia, Ed Jerse loses a divorce settlement to his ex-wife, who has sole custody of his children. After getting drunk at a bar, Ed wanders into a tattoo parlor and impulsively receives a tattoo depicting a Sailor Jerry-like pin-up girl with the words "Never Again" under her image. At work the next day, Ed hears a woman calling him a "loser"; he has a violent confrontation with a female co-worker—who denies saying anything—and is subsequently subdued. In Washington, Agents Fox Mulder and Dana Scully conduct a discreet meeting with a Russian informant, Vsevlod Pudovkin, who claims to have seen a UFO at a secret research center. Upon returning to FBI headquarters, Mulder heads out on vacation to visit Graceland, leaving Scully to follow up on the Pudovkin case for him. Scully is uninterested in the case and expresses serious doubts about Pudovkin's credibility, leading to an argument with Mulder. Scully becomes upset over the direction her life and career are going. Meanwhile, Ed is fired via telephone. He hears the same voice as before and yells at the woman living below him, thinking it was her. Upon hearing the voice after a pair of Jehovah's Witnesses stop by, Ed goes downstairs and murders his neighbor, throwing her body in the furnace. When the voice talks to him again, Jerse realizes it is coming from his new tattoo. Scully heads to Philadelphia and watches Pudovkin enter a tattoo parlor. Inside, she sees Ed arguing with the owner, wanting the tattoo removed. Ed strikes up a conversation with Scully and invites her out to dinner, which she initially declines. That night, Scully talks to Mulder over the phone and informs him that Pudovkin is a con man and part of the Russian mafia. Frustrated by the conversation, Scully calls Jerse and tells him that she changed her mind. At a nearby lounge, Scully is concerned about Ed's arm, where he has burned the tattoo with a cigarette butt. Ed convinces Scully to get a tattoo, and she has one of an Ouroboros applied to her back. Scully stays at Ed's apartment. The tattoo is angry at him, saying she will be dead if he kisses her, which he does anyway. The next morning, two detectives arrive at the apartment after Ed goes out, telling Scully that Ed's neighbor is missing and blood was found in her apartment with an unusual chemical substance in it. Scully researches the material on Ed's laptop and tries to call Mulder, but hangs up before Mulder has a chance to answer. When Ed arrives, Scully tells him that they found blood in his neighbor's apartment and that it was likely his. She thinks that the chemical came from the tattoo ink and wants them both to head to the hospital to be tested. Ed tells Scully about the voice he has been hearing from his tattoo. As Scully heads to the other room to get ready, her FBI badge falls out of her coat pocket. Scully discreetly picks it back up without Ed noticing. The tattoo begins to talk again, convincing Ed to redial Scully's last call to see who she was speaking to. An FBI operator answers and, upon learning that Scully is an FBI agent, the tattoo forces Ed to attack her. Scully tries to escape but is overpowered by Ed, who wraps her in a bedsheet and carries her down to the basement to throw her in the furnace. At the last moment, Ed is able to overpower the impulses of the tattoo and instead thrusts his own arm into the furnace. Scully returns to Washington and is congratulated by Mulder for being the first person to make a second X-File appearance. Ed was brought to a burn center in Philadelphia where the ergot chemicals were found in his blood; it was also in Scully's blood, but not enough to cause hallucinations. Mulder wonders if this all happened because of their earlier argument, to which Scully replies that not everything is about him. ## Production ### Writing and directing "Never Again" was written by writing partners Glen Morgan and James Wong, making it their final episode of The X-Files until they returned to the show during its tenth season; following this episode, the two took over as executive producers of the Fox program Millennium (developed, like The X-Files, by Chris Carter). The initial story the two developed was a "sort of Abraham Lincoln's ghost in the White House type of thing", which would have involved Mulder and Scully investigating the haunting. Morgan explained that he had "done a lot of research and [he] had always wanted to write a feature about Lincoln's ghost". However, due to the massive amounts of rewrites the two were forced to do for "Musings of a Cigarette Smoking Man", both Morgan and Wong lost interest in their original story. Morgan explained, "I felt they didn't want my heart and soul anymore, so I wouldn't give [the ghost story] to them". The two later crafted "Never Again" in its place. Years later, Frank Spotnitz said that he "always wondered about" their original story and what the finished product would have been like. Gillian Anderson was particularly pleased with the episode, as it shows a different side of Scully. She said: > I thought [the plot of "Never Again"] was a great idea. I personally was going through a dark period at the time, and I wanted to explore Scully's dark side. For some reason, Glen and Jim were on the same wavelength that week. Afterward, a lot of people told me that on that episode I was so 'unlike' Scully or that 'it showed my range'. I told them I thought they were wrong. I don't think that what I did here was out of character for Scully. The only thing different is that the audience hadn't seen it before. Initially, Anderson called up Morgan and asked him to write a story in which Scully "fall[s] hard" for another man, leading to an "intense kind of romantic or passionate relationship". Morgan obliged and wrote a scene featuring Scully enjoying a passionate night with Jerse. This was later removed from the script by series creator Chris Carter—making it the only time that Carter had removed one of Morgan's scenes. Morgan later noted, "I think Chris thought that I was monkeying around with him, but I really wasn't." While "Never Again" was directed by Rob Bowman, the job was originally supposed to go to Quentin Tarantino, but he was prevented by the Directors Guild of America; the guild noted that Tarantino, who is not a member, failed to join the union after working on ER, violating an agreement the two parties had made. A spokeswoman from 20th Century Fox later noted, "Quentin approached us, we were very excited at the opportunity. We made some special arrangements, and we're disappointed that it's not happening. But we bow to Quentin's philosophical stance [and] we hope something can be worked out for the future." The episode's air date was flipped with the episode "Leonard Betts" in order to ensure that the latter episode, which featured the show's two stars in their traditional roles, aired after the Super Bowl. Anderson has said that she "would have played the part [in 'Never Again'] differently" had she been aware of this at the time, as Scully discovers that she has cancer at the end of "Leonard Betts". ### Casting and effects The actor who portrays Ed Jerse, Rodney Rowland, was a former cast member of Glen Morgan and James Wong's short-lived Fox series Space: Above and Beyond. He and Anderson dated for a period of time after this episode. Jodie Foster—a friend of series' casting agent Randy Stone—provided the voice for Ed's tattoo, Betty. Anderson initially volunteered to get a real Ouroboros tattoo for the episode, but she was later told by the production crew that it would "have taken too long [and] it wouldn't have been practical." Kristina Lyne from the show's art department thus designed several stick-on decals that emulated the look of real tattoos. These faux tattoos were printed off by a production company called Real Creations and later augmented with makeup courtesy of series makeup artist Laverne Basham. The Bettie tattoo itself was inspired by the unique designs of the San Francisco tattoo artist "Brooklyn Joe" Lieber. ## Reception "Never Again" was originally broadcast in the United States on the Fox network on February 2, 1997, and was first broadcast in the United Kingdom on BBC One on December 3, 1997. This episode earned a Nielsen rating of 13, with a 19 share, meaning that roughly 13 percent of all television-equipped households, and 19 percent of households watching television, were tuned in to the episode. It was viewed by 21.36 million viewers. The episode received mostly positive reviews from television critics. Zack Handlen from The A.V. Club was positive towards the episode and gave it an A. He applauded the fact that it "lets Scully be flawed" and allowed her to be "far more human" than usual on the show. Handlen concluded that the episode was a success because it illustrated "the way our need to connect with others makes us vulnerable". He was, however, critical of Mulder's actions in the episode, calling him a "spoiled ass" and noted that there was a "little boy ignored feel to his dialogue at the end". Meghan Deans from Tor.com wrote positively of the episode and noted that "[i]t is fortunate, I think, that the Super Bowl forced the change in sequence." She argued that, had "Leonard Betts" not aired before "Never Again", the audience would have been forced to "read her actions as reactions to Mulder and Mulder alone" rather than against the fact that she has cancer. Paula Vitaris from Cinefantastique gave the episode a positive review and awarded it three stars out of four. She called Scully's unhappiness with her situation "understandable" and positively critiqued Gillian Anderson, calling her performance "wonderful". Vitaris, however, was critical of the "Leonard Betts"/"Never Again" switch, writing that "nothing in this episode points to fear of cancer as Scully's motivation". She concluded, however, that "['Never Again'] is a fascinating look at a whole new side of [Scully]." Not all reviews were glowing. Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, on the other hand, gave the episode a mixed review and rated it two-and-a-half stars out of five. The two were critical of Scully's behavior, noting that "seeing Scully as angry and bored and believing her life is pointless isn't really Scully". They argued that Scully's belief that her life is boring is easily countered by the fact that "she hunts fluke monsters, catches serial killers, and gets abducted by aliens". Despite this, Shearman and Pearson wrote that "Gillian Anderson makes it work." ## See also - List of unmade episodes of The X-Files	[ "## Plot", "## Production", "### Writing and directing", "### Casting and effects", "## Reception", "## See also" ]	2,715	36,919
43,199,554	Impossible Is Nothing (Iggy Azalea song)	1,134,695,694	null	[ "2014 singles", "2014 songs", "Iggy Azalea songs", "Song recordings produced by the Invisible Men", "Songs written by George Astasio", "Songs written by Iggy Azalea", "Songs written by Jason Pebworth", "Songs written by Jon Shave" ]	"Impossible Is Nothing" is a song recorded by Australian rapper Iggy Azalea for her debut studio album, The New Classic (2014). It was written by Azalea, The Invisible Men, Jon Turner, and Jon Mills of The Arcade. The track contains an interpolation of French-Lebanese composer Gabriel Yared's "Proust", and was produced by The Invisible Men and The Arcade. A downtempo, hip hop song, it features a tinkering beat which comprises percussion instrumentation such as chimes and a glockenspiel. Azalea raps the track's aspirational lyrics with a mantra technique, pertaining to themes of perseverance, empowerment and underdog triumphalism. The song was released as a promotional single from the album on 9 March 2014. It received mixed reviews from music critics who were divided on the sincerity and originality of the track's lyrical content. Upon release, the song debuted within the lower regions of the UK Singles Chart and the UK R&B Chart. ## Background and release "Impossible Is Nothing" was written by Iggy Azalea, The Invisible Men, Jon Turner, and Jon Mills of The Arcade for Azalea's debut studio album, The New Classic (2014). It contains an interpolation of "Proust" by French-Lebanese composer Gabriel Yared. The song was produced by The Invisible Men and The Arcade, while the "Proust" recreation was produced by Richard Adlam and Hol Ritson. Azalea recorded her vocals at Grove Studios in London, and Conway Studios in Los Angeles where the mixing process was completed by Anthony Kilhoffer—with the assistance of Kyle Ross—at The Mix Spot. The song's title was first revealed by Azalea on 8 August 2013 on Instagram in an image of the album's tentative track listing. On 24 February 2014, Azalea announced the song as a promotional single that would serve as an "instant grat" digital download from the iTunes Store pre-order of The New Classic. The release was initially planned for 4 March 2014, but was slated to a date of 9 March 2014 instead. In Canada, the song was released separately from the pre-order on 21 April 2014. ## Composition "Impossible Is Nothing" is a semi-subdued, downtempo, hip hop song. Caitlyn Carter of the Music Times writes that the track has a "haunting-yet-upbeat" sound. According to John Walker of MTV News, the song takes on a more "vulnerable" sound than Azalea's previous material. The track's instrumentation includes keyboards, drums, an electric guitar line backing, and synthesizers. It features a tinkering beat produced by tuned percussion instruments including chimes and a glockenspiel which causes eerie loop sound effects in the song. A string of siren sound effects are also heard throughout. Azalea's delivery is rapped with a mantra technique. With aspirational lyrics, "Impossible Is Nothing" contains themes of perseverance, empowerment and "underdog triumphalism". It also showcases ideas of prosocial behavior and "blonde ambition". The lyrics welcome newcomers in the music industry, "I even hope at one point you take it farther than me", and speak of self-empowerment: "I shall never let 'em see me sweat / Promise to want for more until my very last breath / Promise to blaze a path and leave a trail for the next / And never sell out my soul for any number on a check". According to Lucy O'Brien of The Quietus, the lyrics portray Azalea as "the hardworking Aussie girl and the feminist goddess urging with messianic fervour". John Lucas of The Georgia Straight describes the song as a "bite-sized motivational seminar". "Impossible Is Nothing" was compared to songs by Eminem, specifically from his 2010 album Recovery. ## Critical reception "Impossible Is Nothing" received mixed reviews from music critics. In a positive review, Saeed Saeed of The National wrote that it was among two tracks on The New Classic "that stand out, out of pure will", and complimented its "moody" sound. Eric Diep of XXL also deemed it a highlight on the album, and commended its "heartfelt story". A writer for Rap-Up described the track as an "empowering anthem". Maria Therese Seefeldt Stæhr of Gaffa praised the track's production. Stereogum's Chris DeVille called it "the best Eminem song in years". Josiah Hughes of Exclaim! wrote positively of the song's "banging beat" and inspirational lyrics. A writer for Oyster praised the sincerity of the lyrics and the "power of its uplifting and never-quitting \#feels". Digital Spy's Emily Mackay noted "a ballsy power to [Azalea's] self-made self-belief" in the song. While Nick Aveling of Time Out felt the track played to Azalea's "substantive strengths". Charlotte Richardson Andrews of NME opined that it showcased Azalea's "wit, personality and lyrical prowess". Similarly, The Line of Best Fit's Laurence Day felt the track manifested the rapper as "an affable bundle of chum-ly charm with lessons (not patronising lectures) that are applicable for anyone with a lick of ambition". Craig Mathieson of The Sydney Morning Herald praised the song's "unexpected complement" of inspirational lyrics with spectral melodies. Idolator reviewers were divided; Carl Williott deemed the song "a thudding piece of inspirational rap", while Christina Lee wrote that it was "tepid" and hinted at "'storms' and 'goals' like posters in a school guidance counselor's office". Other reviewers were also critical of the track's lyrics; Alfred Soto of Spin said it "lays out every admonitory cliché from the Barnes & Noble self-help shelf"—a view echoed by Lindsay Zoladz of New York who dismissed it as "inspirational quotes copied from a high-school guidance counselor's bulletin board". Karen Lawler of Blues & Soul wrote: "While, [the track is] is bound to be a favourite among Iggy fans, it's a subject that's been done millions of time before and it's been done better". Nolan Feeney of Time commented on its originality in a comparison with the 2012 track "Ten Thousand Hours" by Macklemore & Ryan Lewis: "The platitudes of 'Impossible Is Nothing' await whoever didn't finish putting in their 10,000 hours on Macklemore's own you-can-do-it-too anthem". "Impossible Is Nothing" was named as one of the two worst songs on The New Classic by Devone Jones of PopMatters who criticized Azalea for "literally preaching—to youths, rather than [relating] to them". AbsolutePunk's Jake Jenkins called it "a muddled mess of a narrative", and added, "[The track] does nothing to give us a clear picture, or any picture at all really, of what [Azalea's] been through". Jon Caramanica of The New York Times said that the song was "sort of blandly inspirational" and "as numbing" as material by T.I. While Troy L. Smith of The Plain Dealer felt Azalea "[showed] promise" with the song; he dismissed the production as "leftovers from one of Eminem's recent albums". ## Credits and personnel - Iggy Azalea – writer, vocals - The Invisible Men – writers, producers, drums and programming, keyboards - Jon Turner – writer - The Arcade – writers, producers - Gabriel Yared – writer - Richard Adlam – sample recreation, keyboards, tuned percussion - Hol Ritson – sample recreation, keyboards, tuned percussion - Eric Weaver – vocal engineering - Anthony Kilhoffer – mixing - Kyle Ross – mixing assistant Credits adapted from the album's liner notes. ## Charts	[ "## Background and release", "## Composition", "## Critical reception", "## Credits and personnel", "## Charts" ]	1,660	15,066
