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5,181,920	Hurricane Gert (1999)	1,171,372,764	Category 4 Atlantic hurricane in 1999	[ "1999 Atlantic hurricane season", "1999 disasters in Canada", "1999 in Bermuda", "1999 in Maine", "1999 natural disasters in the United States", "Cape Verde hurricanes", "Category 4 Atlantic hurricanes", "Hurricanes in Bermuda", "Hurricanes in Canada", "Hurricanes in Maine" ]	Hurricane Gert was the fourth of five major hurricanes in the moderately active 1999 Atlantic hurricane season. A Cape Verde hurricane, Gert formed on September 11 off the coast of Africa before heading west-northwest. It reached a peak wind speed of 150 mph (240 km/h) by September 15 over the open central Atlantic east-northeast of the Leeward Islands. It gradually curved to the northwest and later to the north, due to a weakness in the subtropical ridge created by Hurricane Floyd. Hurricane Gert passed east of Bermuda on September 21 and began a steady weakening trend at that time. It turned to the northeast, and on September 23, Gert transitioned into an extratropical cyclone to the southeast of Atlantic Canada before being absorbed by a larger storm. For several days, Gert threatened to strike Bermuda, prompting the evacuation of tourists. Although Gert's center did not make landfall, it passed a short distance east of the island, producing hurricane-force winds that left 11,000 people without power. High waves swept two people out to sea at Acadia National Park in Maine. Later, strong waves struck Newfoundland and left heavy marine damage. ## Meteorological history A tropical wave moved off the coast of Africa on September 10, with evidence of a low-level circulation and convective banding. It moved west-northwestward, located south of a subtropical ridge. Based on satellite imagery, it is estimated the system organized into Tropical Depression Nine by 1200 UTC on September 11 to the south of the Cape Verde islands. Upon its formation, the center was poorly defined, with restricted easterly outflow due to easterly wind shear. After about 24 hours of remaining somewhat disorganized, the convection became more concentrated on September 12 as banding features and outflow improved. Consequently, the National Hurricane Center (NHC) upgraded the depression to Tropical Storm Gert, the seventh named storm of the season. After becoming a tropical storm, Gert quickly intensified due to the presence of an anticyclone aloft, as well as warm water temperatures exceeding 84 °F (29 °C). Following the development of a warm spot near the center, Gert intensified into a hurricane on September 13. It strengthened further, developing an eye that briefly dissipated before reforming. Early on September 15, Gert attained major hurricane strength, or a Category 3 on the Saffir-Simpson scale. Still moving west-northwestward, Gert continued its steady intensification trend, developing well-defined outflow throughout the circulation that was described as "outstanding". After reaching Category 4 status on September 15, Gert strengthened further to peak winds of 150 mph (240 km/h) early on September 16, as estimated on satellite imagery through the Dvorak technique. Satellite intensity estimates reached as high as 160 mph (260 km/h), or a Category 5 hurricane. At the time, the hurricane was located about 720 mi (1160 km) east-northeast of Guadeloupe in the Lesser Antilles. Around the time of peak intensity, Gert maintained a round central dense overcast. Hurricane Hunters investigated the hurricane on September 16 and indicated a slight weakening trend due to an eyewall replacement cycle. Gradually Gert turned toward the northwest due to a weakness in the subtropical ridge, created by Hurricane Floyd to the west. As it did so, the hurricane re-intensified briefly before resuming a weakening trend, due to increased wind shear and an upper-level trough to its west restricting outflow. After weakening to winds of 120 mph (190 km/h), Gert again re-strengthened to Category 4 status on September 19, as the eye became well-organized within its surrounding convection following an eyewall replacement cycle. By September 20, while the hurricane was approaching Bermuda, the appearance became more ragged due to the intrusion of unfavorable dry air. Early on September 21 Gert weakened to Category 2 intensity, around the same time it turned northward. Later that day it passed about 135 mi (217 km) east of Bermuda, producing hurricane-force winds on the island. Steady weakening continued as Gert accelerated northeastward under the influence of an approaching trough. The convection decreased around the center due to cooler water temperatures, and on September 23 Gert weakened to tropical storm status as it approached Newfoundland. After nearly all of the convection had dissipated, the system no longer met the characteristics of a tropical cyclone. As a result, it was declared extratropical at 1200 UTC on September 23 about 55 mi (90 km) southeast of Cape Race, Newfoundland. About six hours later, the remnants of Gert were absorbed by a larger extratropical storm. Gert was the fourth of five Category 4 hurricanes to form during the 1999 season, the highest number of such storms on record. Later, the 2005 and 2020 seasons tied the record. ## Preparations and impact ### Bermuda As Gert was several days away from Bermuda, the NHC advised residents there to monitor the progress of the storm, Due to uncertainties in the future forecast, as well as the size and strength of Gert, a tropical storm warning and hurricane watch was issued for the island on September 19, about two days prior to its closest approach. As Gert moved closer to the island, the watch and warning were replaced by a hurricane warning on September 20, which was maintained until the following day after Gert moved further away. Before Gert passed by the island, officials closed two schools and converted them to emergency shelters. Police workers advised 700 families to leave their houses. Cruise lines diverted ships away, while hundreds of tourists took flights to leave the island. While passing east of Bermuda, Gert produced 10-minute sustained winds of 45 mph (72 km/h) at Bermuda International Airport. Elsewhere on the island, wind gusts peaked at 87 mph (140 km/h) along the coast, while 1-minute sustained winds reached 80 mph (130 km/h) along the harbor. Rainfall on the island was light, totaling only 0.53 in (13 mm). Rough surf battered the island, resulting in extensive beach erosion. The well-known Natural Arches were damaged, and part of a house collapsed into the sea. Severe damage was reported along the southern shore of the island. Approximately 11,000 residents suffered temporary power outages. Several roads were flooded, and the intense winds downed trees. However, the storm's worst effects remained offshore. ### United States and Canada On September 20, Hurricane Gert was attributed to generating a rogue wave that swept two people out to sea at Acadia National Park along the coast of Maine. The crew of a lobster boat later found their bodies. Although the storm never approached the United States, seas in the area generally ran 3 to 5 ft (0.91 to 1.52 m) above normal. Late in its duration, Gert passed just southeast of Newfoundland before becoming extratropical, producing wave heights of 77.4 ft (23.6 m) offshore and 30 ft (9 m) onshore. In St. Bride's along the Avalon Peninsula, a large wave severely damaged a wharf, destroying five boats and damaging 45 others. Along the wharf, a wave swept three people into the ocean, hospitalizing one of them. The wharf required \$2 million (1999 CAD, \$1.9 million 1999 USD) in repairs, forcing its closure. Further west, high waves damaged a fish plant in Lord's Cove. Gale-force winds extended across southeastern Newfoundland, and in the Grand Banks a station reported winds of 74 mph (120 km/h). Onshore, the winds downed trees and caused power outages, primarily in the St. John's area. In addition, the adverse conditions from Gert prompted the cancellation of flights to and from St. John's International Airport. ## See also - Other storms of the same name - List of Bermuda hurricanes - List of Category 4 Atlantic hurricanes	[ "## Meteorological history", "## Preparations and impact", "### Bermuda", "### United States and Canada", "## See also" ]	1,694	16,069
5,197,627	New York State Route 15A	1,132,329,125	State highway in western New York, US	[ "State highways in New York (state)", "Transportation in Livingston County, New York", "Transportation in Monroe County, New York", "Transportation in Ontario County, New York" ]	New York State Route 15A (NY 15A) is a north–south state highway located in the western portion of New York in the United States. It serves as an easterly alternate route of NY 15, beginning in the Livingston County town of Springwater and ending 35.19 miles (56.63 km) to the north in the Monroe County city of Rochester. NY 15A meets U.S. Route 20A (US 20A) in the hamlet of Hemlock, US 20 and NY 5 in the village of Lima, and Interstate 390 (I-390) twice in Henrietta and Brighton. Its southern and middle sections traverse mostly rural areas, while the northernmost piece in Henrietta, Brighton, and Rochester passes through significantly more developed areas. From 1927 to the late 1930s, modern NY 15 was part of NY 2. As a result, all of what is now NY 15A was originally designated as New York State Route 2A as part of the 1930 renumbering of state highways in New York. Two parts of the route were sub-standard at the time; however, those sections were rebuilt in the early and mid-1930s. NY 2 was supplanted by an extended US 15 in April 1939, at which time NY 2A was renumbered to NY 15A to match its parent's new designation. ## Route description ### Livingston and Ontario Counties NY 15A begins at an intersection with NY 15 in the town of Springwater hamlet of the same name, also officially known as Springwater Hamlet, located on the east side of a large valley in southeastern Livingston County. The route heads northward as North Main Street, proceeding along the eastern base of the valley as it passes through the northern half of the community. Outside of the hamlet, NY 15A enters a rural, undeveloped area dominated by dense forests to the east and a low-lying, slightly more open area to the west. As the route approaches the Livingston–Ontario county line, the lowlands give way to marshes, which in turn lead to Hemlock Lake at the county line. While in Ontario County in the town of Canadice, NY 15A follows a more inland route to the east, passing through an isolated forest situated between Hemlock and Canadice Lakes. After 6 miles (10 km), the highway reenters Livingston County near the northern end of Hemlock Lake. Now in the town of Livonia, NY 15A becomes Bald Hill Road as it passes by Hemlock Lake Park, a local park situated at the northeastern tip of the lake. It changes names again just 1.5 miles (2.4 km) later upon entering the hamlet of Hemlock. Here, it becomes Main Street and intersects US 20A, which forms a concurrency with NY 15A along the length of Main Street. The concurrency continues through Hemlock and into rural Livonia, where the 2-mile (3.2 km) overlap ends as US 20A turns west towards Buffalo. NY 15A, meanwhile, heads northward into the town of Lima as Plank Road. It continues across rural terrain for another 3 miles (5 km) to the village of Lima, where it becomes Lake Avenue. At the village center, NY 15A crosses over US 20 and NY 5 and changes names to Rochester Street. The route leaves the community and its residential surroundings after 0.75 miles (1.21 km), but retains the Rochester Street name until it reaches the Livingston–Monroe county line west of Honeoye Falls. ### Monroe County Across the county line in the town of Mendon, NY 15A takes on the name Rush–Lima Road and begins curving to the northwest. It connects to Honeoye Falls twice: first via Main Street at a junction just north of the county line, and later by way of Monroe Street (formerly NY 363) at an intersection 1 mile (1.6 km) to the northwest. Past Monroe Street, the route makes a long, significant turn to the west, following Honeoye Creek into the town of Rush and the hamlet of the same name. The highway meets Rush–West Rush Road at an intersection south of the community, at which point NY 15A turns back to the north and crosses over Honeoye Creek. In the process, NY 15A becomes East Henrietta Road, a name the highway retains until its northern end in Rochester. On the opposite side of the creek, NY 15A intersects NY 251 in the center of Rush. Outside of Rush, NY 15A takes on a more northeasterly alignment as it passes Rush's town reservoir and enters the town of Henrietta. The surroundings initially remain as rural as they were in Rush; however, the amount of development along the highway gradually increases as the route approaches and passes over the New York State Thruway (I-90). One mile (1.6 km) later, NY 15A intersects NY 253 in a densely populated area west of Rush–Henrietta Senior High School. The homes continue for another 0.5 miles (0.8 km) to the Monroe County Fairgrounds (home to The Dome Center), at which point NY 15A begins to become lined with commercial establishments. The trend temporarily ceases around an interchange with I-390—where NY 15A curves northwestward—but resumes ahead of a junction with NY 252, itself a major commercial strip. North of NY 252, NY 15A passes under the CSX Transportation-owned West Shore Subdivision and crosses into Brighton. Just past the town line, the route connects to Clay and Brighton–Henrietta Town Line Roads by way of a grade-separated intersection 0.25 miles (0 km) north of the railroad overpass. It continues onward, passing along the west side of the sprawling Monroe Community College campus to another interchange with I-390. NY 15A passes over the Erie Canal and enters the city of Rochester shortly afterward. Once in the city, the route passes by two large office campuses south of Westfall Road and several blocks of homes north of the street before merging back into NY 15 (Mount Hope Avenue) at a junction east of Strong Memorial Hospital. ## History What is now NY 15 was originally designated as part of NY 4 when the first set of posted routes in New York were assigned in 1924. The route was renumbered to NY 2 in 1927 to eliminate numerical duplication with the new US 4 in eastern New York. Modern NY 15A, meanwhile, was only partially state-maintained by the mid-1920s. In 1926, only two sections of the route were state-owned: from Monroe Street west of Honeoye Falls north to Rochester, and the segment of highway in Livonia that modern NY 15A shares with US 20A. In spite of this fact, all of what is now NY 15A was designated as NY 2A, an alternate route of NY 2 between Springwater and Rochester, in the 1930 renumbering of state highways in New York. The sub-standard sections of the route between Springwater and Hemlock and from north of Hemlock to Honeoye Falls were improved in stages over the next half-decade, beginning with the piece between the villages of Lima and Honeoye Falls c. 1931. The remainder of the Hemlock–Honeoye Falls segment and the entirety of the route south of Hemlock was rebuilt c. 1934. NY 2 was replaced in April 1939 by US 15, which was extended northward from its previous terminus at the Pennsylvania state line to Rochester. NY 2A was renumbered to NY 15A as a result. NY 15A has not been substantially altered since that time. ## Major intersections ## See also	[ "## Route description", "### Livingston and Ontario Counties", "### Monroe County", "## History", "## Major intersections", "## See also" ]	1,671	24,831
32,788,620	Hadley–Apennine	1,168,493,727	Moon landing site of American Apollo 15	[ "Apollo 15", "LQ12 quadrangle" ]	Hadley–Apennine is a region on the near side of Earth's Moon that served as the landing site for the American Apollo 15 mission, the fourth crewed landing on the Moon and the first of the "J-missions", in July 1971. The site is located on the eastern edge of Mare Imbrium on a lava plain known as Palus Putredinis. Hadley–Apennine is bordered by the Montes Apenninus (often referred to as "Apennine Front"), a mountain range, and Hadley Rille, a meandering channel, on the east and west, respectively. Data obtained from the composition of soil samples collected on Apollo 15 show that most (about 90%) of the samples from the Apennine Front are brown-glass breccias, and approximately 60–70% obtained from the mare surface are basalt. Although the basalts seem to vary in their texture, their ages appear to be approximately the same. Most of the samples obtained on the Apennine Front are KREEP (potassium, rare-earth elements, phosphorus) materials, anorthosites, recrystallized norite, or recrystallized breccia. ## Geography and geology ### Location Hadley–Apennine is located west of the Montes Apenninus and east of Hadley Rille. The Apennine mountains form a 15,000 foot (4,600 m) escarpment that rises higher above the Hadley plain than the Himalayan front above the plains of India and Nepal. Hadley Rille (also referred to as Rima Hadley) is located to the west of the Apollo 15 landing site and was the subject of substantial investigation during that mission. The feature, named from nearby Mons Hadley, is a channel that was likely formed by volcanic processes earlier in the history of the Moon. ### Apollo 15 landing site The American Apollo 15 mission, the first of the J-series missions that featured both increased scientific capability and the use of the Lunar Roving Vehicle, landed in an area of the Hadley–Apennine region to the west of the Apennine Front situated between the mountains Mons Hadley and Mons Hadley Delta to the northeast and south, respectively. This landing site was selected with the objectives of exploring the Apennine Front, Hadley Rille, and other geologic features in the area. Apollo 15 was the first mission in which landing sites were not restricted to equatorial areas. The Hadley–Apennine site was chosen with the specific objectives of sampling material from deeper within the Moon than had been obtained from the Fra Mauro formation on Apollo 14 and investigating Hadley Rille, a sinuous rille possibly formed by volcanic activity. The site had been of interest to mission planners since early in the program. During the early stages of Apollo landing site planning, Apollo 19 (which was originally planned to be the fourth and penultimate J-mission of the initial exploration portion of the Apollo program) was tentatively set to land in the Hadley–Apennine region, albeit at a point south of the eventual Apollo 15 site and west of Hadley Rille—near the Carlos pit at the southwestern terminus of the rille. The Marius Hills area in Oceanus Procellarum was also considered for Apollo 15, but mission planners determined that a landing on the edge of Mare Imbrium at the Hadley–Apennine site would be more scientifically fruitful than the Marius Hills alternative, and placing a seismometer at Hadley–Apennine, given the locations of seismic packages from previous Apollo expeditions, would create a more optimal configuration for seismic study. ### Apennine Front The Apennine mountains are hypothesized to be fault-block mountains displaced upward and segmented by the impact that formed Mare Imbrium. The frontal escarpment of Mons Hadley Delta is believed to be an exposed segment of the pre-Imbrium impact lunar crust. This made the mountain one of the mission's primary locations to visit, as doing so would allow the astronauts to obtain samples of the lunar crust as it was before the creation of Mare Imbrium. The area of the Apennine mountains between Mons Hadley and Silver Spur (a mountain just southeast of Mons Hadley Delta), although lacking an official designation on maps and other official mission literature, was informally referred to as the "Swann Range" by Apollo 15 astronauts David Scott and James Irwin, after mission geology team leader Gordon Swann. One of the mountains in the Swann Range was informally referred to by the astronauts as "Big Rock Mountain", after the Apollo Program Director at the time of the mission, Rocco Petrone. The composition of the samples collected by the Apollo 15 astronauts from the Apennine Front, other than KREEP (potassium, rare-earth elements, phosphorus) materials, included anorthosite, and recrystallized norite and breccia. Unknown before the Apollo 15 mission, there are parallel linear patterns on the faces of the mountains in the area. Although they appeared to be occurrences of fracturing or layering appearing through the regolith, determining this is made difficult by the lighting circumstances during the mission. A dark band on Mount Hadley, believed to be a marking left by lava after receding, was observed by the Apollo 15 crew. Additionally, a thick regolith layer on the lower slopes of the mountains and a thin cover of debris on the upper slopes are suggested by the relative absence of large boulders on the lower mountain flanks. ### Rima Hadley Rima Hadley, a sinuous rille located west of the Apollo 15 landing site, begins in an area of low domes at an elongated crater, Béla, and runs on to the North along the Apennine Mountain Range. Some research has suggested that both the rille and Béla are volcanic vents, and lava flows created the features. Another hypothesis suggests that the rille was originally a lava tube, the roof of which collapsed, creating the current appearance of the rille. Several large boulders, some of which are as large as houses, are strewn about the feature's floor. The elongated crater Béla, which forms the beginning of Rima Hadley, could have been formed by the collapse of a shallow magma chamber. Visual observation suggests that the same is the case with other lunar rilles with similar features at their beginnings. Rima Hadley typically ranges in depth between 600 and 900 feet (180 and 270 m), but is approximately 1,200 feet (370 m) deep at the Apollo 15 landing site. The feature has a cumulative length of about 80 kilometres (50 mi) and an average width of about 0.75 miles (1.21 km). The sides of the rille, at the Apollo 15 site, slope downwards at an angle of about 25 degrees. Before samples were returned from the Moon during the Apollo program, several scientists believed that the feature and other similar features were formed by flowing water. This hypothesis has since been changed, however, to attribute the process of the feature's creation to volcanism. Rima Hadley is interpreted as one of the most defined sinuous rilles on the lunar surface. Outcrops of rock were observed by the Apollo 15 crew on both the near and far sides of the rille and were photographed and, in the case of outcrops on the near rim, were sampled. Layering in these outcrops is evident from the photos taken of them by the crew. Some of the strata observed have thicknesses of up to about 60 metres (200 ft) and appear to vary in albedo (reflectivity) and texture. Large boulders near the bottom of the rille are believed to be blocks that have broken off of the outcrops above. ### South Cluster and North Complex The South Cluster, a crater cluster located to the south of the Apollo 15 site near Mons Hadley Delta, is believed to have formed as a result of a secondary impact, or the impact of ejecta/debris from a larger impact elsewhere on the Moon, probably the crater Autolycus about 100 mi (160 km) northwest of the cluster's location. This meant that the Apollo 15 astronauts were able to sample material from other parts of the lunar surface without traversing a great distance. The feature also allowed the astronauts to sample material that was originally located deep within the Moon. The south rim of Dune crater within the cluster was visited by the astronauts. The North Complex is a collection of several landforms, including craters, that were thought to have been formed by volcanic activity. Although the Apollo 15 astronauts were to visit this feature, they were unable to do so due to time constraints and time-consuming issues in obtaining core samples. ## See also	[ "## Geography and geology", "### Location", "### Apollo 15 landing site", "### Apennine Front", "### Rima Hadley", "### South Cluster and North Complex", "## See also" ]	1,850	25,841