73,964	Theodosius III	1,173,424,754	Byzantine emperor from 715 to 717	[ "710s in the Byzantine Empire", "8th-century Byzantine emperors", "8th-century deaths", "Bishops of Ephesus", "Tax collectors", "Twenty Years' Anarchy", "Year of birth unknown", "Year of death unknown" ]	Theodosius III (Greek: Θεοδόσιος, romanized: Theodósios) was Byzantine emperor from c. May 715 to 25 March 717. Before rising to power and seizing the throne of the Byzantine Empire, he was a tax collector in Adramyttium. In 715, the Byzantine navy and the troops of the Opsician Theme, one of the Byzantine provinces, revolted against Emperor Anastasius II (r. 713–715), acclaiming the reluctant Theodosius as emperor. Theodosius led his troops to Chrysopolis and then Constantinople, the capital, seizing the city in November 715. Anastasius did not surrender until several months later, accepting exile in a monastery in return for safety. Many themes viewed Theodosius to be a puppet of the troops of the Opsician Theme, and his legitimacy was denied by the Anatolics and the Armeniacs under their respective strategoi (generals) Leo the Isaurian and Artabasdos. Leo declared himself emperor in the summer of 716 and allied himself with the Umayyad Caliphate, the Islamic empire; Theodosius sought aid from the Bulgarians under Khan Tervel (r. 700–721), setting a firm border at Thrace and ceding the Zagoria region to the Bulgarians, as well as stipulating the payment of tribute to them. Leo then marched his troops to Constantinople, seizing the city of Nicomedia, and capturing many officials, including Theodosius' son, also named Theodosius. With his son in captivity, Theodosius took the advice of Patriarch Germanus and the Byzantine Senate, and negotiated with Leo, agreeing to abdicate and recognize Leo as emperor. Leo entered Constantinople and definitively seized power on 25 March 717, allowing Theodosius and his son to retire to a monastery. Exactly when Theodosius died is uncertain, but it may have been on 24 July 754. ## History ### Background After the Umayyad Caliphate was repelled at the first Arab siege of Constantinople (674–678), the Arabs and Byzantines experienced a period of peace between each other. Hostilities were resumed by Byzantine Emperor Justinian II (r. 685–695, 705–711), resulting in a string of Arab victories. As a consequence, the Byzantines lost control over Armenia and the Caucasian principalities, and the Arabs gradually encroached upon the Byzantine borderlands. Annually, generals from the Caliphate would launch raids into Byzantine territory, seizing fortresses and towns. After 712, the defenses of the Byzantine Empire weakened, as Arab raids penetrated deeper into Byzantine Asia Minor, and Byzantine response to these raids became less common; much of the frontier became depopulated, as the inhabitants were either killed, enslaved, or driven away, a result of this was that many frontier forts, especially in Cilicia, were gradually abandoned. The success of these raids emboldened the Arabs, who prepared for a second assault against Constantinople as early as the reign of Caliph al-Walid I (r. 705–715). After his death, his successor, Sulayman (r. 715–717) continued planning the campaign, Sulayman began assembling his forces in late 716, on the plain of Dabiq, north of Aleppo, entrusting the command of these forces to his brother, Maslama ibn Abd al-Malik. The Slavs and Bulgars also formed a growing threat to the northern frontier of the Byzantine Empire, threatening Byzantine control in the Balkans. During the rule of Byzantine Emperor Philippicus (r. 711–713), in 712, the Bulgarians under Khan Tervel advanced as far as the walls of Constantinople itself, plundering the surrounding country, including villas and estates near the capital, where the Byzantine elites often summered. Theodosius came to power during a period called the Twenty Years' Anarchy, defined by struggles between the emperors and the elites, and political instability, with a rapid succession of emperors. The nobles of this time were often natives of Asia Minor, and rarely had a strong agenda beyond preventing the emperors from growing stronger and disrupting the status quo. The Twenty Years' Anarchy began when Emperor Justinian II was overthrown by Leontius (r. 695–698) in 695, ending the Heraclian dynasty, which had retained power for eighty years. During this period of anarchy, seven different emperors took the throne, including a restored Justinian for a time. The modern historian Romilly Jenkins states that between 695 and 717 the only competent emperors were Tiberius III (r. 698–705) and Anastasius II (r. 713–715). The crisis was ended by Emperor Leo III (r. 717–741), who overthrew Theodosius, and whose dynasty reigned for 85 years. ### Rise to the throne Sulayman's preparations, including his construction of a war fleet, were quickly noticed by the Byzantine Empire. Emperor Anastasius II began making preparations to defend against this new onslaught. This included sending the patrician and urban prefect, Daniel of Sinope, to spy on the Arabs, under the pretense of a diplomatic embassy, as well as shoring up the defences of Constantinople, and strengthening the Byzantine navy. The 9th-century Byzantine historian Theophanes states that in early 715 Anastasius II had commanded the navy to gather at Rhodes to then advance to Phoenix. It was there that the troops of the Opsician Theme mutinied against their commander, John the Deacon, killing him before sailing for Adramyttium, in southwestern Asia Minor, and there declared Theodosius, a tax collector, as Emperor Theodosius III. The Zuqnin Chronicle states that Theodosius ruled under the regnal name Constantine, his full name being "Theodosius Constantinus". The historian J. B. Bury suggests that he was selected at random for little more than the fact that he already had an imperial-sounding name, was inoffensive, obscure but respectable, and could easily be controlled by the Opsicians. Graham Sumner, a Byzantologist, suggests that Theodosius might be the same person as Theodosius, the son of Emperor Tiberius III, therefore explaining why he might have been chosen by the troops, as he would have legitimacy from his father, himself made emperor by a naval revolt. Theodosius, the son of Tiberius, was bishop of Ephesus by c. 729, and held this position until his death, sometime around 24 July 754, and was a leading figure of the iconoclastic Council of Hieria in 754. Byzantine historians Cyril Mango and Roger Scott do not view this theory as likely, as it would mean that Theodosius lived for thirty more years after his abdication. Cyril Mango proposed that it was actually Theodosius III's son who became bishop, rather than the son of Tiberius. Theodosius was allegedly unwilling to be emperor and according to Theophanes: > When the malefactors arrived at Adramyttium, being leaderless they found there a local man named Theodosius, a receiver of public revenues, non-political and a private citizen. They urged him to become Emperor. He, however, fled to the hills and hid. But they found him and forced him to accept acclamation as Emperor. He was acclaimed as Emperor Theodosius III by the troops of the Opsician Theme at Adramyttium in c. May 715. Anastasius led his army into Bithynia in the Opsician Theme to crush the rebellion. Rather than remaining to fight Anastasius, Theodosius led his fleet to Chrysopolis, across the Bosporus from Constantinople. From Chrysopolis, he launched a six-month-long siege of Constantinople, before supporters within the capital managed to open the gates for him, allowing him to seize the city in November 715. Anastasius remained at Nicaea for several months, before finally agreeing to abdicate and retire to a monastery. ### Reign One of Theodosius' first acts as emperor was to reinstate the depiction of the Sixth Ecumenical Synod in the Great Palace of Constantinople, which Emperor Philippicus Bardanes had removed, earning himself the epithet of "Orthodox" in the Liber Pontificalis for this action. Theodosius, whom Byzantine sources convey as being both unwilling and incapable, was viewed by many of his subjects as a puppet emperor of the troops of the Opsician Theme. Thus he was not recognized as legitimate by the Anatolic and the Armeniac Themes, under their respective strategoi (generals) Leo the Isaurian and Artabasdos. Although they had not taken any action to prevent the overthrowal of Anastasius, they took issue with Theodosius' ascension, and Leo proclaimed himself Byzantine emperor in the summer of 716. He also sought the support of the Arabs, who viewed the Byzantine disunity as advantageous, and thought the confusion would weaken the Byzantine Empire and make it easier to take Constantinople. Theodosius negotiated a treaty with the Bulgarian khan Tervel (r. 700–721), likely to secure his support against an imminent Arab attack. The treaty fixed the border between the Byzantine Empire and the Bulgarian Empire at Thrace, ceding the Zagoria region to the Bulgarians, as well as stipulating the payment of tribute to the Bulgarians, the return of fugitives, and some trade agreements. Around this time, Sulayman had begun advancing into Byzantine territory, laying siege to Amorium, and a separate force entered Cappadocia. Negotiations with Leo led them to withdraw. Leo began to march his troops to Constantinople soon after declaring himself emperor, first capturing Nicomedia, where he found and captured, among other officials, Theodosius' son, and then marched to Chrysopolis. After his son was captured, Theodosius, taking the advice of Patriarch Germanus and the Byzantine Senate, agreed to abdicate and recognize Leo as emperor. Bury states that the elite of Constantinople, who might otherwise have sided with the inoffensive Theodosius, who would be unlikely to politically weaken them, sided with Leo, as Theodosius was not competent enough to deal with the Arab threat. He further states that the meeting of the Patriarch, senate, and chief officials, which chose Leo over Theodosius, was done with the knowledge and consent of Theodosius himself, who accepted the decision. Bury postulates that, without the threat of the Arabs, it is possible that Theodosius may have retained power, and a succession of nominal emperors might have followed him, controlled by court officials and the elites. Leo entered Constantinople and definitively seized power on 25 March 717, allowing Theodosius and his son, also named Theodosius, to retire to a monastery as monks. After his retirement to a monastery, Theodosius might have become the bishop of Ephesus, if he was the same person as Theodosius, son of Tiberius, in c. 729, and, if he is the same, died on 24 July 754 according to Sumner. Either he or his son is buried in the Church of St. Philip in Ephesus. Little is known of the reign of Theodosius III.	[ "## History", "### Background", "### Rise to the throne", "### Reign" ]	2,443	39,278
30,662	Triangulum Australe	1,173,419,983	Constellation in the southern celestial hemisphere	[ "1590s in the Dutch Republic", "Astronomy in the Dutch Republic", "Constellations listed by Petrus Plancius", "Dutch celestial cartography in the Age of Discovery", "Southern constellations", "Triangulum Australe" ]	Triangulum Australe is a small constellation in the far Southern Celestial Hemisphere. Its name is Latin for "the southern triangle", which distinguishes it from Triangulum in the northern sky and is derived from the acute, almost equilateral pattern of its three brightest stars. It was first depicted on a celestial globe as Triangulus Antarcticus by Petrus Plancius in 1589, and later with more accuracy and its current name by Johann Bayer in his 1603 Uranometria. The French explorer and astronomer Nicolas Louis de Lacaille charted and gave the brighter stars their Bayer designations in 1756. Alpha Trianguli Australis, known as Atria, is a second-magnitude orange giant and the brightest star in the constellation, as well as the 42nd-brightest star in the night sky. Completing the triangle are the two white main sequence stars Beta and Gamma Trianguli Australis. Although the constellation lies in the Milky Way and contains many stars, deep-sky objects are not prominent. Notable features include the open cluster NGC 6025 and planetary nebula NGC 5979. The Great Attractor, the gravitational center of the Laniakea Supercluster which includes the Milky Way galaxy, straddles between Triangulum Australe and the neighboring constellation Norma. ## History Italian navigator Amerigo Vespucci explored the New World at the beginning of the 16th century. He learnt to recognize the stars in the southern hemisphere and made a catalogue for his patron king Manuel I of Portugal, which is now lost. As well as the catalogue, Vespucci wrote descriptions of the southern stars, including a triangle which may be either Triangulum Australe or Apus. This was sent to his patron in Florence, Lorenzo di Pierfrancesco de' Medici, and published as Mundus Novus in 1504. The first depiction of the constellation was provided in 1589 by Flemish astronomer and clergyman Petrus Plancius on a 32+1⁄2-cm diameter celestial globe published in Amsterdam by Dutch cartographer Jacob van Langren, where it was called Triangulus Antarcticus and incorrectly portrayed to the south of Argo Navis. His student Petrus Keyzer, along with Dutch explorer Frederick de Houtman, coined the name Den Zuyden Trianghel. Triangulum Australe was more accurately depicted in Johann Bayer's celestial atlas Uranometria in 1603, where it was also given its current name. Nicolas Louis de Lacaille portrayed the constellations of Norma, Circinus and Triangulum Australe as a set square and ruler, a compass, and a surveyor's level respectively in a set of draughtsman's instruments in his 1756 map of the southern stars. Also depicting it as a surveyor's level, German Johann Bode gave it the alternate name of Libella in his Uranographia. German poet and author Philippus Caesius saw the three main stars as representing the Three Patriarchs, Abraham, Isaac and Jacob (with Atria as Abraham). The Wardaman people of the Northern Territory in Australia perceived the stars of Triangulum Australe as the tail of the Rainbow Serpent, which stretched out from near Crux across to Scorpius. Overhead in October, the Rainbow Serpent "gives Lightning a nudge" to bring on the wet season rains in November. ## Characteristics Triangulum Australe is a small constellation bordered by Norma to the north, Circinus to the west, Apus to the south and Ara to the east. It lies near the Pointers (Alpha and Beta Centauri), with only Circinus in between. The constellation is located within the Milky Way, and hence has many stars. A roughly equilateral triangle, it is easily identifiable. Triangulum Australe lies too far south in the celestial southern hemisphere to be visible from Europe, yet is circumpolar from most of the southern hemisphere. The three-letter abbreviation for the constellation, as adopted by the International Astronomical Union in 1922, is "TrA". The official constellation boundaries, as set by Belgian astronomer Eugène Delporte in 1930, are defined by a polygon of 18 segments. In the equatorial coordinate system, the right ascension coordinates of these borders lie between and , while the declination coordinates are between −60.26° and −70.51°. Triangulum Australe culminates each year at 9 p.m. on 23 August. ## Notable features ### Bright stars In defining the constellation, Lacaille gave twelve stars Bayer designations of Alpha through to Lambda, with two close stars called Eta (one now known by its Henry Draper catalogue number), while Lambda was later dropped due to its dimness. The three brightest stars, Alpha, Beta and Gamma, make up the triangle. Readily identified by its orange hue, Alpha Trianguli Australis is a bright giant star of spectral type K2 IIb-IIIa with an apparent magnitude of +1.91 that is the 42nd-brightest star in the night sky. It lies 424 light-years (130 parsecs) away and has an absolute magnitude of −3.68 and is 5,500 times more luminous than the Sun. With a diameter 130 times that of the Sun, it would almost reach the orbit of Venus if placed at the centre of the Solar System. The proper name Atria is a contraction of its Bayer designation. Beta Trianguli Australis is a double star, the primary being a F-type main-sequence star with a stellar classification of F1V, and an apparent magnitude