12,171,204	Shake Me, Wake Me (When It's Over)	1,122,736,381	1966 single by Four Tops	[ "1966 singles", "1966 songs", "1975 singles", "1979 singles", "Barbra Streisand songs", "Carol Lloyd songs", "Casablanca Records singles", "Columbia Records singles", "Four Tops songs", "Motown singles", "Song recordings produced by Brian Holland", "Song recordings produced by Lamont Dozier", "Songs written by Holland–Dozier–Holland" ]	"Shake Me, Wake Me (When It's Over)" is a song recorded by the American quartet Four Tops for their third studio album, On Top (1966). It was released in February 1966 as a 7" vinyl single through Motown records. It was written and produced by Brian Holland, Lamont Dozier, and Eddie Holland. A gospel rock track, its lyrics detail a relationship that has ended. It has since been regarded as one of Four Tops' most successful singles ever. It charted moderately well in both the United States and Canada, and became the group's fifth consecutive entry to chart within the top five of the Hot R&B/Hip-Hop Songs chart. Four Tops has performed "Shake Me, Wake Me (When It's Over)" on various occasions throughout their careers and have included it on several greatest hits albums, including on The Four Tops Greatest Hits (1967) and The Ultimate Collection (1997). American musicians Barbra Streisand and Carol Lloyd also recorded covers of "Shake Me, Wake Me (When It's Over)" and released them commercially in 1975 and 1979, respectively. Included on her seventeenth studio album, Lazy Afternoon (1975), Streisand's version was more of a disco song, as accomplished by producers Jeffrey Lesser and Rupert Holmes. Following the success of the song in a New York City club, Columbia Records decided to release the single which would later become a moderate success on two Billboard dance charts in that same year. Critically, it was highlighted on Lazy Afternoon as a standout track. Lloyd's version was recorded for her debut record Score in 1979; it received heavy airplay by disc jockeys and was positively received by Billboard critics. ## Background and release "Shake Me, Wake Me (When It's Over)" was released as the lead single from the group's third studio album, On Top (1966), in February 1966. The album was a combination of "current hits" and "crossover material" to attract a larger audience for Four Tops. The song was written and produced by Brian Holland, Lamont Dozier, and Eddie Holland, who had collaborated with Four Tops on various occasions in the past. It is written in the key of C major with the quartet's vocals ranging from G<sub>4</sub> to D<sub>6</sub>. Set in a gospel rock tempo, lead singer Levi Stubbs begins stating, "All through this long and sleepless night / I hear my neighbors talking"; after losing the love of someone else, he claims that these people are "Saying that, out of my life, into another's arms / You'll soon be walking," before entering the chorus. The American female group the Andantes provide background vocals for the track alongside the other three Tops. Motown released "Shake Me, Wake Me (When It's Over)" as a 7" vinyl single in February 1966. The standard edition commercial single features the B-side track "Just As Long As You Need Me". A promotional early version of the 7" single also exists, with both the stereo and mono versions of the song. ## Reception "Shake Me, Wake Me (When It's Over)" was favorably received by music critics. Cash Box described the single as a "hard-driving, rhythmic pop-blues heart-throbber about a guy who can’t adjust to losing his girl" that it considered "ultra-commercial." John Bush from AllMusic, in his album review of On Top, called the track one of "their biggest and best hits of all time". According to Bill Dahl, author of Motown: The Golden Years, 1966 was a successful year for Four Tops due to the success of "Shake Me, Wake Me (When It's Over)" and their others singles "Loving You Is Sweeter Than Ever" and "Reach Out I'll Be There". At the time, the single was extremely popular in Boston, where it reached \#37 on the "Top Sellers in Top Markets" chart in the aforementioned city. In the United States, it entered the Billboard Hot 100 at number 86 on February 19, 1966. After climbing the chart in that country for several weeks, it reached its peak position at number 18 on March 26; overall, it spent nine consecutive weeks in the ranks of the Billboard Hot 100. It also entered the Hot R&B/Hip-Hop Songs chart (then called simply the Hot Rhythm & Blues Singles chart) in the United States, where it peaked at number 5 and became the group's fifth consecutive top ten entry. On Canada's official singles chart, compiled by RPM, the single debuted at number 66 for the week ending March 21, 1966. The following week on March 28, the single peaked at number 52. ## Later usage Four Tops has included "Shake Me, Wake Me (When It's Over)" on several of their greatest hits albums and compilation albums over the years. It was placed on their first compilation, The Four Tops Greatest Hits, in 1967, followed by The Four Tops Story 1964-72 (1973), Anthology (1974), Greatest Hits (1988), The Ultimate Collection (1997), and The Definitive Collection (2008). The group would also use the name of the track to title another album, called Shake Me, Wake Me: 25 Greatest Hits 1964-1973 in 1998. Additionally, the group has performed the song during various occasions throughout the years. More recently, they reunited on March 3, 2017 and performed various singles from their catalog at an event at the Warner Theatre in Torrington, Connecticut. Titled IMPACT 2017, both the Temptations and Four Tops sang during the annual live dance, opera, and gala, with the Four Tops performing "Shake Me, Wake Me (When It's Over)" as the finale. ## Track listings United States and Canada 7" single - A1 "Shake Me, Wake Me (When It's Over)" – 2:41 - B1 "Just As Long As You Need Me" – 2:59 Promotional 7" single - A1 "Shake Me, Wake Me (When It's Over) (Stereo)" – 2:41 - B1 "Shake Me, Wake Me (When It's Over) (Mono)" – 2:41 ## Charts ## Barbra Streisand version ### Background and recording American vocalist Barbra Streisand recorded her own version of "Shake Me, Wake Me (When It's Over)" for her seventeenth studio album, Lazy Afternoon (1975) in April 1975. Different from the original song, producers Jeffrey Lesser and Rupert Holmes gave the song a "disco treatment". Nicky Siano, a disc jockey, began playing the track at The Gallery nightclub in New York City in the fall of 1975. In a handwritten letter by Streisand for Siano, she wrote that the hype generated from playing her cover at the club prompted Columbia Records to release "Shake Me, Wake Me (When It's Over)" as another single from Lazy Afternoon. In a 1979 Billboard article titled "Everyone's Jumping on Disco Bandwagon", written by columnist Paul Grein, he speculated that singers accustomed to the pop genre were beginning to "releas[e] disco records" and listed Streisand, Andy Williams, and Ethel Merman as a few examples. Following the release of the singer's disco-influenced "The Main Event/Fight" single in 1979, Grein listed both "Shake Me, Wake Me (When It's Over)" and "Love Breakdown" as Streisand's previous attempts to create dance music. Streisand released the single in 7" and 12" vinyl formats on November 12, 1975. The United States and Canada version features B-side track "Widescreen", which also appears on Lazy Afternoon. The special edition "Columbia Disco Series" release was sent to dance clubs and features a stereo and mono version of "Shake Me, Wake Me (When It's Over)". A promotional release also took place that offered the short and long versions of the track, while the United Kingdom version (which was released on February 20, 1976) is similar to the United States/Canada one but contains the longer cut of the single instead of the album version. ### Reception Critics liked Streisand's version of the track. Christopher Nickens and Karen Swenson, authors of The Films of Barbra Streisand, listed both "Shake Me, Wake Me (When It's Over)" and "Moanin' Low" from Lazy Afternoon as two of the best songs from Streisand's entire career in 2000. Writer Will Hermes was also positive towards it, calling it a "surprisingly soulful cover". Derek Winnert, who wrote a biography on the singer in 1996, claimed that because of songs like "Shake Me, Wake Me (When It's Over)" and album track "By the Way", the parent album was able to be appealing and thus a popular record. The author of True Colours: A Spectrum of Filipino Gay and Lesbian Online Writings, Nelz Agustin, felt that Streisand's cover was nostalgic and brought him back to the days of his youth. The success of "Shake Me, Wake Me (When It's Over)" allowed it to enter two of the dance charts compiled by Billboard: it peaked at number 14 on the Dance Club Songs chart and number 10 on the now-defunct Disco Singles chart. ### Track listings and formats United States and Canada 7" single - A1 "Shake Me, Wake Me (When It's Over)" – 2:52 - B1 "Widescreen" – 3:59 Columbia Disco Series 12" single - A1 "Shake Me, Wake Me (When It's Over) (Stereo)" – 4:55 - B1 "Shake Me, Wake Me (When It's Over) (Mono)" – 4:55 Promotional 7" single - A1 "Shake Me, Wake Me (When It's Over) (Short Version)" – 2:52 - B1 "Shake Me, Wake Me (When It's Over) (Long Version)" – 4:55 United Kingdom 7" single - A1 "Shake Me, Wake Me (When It's Over) (Long Version)" – 4:55 - B1 "Widescreen" – 3:59 ### Charts ## Carol Lloyd version ### Background American singer Carol Lloyd also covered "Shake Me, Wake Me (When It's Over)" (although she removed the "(When It's Over)" part from the title) and released it in December 1979. It served as the second and final single from her debut studio album, Score (1979); both Casablanca Records and Earmarc Records handled the 7" commercial releases. It was previously used as the B-side for her debut single, "Score", in September 1979. On Billboard's Top Single Picks for the week of December 22, 1979, the editors listed Lloyd's version as a recommended track under the soul music category. In a review from the same publication, editor Barry Lederer called it the "one exceptional cut" on Score. Classifying it as a disco recording, he also found Lloyd's extended version of "Shake Me, Wake Me" to "make th[e] already popular Streisand classic ever better". The standard edition version, released exclusively in the United States, contained the single and B-side track "Sundown to Sunrise" while the promotional DJ single featured the stereo and mono versions of "Shake Me, Wake Me". It peaked at number 89 on Billboard's Dance Club Songs chart on January 5, 1980. ### Track listings United States 7" single - A1 "Shake Me, Wake Me" – 2:58 - B1 "Sundown to Sunrise" – 2:59 Promotional 7" single - A1 "Shake Me, Wake Me (Stereo)" – 2:58 - B1 "Shake Me, Wake Me (Mono)" – 2:58 ### Charts	[ "## Background and release", "## Reception", "## Later usage", "## Track listings", "## Charts", "## Barbra Streisand version", "### Background and recording", "### Reception", "### Track listings and formats", "### Charts", "## Carol Lloyd version", "### Background", "### Track listings", "### Charts" ]	2,627	29,380
9,485,064	Azarmidokht	1,173,593,100	Sasanian queen of Iran	[ "631 deaths", "7th-century Sasanian monarchs", "7th-century women rulers", "Children of Khosrow II", "Queens regnant in Asia", "Women in Shahnameh", "Year of birth unknown" ]	Azarmidokht (Middle Persian: Āzarmīgdukht; New Persian: آزرمی‌دخت, Āzarmīdokht) was Sasanian queen regnant (banbishn) of Iran from 630 to 631. She was the daughter of king (shah) Khosrow II (r. 590–628). She was the second Sasanian queen; her sister Boran ruled before and after her. Azarmidokht came to power in Iran after her cousin Shapur-i Shahrvaraz was deposed by the Parsig faction, led by Piruz Khosrow, who helped Azarmidokht ascend the throne. Her rule was marked by an attempt of a nobleman and commander Farrukh Hormizd to marry her and come to power. After the queen's refusal, he declared himself an anti-king. Azarmidokht had him killed as a result of a successful plot. She was, however, killed herself shortly afterwards by Rostam Farrokhzad in retaliation for his father's death. She was succeeded by Boran. ## Name "Azarmidokht" is the New Persian variant of her name used by scholars; her original name was Middle Persian, Āzarmīgdukht, meaning "daughter of the respected one", referring to her father Khosrow II (r. 590–628). ## Background and early life Azarmidokht was the daughter of the last prominent Sasanian shah of Iran, Khosrow II, who was overthrown and executed on 28 February 628 by his own son Kavad II, who proceeded to have all his brothers and half-brothers executed, including the heir Mardanshah. This dealt a heavy blow to the empire, which it would never recover from. Azarmidokht and her sister Boran reportedly criticized and scolded Kavad II for his barbaric actions, which caused him to become remorseful. The fall of Khosrow II culminated in a civil war lasting four years, with the most powerful members of the nobility gaining full autonomy and starting to create their own government. The hostilities between the Persian (Parsig) and Parthian (Pahlav) noble-families were also resumed, which split up the wealth of the nation. A few months later, a devastating plague swept through the western Sasanian provinces, killing half of its population including Kavad II. He was succeeded by his about eight-year-old son Ardashir III, who was killed two years later by the distinguished Iranian general Shahrbaraz, who was in turn murdered forty-three days later in a coup by leader of the Pahlav, Farrukh Hormizd, who helped Boran ascend the throne. She was, however, the following year deposed and replaced with her cousin Shapur-i Shahrvaraz (who was also Shahrbaraz's son). His rule proved even more brief than that of his predecessor−being deposed after less than a year by the Parsig faction led by Piruz Khosrow, who helped Azarmidokht ascend the throne. ## Reign When Azarmidokht was made queen of Iran, she stated that the management of the country would be the same of her father, Khosrow II. Farrukh Hormizd, in order to strengthen his authority and create a modus vivendi between the Pahlav and Parsig, asked Azarmidokht (who was a Parsig nominee) to marry him. Azarmidokht, however, declined. After having his proposal declined, Farrukh Hormizd "no longer shied away from the throne itself", declaring "Today I am the leader of the people and the pillar of the country of Iran." He started minting coins in the same fashion as a monarch, notably in Istakhr in Pars and Nahavand in Media. In order to deal with Farrukh Hormizd, Azarmidokht supposedly allied herself with Mihranid dynast Siyavakhsh, who was the grandson of Bahram Chobin, the famous military commander (spahbed) and briefly shah of Iran. With Siyavakhsh's aid, Azarmidokht had Farrukh Hormizd killed. Farrukh Hormizd's son Rostam Farrokhzad, who was at that time stationed in the northeastern region of Khorasan, succeeded him as the leader of the Pahlav. In order to avenge his father, he led troops to Ctesiphon, the capital of the Sasanian Empire, "defeating every army of Azarmidokht that he met". He then defeated Siyavakhsh's forces at Ctesiphon and captured the city. Azarmidokht was shortly afterwards blinded and killed by Rostam, who restored Boran to the throne. After this incident the center of power for the empire possibly drifted to the northeast, which was the homeland of the Pahlav, and was the area where Yazdegerd III, the last Sasanian king of kings, ultimately fled to seek aid against the Arab invasion of Iran. ## Coin mints and imperial ideology During her brief reign, Azarmidokht had coins minted with the image of her father on the obverse, with the inscription khwarrah abzūd ("Increase in Glory") and the winged crown representing Verethragna, the name of the god of victory. On the reverse there is the regular late Sasanian fire-altar with two custodians. Her reason for putting her father was not so due to her gender, as it was not so significant compared to the rulers relation to the royal Sasanian family, and most essentially to Khosrow II, who was considered the last proper and legitimate king of kings of Iran. Azarmidokht's reason for minting coins with the image of her father was thus to restore his image and that of the Sasanian house, an attempt which was first made by Azarmidokht's sister, Boran, who did not however use an image of their father, but instead resorted to pay tribute to him by referring to him in her inscriptions. However, at the time when Azarmidokht ascended the throne, an inscription may have not been enough, thus resulting in the placement of Khosrow II's image on the obverse of the coins. ## Personality, appearance and accomplishments Islamic sources describe Azarmidokht as an intelligent and very captivating woman. According to the 10th-century historian Hamza al-Isfahani, the now lost book of Kitāb ṣuwar molūk Banī Sāsān ("The Sasanian picture book") portrayed her as "seated, wearing a red embroidered gown and sky-blue studded trousers, grasping a battle-axe in her right hand and leaning on a sword held in her left hand." The construction of a castle at Asadabad is attributed to her. Her title was "the Just."	[ "## Name", "## Background and early life", "## Reign", "## Coin mints and imperial ideology", "## Personality, appearance and accomplishments" ]	1,499	29,376
73,221,232	Johanna Geisler	1,152,699,697	German operatic soprano (1888–1956)	[ "1888 births", "1956 deaths", "20th-century German actresses", "20th-century German women opera singers", "Actors from Hanover", "German operatic sopranos", "German stage actresses", "Musicians from Hanover" ]	Johanna Geisler, or Geissler (born Johanne Elisabeth Meyer; 28 May 1888 – 3 November 1956), was a German operatic soprano and stage actress. She also appeared as Johanna Klemperer and under stage names Johanna Klee and Hanne Klee. She began her career as a member of the opera chorus of the Hofoper Hannover in 1903, and had a solo engagement at the Mainz Municipal Theatre from 1912. She moved on to the Cologne Opera where she met her future husband, the conductor Otto Klemperer. With him, she performed lead roles including Marietta in the world premiere of Korngold's Die tote Stadt in 1920. She followed him to the Kroll Oper in Berlin in 1927. When he had to leave Germany in 1933, she and the children followed, to Zürich, to Los Angeles from 1935 to 1947, then Budapest, and finally Zürich again. ## Life and career Johanne Elisabeth Meyer was born in Hanover on 28 May 1888, the daughter of seamstress Sofie Dora Meyer. She was raised by elderly poor foster parents by the name of Geisler, and she took their name. She sang in a church choir as a child, where she was recommended to volunteer at the theatre chorus. From 1902, at age 14 she was a paid chorus singer of the Hofoper Hannover. She was able to present 14 parts from opera choruses in an audition. Her contract called for readiness to perform a new part within three days, and required her to supply her own costumes. Her voice was trained by O. Suesse and Clara Schroeder-Kaminsky. She left her foster parents a year later, and moved to the Theater Dessau in 1905 and the Theatre in Wiesbaden the following year, singing in the opera chorus. In 1906, at age 18, she gave birth to a daughter, Carla, whose father, an officer, was not willing to marry her. Her widowed foster mother moved in with her. Unlike her own mother, Geisler raised her daughter herself, but passed her in society as her little sister. A second child, born when she was 21, died shortly afterwards. In Wiesbaden she occasionally sang small solo roles, of servants and maids. ### Mainz With the 1912/13 season, Geisler became a member of the Mainz Municipal Theatre, now engaged as a soloist. Beginning as a soubrette in opera and operetta, she developed a coloratura soprano repertoire. She sang both minor and larger roles, such as Papagena in Mozart's Die Zauberflöte and the title role in Jarno's operetta Die Försterchristl, participating in Wagner's Götterdämmerung and Nicolai's Die lustigen Weiber von Windsor. The theatre's records show her busy in 23 of the 44 productions of the 1915/16 season alone. Her last performance there was appearing as all three women Hoffmann loves in Offenbach's Hoffmanns Erzählungen. ### Cologne On 1 September 1916, Geisler began at the Cologne Opera, where she was successful in roles such as the Queen of the Night in Mozart's Die Zauberflöte, Micaela in Bizet's Carmen and Zerbinetta in Ariadne auf Naxos by Richard Strauss. In 1917 Otto Klemperer conducted Beethoven's Fidelio in Cologne, with her as Marzelline. In the winter of 1918, she had a relationship with the baritone Friedrich Schorr, which was close enough for him to expect her to marry him. Klemperer, born into a Jewish family, converted to the Catholic Church. He spent the Holy Week of 1919 at Maria Laach Abbey, where he composed a setting of the mass, Missa sacra. Geisler visited him there. It is unknown when they decided to get married. Marianne Klemperer, the conductor's sister, described her as with "a very lively face with expressive nose and lips, but not particularly slender", and later "she must have nerves of steel, she has a lot of humour and is very jolly". They married on 16 June 1919 in a Jesuit chapel in Cologne, with a small group of family and friends attending, including the philosopher Max Scheler. After the ceremony, they performed together in a private rehearsal of the Missa sacra at the Gürzenich [de]. The couple had two children, Werner, born in 1920, who became an actor, and Lotte, born in 1923. With her husband as chief conductor in Cologne, she appeared in leading roles of a broad repertoire including Mozart's Despina in Così fan tutte, Susanna, Cherubino and the Countess in Le nozze di Figaro, and Donna Elvira in Don Giovanni. She was very successful as Marietta in the world premiere of Korngold's Die tote Stadt on 4 December 1920, an opera that had a simultaneous premiere at the Hamburg Opera. In 1921 she appeared at the Berlin State Opera in Die Vögel by Walter Braufels. In the second world premiere conducted by Klemperer in Cologne, Zemlinsky's Der Zwerg on 28 May 1922, she had a minor role. She was the soprano soloist when Klemperer conducted the first public performance of his Missa sacra on 13 May 1923. A reviewer noted that she "astonishingly mastered the exorbitantly difficult first soprano part" ("... den exorbitant schweren ersten Sopranpart erstaunlich beherrschte"). In July 1927 she performed, as Johanna Klemperer, the leading role of Hèlene in the world premiere of Hindemith's short opera Hin und zurück at the Baden-Baden Music Festival. ### Berlin When Otto Klemperer moved to the Kroll Oper in Berlin, in 1927, she became a member of the ensemble. She performed there, sometimes using the pseudonym Hanne Klee, roles including Susanna, Donna Elvira, Marzelline, Verdi's Luisa Miller, Marie in Smetana's The Bartered Bride, Puccini's Madama Butterfly, Hindemith's Hèlene again, and Adele in Die Fledermaus by Johann Strauss. A reviewer of Die Fledermaus noted: "Her singing and acting skills combine to form an inseparable whole and a unified and first-class performance" ("Gesang und schauspielerisches Können vereinigen sich bei ihr zu einem untrennbaren Ganzen und zu einer einheitlichen und erstklassigen Leistung"). She also performed at the Große Volksbühne, in roles such as Gilda in Verdi's Rigoletto and Adele. She toured with a company named Deutsche Musikbühne as Mozart's Countess and the Witch in Humperdinck's Hänsel und Gretel to Leipzig, Trier, Riga and Reval. Her natural voice, never professionally trained, weakened, also due to her "incautious willingness" to take a wide range of heavy roles. She rarely performed after a vocal crisis. Geisler had shown talent for acting early, and therefore had performed not only solo roles from the chorus, but also acted in dramas. In 1928 she performed as Amalie in Schiller's Die Räuber at the Theater Coburg. In 1929 she had a small role in Wilhelm Dieterle's last silent film, Ludwig der Zweite, König von Bayern. ### Exile Under the Nazi regime, Geisler's family had to leave Germany. They moved to Zürich, Switzerland, in 1933, and in 1935 to the U.S. after Klemperer accepted the offer to become chief conductor of the Los Angeles Symphony. They returned to Europe in 1947, where he was director of the Hungarian State Opera until 1950. In the 1950s, the family settled in Zürich again. Johanna Klemperer died in a hospital in Munich on 3 November 1956. The last time she heard her husband conducting was in hospital over the radio on 19 October, when he led the Bavarian Radio Symphony Orchestra. They played Haydn's Symphony No. 101 "The Clock" and Mahler's Symphony No. 4, with the soprano solo "Wir genießen die himmlischen Freuden" (We enjoy Heavenly bliss). Bach's "Bist du bei mir" and "Wenn ich einmal soll scheiden" were performed at her funeral. ## Legacy The only recording of Geisler's voice dates to 1932 when she performed in a broadcast of Julius Bittner's Das höllisch Gold [de] as the Old Woman, conducted by Erich Kleiber. The recording is only partially preserved. In 1983, her youngest daughter published a book about her mother's youth up to her marriage to Klemperer in 1919, Die Personalakten der Johanna Geisler [de]. Eva Weissweiler wrote a biography of Otto Klemperer, published in 2010, which also covered his relationship with his wife, who is described as a "great singer and loyal companion" ("großartige Sängerin und treue Gefährtin").	[ "## Life and career", "### Mainz", "### Cologne", "### Berlin", "### Exile", "## Legacy" ]	2,029	20,874
39,422,232	Great northern tilefish	1,152,290,422	Species of fish	[ "Fish described in 1879", "Fish of the Eastern United States", "Fish of the Western Atlantic", "Lopholatilus", "Taxa named by George Brown Goode", "Taxa named by Tarleton Hoffman Bean" ]	The great northern tilefish (Lopholatilus chamaeleonticeps) or golden tile, is the largest species in the family Malacanthidae (tilefishes). It grows to a length of between 38 and 44 inches (970 and 1,120 mm). The great northern tilefish is a slow-growing and long-lived species that has four stages of life. After hatching from eggs, the larvae are found in plankton. As they grow into juveniles, the individuals seek shelter until finding or making their own burrows. As adults, the tilefish continue to expand their burrows in the sediment throughout their lives. The diet of the larvae is unknown, but presumed to consist of zooplankton; juveniles and adults feed upon various benthic invertebrates, crustaceans, and fish. After reaching sexual maturity between 5 and 7 years of age, females lay eggs throughout the mating season for the male to fertilize, with each female laying an average of 2.3 million eggs. The great northern tilefish fishery has been regulated to prevent overfishing. Regulations include catch limits and gear restrictions to prevent damage to the species' habitat and population. The result of these regulations has been a rebounding of the population, which led to an increase in the 2012 catch limit in the southern part of the Atlantic seaboard. ## Taxonomy and naming The species was first discovered in 1879, when a cod trawler caught some by chance while working off of the coast of Massachusetts. The species was named Lopholatilus chamaeleonticeps by George Brown Goode and Tarleton Hoffman Bean in 1896 in their seminal work Oceanic Ichthyology, A Treatise on the Deep-Sea and Pelagic Fishes of the World, from a sample collected 80 miles (130 km) southeast of Nomans Land, Massachusetts. The discovery of the fish was announced earlier in the journal Science (see "The Tile-Fish" in Science, Vol. 5. No. 101 (January 9, 1885), pages 29–30). Its genus is Lopholatilus, which is in the family Malacanthidae, commonly known as tilefish. The Malacanthidae are part of the Percoidea, a suborder of the order Perciformes. L. chamaeleonticeps gained its moniker "great northern tilefish" from its prodigious size and its discovery at relatively high latitudes for a member of the Malacanthidae. When used in cooking, the species is generally referred to as the "golden tile", for the large yellow spots across its blue-green back and lighter-yellow or pink sides. The species is distinguished from other members of its large family by a prominent crest on its head. ## Characteristics The great northern tilefish is the largest species of the family Malacanthidae; male specimens can grow up to 112 cm (44 in) fork length (FL) and females to 100 cm (39 in) FL. During their first four years of life, they grow at a rate of typically after which their rate of growth slows down. They reach sexual maturity once they are between 50 and 70 cm (20 and 28 in) in length. Various studies have shown that the life expectancy of fish that survive into adulthood is in the range of 25 to 35 years. The back of the fish is iridescent and blue-green in color, with many yellow and gold spots. The belly is white. The head color changes from a light blue to a pinkish mix during spawning season. Specimens have a tone of blue under their eyes. Their pectoral fins are a light tone of sepia, and the margin of the anal fin is a purplish-blue color. Lengths at age suggest that males grow faster than females, but the observed ages showed that females live longer. The largest male specimen was 44.1 in (1,120 mm) long and about 20 years old, the largest female specimen was 39 years old and reached a total length of 40.2 in (1,020 mm). The oldest tilefish recorded to date was a 46-year-old female specimen that reached a length of 33.5 in (850 mm), while the oldest recorded male specimen was 41.3 in (1,050 mm) and 29 years. ## Behavior The great northern tilefish has a unique burrowing behavior and habitat preference. In addition to their unique habitat choice, golden tilefish display sexually dimorphic growth with males growing to larger sizes and are behaviorally dominant over their female counterparts. The great northern tilefish is not a migratory fish; it stays in one local area that fits its needs all year round. Seasonal migration may occur with changes in the water temperatures around the Nantucket Shoals and Georges Bank during the winter or spring, but this theory has no definitive evidence. A competing theory suggests that tilefish may instead reduce their activity or hibernate within their burrows during times of cold temperatures. The lifecycle of the great northern tilefish begins as an egg, which is nonadhesive and buoyant. Eggs that are artificially fertilized and kept in an environment between 71 and 76 °F (22 and 24 °C) hatch after 40 hours. The hatching larvae are around 0.1 in (2.5 mm) in length. The larvae are found in plankton from July to September in the Middle Atlantic Bight. The transitional phase between larvae and juveniles is unknown, but juveniles either find or excavate a burrow or place of shelter to inhabit. After they grow in size and become sexually active, the adults spawn throughout the mating season to propagate the species. The tilefish's construction and expansion of burrows are the subject of ongoing research to better understand the behavior of the species. Whether the tilefish begins the construction a burrow or if it expands an existing one is unknown. The burrow is presumed to be lengthened and widened by the tilefish as it continues to grow and age. Tilefish typically are found in their own burrows, with sharing exhibited with male and female pairs. Tilefish tend to congregate in their habitat, with their burrows in relative proximity to each other; the species does not form schools. The grouping of tilefish can be as dense as 13,000 burrows per km<sup>2</sup> off the southern U.S. Atlantic coast, but 1,600 burrows per km<sup>2</sup> were reported in inhabited areas of the Gulf of Mexico and 2,500 burrows per km<sup>2</sup> near the Hudson Canyon. Tilefish burrows also provide a home for various species that live in the area, such as mollusks and other crustaceans. ### Predation The predators of the tilefish are poorly understood. Juveniles can be preyed upon by dogfish or conger eels, which are prey for adult tilefish. Sharks have been presumed be predators of the tilefish, but no evidence is seen of free-swimming tilefish being attacked by dusky sharks or sandbar sharks. The one listed predator for the tilefish is the goosefish. The function of the tilefish's burrows was predator avoidance, but this has been disputed because chased tilefish try to outswim their predators rather than entering their burrows to seek shelter. ### Diet The diet of tilefish larvae is unknown, but it is believed to be zooplankton. Juvenile and adults are omnivorous with a preference for small benthic invertebrates, with a staple being crabs and lobster. Great northern tilefish also consume bivalve molluscs, salps, squid, Atlantic dogfish, mackerel, hagfish, and herring. Human trash is also eaten, including potato peels and meat bones. They also eat other tilefish in a display of cannibalism. ### Reproduction The fish spawn during the early spring to the late fall, from March to November. Peak spawning occurs during May to September in Mid-Atlantic Bight regions, differences in temperatures affect the breeding time. In U.S waters further south, the spawning season occurs from April to June. Males grow faster and reach larger sizes than females. Fishing pressure may cause males to spawn at smaller sizes, and at younger ages. The spawning behavior of the species is unknown, but it is presumed to be polygamous with the female choosing the male. Pair bonding has been exhibited, which is assumed to be a behavior that serves to insure fertilization of the eggs during the season. It was estimated that females can spawn about every four days for a total of 34 times per season. Depending on the size, the average female may lay 195,000 – 8 million eggs during spawning season, with the average female laying 2.3 million eggs. In response to the overfishing, the tilefish's age of sexual maturity has been dramatically affected. From 1978 to 1982, the median age of sexual maturity in males declined by 2.5 years from 7.1 to 4.6 years. This resulted in the males becoming sexually mature before females. In 2008, the median age of sexual maturity in males had risen to 5.9 years. Females of the species also exhibit low reproductive ability after becoming sexually mature, instead increasing with age and their sexual maturity has varied to a lesser extent than the male population across the years. A small percentage of golden tilefish is known to be intersexual, having opposite nonfunctional sex tissues. Male tilefish specimens also inhibited a cavity that came from ovarian tissue and sperm sinuses. Tilefish of both genders in the Gulf of Mexico exhibited a higher rate of intersex characteristics than other populations. ## Distribution and habitat The species is abundant in the United States territorial waters of the Atlantic Ocean extending north into Nantucket Shoals and Georges Bank and moving south along the East Coast of the United States and into the Gulf of Mexico along the continental shelf. Although great northern tilefish are reported to be most abundant between 300 and 480 feet (91 and 146 m) deep at 76 °F (24 °C), the National Oceanic and Atmospheric Administration report differs, by stating that the species lives at the bottom of the ocean where they burrow into the sediment, between 250 and 1,500 feet (76 and 457 m) deep where the temperature ranges from 49 to 58 °F (9 to 14 °C). The great northern tilefish is known to dig and occupy burrows along the outer continental shelf, and on the flanks of submarine canyons in malleable clay substrate. Due to their long life expectancy, slow growth, complex breeding system, and habitat specificity, they are vulnerable to overexploitation, and they are susceptible to mass mortality events due to cold-water intrusion and overfishing. Their abundance is strongly correlated with presence of silt-clay substrate, because the soft clay enables the fish to create the burrow itself by simply digging away the clay substrate. The minimum temperature threshold for golden tilefish is 9 °C (48 °F). Temperature observations and measurements are obtained by interpolated observations. Temperature plots indicate that 9 °C is the norm for the area around Florida and the Gulf of Mexico. ## Population and conservation status Decline in age, size during sexual maturity in great northern tilefish population is occurring throughout the continental shelf. In the mid-Atlantic Bight, smaller sizes and younger ages at maturity were observed in 2008, compared to the survey data from the 1980s where recorded measurements showed a larger population. The recent estimates of age and size at maturity in the southern U.S. waters were smaller than those previously reported in the late 1980s. There were also very few juvenile tilefish seen in tilefish population surveys in the southern U.S. waters in both the Atlantic Ocean and the Gulf of Mexico. Declines in population could negatively affect other organisms in their surrounding environment due to the fact that without tilefish, the burrows underneath the continental shelf will disappear, therefore putting an end to the symbiotic relationship with other organisms that use the tunnels as shelter. Fishing regulations include catch limits and gear restrictions to prevent damage to the species habitat and population. There are different gear restrictions for commercial and recreational fishers. In 2007, regulations were imposed to reduce the harvesting by one third, as a response to overfishing in the South Atlantic. The South Atlantic catch limit was later increased in October 2012 as a response to the increased population. The 2013 limits in the southern U.S. Atlantic waters for the species, measured in gutted weight, were 405,971 pounds for longline and 135,324 pounds for hook-and-line fishing. The current South Atlantic catch limits as of 2019 are 248,805 pounds for longline and 82,935 pounds for hook-and-line fishing.	[ "## Taxonomy and naming", "## Characteristics", "## Behavior", "### Predation", "### Diet", "### Reproduction", "## Distribution and habitat", "## Population and conservation status" ]	2,702	6,322
42,786,813	Saints Row: The Third downloadable content	1,163,953,967	Downloadable content for a video game	[ "Lists of video game downloadable content", "Organized crime video games", "Saints Row", "Video games developed in the United States" ]	Downloadable content for Saints Row: The Third was announced before the game's November 2011 release along with a commitment from publisher THQ to support 40 weeks of content. Among smaller upgrades, three main content packs were released: Genkibowl VII, Gangstas in Space, and The Trouble with Clones. Reviewers found all three packs short—around an hour in length—and considered The Trouble with Clones the best of the bunch. Genkibowl VII, released in January 2012, brought four new activity types to Steelport around a Professor Genki-themed competition. Sad Panda Skyblazing, the only one of the four activities to not modify an existing activity type, was the reviewers' favorite. Gangstas in Space, released in February, is a three-mission story about a Saints-themed film production starring the player and fighting aliens. The Trouble with Clones, released in March, has the player tracking down and quelling a rampant clone of Saints leader Johnny Gat. Reviewers highly praised its "Saints Flow" superpower sequences, and questioned why they could not have been unlocked in the main game afterwards. All download packs offered unlocks upon their completion. The Full Package, a version containing all of the game's downloadable content on disc alongside the main game, was released in November. Some of the smaller content items include costume, vehicle, and ability unlocks. THQ planned a standalone expansion of the game called Enter the Dominatrix. It was originally an April Fools' Day prank, that would be spun into Saints Row IV'''s downloadable content. ## The Full Package Downloadable content for Saints Row: The Third was announced before the game's release, and has included additional story missions, weapons, and characters. The game's publisher, THQ, pledged "40 weeks" of downloadable content following the game's launch on November 15, 2011. A season pass offered a discount on the total cost of three downloadable content packs—Genkibowl VII, Gangstas in Space, and The Trouble with Clones—all scheduled for release by Q2 2012, and added the Nyte Blade vampire hunter content as a bonus. A full release containing all downloadable content with the original game, Saints Row: The Third – The Full Package, was announced in September 2012 for release two months later on PC, PlayStation 3, and Xbox 360. The package included all three mission packs ("Genkibowl VII", "Gangstas in Space", and "The Trouble with Clones") as well as the add-on clothes, vehicles, and weapons. It was released on November 6, 2012 in North America, and ten days later internationally. THQ announced an Enter the Dominatrix standalone expansion to the game as an April Fools' Day prank in 2012. It was confirmed as in development the next month. In Enter the Dominatrix, the alien commander Zinyak imprisons the Saints' leader in a simulation of Steelport called The Dominatrix so as to prevent interference when he takes over the planet. The expansion also added superpowers for the player-character. In June, THQ said the expansion would be wrapped into a full sequel, tentatively titled "The Next Great Sequel in the Saints Row Franchise" and scheduled for a 2013 release. Parts of Enter the Dominatrix that weren't incorporated into the sequel, Saints Row IV, were later released as Enter the Dominatrix downloadable content for the new title. ## Genkibowl VII Genkibowl VII was the first downloadable mission pack of three to be released for Saints Row: The Third. The pack is structured around a contest with four different activities structured around a Professor Genki theme. Genki is a "homicidal man-cat" whose Super Ethical Reality Climax competitions are popular in Steelport, and the leader of the Saints is invited to participate in his annual Genkibowl. Zach and Bobby, the commentators associated with Professor Genki's shows, return to cover the competition with Tammy Tolliver. Three of the four activities are "revamped versions" of other activities from the main game. Genki Apocalypse is a shooting minigame similar to the main game's Super Ethical Reality Climax, where the player travels through rooms shooting enemies and targets (such as Ethical and Money Shot targets) to earn money. Accidentally shooting the Sad Panda targets reduces the player's earnings. Unlike Super Ethical Reality Climax, Genki Apocalypse has a jungle theme, including shark-infested waters. The second activity, Super Ethical PR Opportunity, is based on the main game's Escort minigames, but the player instead escorts Professor Genki himself. The Genki Mobile car features flamethrowers around its periphery, for when Genki demands carnage en route. The car is unlocked upon finishing the activity. The third activity, Sexy Kitten Yarngasm, is a cross between the main game's Tank Mayhem activity and the Katamari series where the player rolls a destructive ball of yarn around the streets. The player must destroy a certain amount of property within a time limit. Upon completing the activity, the player unlocks Yarnie (the ball of yarn) as a vehicle. In the last activity, the new Sad Panda Skyblazing, the player dons a Sad Panda costume and jumps from a helicopter, falling through fire rings into Ethical balloons and onto rooftops to kill costumed mascots with a chainsaw. There are two instances of each activity on the map, and finishing each activity unlocks new costumes, support characters, and vehicles. The pack was released three months following the game, on January 17, 2012. ### Reception Genkibowl VII received "generally unfavorable" and "mixed" reviews for its Xbox 360 and PlayStation versions, respectively, according to video game review score aggregator Metacritic. Reviewers complained that the pack was too short, with GameZone's David Sanchez and GameSpot's Carolyn Petit finishing it in under an hour. Official Xbox Magazine's Francesca Reyes called it "crazy short". Reviewers thought the new activity, Sad Panda Skyblazing, was the highlight of the pack, though Game Informer's Dan Ryckert thought it was "the most annoying of them all". Critics were dissatisfied by the amount of recycled content. GameZone's Sanchez thought that the activities were "crazy" and "fun". He considered Super Ethical Reality Climax among the best activities in the main game, and was not surprised that Genki Apocalypse was "the most enjoyable" in the pack. Sanchez was frustrated by the charging enemies in Super Ethical PR Opportunity, and thought Sad Panda Skyblazing was the "craziest" and "most unique" of the four activities, fitting in with Saints Row: The Third's "insane nature". He did not feel that the game needed to be included in the original release, but thought there should have been at least five different opportunities to do each new activity. Similarly, Petit of GameSpot also thought only Sad Panda Skyblazing matched the main game in "zaniness", and said the pack felt "mundane" overall. She said that the story is more minor in the pack and that it was less funny than the main game. Petit was frustrated by the labyrinth-like design of some of the Genki Apocalypse levels, and was uninterested in Super Ethical PR Opportunity by the time the activity ended. Rock Paper Shotgun's John Walker wanted something more expansive for the first pack, and expected something more original and strange along the lines of Saints Row 2's "shit spraying" activity. UGO's Paul Furfari wrote that the lack of content is less disappointing if the player thinks of Genkibowl as "a small booster pack". ## Gangstas in Space A month later, Gangstas in Space was released. In three missions, players continue the Saints Row: The Third story in a new arc about the Gangstas in Space film referenced in the main story. In the game, the film about the Saints is being directed by the self-interested Hollywood director Andy Zhen and the player is acting the final scenes of the film alongside a female co-star making her debut. In the first level, the player fights the military to save a female alien and controls the turret on the getaway vehicle. In the second, the player is in a shootout in a linear map. The last mission has the player in an aircraft fighting other aircraft while the co-star uploads viruses to transmitters. At the time of review, the player could not revisit the old missions to earn missed achievements, but was later patched. Costumes and vehicles are unlocked upon completing the pack. The pack was released in North America on February 21, 2012, and in Europe the next day. ### Reception Gangstas in Space received "mixed or average" reviews, according to video game review score aggregator Metacritic. Reviewers found the pack similar in length to its predecessor. GameZone's David Sanchez thought the quality was much better than the previous pack and that the missions were "lengthy", but still felt the game was still too short—an hour in duration. Official Xbox Magazine's Josh Abrams wrote that the pack had the "foul language, cool set-pieces, and satirical worldview" of the main game and a grindhouse feel, which he appreciated. Dan Ryckert of Game Informer called the story minimal and said that the pack's only difference from the game was the alien skins atop the main game's weapons and vehicles. He added that if they did not have the skins, the missions would "easily be some of the most uneventful in the game". Overall, Ryckert was disappointed with the first two content packs. Andrew Smee of Rock, Paper, Shotgun thought Gangstas in Space was the better of the final two packs, and praised the game's humorous voice acting as "the best since ... Psychonauts". He also found the cutscenes "fantastic" in comparison to BioWare's Mass Effect 3 scenes. ## The Trouble with Clones When Saints leader Johnny Gat died, Saints fan and stereotypical nerd Jimmy Torbitson cloned him, beginning a three-mission series on capturing and quelling the superpowered clone, who acts like the "brute" enemy type in the main game. Torbitson narrates the missions like a superhero film. The first mission has the player fighting off enemy gangs and police, and the second involves a ploy to calm Gat with music while Torbitson dancing to distract Saints fans and the player tranquilizes the fans with a bee gun. In the final mission, the player drinks Torbitson's Saints Flow, granting superpowers such as speed, strength, and fireballs, and the player protects the clone Johnny Tag on a bridge from a military onslaught. Upon completion, the player unlocks two computer-controlled homies for support and a vehicle. The missions can be replayed. The pack was released March 20, 2012, halfway through THQ's promised 40 weeks of additional content. ### Reception Similar to the other packs, The Trouble with Clones contained about an hour of gameplay. Reviewers thought the pack was the best of the set, and praised the Saints Flow superpowers sequence. Multiple reviewers questioned why the bee gun and superpowers were not unlocked in the main game. Game Informer's Dan Ryckert said he found sprinting with Saints Flow to be preferable to driving, and that portion to be "a lot of fun". He was disappointed when the powers and "bee gun" did not unlock in the main game. Official Xbox Magazine's Josh Abrams compared the pack to a 1980s film with Torbitson's narration and praised both the part where a female brute attracts Gat, and the Saints Flow superpower sequence. He lamented not being able to export the powers back into the main game. GameZone's David Sanchez called the bee gun "a great deal of fun", but praised the final mission "freaking awesome" as "bleeding the madness that made so many gamers fall in love with Saints Row: The Third'' in the first place." ## Other content - The Nyte Blade pack includes a vampire hunter-themed sports car and motorcycle, and altar boy and "bloody canoness" costumes. - The Explosive Combat pack adds a "future soldier" costume and M2 grenade launcher, while the Z Style pack adds a "Z-style" suit and bling shotgun. - The Warrior pack adds four Kabuki costumes. The Bloodsucker pack adds an ability to regenerate health by sucking the blood of non-playable characters, as well other ability upgrades. - The free CheapyD Homie pack adds computer-controlled support with a character modeled on CheapyD of Cheap Ass Gamer. He felt honored to be included, even if he "bought [his] way in". - A Penthouse pack includes support characters modeled on pornographic actresses Nikki Benz, Justine Joli, Ryan Keely, and Heather Vandeven.	[ "## The Full Package", "## Genkibowl VII", "### Reception", "## Gangstas in Space", "### Reception", "## The Trouble with Clones", "### Reception", "## Other content" ]	2,687	2,126