of 2.85. Lying only 40 light-years (12 parsecs) away, it has an absolute magnitude of 2.38. Its companion, almost 3 arcminutes away, is a 13th-magnitude star which may or may not be in orbit around Beta. The remaining member of the triangle is Gamma Trianguli Australis with an apparent magnitude of 2.87. It is an A-type main sequence star of spectral class A1 V, which lies 180 light-years (55 parsecs) away. Located outside the triangle near Beta, Delta Trianguli Australis is the fourth-brightest star at apparent magnitude +3.8. It is a yellow giant of spectral type G2Ib-II and lies 606 light-years (186 parsecs) away. Lying halfway between Beta and Gamma, Epsilon Trianguli Australis is an optical double. The brighter star, Epsilon Trianguli Australis A, is an orange K-type sub-giant of spectral type K1.5III with an apparent magnitude of +4.11. The optical companion, Epsilon Trianguli Australis B (or HD 138510), is a white main sequence star of spectral type A9IV/V which has an apparent magnitude of +9.32. Zeta Trianguli Australis appears as a star of apparent magnitude +4.91 and spectral class F9V, but is actually a spectroscopic binary with a near companion, probably a red dwarf. The pair orbit each other once every 13 days. A young star, its proper motion indicates it is a member of the Ursa Major moving group. Iota Trianguli Australis shows itself to be a multiple star system composed of a yellow and a white star when seen though a 7.5 cm telescope. The brighter star has a spectral type of F4IV and is a spectroscopic binary whose components are two yellow-white stars which orbit each other every 39.88 days. The primary is a Gamma Doradus variable, pulsating over a period of 1.45 days. The fainter star is not associated with the system, hence the system is an optical double. HD 147018 is a Sun-like star of apparent magnitude 8.3 and spectral type G9V, which was found to have two exoplanets, HD 147018 b and HD 147018 c, in 2009. Of apparent magnitude 5.11, the yellow bright giant Kappa Trianguli Australis of spectral type G5IIa lies around 1,207 light-years (370 parsecs) distant from the Solar System. Eta Trianguli Australis (or Eta1 Trianguli Australis) is a Be star of spectral type B7IVe which is 661 light-years (203 parsecs) from Earth, with an apparent magnitude of 5.89. Lacaille named a close-by star as Eta as well, which was inconsistently followed by Francis Baily, who used the name for the brighter or both stars in two different publications. Despite their faintness, Benjamin Gould upheld their Bayer designation as they were closer than 25 degrees to the south celestial pole. The second Eta is now designated as HD 150550. It is a variable star of average magnitude 6.53 and spectral type A1III. ### Variable stars Triangulum Australe contains several cepheid variables, all of which are too faint to be seen with the naked eye: R Trianguli Australis ranges from apparent magnitude 6.4 to 6.9 over a period of 3.389 days, S Trianguli Australis varies from magnitude 6.1 to 6.8 over 6.323 days, and U Trianguli Australis' brightness changes from 7.5 to 8.3 over 2.568 days. All three are yellow-white giants of spectral type F7Ib/II, F8II, and F8Ib/II respectively. RT Trianguli Australis is an unusual cepheid variable which shows strong absorption bands in molecular fragments of C<sub>2</sub>, ⫶CH and ⋅CN, and has been classified as a carbon cepheid of spectral type R. It varies between magnitudes 9.2 and 9.97 over 1.95 days. Lying nearby Gamma, X Trianguli Australis is a variable carbon star with an average magnitude of 5.63. It has two periods of around 385 and 455 days, and is of spectral type C5, 5(Nb). EK Trianguli Australis, a dwarf nova of the SU Ursae Majoris type, was first noticed in 1978 and officially described in 1980. It consists of a white dwarf and a donor star which orbit each other every 1.5 hours. The white dwarf sucks matter from the other star onto an accretion disc and periodically erupts, reaching magnitude 11.2 in superoutbursts, 12.1 in normal outbursts and remaining at magnitude 16.7 when quiet. NR Trianguli Australis was a slow nova which peaked at magnitude 8.4 in April 2008, before fading to magnitude 12.4 by September of that year. ### Deep-sky objects Triangulum Australe has few deep-sky objects—one open cluster and a few planetary nebulae and faint galaxies. NGC 6025 is an open cluster with about 30 stars ranging from 7th to 9th magnitude. Located 3 degrees north and 1 east of Beta Trianguli Australis, it lies about 2,500 light-years (770 parsecs) away and is about 11 light-years (3.4 parsecs) in diameter. Its brightest star is MQ Trianguli Australis at apparent magnitude 7.1. NGC 5979, a planetary nebula of apparent magnitude 12.3, has a blue-green hue at higher magnifications, while Henize 2-138 is a smaller planetary nebula of magnitude 11.0. NGC 5938 is a remote spiral galaxy around 300 million light-years (90 megaparsecs) away. It is located 5 degrees south of Epsilon Trianguli Australis. ESO 69-6 is a pair of merging galaxies located about 600 million light-years (185 megaparsecs) away. Their contents have been dragged out in long tails by the interaction. ## In culture Triangulum Australe appears on the flag of Brazil, symbolizing the South Region. It also appears as the only constellation used for the flag of secessionist movement The South Is My Country. ## See also - IAU-recognized constellations - Triangulum Australe (Chinese astronomy)	[ "## History", "## Characteristics", "## Notable features", "### Bright stars", "### Variable stars", "### Deep-sky objects", "## In culture", "## See also" ]	2,621	43,315
22,576,080	Invasion of Guadeloupe (1810)	1,145,822,054	1810 British amphibious operation	[ "1810 in the Caribbean", "1810s in Guadeloupe", "Amphibious operations", "Amphibious operations involving the United Kingdom", "Battles involving France", "Battles involving the United Kingdom", "Battles of the Napoleonic Wars", "Conflicts in 1810", "February 1810 events", "History of Guadeloupe", "Invasions by the United Kingdom", "Invasions of Guadeloupe", "January 1810 events" ]	The Invasion of Guadeloupe was a British amphibious operation fought between 28 January and 6 February 1810 over control of the Caribbean island of Guadeloupe during the Napoleonic Wars. The island was the final remaining French colony in the Americas, following the systematic invasion and capture of the others during 1809 by British forces. During the Napoleonic Wars, the French colonies had provided protected harbours for French privateers and warships, which could prey on the numerous British trade routes in the Caribbean and then return to the colonies before British warships could react. In response, the British instituted a blockade of the islands, stationing ships off every port and seizing any vessel that tried to enter or leave. With trade and communication made dangerous by the British blockade squadrons, the economies and morale of the French colonies began to collapse, and in the summer of 1808 desperate messages were sent to France requesting help. Despite repeated efforts, the French Navy failed to reinforce and resupply the garrison, as their ships were intercepted and defeated either in European waters or in the Caribbean itself. The British had intercepted a number of these messages, and launched a series of successful invasions during 1809, until Guadeloupe was the only French colony remaining. A British expeditionary force landed on 28 January 1810, and found that much of the island's militia garrison had deserted. Advancing from two landing beaches on opposite sides of the island, they were able to rapidly push inland. It was not until they reached Beaupère–St. Louis Ridge outside the capital Basse-Terre that the expeditionary force faced strong opposition, but in a battle lasting for most of 3 February, the French were defeated and driven back. The island's commander, Jean Augustin Ernouf, began surrender negotiations the following day. ## Background The French West Indian colonies during the Napoleonic Wars were almost completely cut off from France due to the British naval strategy of close blockade: squadrons of British Royal Navy warships patrolled the coasts of both France itself and the West Indian islands under French control. This hindered communications, severely restricted trade and prevented the reinforcement of the French garrisons during the conflict. As a result, the colonies began to suffer food shortages, their economies stagnated and public and military morale began to severely erode. In desperation, the commanders of the main colonies, the Leeward Islands of Martinique and Guadeloupe, sent a series of messages to France during the summer of 1808, entreating the French government to send food and military supplies. The French responded with a series of frigates and smaller vessels, sailing to the Caribbean independently or in small squadrons. Some of these ships reached their destinations, but the majority were captured by the Royal Navy blockades off France or the islands. Those few ships that did safely make port were trapped there, unable to make the return journey without risking defeat by the British ships waiting offshore. The British had intercepted a number of the messages sent to France, and the decision was made to invade and capture the French West Indies before substantial reinforcements could arrive. During the winter of 1808, ships and troops from across the Caribbean began gathering off Barbados under the command of Vice-Admiral Sir Alexander Cochrane and Lieutenant General George Beckwith, with the intention of invading Martinique early in 1809. A smaller force was sent to Cayenne, which was invaded and captured in early January 1809. In late January the invasion of Martinique began, and despite resistance in the central highlands, the island fell to the invaders in 25 days. Cochrane then split his attention, sending a number of ships and men to aid the Spanish in the Siege of Santo Domingo while still maintaining a strong blockade force in the Leeward Islands. In April 1809, a strong reinforcement squadron of three ship of the line and two frigates "en flute" with supplies arrived at the Îles des Saintes, south of Guadeloupe. There they were blockaded until 14 April, when a British force under Major-General Frederick Maitland invaded and captured the islands. The French squadron managed to escape during the following night, and the three ship of the line went to the north with the British following. Behind them the two French frigates went for Basse-Terre on Goadeloupe with their supplies and reinforcements. Later the three ship of the line split up and the D'Hautpoul was captured after three days close to the south coast of Puerto Rico while the other two escaped to France. The two French frigates were trapped in Basse-Terre. In June, the frigates attempted to return to France. Only one of the frigates escaped the blockade squadron, although the escapee was also captured a month later in the North Atlantic. Subsequent French attempts to supply their one remaining colony on Guadeloupe were minor, most of the brigs sent were seized without reaching the island. The only significant attempt, launched in November 1809, achieved initial success in the destruction of the British frigate HMS Junon on 13 December, but ultimately failed when the two armed storeships, Loire and Seine were destroyed on 18 December in a battle with a British squadron off the southern coast of Guadeloupe. During the autumn and winter, British forces were collected from across the Caribbean at Fort Royal, Martinique, under Cochrane and Beckwith for the invasion of Guadeloupe. ## Preparations Beckwith mustered 6,700 men from a variety of garrisons and sources, his men belonging to the 3rd, 4th, 6th and 8th West India Regiments, the 1st Foot, 15th Foot, 19th Foot, 25th Foot, 63rd Foot, 90th Foot and the Royal York Rangers, as well as 300 garrison artillerymen and various militia forces. These troops were split into two divisions: the largest, 3,700 men under Beckwith with subordinate command given to Major General Thomas Hislop, was to be deployed at Le Gosier on the island's southern shore. The second division, 2,450 men under Brigadier General George Harcourt, was initially ordered to wait on the Îles des Saintes before being deployed after the main attack to the rear of the French garrison. A small reserve under Brigadier General Charles Wale would follow the main assault to provide support if required. As the French had no significant naval resources on the island, the Royal Navy's contribution was much smaller than that required for the Martinique invasion the year before. Cochrane attached ships of the line to both divisions, Beckwith sailing in Cochrane's flagship HMS Pompee, accompanied by HMS Abercrombie with Commodore William Charles Fahie, while Harcourt sailed with Commodore Samuel James Ballard in HMS Sceptre. Ballard and Fahie were in command of the transports and smaller vessels that carried the invasion forces and bore responsibility for ensuring that the amphibious landings were successful as well as for any naval units that participated in the land campaign. The French defenders of the island were weakened by years of isolation caused by the British blockade. Although the available French troops numbered between 3,000 and 4,000, there was an epidemic on the island and a significant proportion of the garrison, principally formed by the 66e Régiment, were unfit for duty. Apart from the capital, the rest of the island's defences were manned by a militia formed from local inhabitants, among whom morale was low and desertion rates high. Military and food stores of all kinds were in short supply and the governor, General Jean Augustin Ernouf was unable to maintain garrisons around the island's extensive perimeter. ## Invasion After a brief period of consolidation on Dominica, Cochrane and Beckwith sailed for Guadeloupe on 27 January 1810, arriving off Le Gosier in the evening and landing the larger division at the village of Sainte-Marie under the command of Hislop. The division split, with one half marching south towards Basse-Terre and the other north. Neither met serious opposition, the militia forces deserting in large numbers and abandoning their fortifications as the British approached. Messages were sent by the approaching British ordering the surrender of towns and forts, and both forces made rapid progress over the following two days. On 30 January, Ernouf took up a position with his remaining garrison in the Beaupère–St. Louis Ridge highlands that guarded the approaches to Basse-Terre, Hislop forming his men in front of Ernouf's position. Later in the day, Harcourt's men came ashore to the north of Basse-Terre, outflanking the strongest French positions at Trois-Rivières and forcing their withdrawal to Basse-Terre itself. With his capital coming under bombardment from gun batteries set up by Royal Navy sailors organised into naval brigades, Ernouf marched to meet the British on the plain at Matabar on 3 February. Forming up, Ernouf attacked the British and initially drove them back, before superior numbers forced him to retire after he was outflanked by Wale's force attacking from the north. General Wale was wounded in the attack, in which his men suffered 40 casualties. One eyewitness, an Irish sailor from HMS Alfred, claimed that Ernouf had laid a large land mine along his line of retreat and planned to detonate it as the British advanced but was prevented from doing so when Beckwith spotted the trap and refused to be drawn into it, although this story does not appear in other accounts. While Ernouf was retreating, Commodore Fahie seized the opportunity to attack the undefended town of Basse-Terre, landing with a force of Royal Marines and capturing the town, cutting off Ernouf's route of escape. Isolated and surrounded, the French general requested a truce at 08:00 on 4 February to bury the dead from the battle the day before. This was accepted, and on 5 February he formally surrendered. ## Aftermath British casualties in the operation numbered 52 killed and 250 wounded, with seven men missing. French losses were heavier, in the region of 500–600 casualties throughout the campaign. 3,500 soldiers were captured with their officers, cannon and the French Imperial Eagle of the 66e Régiment. As Napoleon had rescinded the prisoner exchange system previously in place, all of the prisoners would remain in British hands until 1814. The captured eagle was sent to Britain, the first French eagle captured during the Napoleonic Wars. By 22 February, the nearby Dutch colonies of Sint Maarten, Sint Eustatius and Saba were all persuaded to surrender without a fight by ships sent from Cochrane's fleet. The British officers were rewarded for their successes: Beckwith remained in the Caribbean until he retired in 1814 from ill-health, while Cochrane and Hislop were promoted. All of the expedition's officers and men were voted the thanks of both Houses of Parliament and ten years later the regiments and ships that participated (or their descendants) were awarded the battle honour Guadaloupe 1810. Four decades after the operation, it was among the actions recognised by a clasp attached to the Naval General Service Medal and the Military General Service Medal, awarded upon application to all British participants still living in 1847. Guadeloupe was taken over as a British colony for the remainder of the war, only restored to France after Napoleon's abdication in 1814. The following year, during the Hundred Days, Guadeloupe's governor Charles-Alexandre Durand Linois declared for the Emperor once more, requiring another British invasion, although of much smaller size and duration, to restore the monarchy. The fall of Guadeloupe marked the end of the final French territory in the Caribbean; the entire region was now in the hands of either the British or the Spanish, except the independent state of Haiti. The lack of French privateers and warships sparked a boom in trade operations, and the economies of the Caribbean islands experienced a resurgence. It also made a significant reduction in French international trade and had a corresponding effect on the French economy. Finally, the capture of the last French colony struck a decisive blow to the Atlantic slave trade, which had been made illegal by the British government in 1807 and was actively persecuted by the Royal Navy. Without French colonies in the Caribbean, there was no ready market for slaves in the region and the slave trade consequently dried up.	[ "## Background", "## Preparations", "## Invasion", "## Aftermath" ]	2,634	6,053