28,092,998	Sandra Peabody	1,173,636,895	American talent agent, producer and former actress	[ "1948 births", "20th-century American actresses", "Actresses from Fort Lauderdale, Florida", "Actresses from Portland, Oregon", "American female models", "American film actresses", "American film producers", "American women film producers", "Carnegie Mellon University College of Fine Arts alumni", "Living people", "Writers from Portland, Oregon" ]	Sandra Peabody (born January 11, 1948) is an American acting coach, talent agent, producer, and retired actress. She is primarily known for her roles in horror films, stage productions, television soap operas, and her subsequent career in producing—earning an Emmy in 1992 for the children's television series Popcorn (1984–92). Growing up in Fort Lauderdale, Florida, Peabody began acting in the mid 1960s, appearing on stage in Enter Laughing (1965) as Wanda and later in the independent films Misfit (1965) and The Horse Killer (1966). In 1966, Peabody began studying drama at Carnegie Mellon University and Neighborhood Playhouse School of the Theatre with acting teacher Sanford Meisner. After appearing in stage plays such as The Odd Couple, Stop the World – I Want to Get Off (both 1969), and Tarot (1970), which opened at the Brooklyn Academy of Music, Peabody shifted her focus to acting in feature films. After appearing in the critically panned sexploitation film, The Filthiest Show in Town (1971), Peabody found success when Wes Craven cast her as the lead, Mari Collingwood, in his directorial debut The Last House on the Left (1972). She later appeared in films such as Voices of Desire (1972), Massage Parlor Murders! (1973), Legacy of Satan (1974), and Teenage Hitchhikers (1975)—all exploitation films. After starring in the musical Annie Get Your Gun (1973-74), opposite Barbara Eden, and appearing sporadically on television soap operas, Peabody became disillusioned with acting and heeded Last House'''s cinematographer Victor Hurwitz's advice, and decided to retire and pursue a different career—becoming an acting coach and children's television producer, and has worked as a talent agent. ## Life and career ### Early roles Sandra Lee Peabody was born on January 11, 1948. The daughter of M. O. Peabody, she grew up in Fort Lauderdale, Florida, where she pursued acting at a young age while attending Stranahan High School. In 1965, she portrayed Wanda in the stage production Enter Laughing. Peabody made her film debut as the lead actress in Misfit (1965), a faith-based film that delved into drug abuse, which was released into local churches. Peabody wasn't the original choice for the role; she replaced an actress who had become sick and had to leave the production. She later had a supporting role in Luke Moberly's lost mystery film The Horse Killer (1966), another Florida production. In search of broader acting opportunities, in 1967, Peabody got accepted into Carnegie Mellon University to study drama and was selected to do summer stock at the Priscilla Beach Theater. She later studied with acting teacher Sanford Meisner at the Neighborhood Playhouse School of the Theatre. In 1969, she had a role as Gwendolyn Pigeon in Neil Simon's The Odd Couple. Mariruth Campbell of The Journal News described her as being a "competent" actress. She was later a part of the stage plays Celebration, Little Mary Sunshine, and Stop the World – I Want to Get Off (all in 1969). In 1970, Peabody had a supporting role in Robert Kalfin's Off-Broadway production Tarot which ran at the Brooklyn Academy of Music. Additionally, in the early 1970s, she appeared sporadically on the television soap operas All My Children, As the World Turns, The Edge of Night, and One Life to Live. ### The Last House on the Left #### Discovery (1972) Her feature film career in New York City would mark a stark contrast to her ingenuous roles in Misfit and The Horse Killer. In 1970, one of the first roles she signed onto was for the critically panned satirical film The Filthiest Show in Town (1970), a parody of dating game shows. She appeared in the commercial segments. After this role, she went on a cross-country trip across the West Coast. Upon returning home, she responded to a casting notice in the trade publication Backstage for a film under the working title Night of Vengeance. She was originally asked to audition for the supporting role of Phyllis Stone. After meeting with producer Sean S. Cunningham, she got the role of the seventeen-year-old protagonist Mari Collingwood. The film was originally planned to be a hardcore pornographic horror film but, the filmmakers promised her it would just focus on the horror elements. It would ultimately be released as The Last House on the Left, a loose remake of Ingmar Bergman's The Virgin Spring (1960). Director Wes Craven thought highly of Peabody, describing her as "pretty" and "plucky," but acknowledged she lacked the confidence required for the gritty shoot. #### Production and aftermath The Last House on the Left was a difficult production for Peabody. The film did not have a complete script at the time of filming, and Peabody was in a vulnerable mental state due to the lack of preparation for her scenes. She has expressed contempt towards her overall performance. Peabody spent a lot of time on the set with Craven, who often encouraged her throughout filming her scenes. She endured an excessive amount of abuse from the lead actors David A. Hess and Marc Sheffler throughout the shoot. Sheffler, who portrayed Junior, revealed in an interview that he grabbed Peabody, held her over a cliff, and threatened to throw her off if she didn't reach the level of desperation needed for the scene, stating "She wasn’t getting the scene. She wasn’t at the anxiety level that she needed to be. So, we’d done it I don’t know how many times ... everybody was getting annoyed. So, I said to Wes, 'Give me a minute with her.' What I did was... you can’t see it in the shot but I took her over to the cliff, and I put her over the cliff and just grabbed her and said, ‘If you don’t get this fucking scene right now, I’m going to drop you and Wes will shoot it, and we’ll get a different scene, but it’ll work because you’ll be fucking mangled.” Additionally, method actor Hess singled her out from the rest of the cast and treated her differently than female co-stars Lucy Grantham and Jeramie Rain. Peabody stated that he would chase after her with a knife at night and that she genuinely thought he was a serial killer at some point in his life. Hess revealed that he started roughly grabbing her breasts and threatened to rape her during the filming of her assault scene. During this particular shot, assistant director Yvonne Hannemann described it as an upsetting shoot with her in tears and walking off the set. Peabody would ultimately detest the film. During a cast screening, Peabody brought her mother to watch the film with her. Unhappy with the rough cut that she watched, Peabody ultimately walked out. Upon release, the film was a critical and commercial success, earning more than \$3 million at the American box office. She attests that while she was horrified while filming it, viewing it in modern times, it is likely considered a "funny film." ### Final roles and later career Chuck Vincent cast her as Anna Reed in the X-rated erotic-horror film Voices of Desire (1972). Peabody's next role was Gwen in Massage Parlor Murders! (1973). It was shown in grindhouse theaters and didn't have a home video release until Vinegar Syndrome restored it on DVD and Blu-ray in 2013. Peabody returned to acting on stage when she was cast as Minnie Oakley in Jay Harnick's musical comedy Annie Get Your Gun, from 1973 to 1974 alongside Barbara Eden and John Bennett Perry. Jonathan Takiff of Philadelphia Daily News stated, "Clinched up in a shapeless bag of a dress, carrying on in a raggle-taggle performing style, Sandra Peabody is totally believable as an adolescent hick from the sticks. This is why, obviously, she was selected for the role from a literal army of teenage competitors." In 1974, she had a non-speaking cameo role in the horror film Legacy of Satan. The following year, she had a lead role in Gerri Seddley's comedy road movie Teenage Hitchhikers as a teenage runaway. In a review for Los Angeles Times, Linda Gross stated that Peabody's performance was "ingenious." Her last acting credit is the stage production Tunnel of Love (1977). In 1983, Peabody moved from New York City to Portland, Oregon and began to distance herself from the exploitative films that she was becoming known for and began to transition into television producing and writing Portland based programming aimed at children and youth. Peabody served as producer for the KATU syndicated Emmy-award-winning children's television series Popcorn (1984–92). In 1988, Peabody developed A Time to Care (1988), a television documentary series that focused on local nursing homes and the positive effects that community volunteerism had on the residents. She stated that it's "a neat idea for a series because what they're basically saying is that more than ever people are reaching out to help others." The broadcasting division Group W picked up the series for distribution and syndication. Peabody wrote and produced the educational series Zone In'' (2001) which dealt with "tough issues for kids." As of 2021, Peabody is an acting coach and agent in areas around Portland, Oregon, and Los Angeles. She has mentored a variety of actors including Alicia Lagano. ## Filmography ### Film ### Stage productions ### Television	[ "## Life and career", "### Early roles", "### The Last House on the Left", "#### Discovery (1972)", "#### Production and aftermath", "### Final roles and later career", "## Filmography", "### Film", "### Stage productions", "### Television" ]	2,072	19,629
3,234,114	SMS Preussen (1873)	1,171,488,360	Ironclad turret ship of the German Imperial Navy	[ "1873 ships", "Coal hulks", "Preussen-class ironclads", "Ships built in Stettin" ]	SMS Preussen was an ironclad turret ship built for the German Kaiserliche Marine (Imperial Navy). The ship was built by the AG Vulcan shipyard in Stettin in 1871–1876; she was commissioned into the fleet in July 1876. She was the first large warship of the German navy built by a private shipyard; all previous vessels had been ordered abroad or built by Royal or Imperial dockyards. Her main battery of four 26 cm (10.2 in) guns was mounted in a pair of twin gun turrets amidships. Preussen served with the fleet from her commissioning until 1891, though she was frequently placed in reserve throughout her career. She cruised the Mediterranean Sea several times during her service, including during a mission in 1877 after unrest in the Ottoman Empire threatened German citizens living there. The ship was withdrawn from service at the end of 1891 and used as a harbor guard ship until 1896, when she was relegated to being a supply ship in Wilhelmshaven. She ended her career as a coal hulk for torpedo boats. In 1903, she was renamed Saturn so her name could be reused. The ship was ultimately sold to shipbreakers in 1919. ## Design The three Preussen-class ironclads were authorized under the naval program of 1867, which had been approved by the Reichstag (Imperial Diet) to strengthen the North German Federal Navy in the wake of the Second Schleswig War, when the weak, then-Prussian Navy had been unable to break the blockade imposed by the Danish Navy. Initially ordered as casemate ships, the vessels were re-designed as turret ships; they were the first uniform class of ironclads built by for the German fleet. The ship was 96.59 meters (316.9 ft) long overall and had a beam of 16.30 m (53.5 ft) and a draft of 7.12 m (23.4 ft) forward. Preussen was powered by one 3-cylinder single-expansion steam engine, which drove a single screw propeller. Steam was supplied by six coal-fired transverse trunk boilers, which were vented into a single funnel. The ship's top speed was 14 knots (26 km/h; 16 mph), at 5,471 metric horsepower (5,396 ihp). She was also equipped with a full ship rig. Her standard complement consisted of 46 officers and 454 enlisted men. She was armed with a main battery of four 26 cm (10.2 in) L/22 guns mounted in a pair of gun turrets placed on the centerline amidships. As built, the ship was also equipped with two 17 cm (6.7 in) RK L/25 chase guns, one in the bow and one in the stern. After being rebuilt in 1888–1890, her armament was increased by six and later ten 8.8 cm (3.5 in) L/30 quick-firing guns, a pair of machine guns, and five 35 cm (14 in) torpedo tubes, all submerged in the ship's hull. Preussen's armor was made of wrought iron and backed with teak. The armored belt was arrayed in two strakes. The upper strake was 203 mm (8 in) thick; the lower strake ranged in thickness from 102 to 229 mm (4 to 9 in). Both were backed with 234 to 260 mm (9.2 to 10.2 in) of teak. The gun turrets were protected by 203 to 254 mm (8 to 10 in) armor on the sides, backed by 260 mm of teak. ## Service history ### Construction – 1878 Preussen was ordered by the Imperial Navy from the AG Vulcan shipyard in Stettin; work on the ship was delayed by the start of the Franco-Prussian War. Her keel was laid down in 1871 under construction number 66, after the war ended in a Prussian victory and German unification. This was the first time a private German shipbuilder was given a contract to build a large warship for the navy. The ship was launched on 22 November 1873, and during the ceremony she was christened by Crown Princess Victoria. After completing fitting-out work, apart from her armament, she was towed to Swinemünde on 23 November 1875. The ship was commissioned into the German fleet on 4 July 1876 and then moved to Kiel, where her guns were installed at the Kaiserliche Werft (Imperial Shipyard). Although she was the third and final ship in her class to be laid down, she was the first to be launched and commissioned. This was because her two sisters, Friedrich der Grosse and Grosser Kurfürst, were built by newly established Imperial dockyards, while Preussen was built by an experienced commercial ship builder. After work on the ship was completed in late 1876, the ship began sea trials on 16 November. These were interrupted by the need to use the vessel's strengthened hull to break ice in the Baltic Sea for merchant vessels. This activity ended on 2 March 1877, allowing Preussen to resume trials, which concluded on 5 May. Two days later, she was assigned to the Ironclad Squadron to replace the ironclad Kronprinz, which was in need of an overhaul. The ironclad squadron, led by the flagship Kaiser, departed for the Mediterranean Sea on 30 May in response to unrest in the Ottoman Empire related to the Russo-Turkish War; the violence threatened German citizens living there. The squadron, which also included the ironclad Deutschland, the armored frigate Friedrich Carl, and the aviso Falke, was commanded by Konteradmiral (KAdm—Rear Admiral) Carl Ferdinand Batsch. The ships steamed to the ports of Haifa and Jaffa in July 1877, but found no significant tensions ashore. Batsch then departed and cruised the Mediterranean for the remainder of the summer, returning to Germany in October. On the way back, Preussen stopped in La Goulette, French Tunisia, by herself. She was badly damaged by severe weather on the way back to Germany, and after arriving 21 October, was dry-docked for repairs. She remained in commission, but had her crew reduced while the work was being carried out. In April 1878, Preussen participated in the fleet maneuvers, again under Batsch's command. By this time, she was joined by her two sister ships, Friedrich der Grosse and Grosser Kurfürst. The Ironclad Squadron was then to take a training cruise to the Mediterranean. After departing Germany on 29 May, the squadron proceeded through the English Channel, where the armored frigate König Wilhelm accidentally rammed Grosser Kurfürst; the latter quickly sank with the loss of 276 men. Preussen did not immediately begin rescue operations, and instead steered a wide circle before anchoring some 800 m (2,600 ft) away; she only picked up two men who had first been rescued by a British fishing trawler. Preussen then escorted the damaged König Wilhelm to Portsmouth, where the Royal Navy made available a dry dock for emergency repairs. Albrecht von Stosch, the chief of the Kaiserliche Marine, ordered Batsch and his staff to return to Germany immediately aboard Preussen, escorted by Falke. The ships got underway on 3 Juneand arrived in Wilhelmshaven two days later; from there, they proceeded to Kiel, where they arrived on 10 June. Preussen's commander came under criticism for his failure to assist in the rescue operations directly, but he defended himself by arguing that he had followed the relevant regulations and that he could not have brought his vessel closer owing to the number of smaller fishing vessels in the area. Stosch accepted the explanation, but an inquiry led by KAdm Reinhold von Werner came to the opposite conclusion, which became part of a major controversy in the German naval command and eventually resulted in Werner's forced retirement. The Mediterranean cruise was immediately cancelled, and within a week, the annual summer maneuvers for 1878 were also canceled. Preussen took on a contingent of naval cadets for a short training cruise in the Baltic, and later joined the screw corvette Prinz Adalbert for a training cruise with Prince Heinrich of Prussia aboard. On 9 November, Preussen was decommissioned for the winter. ### 1879–1888 On 5 May 1879, the armored squadron was reactivated, composed of Preussen, her sister Friedrich der Grosse, and the old armored frigates Kronprinz and Friedrich Carl. The annual summer training cruise was primarily conducted just in the Baltic Sea, apart from a short voyage in June to the coast of Norway. During the cruise, the ships stopped in Russia, where they were met by Tsar Alexander III; after returning to Germany, they were visited by Kaiser Wilhelm I in Danzig Bay. Preussen was also used to tow a new floating dry dock from Swinemünde to Kiel. The four ships returned to Kiel in September, where they were demobilized for the winter. On 24 March 1880, Preussen was reduced to the reserve fleet temporarily, before being reactivated on 3 May for service with the Ironclad Squadron. Wilhelm von Wickede, a former Austrian naval officer, replaced Batsch as the squadron commander. Again, the squadron remained in the Baltic for the summer cruise, with the exception of a short visit to Wilhelmshaven and Cuxhaven in August. During squadron exercises in July, Preussen was visited by Stosch, Crown Prince Friedrich, and his son, Prince Wilhelm. The summer cruise in 1881 followed the same pattern as the year previous. Wickede again served as the commander. In July, the ships hosted a visit by the British reserve squadron, which by this time included the first British ironclad, HMS Warrior. Preussen and the rest of the squadron visited Danzig in September during a meeting between Kaiser Wilhelm I and Alexander III. Preussen saw active service in 1882 from 2 May to 25 September. The summer cruise included the same four ironclads from the previous year, and was again commanded by Wickede, who had by then been promoted to Konteradmiral. Preussen was kept in reserve during the annual summer maneuvers starting in 1883, as new ships, including the four Sachsen-class ironclads entered service. From 1883 to 1884, the ship underwent a modernization that included new boilers and a reconstructed poop deck. Her sailing rig was also reduced at that time. Further modernization work was carried out beginning in 1885, including the addition of two 37 mm (1.5 in) Hotchkiss guns and five submerged torpedo tubes were added in the hull. The work was completed on 4 November 1888, though she was not immediately recommissioned. She was instead assigned to the newly formed Reserve Division of the North Sea. ### 1889–1919 The ship was recommissioned on 1 May 1889 to take part in the annual summer training program with the fleet. These included exercises that began on 1 July. In August, Preussen participated in Kaiser Wilhelm II's first visit to Great Britain. The ship was assigned to II Division, along with her sister Friedrich der Grosse and the central battery ironclads Kaiser and Deutschland, under command of KAdm Friedrich Hollmann. The fleet then conducted maneuvers in the North Sea before returning to Germany. Preussen and the rest of II Division became the Training Squadron for the fleet in 1889–1890, the first year the Kaiserliche Marine maintained a year-round ironclad force. The squadron escorted Wilhelm II's imperial yacht to the Mediterranean; the voyage began on 30 August and included state visits to Italy and the Ottoman Empire. The squadron remained in the Mediterranean through the spring of 1890, when it returned to Germany. The ships arrived back in Germany on 22 April. Preussen returned to the Training Squadron, which was reorganized on 11 May. In June, she escorted the Kaiser on a state visit to Christiana, Norway. The ship participated in the ceremonial transfer of the island of Helgoland from British to German control in the summer of 1890. She was present during the fleet maneuvers in September, where the entire eight-ship armored squadron simulated a Russian fleet blockading Kiel. II Division, including Preuseen, served as the training squadron in the winter of 1890–1891. The squadron again cruised the Mediterranean, under the command of Konteradmiral Wilhelm Schröder. The voyage began on 12 November and concluded on 18 April 1891. After returning to Germany, Preussen underwent an extensive overhaul. The ship was recommissioned in mid-May 1891 for a final round of fleet maneuvers with II Division. Following the end of the training year, she was decommissioned for the last time on 9 October. She was reduced to a harbor guard ship at the end of 1891. From 9 January to 11 July 1893, the ship was assigned to the Reserve Division of the North Sea. She was based in Wilhelmshaven as a harbor ship starting on 16 November 1896. She was renamed Saturn on 12 November 1903, so her name could be reused on the new battleship Preussen. The ship was formally stricken from the naval register on 21 May 1906. She was subsequently used as a coal hulk for torpedo boats. After being converted for this use, Saturn could hold up to 5,000 t (4,900 long tons; 5,500 short tons) of coal. She was eventually sold for scrapping on 27 June 1919 and broken up that year in Wilhelmshaven. Her figurehead is on display in the Militärhistorisches Museum der Bundeswehr in Dresden, while her bow ornament is located in the Deutsches Museum in Munich.	[ "## Design", "## Service history", "### Construction – 1878", "### 1879–1888", "### 1889–1919" ]	2,966	27,904
712,684	M-99 (Michigan highway)	1,167,168,607	State highway in Michigan, United States	[ "State highways in Michigan", "Transportation in Calhoun County, Michigan", "Transportation in Eaton County, Michigan", "Transportation in Hillsdale County, Michigan", "Transportation in Ingham County, Michigan", "Transportation in Jackson County, Michigan" ]	M-99 is a north–south state trunkline highway in the Lower Peninsula of the US state of Michigan. It runs from the Ohio state border, where it connects to State Route 15 (SR 15), north to Lansing, where it terminates at a junction with Interstate 496 (I-496) and the Capitol Loop. The highway mainly serves local communities along the route as it passes through farm lands in the southern part of the state. One short segment, in Jonesville, is routed concurrently with US Highway 12 (US 12). The segment within Lansing follows Martin Luther King Jr. Boulevard. The current highway is the third to carry the M-99 designation. The others were located near Lake Michigan near Muskegon in the Lower Peninsula and Gulliver in the Upper Peninsula in the 1920s and 1930s. The current highway was first designated as parts of M-34 and M-64 in 1919. These numbers were later dropped in favor of an M-9 designation in 1929. For part of 1934, a loop route was designated M-158 in Hillsdale County that was used for a rerouted M-9 in the area. The M-99 designation was applied to the highway in 1940. Since then, the state has completed paving twice; one segment was returned to gravel surface for two years in the 1950s. The southern section in Hillsdale County was rerouted in the 1960s, and sections were converted into divided highways in the late 1970s. ## Route description SR 15 ends at the Michigan state line just north of Pioneer, Ohio, where it becomes M-99. The roadway travels northward from the state line on Pioneer Road, through mostly agricultural areas of Hillsdale County before reaching a junction with M-34 just west of Osseo. The trunkline turns westward on Hudson Road, which curves to the north around Baw Beese Lake just southeast of Hillsdale. M-99 passes through Hillsdale on a northwest course on Broad Street and Carlton Road, passing just a few blocks to the west of Hillsdale College. After leaving town, the road bends to the north as Olds Street as it runs parallel to the St. Joseph River to Jonesville. In that community, M-99 intersects US 12. The two highways run concurrently through Jonesville for less than half a mile (0.8 km) before M-99 returns to its northwesterly course. It leaves the town toward Litchfield continuing parallel to the river. In Litchfield, M-99 enters the town from the southeast, passing near downtown where it meets the northern terminus of M-49. The highway leaves Litchfield heading northwest on Homer Road for a few miles before bending to the north as it crosses into Calhoun County. The trunkline passes through more farmland as it runs toward Homer on Hillsdale Street. In Homer, after passing through a roundabout, M-99 meets M-60, and the two highways run concurrently through the town to the northeast. The road briefly splits into a divided highway near the end of the concurrency; M-99 heads north, while M-60 continues eastward. From here, M-99 continues northward on 28 Mile Road toward the city of Albion. After crossing the Kalamazoo River in downtown, M-99 merges with Business Loop I-94 (BL I-94). M-99 continues east concurrently with the business loop on Michigan Avenue passing near Albion College before heading back north to an interchange with I-94 at exit 124; this interchange marks the end of BL I-94 and M-99 continues northward on Eaton Rapids Road. M-99 heads north through farmland to the village of Springport where it turns eastward along Main Street as it passes through the town. The highway continues easterly on Eaton Rapids Road before turning northward to cross into Eaton County. Shortly after crossing the county line, M-50 comes in from the southeast to meet up with M-99. The two highways travel together into Eaton Rapids. Together they form Main Street in the city before they separate on the north side of town. M-50 leaves to the northwest as Dexter Road, and M-99 continues to the northeast as Canal and Michigan streets. For the next few miles, the trunkline splits into a divided highway and runs parallel to the general course of the Grand River. M-99 crosses the river southeast of Dimondale after the opposing directions merge back together as an undivided highway. North of the river crossing, M-99 meets I-96 at the latter's exit 101 on the southern border of Lansing. From I-96, the M-99 continues north through residential neighborhoods into Lansing as Martin Luther King Jr. Boulevard. The highway travels northeasterly through the southern side of the capital city, as far as Jolly Road. There it turns northward through the Old Everett Neighborhood. The street is bordered by commercial properties in this area. M-99 widens into a boulevard as it passes the T-intersection with Victor Avenue, passing through the Moores Park neighborhood before crossing the Grand River. North of the river, the highway is bordered by the site of the former Lansing Car Assembly plant, which for a century produced Oldsmobiles and other GM cars. M-99 ends at a junction with I-496 just north of the assembly plant area at exit 5; Martin Luther King Jr. Boulevard continues north from this interchange as the Capitol Loop. M-99 is maintained by the Michigan Department of Transportation (MDOT) like other state highways in Michigan. As a part of these maintenance responsibilities, the department tracks the volume of traffic that uses the roadways under its jurisdiction. MDOT's surveys in 2010 showed that the highest traffic levels along M-99 were the 32,262 vehicles daily north of Mount Hope Avenue in Lansing, on average; the lowest count was 2,300 vehicles per day between the state line and the M-34 junction. No section of M-99 has been listed on the National Highway System, a network of roads important to the country's economy, defense, and mobility. ## History ### Previous designations When the state highway system was originally signed in 1919, M-99 was designated on a road between the Lake Michigan shoreline and M-11 (now US 31) between Muskegon and Hart. This highway was decommissioned in 1929. In 1931, M-99 was designated on a gravel road in the Upper Peninsula from US 2 just east of Gulliver) to Port Inland on Lake Michigan. This highway was decommissioned as well in 1939. ### Current designation In 1919, the highway that is now M-99 was first signed as M-64 from the Ohio state line to Hillsdale and as M-34 from Hillsdale to the Litchfield area. In 1924, the western terminus of M-34 was extended to Homer where it terminated at M-60. Just a few years later, in 1926, the western terminus was truncated, to end at Hillsdale; the remainder to Jonesville became an extension of the M-64. In 1929, this version of M-64 was renumbered M-9. In 1934, M-9 traveled on Pioneer Road in Hillsdale County, from the Ohio border before turning west on Burt Road, north on Clark Road, west on Montgomery Road then north onto Hillsdale Road. During this time a loop was planned to continue north from the corner of Pioneer and Burt Roads to Montgomery Road where it turned west and met with M-9 at Clark Road. This short loop was designated M-158, however later in the year the routing of M-9 was shifted onto the M-158 alignment, eliminating that route. By the middle of 1936, the highway was extended northward to end in Lansing. The M-9 designation was replaced with M-99 in 1940. By 1947, M-99 was completely paved. One segment between Litchfield and Homer was converted back to gravel surface in 1952; a change that was reverted two years later. By 1960, the former US 12/M-99 concurrency through Albion was redesignated Business US 12 through the city when the I-94/US 12 freeway was completed. Within a year, that business loop was redesignated BL I-94 when the US 12 designation was removed from the freeway and applied to the former US 112; at the same time, the US 112/M-99 concurrency in Jonesville became US 12/M-99 as well. A new alignment of M-99 highway was opened from the Ransom area north to Osseo in 1966; the western terminus of M-34 was scaled back to end at the new highway near Osseo and M-99 supplanted M-34 from Osseo to Hillsdale. The divided highway section of M-99 was opened north of Eaton Rapids in 1979. The Michigan Department of State Highways first announced plans in 1970 to expand M-99 within the Lansing city limits. The plan called for conversion of M-99 to a boulevard between Victor and Pulaski streets, on the south side of the Grand River; after crossing the Grand River, the roadway would be split into a one-way pairing northerly to Kalamazoo Avenue, with northbound traffic along the existing routing on Logan Street and southbound traffic following Birch Street. Construction of such a routing was slated to displace seven acres (2.8 ha) of residential district and some businesses along Logan Street. Construction on this realignment began in 1973, and the boulevard routing from Victor to Pulaski opened in late 1977. In 1989, Logan Street through Lansing was given an additional name, Martin Luther King Jr. Boulevard. This dual-naming scheme lasted until 1994 when the Logan Street name was removed, leaving only Martin Luther King Jr. Boulevard. ## Major intersections ## See also	[ "## Route description", "## History", "### Previous designations", "### Current designation", "## Major intersections", "## See also" ]	2,102	37,537
11,997,144	Todos Los Romances	1,153,569,661	null	[ "1998 compilation albums", "Luis Miguel compilation albums", "Spanish-language compilation albums", "Warner Music Latina compilation albums" ]	Todos Los Romances (All the Romances) is a box set compilation album by Mexican singer Luis Miguel. Released on 11 August 1998 by WEA Latina, the record features the three previously released Romance-themed albums in which Miguel covered classic boleros in each of them: Romance (1991), Segundo Romance (1994), and Romances (1997). An editor for AllMusic rated the album four of five stars. Commercially, Todos Los Romances peaked at number four in Spain and was certified double Platinum in the country. It also achieved Gold status in Argentina and peaked at number 12 on the Billboard'''s Top Latin Albums in the United States. ## Background and release In 1991, Miguel released his eighth studio album, Romance, a collection of classic boleros, the oldest dating to the 1940s. Produced by Armando Manzanero and arranged by Bebu Silvetti, the record was a success in Latin America and sold over seven million copies worldwide. It revived interest in the bolero genre, and was the first record by a Spanish-speaking artist to be certified Gold in Brazil, Taiwan and the United States. It received a Grammy nomination for Best Latin Pop Album. Its follow-up, Segundo Romance, was released in 1994; Manzanero, Juan Carlos Calderón and Kiko Cibrian co-produced the record with Miguel, with it winning a Grammy Award for Best Latin Pop Performance. In 1997 Romances was released, with Miguel and Manzanero co-producing Silvetti's arrangements; it sold over 4.5 million copies, winning another Grammy for Best Latin Pop Performance. Each of the three discs were certified Platinum by the Recording Industry Association of America for shipping one million copies in the United States. One year after the release of Romances, WEA Latina announced that it will issue a three-disc compilation album Todos Los Romances, which contains three Romance-themed albums and was released on 11 August 1998. ## Reception An editor for AllMusic gave the album a four out of five star rating. In Spain, Todos Los Romances debuted and peaked number four on the Spanish Albums Chart, selling over 200,000 copies in the country and gaining a double Platinum certification awarded by Productores de Música de España for shipping 200,000. In the United States, the record peaked at number 12 on the Billboard'''s Top Latin Albums and number six on the Latin Pop Albums chart. In Argentina, it was awarded Gold by the Argentine Chamber of Phonograms and Videograms Producers for shipments of 30,000 copies. ## Track listing ## Charts ### Weekly charts ### Year-end charts ## Certifications	[ "## Background and release", "## Reception", "## Track listing", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications" ]	554	813
1,072,980	Barbara La Marr	1,143,980,090	American actress (1896–1926)	[ "1896 births", "1926 deaths", "20th-century American actresses", "20th-century American screenwriters", "20th-century American women writers", "20th-century deaths from tuberculosis", "Actresses from Portland, Oregon", "Actresses from Washington (state)", "American burlesque performers", "American child actresses", "American film actresses", "American people of English descent", "American people of German descent", "American silent film actresses", "American stage actresses", "American women screenwriters", "Burials at Hollywood Forever Cemetery", "Deaths from nephritis", "People from Yakima, Washington", "Screenwriters from Oregon", "Screenwriters from Washington (state)", "Tuberculosis deaths in California", "Vaudeville performers" ]	Barbara La Marr (born Reatha Dale Watson; July 28, 1896 – January 30, 1926) was an American film actress and screenwriter who appeared in twenty-seven films during her career between 1920 and 1926. La Marr was also noted by the media for her beauty, dubbed as the "Girl Who Is Too Beautiful," as well as her tumultuous personal life. Born in Yakima, Washington, La Marr spent her early life in the Pacific Northwest before relocating with her family to California when she was a teenager. After performing in vaudeville and working as a dancer in New York City, she moved to Los Angeles with her second husband and became a screenwriter for Fox Film Corporation, writing several successful films for the company. La Marr was finally "discovered" by Douglas Fairbanks, who gave her a prominent role in The Nut (1921), then cast her as Milady de Winter in his production of The Three Musketeers (1921). After two further career-boosting films with director Rex Ingram (The Prisoner of Zenda and Trifling Women, both with Ramon Novarro), La Marr signed with Arthur H. Sawyer to make several films for various studios, including The Hero (1923), Souls for Sale (1923), and The Shooting of Dan McGrew (1924), the first and last of which she co-wrote. During her career, La Marr became known as the pre-eminent vamp of the 1920s; she partied and drank heavily, once remarking to the press that she only slept two hours a night. In 1924, La Marr's health began to falter after a series of crash diets for comeback roles further affected her lifestyle, leading to her death from pulmonary tuberculosis and nephritis at age 29. She was posthumously honored on the Hollywood Walk of Fame for her contributions to the film industry. ## Early life Barbara La Marr was born in 1896 as Reatha Dale Watson to William and Rosana "Rose" Watson in Yakima, Washington (La Marr later claimed she was born in Richmond, Virginia). Her father was an editor for a newspaper and her mother, a native of Corvallis, Oregon, already had one son, Henry, and a daughter, Violet, from a previous marriage. La Marr's parents had wed some time during 1884, and had a son, William Watson, Jr., born in June 1886, ten years before she was born. Through her mother, La Marr was of German and English descent. In the 1920s, the elder Watson became a vaudeville comedian under the stage name of Billy Devore. The Watsons lived in various locations in Washington and Oregon during La Marr's formative years. By 1900, she was living with her parents in Portland, Oregon, with her brother William, her half-sister Violet Ross, and Violet's husband Arvel Ross. As a child, La Marr also performed as a dancer in vaudeville, and made her acting debut as Little Eva in a Tacoma stage production of Uncle Tom's Cabin in 1904. By 1910, La Marr was living in Fresno, California, with her parents. Some time after 1911, the family moved to Los Angeles, and La Marr worked at a department store. La Marr also appeared in burlesque shows. In January 1913, her half-sister, now going by the name of Violet Ake, took her 16-year-old sister on a three-day automobile excursion with a man named C.C. Boxley. They drove up to Santa Barbara, but after a few days, La Marr felt that they were not going to let her return home. Ake and Boxley finally let La Marr return to Los Angeles after they realized that warrants were issued for their arrests, accusing them of kidnapping. This episode was published in several newspapers, and La Marr even testified against her sister, but the case eventually was dropped. La Marr's name appeared frequently in newspaper headlines during the next few years. In November 1914, she came back to California from Arizona and announced that she was the newly widowed wife of a rancher named Jack Lytell and that they were supposedly married in Mexico. She also stated that she loathed the name Reatha and preferred to be called by the childhood nickname "Beth." ## Career ### Early years and screenwriting After marrying and moving in with her third husband, vaudevillian Ben Deely, La Marr, who at one time had aspirations of being a poet, found employment writing screenplays at Fox Film Corporation using the name Folly Lyell. She wrote numerous scenarios for studio shorts at Fox and United Artists, many of which she based on her life, earning over US\$10,000 during her tenure at the studios. She was credited as writer Barbara La Marr Deely on the films The Mother of His Children, The Rose of Nome, Flame of Youth, The Little Grey Mouse, and The Land of Jazz (all released in 1920). La Marr continued to write short screenplays for the studio and supported herself by dancing in various cities across the country, including New York City, Chicago, New Orleans, and at the 1915 World's Fair in San Francisco. La Marr's dance partners included Rudolph Valentino and Clifton Webb, and her dance routines attracted the attention of publisher William Randolph Hearst, who featured her and a dance partner in a series of articles published in the San Francisco Examiner around 1914. ### Move to Hollywood and acting While working in the writers' building at United Artists, La Marr was approached by Mary Pickford, who reportedly embraced her and said, "My dear, you are too beautiful to be behind a camera. Your vibrant magnetism should be shared by film audiences." La Marr's association with filmmakers led to her returning to Los Angeles and making her film debut in 1920 in Harriet and the Piper. Though a supporting part, the film garnered her attention from audiences. La Marr made the successful transition from writer to actress with her supporting role in The Nut (1921), playing a femme fatale. Later the same year, she was hired by Douglas Fairbanks to play the substantial part of Milady de Winter in The Three Musketeers. Over the next several years, La Marr acted frequently in films, and became known to the public as "The Girl Who Is Too Beautiful", after Adela Rogers St. Johns, a Hearst newspaper feature writer, saw a judge sending her home during a police beat in Los Angeles because she was "too beautiful and young to be on her own in the big city." This publicity did much to promote her career. Among La Marr's films are The Prisoner of Zenda and Trifling Women, both 1922 releases directed by Rex Ingram. Although her film career flourished, she embraced the fast-paced Hollywood nightlife, remarking in an interview that she slept no more than two hours a night. In 1923, La Marr appeared in the comedy The Brass Bottle, portraying the role of the Queen, and Poor Men's Wives. She had a supporting part in the Fred Niblo-directed comedy Strangers of the Night, and was noted in a New York Times review for her "capable" performance. She starred in the lead role, with Bert Lytell and Lionel Barrymore, in The Eternal City (1923), which featured a cameo appearance by Italian dictator Benito Mussolini. ### Decline and career resurgence In 1924, during the filming of Thy Name Is Woman, production supervisor Irving Thalberg made regular visits to the set to ensure that La Marr's alcoholism was not interfering with the shoot. The same year, La Marr's first starring, above-the-title role came in the drama Sandra, from First National Pictures, which she filmed in New York City in August 1924. La Marr had served as a co-writer on the film, which focused on a woman suffering from a split-personality disorder. Upon release, the film received dismally negative reviews. La Marr's final screenplay, titled My Husband's Wives, was produced by Fox in 1924, arriving in theaters shortly after the release of Sandra, and before the production of what proved to be her final three films: The Heart of a Siren (a mixed reception), The White Monkey (a critical failure), and The Girl from Montmartre (a critical success, albeit posthumously released). While shooting The Girl from Montmartre in early October 1925, La Marr collapsed on set and went into a coma as the studio wrapped production without her with use of a double in long shots. ## Personal life ### Relationships and marriages Although the tally is usually given as five, La Marr officially was married only four times. No documentation exists to prove the existence of her alleged first husband, Jack Lytelle, whom she claimed to have met while visiting friends in Yuma, Arizona in 1914. According to La Marr, Lytelle became enamored with her as he saw her one day riding in an automobile while he was on horseback. The couple allegedly married the day after they met, but Lytelle, it was claimed, died of pneumonia only three weeks into the marriage, leaving only a surname for Mrs. Lytelle to inherit. La Marr's first official documented marriage on June 2, 1914, was to a Max Lawrence, who later turned out to be a former soldier of fortune named Lawrence Converse. He already was married with children when he married La Marr under a false name, and was arrested for bigamy the following day. Converse died of a blood clot in his brain three days later on June 5. On October 13, 1916, La Marr married Philip Ainsworth, a noted dancer. Although the son of well-off parents, Ainsworth eventually was incarcerated at San Quentin State Prison for passing bad checks, and the couple divorced in 1917. She married for a third time to Ben Deely, also a dancer, in 1918. Deely, who was over twice her age, was an alcoholic and a gambling addict, which led to the couple's separation in April 1921. Before the divorce from Deely was finalized, La Marr married actor Jack Dougherty in May 1923. Despite separating a year later, they remained legally married until her death. Some years after La Marr's death, she was revealed to have given birth to a son, Marvin Carville La Marr, on July 29, 1922. The name of the boy's father has never been released. During her final