66,093,040	1968 Borrego Mountain earthquake	1,172,466,197	Earthquake in California	[ "1968 earthquakes", "1968 in California", "1968 natural disasters in the United States", "Anza-Borrego Desert State Park", "Earthquakes in California", "Geology of San Diego County, California", "History of Imperial County, California", "Imperial Valley", "Natural history of Baja California", "Strike-slip earthquakes" ]	The 1968 Borrego Mountain earthquake occurred on April 8, at 18:28 PST, near the unincorporated community of Ocotillo Wells in San Diego County. The moment magnitude () 6.6 strike-slip earthquake struck with a focal depth of 11.1 km (6.9 mi). Damage was relatively moderate, and the mainshock was assigned a maximum Modified Mercalli intensity (MMI) of VII (Very strong). Shaking was felt in Nevada, and Arizona. It was the largest earthquake to strike California since 1952, and its display of afterslip became the subject of scientific interest. ## Tectonic setting The San Andreas Fault (SAF) is the main plate boundary that defines the margin between the Pacific and North American Plates in California. It is believed to have formed during the Oligocene. The fault has a length of 1,200 km (750 mi), of which, it is visible for 1,005 km (624 mi) from the Salton Sea to Point Arena. Divided into four distinct segments, it displays right-lateral strike-slip movement. It accommodates 20–75 percent of plate motion between the Pacific and North American plates its segments. The tectonic boundary in Southern California is complex—plate motion is accommodated by the SAF and a network of subparallel faults. The SAF terminates at the Salton Trough, a transtensional zone (pull-apart basin) that separates it from the Imperial Fault in the south. The exact measurement of slip across faults in this zone is poorly understood. ### California Borderland West of the Salton Trough is a largely offshore fault system that accommodates approximately 20 percent of the plate motion. Faults such as the Rose Canyon Fault and the Newport-Inglewood Fault pose large risks to unprepared coastal communities such as San Diego and Los Angeles. ### San Jacinto Fault Zone East of the California Borderland, the plate boundary is a complex zone of faults that run parallel to the SAF. The two main faults are the San Jacinto Fault Zone (SJFZ) and Elsinore Fault Zone. The SJFZ is a complex, highly segmented, and overlapped fault zone that runs parallel to the San Andreas Fault, but separated by the San Jacinto Mountains. It is located on the eastern Salton Trough, and runs 290 km (180 mi) directly beneath the cities of San Bernardino, Colton, San Jacinto and Hemet. Segments of the SJFZ are given names despite being one fault system. These segments include the Coyote Creek (CCF), Superstition Hills (SHF), and Superstition Mountain (SMF) faults. The CCF is estimated to be 44 km (27 mi)-long and displays right-lateral strike-slip displacement. Considered the most active fault in Southern California, 36 notable earthquakes have been associated with it since 1857. Between 1915 and 1954, five earthquakes of magnitude 6.0 or greater were damaging. Seismic activity on the SJFZ is greater than on the SAF. ### Eastern California Shear Zone Further east, near the border with Nevada and Arizona, the Eastern California Shear Zone (ECSZ) takes up to 25 percent of the plate motion. The ECSZ consists of north–west trending right-lateral faults in the Mojave Desert, and Walker Lane, which lies at the western margin of the Basin and Range Province. Large earthquakes associated with the ECSZ occurred in 1872, 1992, 1999 and 2019. ## Earthquake The only recorded foreshock had a magnitude of 3.7, occurring one minute before the mainshock. There was no foreshock activity recorded in the hours to weeks before the mainshock; seismic activity in the area was lower than usual in the four months before April 1968. The mainshock which measured 6.6 , was the result of shallow strike-slip faulting which initiated from the hypocenter at 11.1 km (6.9 mi) depth. It ruptured bilaterally along the CCF and displayed an almost pure right-lateral focal mechanism. A focal mechanism analysis indicated the rupture plane had a northwest strike and dipped steeply (80°) to the south. ### Surface rupture A 33 km (21 mi)-long surface rupture through Quaternary alluvium and lake bed sediments was revealed. At its northern extreme, the rupture sliced through the Palm Spring Formation. The rupture zone consisted of two northwest-oriented segments, separated by a 2 km (1.2 mi)-wide discontinuity. Smaller, isolated ruptures were found 3 km (1.9 mi) away from the main trace. A maximum horizontal offset of 38 cm (15 in) was measured along the northern rupture located 5 km (3.1 mi) northwest of Ocotillo Wells, at the foothills of Borrego Mountain. Along the southern rupture, the maximum offset was 20 cm (7.9 in), measured 10 km (6.2 mi) southeast of Ocotillo Wells. Vertical offsets of up to 20 cm (7.9 in) were also recorded. There were also left-lateral displacements 1–2 km (0.62–1.24 mi) from Ocotillo Badlands north of Highway 78 and at the northern base of Borrego Mountain. Whether these left-lateral offsets were part of the rupture mechanism or environmental changes unrelated to tectonic processes could not be determined. ### Aftershocks A one-year-long aftershock sequence followed; at least 135 aftershocks measuring 3.0 or greater was recorded. Most aftershocks were located 2–3 km (1.2–1.9 mi) away and subparallel to the northwest-southeast trending rupture. The mainshock epicenter was located in the middle of the aftershock zone. The concentration of aftershocks was greater southeast of the mainshock than to the northwest. These aftershocks were predominantly right-lateral strike-slip events. Several aftershocks had dip-slip focal mechanisms. There were aftershocks reported close to the SMF and SHF at the southeastern extremity of the rupture. On the day of the mainshock, a magnitude 5.2 aftershock occurred at 19:03. Forty-five minutes later, a magnitude 4.7 aftershock caused minor damage in Calexico. Nearly a year later, a 5.8 aftershock was recorded. This shock had its own sequence of aftershocks. ## Intensity The maximum peak ground acceleration (pga) recorded by a seismometer at El Centro was 0.14 g. A maximum MMI of VII (Very strong) was assigned in the Borrego Mountain–Ocotillo Wells area (northeastern San Diego County) where surface rupturing occurred. Based on the study of ground effects alone, the MMI may be as high as IX (Violent). Severe damage was restricted to a 2,331 km<sup>2</sup> (900 sq mi) area, but the earthquake was felt for 160,000 km<sup>2</sup> (62,000 sq mi). In the meizoseismal area, small offsets occurred along the Coyote Creek Fault and Highway 78 near Ocotillo Wells cracked. At Anza-Borrego Desert State Park, large boulders toppled. At Split Mountain, falling rocks damaged many parked vehicles. Large boulders also blocked the Montezuma-Borrego Highway. Rockfalls, slumps and liquefaction took place in response to the strong ground motion. Heavier damage included cracked and fragmented concrete bridge piers. There was minor damage in Ocotillo Wells; the only documented serious damage was to a house that had walls split apart and bedroom detached from the main structure. A storage tank beside the house spilled 3,600 gallons of water over the porch, toppling its posts. Ground cracks appeared at the airport and roads. Residents were temporarily without water because of a damaged community well pump. A motel 4.8 km (3.0 mi) west of Ocotillo Wells sustained broken water and sewerage pipes, cracked tiles and its lower floor was flooded by water from the swimming pool. Large transformers 5.1 km (3.2 mi) from Ocotillo Wells were displaced, snapping anchor bolts and X-bracings. A long rolling motion lasting up to 30 seconds was described. Swimming pools sloshed about for 10 minutes. Plasters fell from the walls and ceilings on the second level of the Balboa Hotel in El Centro. In Calexico, the ceiling at a Safeway supermarket partially collapsed. The upper brick wall of a laundromat in Westmorland collapsed while another building was cracked. MMI VI (Strong) shaking frightened many residents. Damage was minimal due to the area's sparse urban planning. Shifting furnitures; falling objects; rocking vehicles, trees and bushes; and minor cracks were reported. Minor rockslides occurred, including some at Barrett Dam. At Borrego Springs, minor cracks appeared in a church façade. Cracks also appeared in the ground and on windows. Furniture moved several inches while swimming pools sloshed. Goods and items fell off shelves in stores, forcing some to shut down. In Mecca, several concrete pipelines ruptured and a truck nearly overturned. In Anza concrete floorings cracked and plasters fell from buildings. In a public library at Imperial, 7,500 books fell from shelves. Cracked concrete pavements and driveways occurred in Yuma and Horn, Arizona. At San Diego, a small crack appeared in a 2.74 m (9 ft 0 in) concrete retaining wall. Roughly 3.2 km (2.0 mi) north of downtown San Diego, furnitures were displaced. Broken windows, severed powerlines, and sloshing of swimming pools were widely reported. Cracks appeared along Sunset Cliffs Boulevard and plasters detached from building. At Mexicali, Baja California, windows broke and lights went out at a sheriff office. Landslides occurred at Sage. Grocery stores in Riverside suffered huge losses from fallen bottled products. The , which was docked at Long Beach rocked for five minutes. In Los Angeles, two structures built before revised earthquake codes suffered widening or reopening of plaster cracks formed by the 1933 and 1952 earthquakes. Plasters fell off some buildings in the city. ## Post-earthquake slips After the earthquake, the fault displayed a phenomenon known as aseismic creep, observed only along the central and southernmost section of the rupture. It was discovered on June 9 by the manager of a motel at Ocotillo Wells. Aseismic creep increased the total horizontal displacement from 18 cm (7.1 in) to 25–30 cm (9.8–11.8 in), and vertical displacement from 10 cm (3.9 in) to 15–23 cm (5.9–9.1 in), two months after the mainshock. While the central section of the CCF rupture experienced aseismic creep, there was no movement along the southernmost rupture until from January 1969 to December 1970. There was no feasible way of measuring these new offsets as tire tracks, used for measuring, had disappeared. It is estimated that the post-earthquake slip produced 3–6 cm (1.2–2.4 in) of additional displacement, in addition to the 8 cm (3.1 in) during the earthquake. After a pair of earthquakes in 1987, new surface ruptures with 1.5 cm (0.59 in) of displacement were observed. These new surface ruptures measured 3 km (1.9 mi). ### Triggered slips A remarkable feature was slip along faults located far from the epicenter area. The SAF, Imperial, and Superstition Hills faults displayed this phenomenon. Field observations revealed 1–2.5 cm (0.39–0.98 in) of right-lateral displacement occurred along these faults. Triggered slips were not observed on other prominent faults such as segments of the SJFZ north of the CCF, the SMF that lies parallel to the SHF, and the Elsinore Fault Zone. Geologists postulated the slip was shaking-induced, ruling out stress transfer as a cause. Slip continued until 1972. Evidence of movement along the Imperial Fault (70 km (43 mi) from epicenter) was discovered on April 13 on Interstate 8 when cracks appeared. However, the cracks were not well determined as there were already cracks to the road from an earthquake in March 1966 (the magnitude 3.6 earthquake is the smallest earthquake associated with a surface rupture). The Imperial Fault was the first to be discovered creeping which prompted checks on other faults. Creep occurred for 22 km (14 mi), although its actual length is unknown as dunes and urban developments obstructed any possible rupture trace. It produced an estimated 0.3 cm (0.12 in) of right-lateral slip. Along the SHF, 2.5 cm (0.98 in) of displacement was measured at Imler Road (45 km (28 mi) from epicenter). A 23 km (14 mi) section of the SHF moved. The SHF also produced creep after the 1987 earthquakes. Movement along the Southern California segment of the SAF (50 km (31 mi) northeast of the epicenter) was documented on April 24. Right-lateral displacement of 1.3 cm (0.51 in) and vertical scarps as high as 50 cm (20 in) were measured. Slip occurred for 30 km (19 mi). The last major earthquake on this section of the SAF occurred in 1680, with an estimated magnitude of 7.8. ## See also - List of earthquakes in 1968 - List of earthquakes in California - List of earthquakes in the United States	[ "## Tectonic setting", "### California Borderland", "### San Jacinto Fault Zone", "### Eastern California Shear Zone", "## Earthquake", "### Surface rupture", "### Aftershocks", "## Intensity", "## Post-earthquake slips", "### Triggered slips", "## See also" ]	2,936	10,420
2,397,108	Missouri Route 164	1,158,419,303	State highway in the Missouri Bootheel	[ "State highways in Missouri", "Transportation in Dunklin County, Missouri", "Transportation in Pemiscot County, Missouri" ]	Route 164 is a state highway in the Missouri Bootheel. The route starts at U.S. Route 412 (US 412) in Cardwell. The route travels eastward across the bootheel, and it goes through the towns of Arbyrd, Hornersville, Rives, and Steele. It becomes concurrent with US 61 briefly in Steele, and intersects Interstate 55 (I-55) east of the city. The route ends east of Cottonwood Point, near the Mississippi River. The route was designated in 1956, replacing two supplemental routes that started from Cardwell and ended at Steele. In 1965, another former supplemental route was added to the route, extending the eastern terminus to Cottonwood Point. An interchange was constructed at I-55 in 1974. ## Route description In 2015, Missouri Department of Transportation (MoDOT) calculated as many as 2,454 vehicles traveling on Route 164 west of I-55, and as few as 482 vehicles traveling east of Route H. This is expressed in terms of annual average daily traffic (AADT), a measure of traffic volume for any average day of the year. The route is located in rural Dunklin and Pemiscot counties. Route 164 starts at US 412 and Route F on the southern city limit of Cardwell. The route travels north into the city as Main Street, and intersects the southern terminus of Route V at Pool Street. Route 164 travels eastward and leaves Cardwell past County Road 613 (CRD 613). The road crosses over Kennemore Slough and intersects US 412 for the second time. Route 164 continues eastward through farmland, and intersects Route 108 on the western side of Arbyrd. The routes are briefly concurrent, and Route 108 continues northward at Frisco Street. Route 164 travels along the city limit for Arbyrd and leaves the city at CRD 625. The road crosses over another river near Hollywood. The Hornersville Memorial Airport is located past Route K, west of the Hornersville. Route 164 intersects Route YY on the northern edge of the city and begins travelling north soon after. The road turns northeastward and parallels Little River until it reaches the unincorporated area of Cotton Plant. Inside the area, the route intersects Routes N and Y, resumes travelling eastward, and crosses over the Little River. West of CRD 709, Route 164 crosses over two unnamed streams. The road intersects Route TT, southwest of the village of Rives. It soon meets the terminus of Route PP, which leads to the center of the village, less than one mile later. At the Dunklin-Pemiscot county line, Route 164 intersects Route NN. West of Denton, the road intersects Routes C and F. Route 164 shifts southwards near the Steele Municipal Airport. At Administration Drive, the road enters the city limits of Steele. The route turns northeast at First Street and turns southeast at Route Z. Travelling on Main Street, the route enters the center of the city and crosses the River Subdivision railroad. The route becomes concurrent with US 61 at Walnut Street. Travelling away from downtown Steele, the road crosses over a creek and leaves city limits at Cooter Road. Route 164 and US 61 travels slightly northward at the diamond interchange with I-55. US 61 travels concurrently with the interstate, thus ending the concurrency with Route 164. The route shifts back southward at Outer Road. At Acorn Corner, the road intersects the northern terminus of Route H. Travelling across farmland, it meets Route D at a T-intersection. The route travels southwards to Cottonwood Point, where it intersects Route DD. Route 164 then travels southeastwards to its eastern terminus at CRD 553. The road continues as Ferry Landing Road, which leads to a boat ramp. ## History Around 1933, Route Y was designated along a gravel road from Cardwell to Caruth, through the community of Hollywood. About one year later, Route J was designated from Routes C and N near the Dunklin–Pemiscot county line to US 61 in Steele, and it was removed and designated as a part of Route N in 1937. The entirety of Route Y was paved by January 1946, at a cost of \$38,233, and Route N was extended to Route Y by 1953, costing \$133,138. The section of Route N from Route NN to US 61 was also paved during that time, and completely paved by 1955. In 1956, Route 164 was designated, replacing a majority of Routes N and Y. The route extended from Route 25 in Arbyrd to Route H east of Steele. Five years later, Route W was designated from the eastern terminus of Route 164 to Route D north of Cottonwood Point. Route 164 replaced Route W and was extended to Cottonwood Point by 1965. By 1972, Route 25 was rerouted between Cardwell and Arbyrd, and its old alignment through Cardwell was added to Route 164. An interchange at I-55 opened in November 1973, as part of a \$13.5 million project. By 1983, Route 25 from the Arkansas–Missouri state line to Kennett was replaced by US 412. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	1,124	33,684
32,252,837	Keechaka Vadham	1,160,121,579	Silent film by R. Nataraja Mudaliar	[ "1910s directorial debut films", "1910s historical films", "1910s in Indian cinema", "1910s lost films", "Films based on the Mahabharata", "Hindu mythological films", "Indian black-and-white films", "Indian historical films", "Indian silent films", "Lost Indian films" ]	Keechaka Vadham () is an Indian silent film produced, directed, filmed and edited by R. Nataraja Mudaliar. The first film to have been made in South India, it was shot in five weeks at Nataraja Mudaliar's production house, India Film Company. As the members of the cast were Tamils, Keechaka Vadham is considered to be the first Tamil film. No print of it is known to have survived, making it a lost film. The screenplay, written by C. Rangavadivelu, is based on an episode from the Virata Parva segment of the Hindu epic Mahabharata, focusing on Keechaka's attempts to woo Draupadi. The film stars Raju Mudaliar and Jeevarathnam as the central characters. Released in the late 1910s, Keechaka Vadham was commercially successful and received positive critical feedback. The film's success prompted Nataraja Mudaliar to make a series of similar historical films, which laid the foundation for the South Indian cinema industry and led to his being recognised as "the father of Tamil cinema." Nataraja Mudaliar's works were an inspiration to other filmmakers including Raghupathi Surya Prakasa and J. C. Daniel. ## Plot Keechaka, the commander of King Virata's forces, attempts to woo and marry Draupadi by any means necessary; he even tries to molest Draupadi, prompting her to tell Bhima, her husband and one of the Pandava brothers, about it. Later, when Keechaka meets Draupadi, she requests him to rendezvous with her at a secret hiding place. He arrives there, only to find Bhima instead of Draupadi; Bhima kills him. ## Cast - Raju Mudaliar as Keechaka - Jeevarathnam as Draupadi ## Production ### Development R. Nataraja Mudaliar, a car dealer who was based in Madras, developed an interest in motion pictures after watching Dadasaheb Phalke's 1913 mythological film, Raja Harishchandra at the Gaiety theatre in Madras. The former then learned the basics of photography and filmmaking from Stewart Smith, a Poona-based British cinematographer who had worked on a documentary that chronicled the viceroyship of Lord Curzon (1899–1905). Nataraja Mudaliar bought a Williamson 35 mm camera and printer from Mooppanar, a wealthy landowner based in Thanjavur, for ₹1,800. In 1915, he established the India Film Company, which was South India's first production company. He then set up a film studio on Miller's Road in Purasawalkam with the help of business associates who invested in his production house. Nataraja Mudaliar sought advice from his friend, theatrical artist Pammal Sambandha Mudaliar, who suggested that he depict the story of Draupadi and Keechaka from the Virata Parva segment of the Hindu epic Mahabharata. Some of Nataraja Mudaliar's relatives objected, feeling that it was an inappropriate story for his debut venture, but Sambandha Mudaliar persuaded him to proceed with making the film as audiences were familiar with the story. Attorney C. Rangavadivelu, a close friend of Nataraja Mudaliar, assisted him in writing the screenplay as the latter was not a writer by profession. The paintings of Raja Ravi Varma provided Nataraja Mudaliar with a source of inspiration for recreating the story on celluloid. Nataraja Mudaliar cast stage actors Raju Mudaliar and Jeevarathnam as Keechaka and Draupadi, respectively. ### Filming Keechaka Vadham was filmed on a budget of ₹35,000 (worth ₹6 crore in 2021 prices). Principal photography began in 1916–1917, and the film was shot over 35–37 days. Nataraja Mudaliar imported the film stock from London with the help of an Englishman named Carpenter, who worked for the Bombay division of the photographic technology company, Kodak. Film historian Randor Guy noted in his 1997 book Starlight Starbright: The Early Tamil Cinema that a thin white piece of cloth was used as a ceiling for filming and sunlight was filtered through it onto the floor. Rangavadivelu was also experienced in playing female roles on stage for the Suguna Vilasa Sabha, and coached the artists on set. The film's production, cinematography and editing were handled by Nataraja Mudaliar himself. The film was shot with a speed of 16 frames per second, which was the standard rate for a silent film, at the India Film Company, with intertitles in English, Tamil and Hindi. The Tamil and Hindi intertitles were written by Sambandha Mudaliar and Devdas Gandhi respectively, while Nataraja Mudaliar wrote the English intertitles himself with the assistance of Guruswami Mudaliar and Thiruvengada Mudaliar, a professor from Pachaiyappa's College. Keechaka Vadham was the first film made in South India; as the cast was Tamil, it is also the first Tamil film. According to Guy, Nataraja Mudaliar established a laboratory in Bangalore to process the film negatives since there was no film laboratory in Madras. Nataraja Mudaliar believed that Bangalore's colder climate "would be kind to his exposed film stock"; he processed the film negatives there each weekend and returned on Monday morning to resume filming. The film's final reel length was 6,000 ft (1,800 m). ## Release, reception and legacy According to Muthiah, Keechaka Vadham was first released at the Elphinstone Theatre in Madras; the film netted ₹50,000 after being screened in India, Burma, Ceylon, the Federated Malay States and Singapore. The film yielded ₹15,000 which Muthiah noted to be a "tidy profit in those days." Writer Firoze Rangoonwalla notes that a reviewer for The Mail praised the film: "It has been prepared with great care and is drawing full houses". Guy pointed out that with the film's critical and commercial success, Nataraja Mudaliar had "created history". Since no print is known to have survived, it appears to be a lost film. Keechaka Vadham's success inspired Nataraja Mudaliar to make a series of films based on Hindu mythology: Draupadi Vastrapaharanam (1918), Lava Kusa (1919), Shiva Leela (1919), Rukmini Satyabhama (1922) and Mahi Ravana (1923). He retired from filmmaking in 1923 after a fire killed his son and destroyed his production house. Nataraja Mudaliar is widely regarded as "the father of Tamil cinema," and his films helped lay the foundation for the South Indian cinema industry; his works inspired Raghupathi Surya Prakasa, the son of Raghupathi Venkaiah Naidu, and J. C. Daniel. ## See also - Raja Harishchandra, the first Indian silent film - Kalidas, the first sound film in Tamil and Telugu cinema - List of lost films	[ "## Plot", "## Cast", "## Production", "### Development", "### Filming", "## Release, reception and legacy", "## See also" ]	1,560	43,645
30,882,749	Mike Scarry	1,161,323,954	American football player and coach (1920–2012)	[ "1920 births", "2012 deaths", "American football centers", "American men's basketball players", "Basketball coaches from Pennsylvania", "Basketball players from Pennsylvania", "Case Western Reserve University alumni", "Case Western Spartans football coaches", "Case Western Spartans men's basketball coaches", "Cincinnati Bearcats football coaches", "Cleveland Browns (AAFC) players", "Cleveland Rams players", "Coaches of American football from Pennsylvania", "Loras Duhawks football coaches", "Miami Dolphins coaches", "People from Duquesne, Pennsylvania", "Players of American football from Allegheny County, Pennsylvania", "Santa Clara Broncos football coaches", "United States Army personnel of World War II", "Washington Redskins coaches", "Washington State Cougars football coaches", "Waynesburg Yellow Jackets athletic directors", "Waynesburg Yellow Jackets football coaches", "Waynesburg Yellow Jackets football players", "Waynesburg Yellow Jackets men's basketball coaches", "Waynesburg Yellow Jackets men's basketball players" ]	Michael Joseph “Mo” Scarry (February 1, 1920 – September 9, 2012) was an American football player and coach. He grew up in Pennsylvania, and played football in college at Waynesburg College in Waynesburg, Pennsylvania and went on to join the Cleveland Rams in the National Football League (NFL) as a center following a stint in the U.S. Army during World War II. The Rams moved to Los Angeles after winning the 1945 NFL championship, and Scarry elected to stay in Cleveland and play for the Cleveland Browns under coach Paul Brown in the new All-America Football Conference (AAFC). The Browns won the AAFC championship in 1946 and 1947 while Scarry was on the team. Scarry, who coached the basketball team at Western Reserve University in Cleveland during his playing career, retired from professional football after the 1947 season to take up a post as head coach of the school's football team. He stayed there for two seasons before moving to Santa Clara University in California as an assistant coach. Scarry then moved in 1952 to Loras College in Iowa as an assistant. After a stint at Washington State University, he spent six years as the line coach for the University of Cincinnati. Scarry served as head football coach at Waynesburg, his alma mater, for three seasons between 1963 and 1965. The following year he started his first professional coaching job with the NFL's Washington Redskins, and became the defensive line coach of the Miami Dolphins three years later. He stayed with the Dolphins for 15 seasons, during which the team won two Super Bowls, until his retirement. Scarry was inducted into the Pennsylvania Sports Hall of Fame in 2000. ## High school, college and military service Scarry grew up in Duquesne, Pennsylvania, and played on his high school's basketball and football teams. Scarry attended Waynesburg College, a small school in Waynesburg, Pennsylvania, where he continued to play football and basketball. He served in the U.S. Army during World War II in North Africa, but came down with asthma and was given a medical discharge. He signed with the Cleveland Rams of the National Football League starting in 1944. ## Professional career Scarry began the 1944 season with the Rams at left tackle, but was shifted to center in September. He played on both defense and offense. After a season in which the Rams contended for but lost the NFL's western division, Scarry spent the offseason as a student at Western Reserve University in Cleveland and served as the director of a YMCA camp in Mantua, Ohio. Scarry suffered a knee injury near the beginning of the 1945 season, but soon returned to action as the Rams, led by quarterback Bob Waterfield, won the NFL championship. Scarry was the captain of the Rams during the championship run. The Rams moved to Los Angeles after the 1945 season, and Scarry, along with teammates Chet Adams, Tommy Colella, Don Greenwood and Gaylon Smith, decided to stay in Cleveland and play for the Cleveland Browns, a team under formation in the new All-America Football Conference. The Rams sought an injunction in Federal court to prevent Adams from defecting to the Browns, arguing that he was still under contract with the Rams despite the move. Adams argued that his contract described a team in Cleveland, and was no longer valid because of the Rams' relocation. A judge ruled in favor of Adams in August 1946, clearing the way for him and other former Rams players to join the Browns. Scarry played center his first year with the Browns, protecting Otto Graham. While Scarry was playing for the Browns, he was named head basketball coach at Western Reserve, where he had taken classes between games and in the offseason. In his first season, Scarry often played between 50 and the full 60 minutes of games, playing on the offensive and defensive lines. Toward the middle of the season, Cleveland coach Paul Brown began to use him as the defensive leader, letting him call the unit's formations. In December, Scarry's Western Reserve basketball team played its first games; he had missed numerous practices because of his duties with the Browns. The Browns went on to win the AAFC championship later in the month. Scarry remained with the Browns the following season. In September 1947 he received a bachelor of science degree from Western Reserve, completing an educational career at Waynesburg that was cut short by the war. By October, he was mentioned as a possible successor to Tom Davies, who had resigned as Western Reserve's football coach. While still one of the AAFC's top centers, Scarry was bothered by injury and asthma and was considering leaving pro football. The Browns, meanwhile, won a second straight AAFC championship in December. Scarry was named Western Reserve's football coach the following January, ending his career with the Browns. Frank Gatski took over as the Browns' regular center after Scarry's retirement. ## Coaching career Scarry borrowed Paul Brown's coaching techniques at Western Reserve, instituting well-organized practices there. "I had a lot of ideas about coaching before I went to work for the Browns," he said in 1947. "But the manner in which Paul organized his practice and all his duties impressed me. I try to do the same here." With no good passer or runner and a lack of depth, Western Reserve's Red Cats performed poorly in Scarry's first season, but he was praised for making the most out of a thin squad. In 1949, his second year, the Red Cats improved to a 4–5–1 (win–loss–draw) record, and Scarry was expected to stay on for a third season. The following year, however, he resigned to take an assistant coaching position at Santa Clara University in California under former Browns assistant Dick Gallagher. Scarry was at Santa Clara for the 1950 and 1951 seasons, then went to Loras College in Dubuque, Iowa. He stayed at Loras for two years, moving to Washington State College of the Pacific Coast Conference in 1954. He left in November 1955, when head coach Al Kircher was fired in the wake of a 1–10 season. In February 1956, he was hired as a line coach by the University of Cincinnati. During his time at Cincinnati, Scarry served as an assistant to Otto Graham, the former Browns quarterback and teammate of Scarry's, as a coach in the College All-Star Game, a now-defunct annual matchup between the NFL champion and a selection of the best college players from across the country. After seven seasons at Cincinnati, Scarry got his third head coaching job, for the Yellow Jackets at Waynesburg, his alma mater. He was also the school's athletic director. Scarry held the position for three seasons, from 1963 until 1965, and his teams had a 17–8–1 record during that span. Waynesburg won the Pennsylvania Intercollegiate Athletic Conference title in 1965, and Scarry was voted the conference's coach of the year. Scarry continued to act as the line coach under Graham for the college all-stars in the offseason during his tenure at Waynesburg. In 1964, he was inducted into football hall of fame of the National Association of Intercollegiate Athletics, an association of smaller college sports programs. Graham became the head coach of the NFL's Washington Redskins in 1966, and he hired Scarry that year as his defensive line coach. Scarry stayed with the Redskins through 1968, when Graham resigned after three unsuccessful seasons and was succeeded by Vince Lombardi. Scarry then scouted briefly for the San Francisco 49ers, Los Angeles Rams, and Dallas Cowboys before taking a job in 1970 as the defensive line coach for the Miami Dolphins under Don Shula, a former Browns player. He spent the remainder of his coaching career with the Dolphins, retiring after 15 years in 1986. Miami reached the Super Bowl five times while Scarry was a coach there, winning consecutive championships in the 1972 and 1973 seasons. ## Later life and death After retiring from football, Scarry worked informally for the Dolphins as a volunteer assistant. He moved with his wife, Libby, to Fort Myers, Florida, in 1994. Scarry was inducted into the Pennsylvania Sports Hall of Fame in 2000. He died in 2012 at his home in Fort Myers; he was the last surviving member of the original Browns team. He had four sons and a daughter. Mike was also the brother of professional basketball player Jack Scarry. ## Head coaching record ### Football	[ "## High school, college and military service", "## Professional career", "## Coaching career", "## Later life and death", "## Head coaching record", "### Football" ]	1,805	7,820