illness, La Marr entrusted the care of her son to her close friend, actress ZaSu Pitts, and Pitts' husband, film executive Tom Gallery. After La Marr's death, the child was legally adopted by Pitts and Gallery; renamed Donald Michael "Sonny" Gallery, Don Gallery died in 2014. ### Health problems La Marr partied long hours and got very little sleep during the latter part of her career, often pairing this behavior with drinking during especially low points; she once told an interviewer: "I cheat nature. I never sleep more than two hours a day. I have better things to do." In addition to her drinking and lack of sleep, during the last two years of her life La Marr went on several extreme crash diets to lose weight. La Marr was rumored to have at one time ingested a tapeworm head in a pill to help her lose weight. By late 1925, La Marr's health had deteriorated significantly due to pulmonary tuberculosis. While filming her final feature, The Girl from Montmartre, La Marr collapsed on the set and lapsed into a coma. In mid-December, she was diagnosed with nephritis, an inflammation of the kidneys, as a complication of her already tubercular state. La Marr was bedridden through Christmas, and by late December, she reportedly weighed less than 80 pounds (36 kg). Some historians and writers have claimed that La Marr was addicted to morphine and heroin, which she had been prescribed after injuring her ankle and which may have contributed to her health problems. In Sherri Snyder's 2017 biography of La Marr, the writer states that these claims were untrue and erroneously reported. A frequently recirculated rumor was that La Marr was arrested for morphine possession in Los Angeles; however, Snyder states that this claim was mistakenly attributed to La Marr, when it had in fact been actress Alma Rubens who had been arrested in January 1931, five years after La Marr's death. Ben Finney, a close friend of La Marr, contested the claims of drug use, stating: "It is inconceivable that during our close friendship I would not have known if she were a junkie," adding, "She did well enough with booze." ## Death On January 30, 1926, La Marr died of complications associated with tuberculosis and nephritis at her parents' home in Altadena, California, at the age of 29. Her friend, film director Paul Bern, was with her when she died. La Marr's son later speculated that Bern may have been his biological father, though this eventually was disproved; Bern died in a mysterious shooting six years later. La Marr's funeral at the Walter C. Blue Undertaking Chapel in Los Angeles attracted over 3,000 fans, and five women reportedly fainted in the crowd and had to be removed by police to safety. After her removal from the church during the funeral procession, hundreds of fans flooded the chapel hoping to obtain flowers from the decorative arrangements. She was interred in a crypt at Hollywood Cathedral Mausoleum, in the Hollywood Forever Cemetery. For her contribution to the motion picture industry, La Marr has a star on the Hollywood Walk of Fame at 1621 Vine Street. ## In popular culture Producer Louis B. Mayer named actress Hedy Lamarr after La Marr on behalf of his wife, a longtime admirer of La Marr. She is also referred to in the popular 1932 Flanagan and Allen song "Underneath the Arches" during a break in which Ches Allen reads the headlines from a 1926 newspaper. Children's author Edward Eager set an episode of his 1954 book Half Magic at a showing of La Marr's Sandra and includes ironic descriptions of the movie. ## Filmography ## See also - List of actors with Hollywood Walk of Fame motion picture stars	[ "## Early life", "## Career", "### Early years and screenwriting", "### Move to Hollywood and acting", "### Decline and career resurgence", "## Personal life", "### Relationships and marriages", "### Health problems", "## Death", "## In popular culture", "## Filmography", "## See also" ]	2,987	19,999
13,494,939	Man Enters the Cosmos	1,130,898,620	Cast bronze sculpture by Henry Moore	[ "1980 sculptures", "Bronze sculptures in Illinois", "Chicago Landmarks", "Outdoor sculptures in Chicago", "Sculptures by Henry Moore", "Sundials" ]	Man Enters the Cosmos is a cast bronze sculpture by Henry Moore located on the Lake Michigan lakefront outside the Adler Planetarium in the Museum Campus area of downtown Chicago, Illinois. The sculpture is a functional bowstring equatorial sundial created in 1980 measuring approximately 13 feet (4.0 m). The sundial was formerly located slightly further south at the steps of the main entry plaza to the Planetarium, but it now sits directly on the lakefront. The work is a later copy of a composition first created in the 1960s for the offices of The Times newspaper at Printing House Square in London, and according to the Henry Moore Foundation is titled Sundial 1965–66. ## Details The Adler Planetarium, in the Museum Campus area of downtown Chicago, Illinois, is both a National Historic Landmark and listed on the National Register of Historic Places, and is located in the Near South Side community area of Chicago. The sundial has two plaques on its base. The one on the left is a commemorative one discussing the benefactor and purpose of the sculpture. The benefactor of the sculpture was the B.F. Ferguson Monument fund, which has commissioned several works of art throughout Chicago. Many of the Ferguson fund's commissioned works, such as the Fountain of the Great Lakes, are housed in and on the grounds of the Art Institute of Chicago or elsewhere in Grant Park. The purpose of the commission was to recognize the space exploration program. The plaque on the right is an equation of time table to correct for the time differences caused by the axial tilt of the Earth as well as its orbital eccentricity. As the plaque indicates with an additional correction, the equation of time table does not correct for daylight saving time. Like most of Moore's work completed after 1954, this was a modeled sculpture instead of a direct carving. The sculpture is composed of two bronze semicircles, one set inside and at right angles to the other and a slim bronze rod that extends from one end of the outer semicircle to the other that serves as the gnomon (indicator). The bowstring equatorial sundial derives its name from the appearance of the shadow-casting gnomon, which resembles a bow string. The shadow of the rod projects onto the inner semicircle, which serves as the dial face (or dial plate), to mark the time of day when there is sufficient sunlight to produce shadows. Over the course of the year different sections of the rod serve as the style, which is the part of the gnomon that indicates the time by casting its shadow on the dial face. At the summer solstice, when the Sun is highest (farthest above the equatorial plane), the style is closest to the top of the rod, and at the winter solstice, when the Sun is lowest, it is closest to the bottom. At the equinoxes, when the Sun is on the equatorial plane, the style is exactly in the center of the length of the rod. The style of the equatorial sundial is parallel to the Earth's axis of rotation. This type of sundial is known as an equatorial sundial because the plane of the dial face is parallel to the Earth's equatorial plane. Two primary examples of modified equatorial sundials are bowstring equatorial and armillary dials. Both of these modified equatorial sundials can be read year-round on the same surface, regardless of whether the Sun is above or below the equatorial plane whereas a standard equatorial sundial changes sides with each equinox and is virtually unreadable near the equinoxes when the Sun is located on the equatorial plane. Between 1997 and 1999, The Adler Planetarium added a sky pavilion to the original 1930 architecture. When it did so, the roads were moved and the sundial was moved to its current location. The move was performed by contractors of the Adler Planetarium in two phases. First, the sculpture was removed and placed in storage to make way for the current roadway. It was later moved to its current position after the new roadway was built and the old roadway was replaced with a walkway. Now, a u-turn in Solidarity Drive runs through the original location of the sundial, and the sundial is located on the walkway that replaced the previous roadway that went around the planetarium. The new location and the u-turn can be seen on a Museum Campus map. This construction was contemporaneous with the \$100 million project that reconfigured of traffic around the Museum Campus and caused Lake Shore Drive to be moved during the mid-1990s. ## Moore in Chicago Moore took pride in viewing his sculptures in their open-air environments. He once said he would prefer to see his sculptures in any open landscape than in even the most beautiful buildings he knew. Including this sculpture, Moore has a total of four public sculptures that are listed in the Smithsonian Institution's Research Information System (SIRIS) on display outdoors, in Chicago. All of them are bronze. His Nuclear Energy is situated on the campus of the University of Chicago at the site of the first self-sustaining nuclear reaction, which is listed in the National Register of Historic Places. The site is also listed as a National Historic Landmark, and Chicago Landmark. Other Chicago works include Large Interior Form, which is located in the north garden at the Art Institute of Chicago, and Reclining Figure, which is on loan to the University of Chicago and which is located in the Cochrane-Woods Art Center courtyard. The Henry Moore Foundation lists several other indoor Chicago works at locations such as the Art Institute of Chicago and The Smart Museum. ## See also - List of sculptures by Henry Moore - List of public art in Chicago	[ "## Details", "## Moore in Chicago", "## See also" ]	1,175	29,150
14,100,498	PokerTracker	1,119,816,150	Poker tool software company	[ "Poker tools", "Proprietary cross-platform software" ]	PokerTracker Software, LLC is the name of a poker tool software company that produces the PokerTracker line of poker tracking and analysis software. PokerTracker's software imports and parses the hand histories that poker sites create during online play and stores the resulting statistics/information about historical play into a local database library for self-analysis, and for in-game opponent analysis using a real-time Head-up display. The software allows the user to monitor each poker session's profit or loss, hands played, time played, and table style. It calculates and graphs statistics such as hands per hour, winnings per hand, winnings per hour, cumulative profit and loss, and individual game profit and loss across multiple currencies. ## Products PokerTracker Software, LLC produces poker analysis software. Examples include PokerTracker Holdem v2, PokerTracker Omaha v2, PokerTracker 3 Hold'em (PT3) for Texas Hold 'em, PokerTracker 3 Omaha (PTO) for Omaha Hold 'em, PokerTracker Stud for Stud poker, and TableTracker. The company previously developed the PokerAce Head-Up Display, also known as PokerAce HUD or simply PAHUD, which provides real-time information for live online poker play; the functionality from this formerly separate application was eventually incorporated within PokerTracker 3. Collectively, the company's software has been described as "among the most comprehensive software programs in the online poker industry" by PokerSoftware.com. The company subsequently developed PokerTracker 4 in 2012 and 2013, which is its most recent software development. ### PokerTracker 3 In September 2009, the company announced that as of March 31, 2010, PokerTracker Holdem v2 would no longer be supported. The decision was made because PokerTracker 3 had been released on May 15, 2008, nearly two years prior to the end-of-life date. The company felt that discontinuing support of v2 would avail resources which could be dedicated to improving PT3 and providing exceptional customer service. Similarly, on December 31, 2010, PokerTracker Omaha v2 would no longer be supported, as its features have been completely integrated into the PokerTracker 3 product line. PokerTracker 3 supports online poker from the following poker networks and/or sites: 888 Poker Network, Bodog, Boss Media, Cake Network, Cereus Poker Network, Entraction Poker, Everest Poker, Full Tilt Poker, IPoker, Microgaming, Merge Gaming Network, OnGame, PartyPoker, PokerStars and Winamax. PokerTracker is available natively for both Microsoft Windows and Mac OS X-based computers. PokerTracker 3 competes against several similar programs. According to Total Gambler, its most notable competitors are Hold’em Manager and PokerOffice, while Pokersoftware.com considers only Hold’em Manager to be a serious competitor. ### PokerTracker 4 PokerTracker 4 is poker tracking software that is designed for several types of online poker: No-Limit, Limit, or Pot-Limit cash games, Sit N’ Go's and Multi-Table Tournaments for both Texas Holdem and Omaha players. It is compatible with almost all online poker websites' software and interfaces. PokerTracker 4 began public beta testing in March 2012. In August 2012, the company commercially launched a Microsoft Windows version of PokerTracker 4. In January 2013 as PokerTracker version 4.05.10 was rolled out, the company began alpha testing an Apple OS X version of the software. PokerTracker 4 was produced from scratch rather than by refining PokerTracker 3 and other earlier versions. ## Software features On most online poker sites, players can have the client software create a locally stored text file that records the hand history as shown in the 'Sample Hand History' example. These hand histories summarize the details of the hand in a format that can be parsed by computer software. PokerTracker reads these files and extracts the relevant information, which it converts into a database for later review or statistical analysis. The software is capable of combining hand history details of multiple accounts from different online poker services, which allows a user to aggregate his or her data. Statistical summaries can be consolidated from different poker sites regardless of whether the user's screen name is the same at each site. PokerTracker is capable of analyzing cash ring games in which players play for cash during each hand, sit and go tournaments in which players compete for set prizes after the prescribed number of competitors join the tournament, and multi-table tournaments in which players compete for tournament prizes based on the total number of entries at the scheduled start time. Statistics can be tracked by position, session, tournament, best & worst hands, and hand results. This helps the user analyze statistics based on starting hand or final hand. The software also enables the user to replay any specific hand. The software's database uses tournament summaries such as the 'Sample Tournament Summary' example and hand histories to provide a three section summary (see infobox screenshot). The top section of the general information tab provides tournament summaries of profit/loss as well as ordinal placement summary. The other sections summarize situational statistics based on the level of the blinds and the starting hand. Additional tabs in the software produce detailed information for various statistical interests. PokerTracker's probability graphs, as well as historical statistics of the hands a user and his or her opponents have played, enable the user to analyze conditional statistical possibilities and optimal betting amounts. The situations it analyzes are conditional on the opposition's playing characteristics and the player's position relative to the dealer. Graphs can be produced for a single session or for any part of one's playing history. One of the biggest improvements in PokerTracker 3 over PT2 is that it is fully customizable so that all statistics and reports can be tailored to the individual user. The Guardian claims most serious players use PokerTracker during online play to constantly calculate situational optima. `PokerTracker 3 is also known for its integrated heads-up display, a transparent video overlay data presentation that makes statistics and notes are readily available during play. The HUD allows an online poker player to focus his attention on the poker table he or she is playing at, rather than on the PokerTracker application. The HUD provides a vast array of realtime statistics for in-game analysis, customizable to the user's preference. In addition to the statistics available constantly during play on the poker window, detailed statistics are available in a pop-up window, accessible via a single mouse click. Marbella Slim of the Daily Star used the vision of Arnold Schwarzenegger's Terminator character in an analogy with the HUD: "In some scenes, you get to see what the robot Terminator is seeing and he has all these data streams in front of his vision - it's a HUD or a head-up display." Unlike other poker tracking products, PokerTracker 3 includes a HUD as part of the basic program. The PT3 HUD, which automatically overlays a player's opponents' statistics next to their avatars, is essentially a built-in version of the formerly available PokerAce HUD.` `PokerTracker 3 also offers a monthly subscription-based service called TableTracker. TableTracker is an integrated service that automatically identifies ring tables with competition suitable to the user's playing style. PokerTracker's servers constantly monitor which players are playing and what tables they are playing at on various major poker sites, which allows TableTracker to find the weakest players across multiple online poker websites. The user can search based on the software's built in scoring system or any other statistics of his or her choosing.` ## Use and legality `Serious poker pros and casual amateurs alike can benefit from the poker tracking software, and poker magazines such as Card Player repeatedly remind poker players of the usefulness of tracking software. Total Gambler says that in addition to experience and skill the other necessity for a gambler to become a professional poker player is a good software package such as PokerTracker.` Several websites portray PokerTracker as either the world's leading or the world's most popular poker tracking software. For example, Pokersource.com describes it as "the most popular poker tracking and analysis software available" and Party Poker describes PokerTracker as "the original and largest piece of poker tracking software". PokerSoftware.com says "Poker Tracker has been the industry standard ... for years". Total Gambler says that for more than a two-year period PokerTracker 2 was the "prominent force in online poker tracking", but at the time of its December 2008 review it speaks of this leadership position in the past tense, noting that PT3 had not yet been "fully released" at the time of its testing. Major online card rooms forbid the use of software that gives a player an "unfair advantage." This typically includes software that allows players to share their hole cards with other players during live play and software that automates decision making. Since PokerTracker software doesn't fit into either of these categories it is generally allowed on most sites, including industry leader PokerStars.com. Legality aside, some players feel the use of PokerTracker takes away from the game; for example, Victoria Coren of The Guardian remarks "there is only one downside [to using PokerTracker]. Where's the bloody fun in it?"	[ "## Products", "### PokerTracker 3", "### PokerTracker 4", "## Software features", "## Use and legality" ]	1,886	20,024
2,595,727	Homer vs. Patty and Selma	1,172,122,622	null	[ "1995 American television episodes", "Film and television memes", "The Simpsons (season 6) episodes" ]	"Homer vs. Patty and Selma" is the seventeenth episode of the sixth season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on February 26, 1995. In the episode, Homer loses all his money in pumpkin futures and must turn to Patty and Selma for a loan. Meanwhile, Bart takes up ballet lessons, with an instructor voiced by actress Susan Sarandon. The episode was written by Brent Forrester and directed by Mark Kirkland, with David Mirkin serving as the executive producer. Sarandon had wanted to guest star on The Simpsons because her children were fans of the show; she made a later appearance in the series in the episode "Bart Has Two Mommies" as the voice of a computer. Mel Brooks also makes an appearance in "Homer vs. Patty and Selma", and had previously accompanied his wife Anne Bancroft to the recording studio when she had a role in the episode "Fear of Flying". Chris Turner cites scenes from the episode in describing Homer's characteristic qualities in his book Planet Simpson: How a Cartoon Masterpiece Documented an Era and Defined a Generation. Turner notes that the episode illustrates Homer's impulsiveness, silliness, and "physical stupidity". Contributor Raja Halwani writes in the compilation work The Simpsons and Philosophy that the episode shows Homer's tendency to habitually lie to Marge, and cites Homer's covering for Patty and Selma when they are caught smoking as a positive aspect of his character. The episode also received positive mention from Turner in Planet Simpson, Warren Martyn and Adrian Wood in their book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, and Colin Jacobson of DVD Movie Guide. ## Plot Homer invests in pumpkins, but loses his entire investment. Late on a mortgage payment, he tries to borrow money, to no avail. After Patty and Selma receive promotions at the DMV, Homer realizes they are his last resort. They agree to lend him money on the condition that he becomes their humble servant. Homer begs Patty and Selma to help conceal his money woes from Marge, who soon finds out after seeing his IOU note to her sisters. Homer becomes a chauffeur to earn more money, but is stopped by Chief Wiggum for not having a chauffeur's license. Homer visits the DMV with Marge to apply for one; Patty and Selma are his evaluators. The two mercilessly fail his driving and written test. To celebrate Homer's failure, they light up cigarettes but are caught by their supervisor, who threatens to demote them for smoking on the job. After seeing Marge's dismay at the situation, Homer reluctantly covers for them by claiming the lit cigarettes are his. To thank Homer for helping them avoid demotion, Patty and Selma forgive the loan. In the subplot, Bart is late for school on the day students choose their physical education classes. When he arrives, ballet is the only class that is available. Despite his initial reluctance, Bart soon discovers he is a talented dancer and is invited to star in a school ballet. After his performance, school bullies chase Bart, intending to beat him. He tries to escape by jumping over a trench but injures himself after failing the leap. Seeing that Bart is hurt from the fall, the bullies leave without pummeling him. Lisa tells Bart she is proud of him for showing his sensitive side. ## Production The script for "Homer vs. Patty and Selma" was written by Brent Forrester and was the first time he received a writing credit on The Simpsons. Executive producer David Mirkin describes it as a very grounded and emotional episode that seems very "sitcomy". Bart's ballet teacher was voiced by Susan Sarandon, and was designed to look a little bit like her. Sarandon had wanted to guest star on the show because her children were big fans; she brought them with her to the recording session. Due to a traffic jam, she was late for the recording session, but once she arrived, she fell into character and worked very hard on getting her accent accurate. Sarandon would later have a cameo appearance as the voice of a computer in the season 17 episode "Bart Has Two Mommies". Mel Brooks has a cameo appearance as himself. His wife Anne Bancroft had played a role in the episode "Fear of Flying" and Brooks had accompanied her to the recording session. Mirkin realized that Brooks was "dying to do the show" and asked him if he would be willing to do a guest part, and he agreed. Many of the writers were fans of Brooks, and Matt Groening described the chance to have him guest star as "an incredible honor". The episode was directed by Mark Kirkland who was a fan of Patty and Selma, having previously directed the season two episode "Principal Charming", which also focuses on the duo. When directing the sequences where Bart does ballet dancing, Kirkland assigned the scenes to animators who were familiar with dancing. ## Themes Chris Turner writes in his book Planet Simpson: How a Cartoon Masterpiece Documented an Era and Defined a Generation that the episode illustrates how Homer Simpson is "an organism of considerable complexity". Turner comments, "Homer is carrying the full symbolic weight of twentieth-century America on his shoulders, and no garden-variety doofus could manage that task." Turner discusses a moment from the episode where Marge tells her sisters, "Homer doesn't mean to be rude, he's just a very complicated man", after which Homer breaks a plate over his head and shouts "Wrong!" Turner writes that this "revelatory moment" is illustrative of "several of the best-known aspects of Homer's character: his impulsiveness, his inherent silliness, his evident, even physical stupidity". In the compilation work The Simpsons and Philosophy: The D'oh! of Homer, edited by William Irwin, Mark T. Conrad, and Aeon J. Skoble, the episode is cited as an example where, as contributor Raja Halwani writes, "Homer is a habitual liar, he lacks honesty." In addition to "lying about his financial losses in investments" in the episode, Halwani notes Homer lied to Marge in "The Front" about "the fact that he never graduated from high school", and in the episode "The Cartridge Family", Homer lied to Marge about getting rid of the gun he had purchased. However, Halwani later highlights positive aspects of Homer's character, noting that in the episode, Homer "pretended he was the one smoking so that Patty and Selma would not get fired for smoking at their workplace". ## Reception ### Critical reception Chris Turner wrote in Planet Simpson that the scene where Homer "smashes a dinner plate over his head" is one of his favorite Homer moments. "I'd like to say it's the defining Homer moment, but that would do a grave injustice to the extraordinary dramatic achievement that is Homer J. Simpson", Turner comments. Writing in I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood said, "Patty and Selma have rarely been more evil than here — they are fabulously cruel." In a review of the sixth season of The Simpsons, Colin Jacobson of DVD Movie Guide writes, "Homer’s disdain for Marge’s sisters – and vice versa – has always led to terrific sparks, and “Vs.” provides another great round in their eternal battle. It's hilarious to see Homer indebted to the Terrible Two..." In Latin America, "Niño Rata", the Spanish equivalent of "Ratboy" (the nickname Homer ascribes to Bart in a scene in this episode), became an Internet meme, particularly on YouTube. The phrase is used to refer to irate, inexperienced and underage fans of such video games as Minecraft, Call of Duty, FIFA, Grand Theft Auto Online and Fortnite; it is also used to designate YouTube users who troll other users in the comments bar. ### Ratings In its original broadcast, "Homer vs. Patty and Selma" finished 38th in ratings for the week of February 20–26, 1995, with a Nielsen rating of 11.1, equivalent to approximately 10.6 million viewing households. It was the third highest-rated show on the Fox network that week, following Beverly Hills, 90210 and Married... with Children.	[ "## Plot", "## Production", "## Themes", "## Reception", "### Critical reception", "### Ratings" ]	1,743	479