43,840,244	The Boat Race 1872	1,154,814,723	null	[ "1872 in English sport", "1872 in sports", "March 1872 events", "The Boat Race" ]	The 29th Boat Race took place on the 27 March 1872. The Boat Race is an annual side-by-side rowing race between crews from the Universities of Oxford and Cambridge along the River Thames. In a race umpired by Robert Lewis-Lloyd, Cambridge won by two lengths in a time of 21 minutes 15 seconds taking the overall record to 16–13 in Oxford's favour. ## Background The Boat Race is a side-by-side rowing competition between the University of Oxford (sometimes referred to as the "Dark Blues") and the University of Cambridge (sometimes referred to as the "Light Blues"). The race was first held in 1829, and since 1845 has taken place on the 4.2-mile (6.8 km) Championship Course on the River Thames in southwest London. Cambridge went into the race as reigning champions, having defeated Oxford by one length in the previous year's race, while Oxford led overall with sixteen wins to Cambridge's twelve. During the build-up to the race, Oxford's boat club president, Robert Lesley of Pembroke College, strained his side and was prohibited from practice. Worse still, four days before the race, the number two rower Armistead "broke down and was replaced by C. C. Knollys, also an untrained man". Conversely, Cambridge saw John Goldie return as president for the third consecutive year, and while all the previous year's Blues were available, four were selected for the race. Oxford were coached by E. G. Banks of Worcester College and Frank Willan who had rowed for the Dark Blues four times between the 1866 and 1869 races. Cambridge's coaches were John Graham Chambers (who rowed for Cambridge in the 1862 and 1863 races, and was non-rowing boat club president for the 1865 race) and William Henry Lowe (who rowed in three times, in the 1868, 1870 and 1871 races). While sliding seats had started to come to prominence, having been first used by a crew from Pembroke College, Goldie was reluctant to allow them to be tried for the race and disallowed the Light Blue boat manufacturer Harry Clasper from fitting them. The umpire for the race was Robert Lewis-Lloyd, the first time since The Boat Race 1856 that the event was not overseen by Joseph William Chitty. Lewis-Lloyd had rowed for Cambridge four times, between the 1856 and the 1859 races inclusively. Edward Searle once again performed the duties of the starter. ## Crews The Cambridge crew weighed an average of 11 st 12.875 lb (75.6 kg), 2.375 pounds (1.1 kg) more than their opponents. Oxford's crew contained three rowers with Boat Race experience, and saw F. H. Hall return to cox the Dark Blue boat for the third time. Along with stroke and president Goldie, Cambridge's crew included Edmund Spencer and Edward Randolph (each rowing their third race), and John Brooks Close who had rowed in 1871. ## Race Cambridge won the toss and elected to start from the Middlesex station, handing the Surrey side of the river to Oxford. The race started at 1.35 p.m. "in the teeth of a bitter north-easterly gale and snow-storm", and proved uneventful with the Light Blues winning by two lengths in a time of 21 minutes 15 seconds. Partway through the race, Goldie had broken a bolt in his rigging; although he could no longer contribute to the power of the Light Blue boat, he continued to stroke and provide the required rhythm to lead Cambridge to the victory. It was Cambridge's third consecutive win and took the overall record to 16–13 in Oxford's favour.	[ "## Background", "## Crews", "## Race" ]	795	30,395
30,942,641	Erhalt uns, Herr, bei deinem Wort, BWV 126	1,144,436,731	Chorale cantata by Johann Sebastian Bach	[ "1725 compositions", "Chorale cantatas", "Church cantatas by Johann Sebastian Bach" ]	Erhalt uns, Herr, bei deinem Wort (Sustain us, Lord with your word), BWV 126, is a cantata by Johann Sebastian Bach for use in a Lutheran service. He composed the chorale cantata in 1725 in Leipzig for the Sunday Sexagesimae, the second Sunday before Lent, and first performed it on 4 February 1725. It is based on the hymn "Erhalt uns, Herr, bei deinem Wort" by Martin Luther, published in 1542. The hymn text at Bach's time also included two stanzas by Justus Jonas and Luther's "Verleih uns Frieden gnädiglich". An unknown librettist retained four of these seven combined stanzas, using the first and the two last unchanged as customary, and expanding the third by adding text for a recitative. He paraphrased the other stanzas for two arias and another recitative. Bach structured the cantata in six movements and scored it for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of trumpet, oboe, strings and continuo. The first movement is a chorale fantasia dominated by the trumpet. In the unusual third movement, Bach has an alto and a tenor voice alternate for the recitative, while they sing the lines from the third hymn stanza in a duet. The fourth movement is a dramatic bass aria, accompanied by a restless continuo. Due to the compiled hymns, the melody of the closing two stanzas is different from the one used in movements 1 and 3. ## 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 wrote a 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 hymn. As part of this cycle, Bach composed Erhalt uns, Herr, bei deinem Wort for Sexagesima, the second Sunday before Lent. The prescribed readings for the Sunday were taken from the Second Epistle to the Corinthians, "God's power is mighty in the weak" (), and from the Gospel of Luke, the parable of the Sower (). The cantata is based on the hymn "Erhalt uns, Herr, bei deinem Wort" by Martin Luther. At Bach's time, it included the three stanzas of Luther's chorale, followed by two stanzas of Justus Jonas, Luther's German version of Da pacem Domine (Give peace, Lord, 1531), and a second stanza to it, paraphrasing (1566). The result are seven stanzas: 1. Erhalt uns, Herr, bei deinem Wort 2. Beweis dein Macht, Herr Jesu Christ 3. Gott Heilger Geist, du Tröster wert 4. Ihr' Anschläg, Herr, zunichte mach 5. So werden sie erkennen doch 6. Verleih uns Frieden gnädiglich 7. Gib unserm Fürsten und aller Obrigkeit A line in the epistle, "For the word of God is quick and powerful, and sharper than any two-edged sword" (), possibly prompted the choice of the hymn. The unknown poet of the cantata text kept stanzas 1, 3, 6 and 7 unchanged, expanding 3 by recitative, and reworded 2, 4 and 5 for the respective movements of the cantata. The topic of the gospel is God's word, as Jesus explains in verse 11, "Now the parable is this: The seed is the word of God.", which is mentioned in the first line of the hymn, "bei deinem Wort" (close to your word). Instead of relating closely to the parable, the poet concentrates on a general request to God: to keep his people faithful to his word, to protect them from enemies and to provide peace. Bach first performed the cantata on 4 February 1725, only two days after the cantata Mit Fried und Freud ich fahr dahin, BWV 125, for the Purification of Mary on 2 February. The autograph of the cantata is lost, but the parts which Bach used are extant. The cantata is the third-to-last chorale cantata in Bach's second cantata cycle. ## Music ### Structure and scoring Bach structured the cantata in six movements. In the typical format of Bach's chorale cantatas, the first and last movement on the first and stanza of the hymn are set for choir, as a chorale fantasia and a closing chorale. They frame alternating arias and recitatives with the librettist's text. Bach scored the work for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: trumpet (Tr), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo (Bc). The duration of the piece has been stated as 22 minutes. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown. ### Movements #### 1 The opening chorus, "Erhalt uns, Herr, bei deinem Wort" (Sustain us, Lord with your word,), is a chorale fantasia. A characteristic feature of the instrumental concerto is a four-note trumpet signal, which is derived from the beginning of the chorale melody, as if to repeat the words "Erhalt uns, Herr" (Sustain us, Lord) again and again. The motif consists of the three notes of the A minor chord in the sequence A C A E, with the higher notes on the stressed syllables, the highest one on "Herr". The cantus firmus of the chorale is sung by the soprano, while the other voices sing in imitation, embedded in the independent concerto of the orchestra. The Bach scholar Christoph Wolff notes that the trumpet fanfare "underlines the combative, dogmatic character of this late devotional song of Luther's". #### 2 The first aria, sung by the tenor, "Sende deine Macht von oben" (Send Your power from above), is a prayer, intensified by two oboes. In the middle section the words "erfreuen" (delight) and "zerstreuen" (scatter) are illustrated by runs in the voice. #### 3 Movement 3 presents two text elements interwoven, the recitative "Der Menschen Gunst und Macht wird wenig nützen" (The wish and will of mankind are of little use), and the interspersed four lines of the hymn's third stanza, "Gott, Heiliger Geist, du Tröster wert" (God, Holy Spirit, worthy Comforter). The recitative lines are sung by alternating voices alto and tenor, while the interspersed chorale lines are rendered by both voices in duet. In this duet, the voice that enters sings the embellished hymn tune, while the other accompanies. #### 4 The second aria, "Stürze zu Boden, schwülstige Stolze!" (Hurl to the ground the pompous proud!), is dramatic, especially in the restless continuo. John Eliot Gardiner quotes William G. Whittaker: Bach’s "righteous indignation at the enemies of his faith was never expressed more fiercely than in this aria". The Bach scholar Alfred Dürr describes the movement as an "aria of genuinely baroque dramatic force", expressing "Old Testament zeal". #### 5 A tenor recitative, "So wird dein Wort und Wahrheit offenbar" (Thus Your word and truth will be revealed), changes the topic and leads to peace, implored in the final movement. #### 6 Movement 6 combines the two stanzas from different chorales, Luther's "Verleih uns Frieden gnädiglich" (Grant us peace graciously), and Walter's "Gib unsern Fürsten und all'r Obrigkeit Fried und gut Regiment" (Give our rulers and all lawgivers peace and good government), in a four-part setting. These two stanzas have a different melody. ## Recordings The selection is taken from the listing on the Bach-Cantatas website. Instrumental groups playing period instruments in historically informed performances are highlighted green under the header "Instr.".	[ "## History and words", "## Music", "### Structure and scoring", "### Movements", "#### 1", "#### 2", "#### 3", "#### 4", "#### 5", "#### 6", "## Recordings" ]	1,872	782
9,287,958	Japanese aircraft carrier Taiyō	1,068,423,387	Taiyō-class escort carrier	[ "1940 ships", "Maritime incidents in August 1944", "Ships built by Mitsubishi Heavy Industries", "Ships sunk by American submarines", "Taiyō-class escort carriers", "World War II escort carriers of Japan", "World War II shipwrecks in the South China Sea" ]	The Japanese aircraft carrier Taiyō (大鷹, "Big Eagle") was the lead ship of her class of three escort carriers. She was originally built as Kasuga Maru (春日丸), the last of three Nitta Maru class of passenger-cargo liners built in Japan during the late 1930s for NYK Line. The ship was requisitioned by the Imperial Japanese Navy (IJN) in early 1941 and was converted into an escort carrier. Taiyō was initially used to transport aircraft to distant air bases and for training, but was later used to escort convoys of merchant ships between Japan and Singapore. The ship was torpedoed twice by American submarines with negligible to moderate damage before she was sunk in mid-1944 with heavy loss of life. ## Civilian background and configuration The Nitta Maru-class ships were intended to upgrade the passenger service of NYK (Japan Mail Shipping Line) to Europe and it was reported that Nitta Maru was the first ship to be fully air conditioned in the passenger quarters. The IJN subsidized all three Nitta Maru-class ships for possible conversion into auxiliary aircraft carriers. Kasuga Maru was the last ship of her class and was built by Mitsubishi Shipbuilding & Engineering Co. at their Nagasaki shipyard for NYK. She was laid down on 6 January 1940 as yard number 752 and launched on 19 September 1940. Sources are contradictory regarding when the conversion occurred and if the ship was completed before the conversion began. Jentschura, Jung and Mickel state that Kasuga Maru was towed to Sasebo Naval Arsenal for conversion on 1 May 1941. Stille, however, and Watts & Gordon say the conversion began while the ship was under construction. This is indirectly supported by the allocation of a new yard number, 888, to the ship. Tully, on the other hand, says that she was requisitioned on 10 February 1941 and was used as a transport until the conversion began on 1 May. If Kasuga Maru was completed as a passenger liner, the 17,163-gross register ton (GRT) vessel would have had a length of 170.0 meters (557.8 ft), a beam of 22.5 meters (73.8 ft) and a depth of hold of 12.4 meters (40.7 ft). She would have had a net tonnage of 9,397 and a cargo capacity of 11,800 tons. The Nitta Maru class had accommodation for 285 passengers (127 first class, 88 second and 70 third). The ships were powered by two sets of geared steam turbines made by the shipbuilder, each driving one propeller shaft, using steam produced by four water-tube boilers. The turbines were rated at a total of 25,200 shaft horsepower (18,800 kW) that gave them an average speed of 19 knots (35 km/h; 22 mph) and a maximum speed of 22.2 knots (41.1 km/h; 25.5 mph). ## Conversion and description Kasuga Maru's conversion was completed at Sasebo Naval Arsenal on 2 or 5 or 15 September 1941. The Taiyō-class carriers had a flush-decked configuration that displaced 18,116 metric tons (17,830 long tons) at standard load and 20,321 metric tons (20,000 long tons) at normal load. They had an overall length of 180.2 meters (591 ft 4 in), a beam of 22.5 meters (73 ft 10 in) and a draft of 7.7 meters (25 ft 5 in). The flight deck was 172.0 meters (564 ft 3 in) long and 23.5 meters (77 ft) wide and no arresting gear was fitted. The ships had a single hangar, approximately 91.4 meters (300 ft) long, served by two centreline aircraft lifts, each 12.0 by 13.0 meters (39.4 ft × 42.7 ft). Unlike her sister ships, Kasuga Maru could accommodate 23 aircraft, plus 4 spares. The changes made during the conversion limited the ship to a speed of 21.4 knots (39.6 km/h; 24.6 mph). She carried 2,290 metric tons (2,250 long tons) of fuel oil that gave her a range of 8,500 nautical miles (15,700 km; 9,800 mi) at a speed of 18 knots (33 km/h; 21 mph). Kasuga Maru's crew numbered 747 officers and ratings. The ship was equipped with six 12-centimeter (4.7 in) 10th Year Type anti-aircraft (AA) guns in single mounts on sponsons along the sides of the hull. Her light AA consisted of eight license-built 25-millimeter (1.0 in) Type 96 light AA guns in four twin mounts, also in sponsons along the sides of the hull. In early 1943, the 25 mm twin mounts were replaced by triple mounts and additional 25 mm guns were added. Taiyō had a total of 22 guns plus 5 license-built 13.2 mm (0.5 in) Type 93 anti-aircraft machineguns. The ship also received a Type 13 air-search radar in a retractable installation on the flight deck at that time. In July 1944, the 12-centimeter guns were replaced by two twin mounts for 12.7 cm (5.0 in) Type 89 dual-purpose guns and the light AA armament was augmented to a total of sixty-four 25-millimeter guns and ten 13.2-millimeter machine guns. ## Career Before the start of the Pacific War on 7 December 1941, Kasuga Maru had made two voyages to Formosa and Palau, including one ferrying Mitsubishi A5M (Allied reporting name: "Claude") fighters to Palau just days before the beginning of the war. In between transport missions, the ship trained naval aviators. Shortly after Kasuga Maru arrived at Rabaul on 11 April, the harbor was bombed twice, although the ship was not damaged in the attacks. On 14 July, she was assigned to the Combined Fleet, together with her sister, Un'yō. Upon receiving news of the American landings on Guadalcanal on 7 August, Kasuga Maru and the battleship Yamato, escorted by a pair of destroyers, together with the 2nd and 3rd Fleets sailed from the Inland Sea bound for Truk. On 27 August, the carrier was detached from the main body and sent to deliver aircraft to Taroa Island in the Marshalls. She arrived two days later and then departed on 30 August for Truk. The following day, Kasuga Maru was formally renamed Taiyō (大鷹, “goshawk”). After arriving in Truk on 4 September, the ship was sent to Palau, Davao City, and Kavieng. En route to Truk, she was torpedoed by the submarine USS Trout on 28 September 1942. Taiyō was hit once, killing 13 crewmen, but was able to continue to Truk for emergency repairs. She left for Japan on 4 October for permanent repairs that were not completed until the 26th. The ship then resumed ferrying aircraft from Japan to Truk and Kavieng on 1 November. In February–March 1943, she was accompanied by Un'yō. The following month, Un'yō was replaced by Chūyō. En route to Truk, she was again torpedoed by an American submarine; this time, however, the four torpedoes fired by USS Tunny on 9 April failed to explode. Taiyō and Chūyō, escorted by two destroyers departed Truk, bound for Yokosuka, Japan, on 16 April. After another voyage to Truk and Mako, Formosa, the ship was briefly refitted at Sasebo. While returning from Truk on 6 September, Taiyō was unsuccessfully attacked by USS Pike. Almost three weeks later, the ship was torpedoed by USS Cabrilla. The hit wrecked her starboard propeller and temporarily knocked out power so she had to be towed to Yokosuka by Chūyō. Repairs began once she arrived and lasted until 11 November. In December 1943, Taiyō was assigned to the Grand Escort Command and she began a lengthy refit at Yokohama that completed on 4 April 1944. On the 29th, the ship was assigned to the First Surface Escort Unit and she escorted Convoy HI-61 from Japan to Singapore, via Manila. Upon arrival at her destination on 18 May, Taiyō was tasked to escort Convoy HI-62 home. After arriving on 8 June, the ship was assigned to carry aircraft to Manila, departing on 12 July. En route, she joined up with the escort of Convoy HI-69 and arrived there on the 20th. Taiyō then escorted a convoy to Formosa and then back to Japan. On 10 August, the ship escorted Convoy HI-71 to Singapore, via Mako and Manila. Eight days later, off Cape Bolinao, Luzon, Taiyō was hit in the stern by a torpedo fired by USS Rasher. The hit caused the carrier's aft avgas tank to explode, and Taiyō sank 28 minutes later at coordinates . The number of passengers aboard is unknown, but 350–400 was common practice at that time. Coupled with the 400-odd survivors rescued and the authorized complement of 834, that suggests that approximately 790 passengers and crew were lost in the sinking. ## See also - List by death toll of ships sunk by submarines	[ "## Civilian background and configuration", "## Conversion and description", "## Career", "## See also" ]	2,108	15,162
23,619,112	Antimetric electrical network	1,101,949,554	Electrical network that exhibits anti-symmetrical electrical properties.	[ "Analog circuits", "Electronic design", "Filter theory", "Linear filters" ]	An antimetric electrical network is an electrical network that exhibits anti-symmetrical electrical properties. The term is often encountered in filter theory, but it applies to general electrical network analysis. Antimetric is the diametrical opposite of symmetric; it does not merely mean "asymmetric" (i.e., "lacking symmetry"). It is possible for networks to be symmetric or antimetric in their electrical properties without being physically or topologically symmetric or antimetric. ## Definition References to symmetry and antimetry of a network usually refer to the input impedances of a two-port network when correctly terminated. A symmetric network will have two equal input impedances, Z<sub>i1</sub> and Z<sub>i2</sub>. For an antimetric network, the two impedances must be the dual of each other with respect to some nominal impedance R<sub>0</sub>. That is, $\frac {Z_{i1}}{R_0} = \frac {R_0}{Z_{i2}}$ or equivalently $Z_{i1} Z_{i2} = {R_0}^2.$ It is necessary for antimetry that the terminating impedances are also the dual of each other, but in many practical cases the two terminating impedances are resistors and are both equal to the nominal impedance R<sub>0</sub>. Hence, they are both symmetric and antimetric at the same time. ## Physical and electrical antimetry Symmetric and antimetric networks are often also topologically symmetric and antimetric, respectively. The physical arrangement of their components and values are symmetric or antimetric as in the ladder example above. However, it is not a necessary condition for electrical antimetry. For example, if the example networks of figure 1 have an additional identical T-section added to the left-hand side as shown in figure 2, then the networks remain topologically symmetric and antimetric. However, the network resulting from the application of Bartlett's bisection theorem applied to the first T-section in each network, as shown in figure 3, are neither physically symmetric nor antimetric but retain their electrical symmetric (in the first case) and antimetric (in the second case) properties. ## Two-port parameters The conditions for symmetry and antimetry can be stated in terms of two-port parameters. For a two-port network described by normalized impedance parameters (z-parameters), $z_{11} = z_{22}$ if the network is symmetric, and $z_{11}z_{22} - z_{12}z_{21} = 1$ if the network is antimetric. Passive networks of the kind illustrated in this article are also reciprocal, which requires that $z_{12} = z_{21}$ and results in a normalized z-parameter matrix of, $\left [ \mathbf z \right ] = \begin{bmatrix} z_{11} & z_{12} \\ z_{12} & z_{11} \end{bmatrix}$ for symmetric networks and $\left [ \mathbf z \right ] = \begin{bmatrix} z_{11} & z_{12} \\ z_{12} & (z_{12}^2+1)/z_{11} \end{bmatrix}$ for antimetric networks. For a two-port network described by scattering parameters (S-parameters), $S_{11} = S_{22}$ if the network is symmetric, and $S_{11} = -S_{22}$ if the network is antimetric. The condition for reciprocity is, $S_{12} = S_{21}$ resulting in an S-parameter matrix of, $\left [ \mathbf S \right ] = \begin{bmatrix} S_{11} & S_{12} \\ S_{12} & S_{11} \end{bmatrix}$ for symmetric networks and $\left [ \mathbf S \right ] = \begin{bmatrix} S_{11} & S_{12} \\ S_{12} & -S_{11} \end{bmatrix}$ for antimetric networks. ## Applications Some circuit designs naturally output antimetric networks. For instance, a low-pass Butterworth filter implemented as a ladder network with an even number of elements will be antimetric. Similarly, a bandpass Butterworth with an even number of resonators will be antimetric, as will a Butterworth mechanical filter with an even number of mechanical resonators. ## Glossary notes	[ "## Definition", "## Physical and electrical antimetry", "## Two-port parameters", "## Applications", "## Glossary notes" ]	938	10,660
44,332,024	Italian cruiser Nino Bixio	1,170,353,285	Protected cruiser of the Italian Royal Navy	[ "1911 ships", "Nino Bixio-class cruisers", "Ships built in Castellammare di Stabia" ]	Nino Bixio was a protected cruiser built by the Italian Regia Marina (Royal Navy) in the early 1910s. She was the lead ship of the Nino Bixio class, which were built as scouts for the main Italian fleet. She was equipped with a main battery of six 120-millimeter (4.7 in) guns and had a top speed in excess of 26 knots (48 km/h; 30 mph), but her engines proved to be troublesome in service. Nino Bixio saw service during World War I and briefly engaged the Austro-Hungarian cruiser SMS Helgoland in 1915. Her career was cut short in the post-war period due to severe cuts to the Italian naval budget, coupled with her unreliable engines. Nino Bixio was stricken from the naval register in March 1929 and sold for scrap. ## Design The Nino Bixio-class cruisers were ordered in response to the development of fast light cruisers by the Austro-Hungarian Navy in the early 1900s. They were intended to supplement the protected cruiser Quarto to serve as scouts for the main battle fleet. Two ships, Nino Bixio and Marsala, were ordered during the tenure of Admiral Carlo Mirabello as the Minister of the Navy. Nino Bixio was 140.3 meters (460 ft 4 in) long at the waterline, with a beam of 13 m (42 ft 8 in) and a draft of 4.1 m (13 ft 5 in). She displaced 3,575 long tons (3,632 t) normally and up to 4,141 long tons (4,207 t) at full load. She had a short forecastle deck and a pair of pole masts. Her crew consisted 13 officers and 283 enlisted men. The ship's propulsion system consisted of three Curtiss steam turbines, each driving a screw propeller. Steam was provided by fourteen mixed coal and oil firing Blechynden boilers, which were vented into four widely spaced funnels. The engines were rated at 23,000 shaft horsepower (17,000 kW) for a top speed of 26.82 knots (49.67 km/h; 30.86 mph). She had a cruising range of 1,400 nautical miles (2,600 km; 1,600 mi) at an economical speed of 13 knots (24 km/h; 15 mph). The ship's propulsion system proved to be unreliable in service. The ship was armed with a main battery of six 120 mm (4.7 in) L/50 guns mounted singly. She was also equipped with a secondary battery of six 76 mm (3 in) L/50 guns, which provided close-range defense against torpedo boats. She also carried two 450 mm (17.7 in) torpedo tubes submerged in the hull. Nino Bixio also had a capacity to carry 200 naval mines. The ship was only lightly armored, with a 38 mm (1.5 in) thick deck, and 100 mm (3.9 in) thick plating on her main conning tower. ## Service history Nino Bixio, named for the soldier and politician, was built at the Regio Cantiere di Castellammare di Stabia shipyard; her keel was laid down on 15 February 1911, the same day as her sister Marsala. Nino Bixio's completed hull was launched ten months later on 30 December, after which fitting-out work commenced. The ship was completed by 5 May 1914, when she was commissioned into the Italian fleet. Nino Bixio was thereafter assigned to the 2nd Division of the 1st Squadron; the squadron consisted of two divisions of battleships, each supported by a scout cruiser. The 2nd Division included the four Regina Elena-class battleships, for which Nino Bixio served as the scout. ### World War I Italy, a member of the Central Powers, declared neutrality at the start of World War I in August 1914, but by May 1915, the Triple Entente had convinced the Italians to enter the war against their former allies. Admiral Paolo Thaon di Revel, the Italian naval chief of staff, believed that Austro-Hungarian submarines could operate too effectively in the narrow waters of the Adriatic, which could also be easily seeded with minefields. The threat from these underwater weapons was too serious for him to use the fleet in an active way. Instead, Revel decided to implement blockade at the relatively safer southern end of the Adriatic with the main fleet, while smaller vessels, such as the MAS boats, conducted raids on Austro-Hungarian ships and installations. Nino Bixio was based at Brindisi in southern Italy to support the Otranto Barrage, along with the protected cruisers Puglia, Quarto, and Libia, and several destroyers and submarines. The British contributed four cruisers of the British Adriatic Squadron: the light cruisers HMS Weymouth and Bristol and the protected cruisers Topaze and Sapphire. Two French armored cruisers and twelve destroyers rounded out the light forces available to patrol the area. On 29 December 1915, an Austro-Hungarian force of two cruisers and five destroyers attempted to intercept transports supplying the Serbian Army trapped in Albania. Quarto departed first, along with the British cruiser HMS Dartmouth and five French destroyers; Nino Bixio followed two hours later with Weymouth and four Italian destroyers. The first flotilla engaged in a running battle with the fleeing Austro-Hungarian cruiser SMS Helgoland but Nino Bixio's group was too far behind to close to effective range. It was hoped that the Quarto and Dartmouth group, which was further to the north, would be able to drive the Austro-Hungarian flotilla toward Nino Bixio and Weymouth, but the faster Austro-Hungarian ships were able to escape the trap. She and Weymouth briefly engaged the fleeing Austro-Hungarians at very long range, and Nino Bixio received a single hit forward. Poor coordination between the Italian, British, and French ships led to their failure to decisively engage the Austro-Hungarians, but the latter nevertheless lost two of their six best destroyers. By May 1917, the reconnaissance forces at Brindisi had come under the command of Rear Admiral Alfredo Acton. On the night of 14–15 May, the Austro-Hungarian cruisers Helgoland, Novara, and Saida raided the Otranto Barrage—a patrol line of drifters intended to block Austro-Hungarian and German U-boats. She did not participate in the ensuing Battle of the Otranto Straits because she did not have steam up in her boilers when the Italo-British forces counterattacked. ### Postwar career The Regia Marina demobilized after the end of the war in 1918 and the draw-down continued into the 1920s in large part due to severe budgetary shortfalls in the postwar period. The engines installed on Nino Bixio and her sister proved to be problematic throughout her time in service, which ultimately cut her career short. She was stricken from the naval register on 15 March 1929 and subsequently broken up for scrap; in contrast, the much more efficient Quarto, which had been built before Nino Bixio, remained in service for another decade.	[ "## Design", "## Service history", "### World War I", "### Postwar career" ]	1,586	19,795
64,222,668	Coty Building	1,148,324,427	Historic building in Manhattan, New York	[ "Art Nouveau architecture in New York City", "Commercial buildings completed in 1910", "Commercial buildings in Manhattan", "Corporate headquarters in the United States", "Fifth Avenue", "Midtown Manhattan", "New York City Designated Landmarks in Manhattan" ]	The Coty Building is a building at 714 Fifth Avenue in the Midtown Manhattan neighborhood of New York City. The six-story building contains a French-inspired facade and mansard roof, which are integrated into the base of the adjoining skyscraper at 712 Fifth Avenue. The third through fifth floors contain 276 decorative glass panes, the only documented architectural work by René Lalique in the United States. Built as a brownstone rowhouse in 1871, it was redesigned in 1907–1908 by architect Woodruff Leeming. It was commissioned by owner and real estate investor Charles A. Gould, who, foreseeing the neighborhood shift from residential to commercial use, wished to replace the facade of the brownstone. Upon its completion in 1910, the building was leased to perfumer François Coty, who occupied the building until 1941. During the mid-20th century, the building had a variety of tenants. With the development of 712 Fifth Avenue, the Coty Building was proposed for demolition in the early 1980s. The Coty Building's facade was preserved in 1985 as a New York City designated landmark. The Coty Building's original interiors were completely removed, and the skyscraper was completed behind the older facade in 1990. ## Architecture The design of the Coty Building's six-story facade dates to a 1907–1908 renovation from Woodruff Leeming. The facade is a glass wall surrounded by a frame. The first two stories have limestone-faced piers and a cornice supported by corbel brackets; they are treated as a single continuous section of the facade. The third through fifth stories are also treated as a single wall of glass, surrounded by a limestone frame with architrave motif at the top and bellflower pendants motifs on each side. Cast-steel spandrels are above the third and fourth stories. There are five vertical bays of windows, separated by thin vertical steel mullions. The general articulation remains unchanged from its original construction, although the original casement windows were removed and replaced with windows by René Lalique. These windows comprise the only documented Lalique architectural work in the United States. Each bay consists of a multi-paned casement separated by a transom. The central bays contain clear glass, though decorative glass is located in the side bays. There is an arched, scallop-shaped pediment with small brackets above the third floor. Each pane is about 0.5 inches (13 mm) thick, surrounded by metal frames; the exterior of each frame is raised. There are 276 panes in total, each measuring 14 by 14 inches (360 mm × 360 mm). The third- through fifth-story facade contains intertwining vine and flower designs, which according to the New York City Landmarks Preservation Commission are tulips. The top floor is set off by a modillioned cornice with console brackets supporting a balustrade. The sloping metal-covered roof with its arched dormers allowed the building to harmonize with its neighbors. Originally, 714 Fifth Avenue contained a storefront on its ground story and offices on the other stories. During the development of the skyscraper at 712 Fifth Avenue in the late 1980s, all of the original interiors were removed. A four-story atrium was installed behind the facade of the Coty Building. A 79,000-square-foot (7,300 m<sup>2</sup>) Henri Bendel store was built on the lower stories of the atrium. The store was designed with iron-railed balconies surrounding the atrium, and it was arranged so all stories of the building could have a direct view of the atrium. ## History Fifth Avenue between 42nd Street and Central Park South (59th Street) was relatively undeveloped through the late 19th century. 