50,365,019	Slither.io	1,173,862,067	Browser/mobile game	[ ".io video games", "2016 video games", "Android (operating system) games", "Browser games", "Browser-based multiplayer online games", "Casual games", "Free-to-play video games", "IOS games", "Multiplayer video games", "Raw Thrills games", "Snake video games", "Social casual games", "Video games developed in the United States" ]	Slither.io is a multiplayer online video game available for iOS, Android, and web browsers, developed by Steve Howse. Players control an avatar resembling a snake, which consumes multi-colored pellets, both from other players and ones that naturally spawn on the map in the game, to grow in size. The objective of the game is to grow the longest snake in the server. Slither.io is similar in concept to the popular 2015 web game Agar.io and is reminiscent of the classic arcade game Snake. The game grew in popularity following its promotion among several prominent YouTube users such as PewDiePie, and topped the App Store soon after its release. Slither.io's browser version was ranked by Alexa as one of the 1,000 most visited sites by July 2016, while the iOS version ranked first in the most downloaded apps on the App Store. A mobile version of the game for Android was released on March 27, 2016. The reception of the game was positive, with reviewers praising its appearance and customization but criticizing it for its low replay value and the high price users must pay to remove advertisements. ## Gameplay The objective of the game is to control a snake, also known as "slithers", around a wide area and eat pellets, defeating and consuming other players to gain mass to grow the largest and longest in the game. Once players are spawned into the virtual world, their avatar remains in constant motion. If the player's snake's head collides another slither, the player will die. The defeated avatar's body turns into bright, larger shining pellets for other players to consume. These pellets that remain from "death" of an avatar will correspond to the color of the avatar itself, and are both brighter and bigger than "normal" pellets, which spawn naturally throughout the world. Normal pellets do not give as much mass as pellets dropped from other snakes. "Chase" pellets will appear individually in various places of the world; when eaten, they give a greater amount of mass than pellets dropped by other snakes. Chase pellets avoid snakes and flee when they draw near. Chase pellets can be obtained by boosting. By pressing and holding the space bar, up arrow, or left/right mouse button, or double-tapping the touch screen on mobile, the player can use their boost, which causes the avatar to speed up. When the button is released, or the finger on the touchscreen on mobile, the snake will stop using its boost. As a player uses their boost, the snake loses mass, causing the snake's size to shrink slightly as the player continues to boost. The mass that is lost from the boost appears as a line of small pellets where the boost was used. The mass lost can be regained by consuming the pellets. Similar to pellets dropped from defeated avatars, the boost pellets correspond to the color of the avatar. The boost feature is useful to outmaneuver and defeat opponents. A common strategy that is used by players to defeat opponents is by coiling the player's slither around a smaller opponent's in a loop, until the opponent, trapped in the tightening loop, crashes into the player. There is a border that confines avatars within the circular game board. If a snake hits the border, the player automatically dies without turning into pellets. On each server, leaderboards are displayed at the top right, showing the top ten players with snakes that have the most mass out of all the other slithers in the entire server. ### Skins There are 16 default skins, each one a different solid color along with multiple repeating patterns. The colors are randomly chosen when the player joins the server. Players can choose to customize their snake's appearances using custom skins with unique designs including different countries' flags, as well as skins with motifs and colors representing well-known YouTubers, such as Jacksepticeye, Jelly, and PewDiePie. The player may also choose to create their own skin, with a tool known as "Build a Slither", which shows the different colors that an avatar can be made of, that can be placed on the worm upon clicking. Previously, in order to unlock custom skins in browser mode, players were forced to share the game on Twitter or Facebook using the external links found on the website. By June 2016, the ability to add skins was also added to the iOS and Android versions. ## Development According to game creator Steven Howse, he was inspired to create the game while he was experiencing financial problems. As a result of these financial issues, he had to move from Minneapolis to Michigan, where he realized the popularity of Agar.io. He had long wanted to create an online multiplayer game, but the only option for the development at the time was in Adobe Flash, and not wanting to use this method, he gave up the idea for a while. Howse finally created the game when he realized that WebSocket, a low-latency protocol supported by most major browsers, was sufficient and stable enough to run an HTML game similar to other games such as Agar.io. The most difficult part of the development was in making each server stable enough to handle 600 players at a time. Howse struggled to find space on servers with enough space in regions where there was more demand and tried to avoid cloud services like Amazon Web Services, owing to the high cost that these services would incur based on the amount of bandwidth used. After six months of development, Slither.io was released for browsers and iOS on March 25, 2016, with servers supporting up to 500 players. Two days after the iOS/browser versions' release, an Android version was made available by Lowtech Studios. The only way Howse could make revenue was to display advertising in the app after the player's worm died; this option could be removed for US\$3.99. He chose not to sell virtual currency or power-ups so that those who paid would not have an advantage over players who did not. As there was no money to advertise for the game, the only way to promote the game was the various let's plays by players on YouTube, including PewDiePie, who had more than 47 million subscribers at the time. The success of the game would cause Raw Thrills to develop an arcade version a few years later. In the weeks following the release, Howse worked on updates to stabilize the game and provide a better experience for players. In addition, he plans to add new features, such as a "friendly mode" that allows people to set up teams, and a way for the player to choose a server to play on. Howse said that two major gaming companies had approached him to buy Slither.io. He had considered the idea, since he felt that it was stressful to maintain the game. ## Reception Soon after release, Slither.io reached the top of the App Store sales charts in the free software category in several regions, including the United States and the United Kingdom. By the end of 2016, Slither.io had become Google's most searched video game of the year in the United States. Patricia Hernandez of Kotaku said that the game's low barriers to entry and similarity to Agar.io explained Slither.io's popularity. She noted the game's fast pace. Boing Boing compared the game's core mechanic to that of the 2009 game Osmos. Brandt Ran, writing for Business Insider, said that "despite running into some technical hiccups—the game can lag heavily at times—I doubt Slither.io will be leaving my home screen anytime soon." Harry Slater, writing for Pocket Gamer, defined the game as "interesting", the gameplay as a "compulsive experience", and the structure as simple and similar to Agar.io, although it did not have a large replay value. TechCrunch's Felicia Williams praised the designs, getting "pleasantly surprised" with the variety of skins for customization. Lian Amaris of Gamezebo found the game to be "far more interesting than Agar.io" because it involved "an ever-growing languid body rather than just a flat circle", and praised "the dark environment with neon worms," which gave the game a "retro arcade feel." Amaris also compared the concept of Slither.io to that of Agar.io and stated that Slither.io was reminiscent of the classic arcade game Snake. Shortly after the release of the mobile versions, the game was in first place in the ranking of games of the App Store. Despite Slither.io's popularity, it received mixed reviews. Scottie Rowland of Android Guys praised the gameplay and graphics but criticized the ads that pop up on the screen after the end of the game, calling them "extremely annoying", and finding the payment to remove them "a bit pricey". ### Popularity By July 2016, the browser version website was ranked by Alexa as the 250th most visited site worldwide, but then experienced a decline in popularity, dropping below 1,000 by October 2016 before remaining mostly constant at approximately 1,700 by January 2017. In April 2017, Slither.io's global rank then started declining further, reaching 2,800 by September 2017. By that same period, the game had already been downloaded more than 68 million times in mobile applications and played more than 67 million times in browsers, generating a daily income of US\$100,000 for Howse.	[ "## Gameplay", "### Skins", "## Development", "## Reception", "### Popularity" ]	1,922	18,741
9,097,556	John Deere House and Shop	1,169,229,535	null	[ "Blacksmith shops", "Historic house museums in Illinois", "History of Illinois", "Houses completed in 1836", "Houses in Ogle County, Illinois", "Industry museums in Illinois", "John Deere", "Museums in Ogle County, Illinois", "National Historic Landmarks in Illinois", "National Register of Historic Places in Ogle County, Illinois" ]	The John Deere House and Shop is located in the unincorporated village of Grand Detour, Illinois, near the Lee County city of Dixon. The site is known as the location where the first steel plow was invented by John Deere in 1837. The site includes Deere's house, a replica of his original blacksmith shop, a gift shop, and an archaeological exhibit showing the excavation site of his original blacksmith shop. The Deere House and Shop is listed on the National Register of Historic Places; it joined that list in 1966, the year the Register was established. Prior to that, it was designated a National Historic Landmark on July 19, 1964. ## History In 1836, native Vermonter John Deere set out from Rutland, Vermont to Grand Detour, Illinois, founded by his friend and fellow Vermont native Leonard Andrus. The town lacked a local blacksmith, Deere's trade, and within two days Deere had a forge and new business established. In Vermont, Deere produced plows made from cast-iron and when he first arrived in Illinois he produced the same plows. Soil conditions in Illinois differ from those in Vermont. In Vermont the soil is sandy and falls easily away from the plow blade but in Illinois the soil is thicker and wetter; it stuck to the plow and had to be scraped off by the farmer as he plowed. There are varying tales as to the inspiration for Deere to create the invention he is famed for, the steel plow. In one version he recalled the way the polished steel pitchfork tines moved through hay and soil and thought that the same effect could be obtained for a plow. Deere learned the technique polishing sewing needles for his mother, a seamstress. By early 1838, Deere completed his first steel plow and sold it to a local farmer, Lewis Crandall. Crandall spread word of his success with Deere's plow quickly, and two neighbors soon placed orders with Deere. By 1841 he was manufacturing 75 plows per year, and 100 plows per year in 1876. ## John Deere Historic Site The John Deere Historic Site in Grand Detour, Illinois is operated by the John Deere Company and has five components. Outside of the perimeter, which is surrounded by a white, wooden fence, are 2 acres (0.81 ha) of prairie restoration. Inside of the fenced area is the replica blacksmith shop, the John Deere House and the visitor's center which is a gift shop. Also on the grounds is a building which houses the 1960s archaeological dig site. The blacksmith shop is a replica of the original Deere Shop, unearthed during the 1960s dig. The shop recreates Deere's shop and includes a demonstration by a modern blacksmith using antique tools of the trade and an open furnace. The visitor's center is inside an 1843 home built by a Deere neighbor, it houses a gift shop which has an original Deere family wall clock on display. The home was originally owned by William Dana. The house is furnished with period items as well as the gift shop's merchandise. The entire site is operated by John Deere Company employees. Part of the John Deere Historic Site is listed on the National Register of Historic Places along with being designated a National Historic Landmark. The only contributing property on the National Register listing for the site is the John Deere House. The house is also the only "property type" listed on the National Historic Landmarks' online database entry for the site. The house obtained National Historic Landmark status on July 19, 1964 and was added to the National Register of Historic Places soon after its inception on October 15, 1966. ## House The John Deere House was built in 1836 when Deere arrived in Grand Detour and the building was added onto as his family grew. It is furnished with period furniture and household objects that would have been common around the time the Deere family occupied the home. The house has two levels with four rooms on the main level and two rooms upstairs. Each of the upstairs rooms is accessible via a private staircase and it is believed one of the rooms was used by Deere's apprentices while the other was used as a children's bedroom. The front entry leads into the living room where polished wood is found throughout as well as 19th century furnishings. The front room is part of the original building which consisted of one room. The room acted as the Deere's kitchen, living room, bedrooms, essentially everything. Deere eventually added onto the house, including a bedroom and an upstairs loft. The first floor bedroom would have been used for John and his wife, and possibly a couple of the children while the upstairs room would was used for the rest of the children. The Deeres left the home in 1847 when they moved to Moline, Illinois. ## Shop The original blacksmith shop on the site is long gone, however, in 1962 an archaeological team made of students from the University of Illinois approached the Deere Company about excavating the site where the shop once stood. The team unearthed the location of the original Deere Blacksmith Shop where the first successful steel plow was developed in 1837. The dig site is preserved beneath a building, known as the pavilion. The site is surrounded by museum exhibits which include artifacts, news clippings, and photographs. A blacksmith shop does occupy the current John Deere Historic Site grounds. Archaeologists used a magnetometer to locate the position of the forge in the original blacksmith shop, thus, the current shop shares an interior which is an exact replica of the original. The exterior of the building has the same dimensions as the original as well. ## Historic significance The John Deere House and Shop is historically significant for its influence in the areas of commerce, agriculture, industry, and invention. The site was designated a U.S. National Historic Landmark on July 19, 1964. The Landmark designation was assigned by the U.S. Department of Interior because of the House and Shop's association with John Deere, founder of the John Deere Company and inventor of the first steel plow. His invention was of significance to the entire United States and made large scale cultivation of areas in Illinois, Indiana and Ohio possible. When the U.S. National Register of Historic Places was established in 1966 the John Deere House and Shop was among the first properties to join that list. It was added to the National Register on October 15, 1966, the same day the National Register was established.	[ "## History", "## John Deere Historic Site", "## House", "## Shop", "## Historic significance" ]	1,382	6,828
1,007,767	DeFord Bailey	1,157,976,063	American country musician (1899–1982)	[ "1899 births", "1982 deaths", "20th-century African-American male singers", "20th-century American guitarists", "African-American country musicians", "African-American guitarists", "African-American songwriters", "American banjoists", "American country guitarists", "American country harmonica players", "American country singer-songwriters", "American male guitarists", "American male singer-songwriters", "Country Music Hall of Fame inductees", "Country musicians from Tennessee", "Grand Ole Opry members", "Guitarists from Tennessee", "Members of the Country Music Association", "People from Smith County, Tennessee", "Singer-songwriters from Tennessee" ]	DeFord Bailey (December 14, 1899 – July 2, 1982) was an American country music and blues star from the 1920s until 1941. He was one of the first performers to be introduced on Nashville radio station WSM's Grand Ole Opry, the first African-American performer to appear on the show, and the first performer to have his music recorded in Nashville. Bailey played several instruments in his career but is best known for playing the harmonica, often being referred to as a "harmonica wizard". Born and raised in Tennessee, Bailey learned how to play the harmonica while recuperating from polio as a young child. He moved to Nashville with relatives in his late teens and was an important early contributor to Nashville's burgeoning music industry. Among the first generation of entertainers to perform live on the radio, his recorded compositions were well-known and popular. Bailey toured and performed with many well-known country artists during the 1930s. As a result of the 1941 royalties disagreement between Broadcast Music, Inc. (BMI) and American Society of Composers, Authors and Publishers (ASCAP), he was fired by WSM and stopped making his living as an entertainer. Afterwards, he supported himself and his family by shining shoes and renting out rooms in his home. He returned to sporadic public performances in 1974 when he was invited to participate in the Opry's first Old-Timers show and in 2005 was posthumously inducted into the Country Music Hall of Fame. ## Early life A grandson of slaves, Bailey was born on December 14, 1899, near the Bellwood community in Smith County, Tennessee. His mother died when he was about a year old and he was then taken in by his aunt Barbara Lou. He learned to play the harmonica at the age of three when he contracted polio. Bailey was confined to bed for a year and could only move his head and arms. His style of playing the harmonica evolved, as he imitated the sounds of the natural world around him and of the trains traveling through the countryside. Though Bailey did recover from his bout with polio, there were some long-term consequences. His back remained slightly misshapen and he only grew to be 4 feet, 10 inches. He was so short and slender as a teenager he was mistaken to be an underage child by railroad ticket agents. His foster father Clark Odom was hired as a manager for a farm near Nashville and in 1908 the family made the move from Smith County. The Odoms and their foster son lived on Nashville and Franklin Tennessee farms Clark Odom managed for several years. In 1918, the family moved to Nashville when Clark Odom got a city job and Bailey started to perform locally there as an amateur. ## Career Bailey's first radio appearance was apparently in September 1925 on Fred Exum's WDAD, a Nashville station that only lasted from 1925 until sometime in 1927. His first documented appearances, however, were in 1926 according to The Nashville Tennessean including WDAD on January 14 and WSM on June 19. On December 10, 1927, he debuted his trademark song, "Pan American Blues" (named for the Louisville and Nashville Railroad's Pan-American), on a program then known as the WSM Barn Dance. At that time Barn Dance aired after NBC's classical music show, the Music Appreciation Hour. While introducing Bailey, WSM station manager and announcer George D. Hay exclaimed on-air, “For the past hour, we have been listening to music largely from Grand Opera, but from now on, we will present ‘The Grand Ole Opry.’” "Pan American Blues" was the first recording of a harmonica blues solo. Several records by Bailey