714 Fifth Avenue was built in 1871 as a brownstone rowhouse, one of several on the western side of Fifth Avenue between 55th and 56th streets. By the early 1900s, that section of Fifth Avenue was becoming a commercial area. The Coty Building, along with the Gorham, Tiffany, Charles Scribner's Sons, and Demarest buildings, is among the few surviving stores that were erected for smaller retailers on Fifth Avenue during the early 20th century. ### Early and mid-20th century By the first decade of the 20th century, owner and real estate investor Charles A. Gould, foreseeing the neighborhood shift from residential to commercial use, wished to replace the facade of the brownstone. Consequently, in 1907, architect Woodruff Leeming was hired to remodel the house. Donald M. Mitchell received the general contract to remodel the town house, A side extension was to be erected at the rear, one story was to be added over the main building, and the interior would be renovated with electric lighting, an electric passenger elevator, partitions, and plumbing fixtures. The Real Estate Record and Guide wrote in December 1908 that the remodeled building had "a maximum of light and air on each floor, the general composition being good and at the same time securing the effect of proper supports for the upper stories by means of the side piers carried all the way down to the sidewalk level".In 1910, the building was leased to perfumer François Coty, who used it as the U.S. headquarters of Coty, Inc. Coty commissioned jeweler and glass maker René Lalique to design a wall of glass windows. Lalique created a Art Nouveau-style composition of panes of glass decorated with flower vines, large enough to go from the third through fifth floors. The renovated building hosted exhibitions such as a 1910 exhibit to spread awareness of tuberculosis, as well as a 1914 benefit for the Committee of Mercy. Around 1921, Shoecraft Inc. leased some space in the building, where it remained for twenty years. In 1926, Coty moved the company's offices to 423 West 55th Street, retaining only the company showroom at 714 Fifth Avenue. The sixth floor was then leased to photographer Jay T. E. Winburn, while the fifth floor was leased to tailor Berkley R. Merwin Inc. The building was owned by Gould until his death in 1926. His estate auctioned off its properties in January 1927, during which the building was purchased by Robert E. Dowling for \$710,000. Coty's original lease extended until 1931 and was renewed until 1951. However, Coty Inc. remained at 714 Fifth Avenue only until 1941, when it moved the showroom to 423 West 55th Street. Also in 1941, Fareco Inc. bought the building from Dowling's City Investing Company for \$675,000. The sale was made on behalf of the Coty interests. Women's apparel firm Kargere Inc. took the ground-floor storefront and the basement space in 1942. Harry Winston then owned the building until 1964, when the Transportation Corporation of America acquired it. Hooks & Wax was hired to remodel the building for the Transportation Corporation's subsidiaries, which included Trans Caribbean Airways, DC Transit System, International Railways of Central America, and Spanish-language newspaper El Diario La Prensa. The Transportation Corporation was owned by O. Roy Chalk, who sold Trans Caribbean Airways to American Airlines in 1971 but continued to maintain his offices at 714 Fifth Avenue. Chalk sold the building in 1978 to Juschi Realty for \$2.6 million. Chalk retained his third-floor offices while Juschi International opened a luxury women's sportswear and accessories shop on the basement and first, second, and fourth stories. By the early 1980s, a doctor living in Germany owned 714 Fifth Avenue, and an electronics store occupied the ground story. ### Preservation In 1983, developer David S. Solomon began planning a 44-story office skyscraper at the southwest corner of 56th Street and Fifth Avenue. Since neither the Coty Building nor the adjacent Rizzoli Building at 712 Fifth Avenue were designated as official landmarks, he intended to replace them. The owners of Steadsol Fifth Associates, a consortium of which Solomon was part, bought both buildings in 1984 with the intent of demolishing them. 714 Fifth Avenue's owner agreed to sell his structure in return for a stake in the new skyscraper. The grimy windows caught the attention of architectural historian Andrew Dolkart, who found that the Coty Building's windows were the only documented architectural work by René Lalique in the United States. The Municipal Art Society advocated for the New York City Landmarks Preservation Commission to give the building official-landmark status, and both were designated in early 1985. Due to a lack of communication between the New York City Department of Buildings and the Landmarks Preservation Commission, alteration permits for the Coty and Rizzoli Buildings were initially approved in spite of the designations. The Coty and Rizzoli Buildings were given 24-hour police protection because of fears they could be demolished. Steadsol Fifth Associates later had its alteration permits for the Coty Building revoked. The Landmarks Preservation Commission also approved a Certificate of Appropriateness that allowed the new skyscraper, 712 Fifth Avenue, to be erected behind the existing buildings. The skyscraper thus had to be built with the Coty Building at its base, incorporating the old facades in the design. Steadsol Fifth Associates, which was developing the skyscraper, had its alteration permits for the Coty Building revoked following the landmark designations. Over the years, the building's Lalique windows had gradually become covered by grime. In 1986, the Greenland Studio in Manhattan removed all 276 panels from the facade for renovation. Of these, 46 panels were replaced with replicas made by Jon Smiley Glass Studios in Philadelphia. In 1990, Beyer Blinder Belle restored the facade for the opening of Henri Bendel's flagship store in New York City. Inside, the former Coty offices were removed and the atrium was added. Further restoration occurred in 2000, after water erosion had caused some of the steel frames to expand, cracking ten panes. One author wrote, "This type of hybrid preservation [...] with a balance between development and preservation is politically and economically essential in modern cities." The Henri Bendel store behind the Coty Building's facade closed at the end of 2018,and jeweler Harry Winston leased the space in 2020. ## See also - List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets	[ "## Architecture", "## History", "### Early and mid-20th century", "### Preservation", "## See also" ]	2,216	12,401
5,814,504	Battle of Millstone	1,147,586,264	Skirmish in the American Revolutionary War	[ "1777 in New Jersey", "1777 in the United States", "Battles involving Great Britain", "Battles involving the United States", "Battles of the New Jersey Campaign", "Conflicts in 1777", "Somerset County, New Jersey" ]	The Battle of Millstone, also known as the Battle of Van Nest's Mill, was a skirmish that occurred near the mill of Abraham Van Nest in Weston, New Jersey (near present-day Manville, New Jersey) on January 20, 1777, during the American Revolutionary War. A British foraging party was flanked and driven off by forces composed mostly of New Jersey militia, depriving the British of their wagons and supplies. This action was one of a series of skirmishes known as the Forage War that persisted in northern New Jersey through the first few months of 1777, and it demonstrated that militia companies were capable of putting up a significant fight. ## Background After George Washington's successful movements around the army of Charles Cornwallis that culminated in the Battle of Princeton on January 3, 1777, Washington faced the dilemma of being caught between Cornwallis in Trenton, New Jersey and the rest of the British Army at New Brunswick, New Jersey. Rather than make an attempt on the British outpost at New Brunswick with his exhausted troops, Washington moved his army up the Millstone River valley toward Morristown, New Jersey, a place he knew could be strongly fortified and used as winter quarters. Cornwallis and the remaining British and Hessian troops in and around Trenton and Princeton withdrew to New Brunswick to regroup after the battle at Princeton. On January 13, a significant portion of the British army advanced from New Brunswick west to Somerset Court House (present-day Millstone, New Jersey), and remained there for about a week before retreating back to New Brunswick, destroying houses and plundering supplies. During this time, militia companies mustered to assist the Continental Army. These movements established the area west of New Brunswick up to the Millstone and Raritan rivers as a no man's land between the two forces. Following the British retreat, Somerset Court House became one of several outposts garrisoned by Patriot militia companies, with support from the Continental Army. ## Battle A British foraging party of 500 men, led by Lieutenant Colonel Robert Abercromby of the 37th Foot, left New Brunswick on January 20, and headed west toward the Millstone River. They crossed over the river (it is unclear exactly which bridge they used), leaving a rear guard of Hessians with some field artillery to cover the bridge, and eventually reached Van Nest's mill at Weston, New Jersey (near present-day Manville, New Jersey), a few miles north of Somerset Court House, and near the point where the Millstone empties into the Raritan. There they seized supplies of all varieties, and prepared to return to New Brunswick. Militia companies to the north were alerted to the British movement early in the day, and some marched for Bound Brook, New Jersey. When reports arrived of the activity at Van Nest's mill, they marched for that place. In all about 400 New Jersey militia and 50 Pennsylvania militia formed under Brigadier General Philemon Dickinson to dispute the British action. While detailed accounts of their movements are sketchy, Dickinson apparently divided his forces, sending one force to meet the front of the British wagon train, while a second moved to flank them. Both of these forces forded one of the rivers, wading in icy water that was waist deep. One successfully surprised the British wagon train in the lane near the mill, before it reached the main road and the bridge toward New Brunswick; their fire struck horses from the first wagon. This stopped the train, scattered the wagon drivers and drove the British to retreat precipitously toward the bridge, leaving their booty behind. When the militiamen reached the bridge, the Hessian rear guard fired grape shot from its artillery to cover the retreat. After an exchange of fire across the river without apparent consequence, the British withdrew. ## Aftermath Dickinson wrote in a letter to Colonel John Nielson on January 23, "I have the pleasure to inform you that on Monday last with about 450 men chiefly our militia I attacked a foraging party near V. Nest Mills consisting of 500 men with 2 field pieces, which we routed after an engagement of 20 minutes and brought off 107 horses, 49 wagons, 115 cattle, 70 sheep, 40 barrels of flour - 106 bags and many other things, 49 prisoners." General Washington, who was not always happy with the performance of the militias, wrote, "Genl Dickinsons behaviour reflects the highest honour upon him, for tho' his Troops were all raw, he lead [sic] them thro' the River, middle deep, and gave the Enemy so severe a charge, that, altho' supported by three field pieces, they gave way and left their Convoy", and only reported the taking of nine prisoners. Archibald Robertson, a British officer who was not part of the expedition, reported that "Lieutenant Colonel Abercromby with 500 men went on a foraging party towards Hillsborough. Part of this Corps was attacked by the Rebels, which occasion'd such disorder Amongst the Waggon Drivers that 42 Waggons were left behind." One British witness was "absolutely certain the attackers were not militia, they were sure that no militia would fight in that way." Casualty figures were extremely variable, but British casualties (killed, wounded, or captured) appear to have been in the low 30s according to press accounts (contrary to Dickinson's claim of 49 prisoners taken), while militia casualties were relatively small in number. Skirmishing continued between American and British forces throughout the winter in a period that historian David Hackett Fischer dubbed the Forage War, since it revolved around the British need for forage for its horses. The American tactics, primarily driven by New Jersey militia commanders but supported by Washington and the Continentals, were so successful that even British foraging parties of 2,000 men came under attack at the Battle of Quibbletown (present-day New Market, New Jersey) on February 8.	[ "## Background", "## Battle", "## Aftermath" ]	1,240	24,853
36,388,555	Kayla Clarke	1,159,026,489	Australian Paralympic swimmer	[ "1991 births", "Australian female backstroke swimmers", "Australian female freestyle swimmers", "Female Paralympic swimmers for Australia", "Indigenous Australian Paralympians", "Living people", "Medalists at the World Para Swimming Championships", "S14-classified para swimmers", "Sportswomen from Queensland", "Swimmers at the 2012 Summer Paralympics" ]	Kayla Clarke (born 6 August 1991) is an Indigenous Australian swimmer who represented Australia at the 2012 Summer Paralympics in swimming, and has medalled at the 2010 Australian Disability Age Group Nationals, and 2010 International Paralympic Swimming World Championships, 2009 Queensland State Championships, 2009 Queensland Secondary School Titles, and 2009 Global Games. She competes in a number of events, including the 100m freestyle, 100m backstroke, 100m breaststroke, 100m butterfly and 200m individual medley. ## Personal Clarke was born in Silkstone, Queensland. She has an intellectual disability. She attended Ipswich Central High School and Bremer State High School, and was named the 2009–10 Ipswich News YoungStar Sports winner. ## Swimming Clarke started swimming competitively in 2007, and competes in the S14 classification. She was a member of the Woogaroo Swimming Club, and was coached by Tony Keogh, who became her coach in 2008. She has a swimming scholarship with the Queensland Academy of Sport, is involved in the Australian Institute of Sport program, and received in Australian Government Direct Athlete Support (DAS) funds in the 2011–12 financial year. One of her major swimming rivals is fellow Australian swimmer Taylor Corry. At the 2009 Queensland State Championships, she won five gold medals in her classification races. The Queensland Secondary School Titles that year ended with her winning seven first-place finishes, and she earned five gold medals, a silver medal two bronze medals at the 2009 Global Games. In 2010, she won eight gold and two silver medals at Australian Disability Age Group Nationals, and competed in the International Paralympic Swimming World Championships, where she finished second with a personal best time of 1:11.13 in the S14 100m backstroke event. She also finished fourth in the 200m freestyle and fifth in the 100m breaststroke. Clarke became affiliated with the Yeronga Park Club in 2011 in an effort to make the Paralympic Games, and switched coaches, taking on Rick Van Der Zant as her new coach. The 2011 Australian national championships saw her win six golds in seven events, including the 100m freestyle, 100m backstroke, 100m breaststroke, 100m butterfly and 200m individual medley. She competed in the inaugural 2011 Para Pan Pacific Championships, where she finished first in the S14 200m freestyle event, and at the 2011 Can-Am Swimming Open, in which she posted first-place finishes in the 100m backstroke and 200m freestyle events. Clarke was selected to represent Australia at the 2012 Summer Paralympics in the S14 100m backstroke, 200m freestyle and 100m breaststroke events. These were her first Paralympic Games, and she was the only female swimmer from Queensland. Going into the Games, she was ranked second in the world in the 100m backstroke. She trained for the Games in China in order to acclimatise, and participated in a two-week-long national team training camp in Cardiff prior to the start. Support for her Paralympic efforts came from sponsors including TogTastic Racing and Training Swimwear. She made the finals in all three events, but finished outside the medals, being placed fourth in the 200m freestyle and 100m breaststroke, and sixth in the 100m backstroke. Clarke won five gold and a silver medal at the 2014 Pan Pacific Para-swimming Championships in Pasadena, California. After the Championships, she underwent shoulder surgery. ### Personal bests Personal bests as of 16 September 2012:	[ "## Personal", "## Swimming", "### Personal bests" ]	807	16,935

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