were issued in 1927 and 1928, all of them harmonica solos. In 1927 he recorded for Brunswick Records in New York City, In 1928 he made the first recordings in Nashville, eight sides for RCA Victor, three of which were issued on the Victor, Bluebird, and RCA labels. Emblematic of the ambiguity of Bailey's position as a recording artist is the fact that his arguably greatest recording, "John Henry", was released by RCA separately in both its "race" series and its "hillbilly" series. In addition to his well-known harmonica, Bailey also played the guitar, bones, and banjo. Bailey was a pioneer member of the WSM Grand Ole Opry and one of its most popular performers, appearing on the program from 1927 to 1941. During this period he toured with major country stars, including Uncle Dave Macon, Bill Monroe, and Roy Acuff. Like other black stars of his day traveling in the Southern United States and Western United States, he faced difficulties in finding food and accommodations because of discriminatory Jim Crow laws. Bailey was fired by WSM in 1941 because of a licensing conflict between BMI and ASCAP, which prevented him from playing his best-known tunes on the radio. When he was let go from the Opry, that effectively ended his performance and recording career. Bailey then spent the rest of his life running his own shoeshine stand and renting out rooms in his home to make a living. Though he continued to play the harmonica, he almost never performed publicly. One of his rare performances occurred in 1974, when he agreed to appear on the Opry. This was a special event to mark the Opry leaving the Ryman Auditorium for the Grand Ole Opry House. This performance became the impetus for the Opry's annual Old Timers' Shows. Afterwards, Bailey continued to perform at the Opry only occasionally. He played there on his 75th birthday in December 1974, at the Old Timers Shows, and also in April 1982. A few months later that year, in June, he was taken to Nashville's Baptist Hospital in failing health. Bailey died on July 2, 1982, at his daughter's home in Nashville, and is buried in Greenwood Cemetery there. ## Influence and posthumous accolades Bailey himself said that he came from a tradition of "black hillbilly music". His family members had played a variety of instruments, including a grandfather who had been a well-known local fiddler in Smith County, Tennessee. He said later when referring to playing the harmonica when he was growing up "Oh, I wore it out trying to imitate everything I hear! Hens, foxes, hounds, turkeys, and all those trains and things on the road. Everything around me." Along with performing well-known genre classics such as "Cow-Cow Blues", Bailey also wrote his own signature Opry songs, like the train-imitating "Pan American Blues" and the "Dixie Flyer Blues". When WSM's power increased to 50,000 watts, Bailey's influence increased as well, with harmonica enthusiasts listening to his performances and studying his recordings. In 2005, Nashville Public Television produced the documentary DeFord Bailey: A Legend Lost. The documentary was broadcast nationally through PBS. Bailey was inducted into the Country Music Hall of Fame on November 15, 2005. The DeFord Bailey Tribute Garden at the George Washington Carver Food Park in Nashville was dedicated on June 27, 2007. The Encyclopedia of Country Music called him "the most significant black country star before World War II." Bailey is still being referred to as a "harmonica wizard" more than three decades after his death. ## Discography ### 78 rpm singles Listing sourced from the University of Santa Barbara Library/American Discography Project's Discography of American Historical Recordings - "Evening Prayer Blues" / "Alcoholic Blues" (Brunswick, 1927) - "Muscle Shoal Blues" / "Up Country Blues" (Brunswick, 1927) - "Dixie Flyer Blues" / "Pan American Blues" (Brunswick, 1927) - "Fox Chase" / "Old Hen Cackle" (Vocalion, 1928) - "Ice Water Blues" / "Davidson County Blues" (Victor, 1929) - "John Henry" / "Like I Want To Be" (split single with Noah Lewis Jug Band) (Victor 23336, 1932) - "John Henry" / "Chester Blues" (split single with D. H. Bilbro) (Victor 23831, 1933) ### Albums - The Legendary DeFord Bailey (Tennessee Folklore Society, 1998) (recorded 1974–1976)	[ "## Early life", "## Career", "## Influence and posthumous accolades", "## Discography", "### 78 rpm singles", "### Albums" ]	1,813	15,049
71,998,469	475 °C embrittlement	1,161,900,544	Loss of plasticity in ferritic stainless steel	[ "Materials degradation", "Steel" ]	Duplex stainless steels are a family of alloys with a two-phase microstructure consisting of both austenitic (face-centred cubic) and ferritic (body-centred cubic) phases. They offer excellent mechanical properties, corrosion resistance, and toughness compared to other types of stainless steel. However, duplex stainless steel can be susceptible to a phenomenon known as 475 °C embrittlement or duplex stainless steel age hardening, which is a type of aging process that causes loss of plasticity in duplex stainless steel when it is heated in the range of 250 °C (480 °F) to 550 °C (1,020 °F). At this temperature range, spontaneous phase separation of the ferrite phase into iron-rich and chromium-rich nanophases occurs, with no change in the mechanical properties of the austenite phase. This type of embrittlement is due to precipitation hardening, which makes the material become brittle and prone to cracking. ## Duplex stainless steel Duplex stainless steel is a type of stainless steel that has a two-phase microstructure consisting of both austenitic (face-centred cubic) and ferritic (body-centred cubic) phases. This dual-phase structure gives duplex stainless steel a combination of mechanical and corrosion-resistant properties that are superior to those of either austenitic or ferritic stainless steel alone. The austenitic phase provides the steel with good ductility, high toughness, and high corrosion resistance, especially in acidic and chloride-containing environments. The ferritic phase, on the other hand, provides the steel with good strength, high resistance to stress corrosion cracking, and high resistance to pitting and crevice corrosion. They are therefore used extensively in the offshore oil and gas industry for pipework systems, manifolds, risers, etc. and in the petrochemical industry in the form of pipelines and pressure vessels. A duplex stainless steel mixture of austenite and ferrite microstructure is not necessarily in equal proportions, and where the alloy solidifies as ferrite, it is partially transformed to austenite when the temperature falls to around 1,000 °C (1,830 °F). Duplex steels have a higher chromium content compared to austenitic stainless steel, 20–28%; higher molybdenum, up to 5%; lower nickel, up to 9%; and 0.05–0.50% nitrogen. Thus, duplex stainless steel alloys have good corrosion resistance and higher strength than standard austenitic stainless steels such as type 304 or 316. Alpha (α) phase is a ferritic phase with body-centred cubic (BCC) structure, Im$\bar{3}$m [229] space group, 2.866 Å lattice parameter, and has one twinning system {112}\<111\> and three slip systems {110}\<111\>, {112}\<111\> and {123}\<111\>; however, the last system rarely activates. Gamma ($\gamma$) phase is austenitic with a face-centred cubic (FCC) structure, Fm$\bar{3}$m [259] space group, and 3.66 Å lattice parameter. It normally has more nickel, copper, and interstitial carbon and nitrogen. Plastic deformation occurs in austenite more readily than in ferrite. During deformation, straight slip bands form in the austenite grains and propagate to the ferrite-austenite grain boundaries, assisting in the slipping of the ferrite phase. Curved slip bands also form due to the bulk-ferrite-grain deformation. The formation of slip bands indicates a concentrated unidirectional slip on certain planes causing a stress concentration. ## Age hardening by spinodal decomposition Duplex stainless steel can have limited toughness due to its large ferritic grain size, and its tendencies to hardening and embrittlement, i.e., loss of plasticity, at temperatures ranging from 250 °C (480 °F) to 550 °C (1,020 °F), especially at 475 °C (887 °F). At this temperature range, spinodal decomposition of the supersaturated solid ferrite solution into iron-rich nanophase ($\acute{a}$) and chromium-rich nanophase ($\acute{a}\acute{}$), accompanied by G-phase precipitation, occurs. This makes the ferrite phase a preferential initiation site for micro-cracks. This is because aging encourages Σ3 {112}\<111\> ferrite deformation twinning at slow strain rate and room temperature in tensile or compressive deformation, nucleating from local stress concentration sites, and parent-twinning boundaries, with 60° (in or out) misorientation, are suitable for cleavage crack nucleation. Spinodal decomposition refers to the spontaneous separation of a phase into two coherent phases via uphill diffusion, i.e., from a region of lower concentration to a region of higher concentration resulting in a negative diffusion coefficient ${d^2G \over dx^2}$, without a barrier to nucleation due to the phase being thermodynamically unstable (i.e., miscibility gap, $\acute{a}$ + $\acute{a}\acute{}$ region in the figure), where $G$ is the Gibbs free energy per mole of solution and the composition. It increases hardness and decreases magneticity. Miscibility gap describes the region in a phase diagram below the melting point of each compound where the solid phase splits into the liquid of two separated stable phases. For 475 °C embrittlement to occur, the chromium content needs to exceed 12%. The addition of nickel accelerates the spinodal decomposition by promoting the iron-rich nanophase formation. Nitrogen changes the distribution of chromium, nickel, and molybdenum in the ferrite phase but does not prevent the phase decomposition. Other elements like molybdenum, manganese, and silicon do not affect the formation of iron-rich nanophase. However, manganese and molybdenum partition to the iron-rich nanophase, while nickel partitions to the chromium-rich nanophase. ## Microscopy characterisation Using Field Emission Gun Transmission Electron Microscope FEG-TEM, the nanometre-scaled modulated structure of the decomposed ferrite was revealed as chromium-rich nanophase gave the bright image, and iron-rich darker image. It also revealed that these modulated nanophases grow coarser with aging time. Decomposed phases start as irregular rounded shapes with no particular arrangement, but with time the chromium-rich nanophase takes a plat shape aligned in the \<110\> directions. ## Consequences Spinodal decomposition increases the hardening of the material due to the misfit between the chromium-rich and iron-rich nano-phases, internal stress, and variation of elastic modulus. The formation of coherent precipitates induces an equal but opposite strain, raising the system's free energy depending on the precipitate shape and matrix and precipitate elastic properties. Around a spherical inclusion, the distortion is purely hydrostatic. G-phase precipitates appear prominently at grain boundaries. and are phase rich in nickel, titanium, and silicon, but chromium and manganese may substitute titanium sites. G-phase precipitates occur during long-term aging, are encouraged by increasing nickel content in the ferrite phase, and reduce corrosion resistance significantly. It has ellipsoid morphology, structure (Fm$\bar{3}$m), and 11.4 Å lattice parameter, with a diameter less than 50 nm that increases with aging. Thus, the embrittlement is caused by dislocations impediment/ locking by the spinodally decomposed matrix and strain around G-phase precipitates, i.e., internal stress relaxation by the formation of Cottrell atmosphere. Furthermore, the ferrite hardness increases with aging time, the hardness of the ductile austenite phase remains nearly unchanged due to faster diffusivity in ferrite compared to the austenite. However, austenite undergoes a substitutional redistribution of elements, enhancing galvanic corrosion between the two phases. ## Treatment 550 °C heat treatment can reverse spinodal decomposition but not affect the G-phase precipitates. The ferrite matrix spinodal decomposition can be substantially reversed by introducing an external pulsed electric current that changes the system's free energy due to the difference in electrical conductivity between the nanophases and the dissolution of G-phase precipitates. Cyclic loading suppresses spinodal decomposition, and radiation accelerates it but changes the decomposition nature from an interconnected network of modulated nanophases to isolated islands.	[ "## Duplex stainless steel", "## Age hardening by spinodal decomposition", "## Microscopy characterisation", "## Consequences", "## Treatment" ]	1,752	3,035
45,038,830	God's Choice	1,037,263,919	Book by Alan Peshkin	[ "1986 non-fiction books", "American non-fiction books", "Books about Christianity", "Books about the sociology of education", "Christian fundamentalism", "English-language books", "Ethnographic literature", "Ethnographic studies of education", "University of Chicago Press books" ]	God's Choice: The Total World of a Fundamentalist Christian School is a 1986 book written by Alan Peshkin and published by the University of Chicago Press. It is the product of his late 1970s 18-month ethnographic study of a 350-person Christian fundamentalist Baptist school in Illinois. He describes the K–12 day school's function as a total institution that educates about a singular truth (God's will) and subordination before God. The final chapter is a comparative analysis of the school and other schools, institutions, and social movements, wherein Peshkin concludes that the school is divisive in American society for promoting intolerance towards religious plurality, the very condition that permits the school's existence. Reviewers wrote that Peshkin's account was fair, and praised his decision to let the participants speak for themselves through quotations. They also noted that the book filled a literary lacuna in scholarly understanding of the rapidly expanding and understudied fundamentalist Christian school. ## Summary God's Choice: The Total World of a Fundamentalist Christian School is a 1986 book written by Alan Peshkin. It is a profile of an Illinois Christian fundamentalist school—its policies, practices, and participants. Peshkin, then Professor of Education at the University of Illinois at Urbana–Champaign, intended his account to be both impartial and "empathetic". He presents the fundamentalists as disciplined, dedicated, and determined with "formulas for success" opposite "fragmented and defensive" detractors. They believe in "one Truth"—God's plan—and reject philosophies of multiple truths. A teacher told Peshkin that their job is to prepare students for this "one pattern" of thought. In turn, the community's constituents do not wish to leave, but appreciate conformity as an end in itself. Peshkin describes the school as a "total institution": a place where many similar people live by their own formal rules apart from outside society, as based on Erving Goffman's 1961 essay. Peshkin asserts that this was a natural conclusion from a school "based on absolute truth". God's Choice was the third book in his series of studies on school–community relationships. It was published by the University of Chicago Press. In 1978, Peshkin moved to an Illinois community of 50,000 people that he pseudonymically called Hartney, where he stayed and observed for 18 months. He lived in an apartment within the home of a family associated with what he called the Bethany Baptist church. Peshkin studied their 350-student K–12 Christian day school, Bethany Baptist Academy (also a pseudonym). The school opened six years prior with 88 students and was one of over one thousand members of the American Association of Christian Schools. The study focuses on the 125 students in the junior–senior high school. After a semester, Peshkin began to interview the community members, and used their quotes to let them "speak for themselves". The book includes eight portraits of students—four from faith and four "scorners" who "consciously deviate"—as well as student and teacher survey data, displayed in 16 tables. An appendix includes course offerings and a bibliography. Peshkin's findings show a "total world" where the lessons of religion and education are intertwined into an "interrelated, interdependent" philosophy. The academy's intent is to make Christian professionals as what Peshkin describes as "a vocational school directed to work in the Lord's service". When compared to the work of public schools, the private school's instructors said both kinds of institutions impose a lifestyle and set of values as a kind of "brainwashing". Peshkin notes that while students "largely identify with" and uphold the fundamentalist teachings, they permit themselves the option of having "individual interpretations" and minor beliefs. Some students either dissent against the academy's rules or are regarded as too pious, but most students are moderate. Students take classes to be effective Christian leaders, including "Bible study and 'soul-winning', English, speech, drama, and music", which are seen as important to "read and proclaim the Word". Academy teachers establish their authority through discipline and teach "the truth" as established by "facts" from the Bible. Bible passages are associated with the subject matter in a process called "integration". The academy uses science books from Bob Jones University as an alternative to books that promote secular humanism, which is described as "the 'official religion' of the public school system". The Bob Jones science books associate the Bible with science, and often comment the relationship between God's intelligence and the intricacies of nature. Classes like science, social studies, and math are viewed as less important for the goal of making Christian professionals apart from their training to do "everything a sinner can do, better". Some classes are "memorization and recitation"-focused, reflecting an inelastic view of knowledge, which the academy believes to be fixed as based in biblical inerrancy. Their biggest external influence on curriculum is new books, which may affect how classes are taught, though the content ("the truth") remains the same. In a chapter on teacher selection and training, the task of socializing students with obedience and discipline takes precedence over the task of teaching content. Students are under constant supervision to uphold a pledge to avoid outside activities such as theater, fashion, dances, and certain television shows. They also avoid some activities altogether, such as sexualized contact, drugs, alcohol, and smoking. This pledge is to be upheld at home as well, and students are encouraged to report errancies. Teachers too pledge to prioritize "the pursuit of holiness" over all things in a "born again" activity where they "confess their sins and accept Jesus Christ as their personal savior". The school is unapologetic in its insistence on "telling the kids what is right" and its according preference for lecture over discussion. Teachers are also afforded the option of corporal punishment, though it is rarely used. The last two chapters feature Peshkin's commentary on the school in society, its tradeoffs and comparison with other total institutions and larger social movements, like the New Religious Right. He also compares the academy to public and parochial schools, wherein he finds public school students more politically tolerant and acceptant of religious pluralism. Peshkin's final reflections are written as a "cost-benefit analysis" of these Christian schools in the larger American society. In the last chapter, Peshkin contemplates how his Jewish identity is insulated within a pluralistic and secular society, and how he is fearful of absolutist "imperious, implacable logic" and "zeal for conversion and exclusivism". He recounted that while the school spoke derogatorily of non-fundamentalists and non-Christians, no one spoke of the American religious plurality that permitted this. In response to the encroaching state, fundamentalists feel that their political conviction should mirror that of their religion. Peshkin views the school as schismatic in a larger society for promoting intolerance towards fellow Americans. He also praised traits of the schools including its community, dedicated teachers, and attractive image. At the time of print, Christian schools like Bethany were outpacing the growth of other schools. In 1989, Christian schools comprised about 20% of private school enrollment—around 700,000 students. ## Reception Reviewers wrote that Peshkin's account was fair in its presentation, and that his choice to let individuals "speak for themselves" through abundant quotations was a strength. They also noted how the book filled a gap in the field and that his final chapter was too moralistic. R. Scott Appleby (American Journal of Education) wrote that Peshkin succeeded at his attempt to be impartial, and that his presentation of fundamentalist culture is made both "understandable" and, in part, "admirable". He reflected that this Christian pedagogy was closer to indoctrination than education in that it did not develop "critical skills and ... human capacities" in "open-ended" learning but professed a fixed chain of knowledge "from on high" where humans are errant and need authoritarian guidance. Appleby added that fundamentalism blames public schools and its associated state apparatus as both a manufacturer enemy needed to feed its "sense of crisis" and for creating "unsafe" areas unregulated by "Christian truth". Sociologist Susan Rose "broadens the base" of God's Choice in her 1988 Keeping Them Out of the Hands of Satan, and Appleby writes that the two books complement each other's lacunae. While God's Choice has an "engaging, sometimes riveting narrative" with vivid characters but little outside information apart from statistics, Keeping Them Out of the Hands of Satan includes extra detail on how fundamentalist groups interact and share a larger societal milieu. For example, Rose explains the difference in "born-again experiences" of evangelicals and fundamentalists, which Peshkin glosses over. In her own review of Peshkin's book, Rose (Contemporary Sociology) praised its "clear and detailed" contribution to the field but wished for more overview material on the Christian School Movement's rise, proponents, philosophical consistency, and "sociohistorical context". She wrote that few had studied Christian schools, the "fastest growing sector of private education in the United States". In commending Peshkin's even-handedness, she wrote that his forthrightness about declaring his own biases and effort to present participant voices through direct quotation were strong elements, though he described more than he analyzed. Rose felt that the "interesting" final chapters of analysis and comparison with public schools "grounded" the overall ethnography, though she wished for more comparison of the adolescent student experience between the academy and other kinds of American schools. She considers Peshkin's "discussion of the politics of pluralism", that Christian schools both add to American religious pluralism while advocating against it, possibly his best contribution. Jean Holm (The Times Higher Education Supplement) too noted the fast growth of conservative Christian schools but added that the book was also relevant in Britain, which was experiencing similar growth. She found the first few chapters somewhat repetitive as it expressed the uniformity of the school's practices. Richard V. Pierard (Christian Century) felt that Peshkin wrote with "deeply respect" for the school and its community, but Pierard, himself an evangelical, was "disturbed" by the community's "indoctrinated" values—"biblical absolutes" that are "part of a conservative program that has been read into Scripture". Paul F. Parsons (Christianity Today) noted that Peshkin found the school successful by traditional terms, with standardized tests, orderly climate, and "fun-loving" students, but lacking free exchange of ideas, as education is seen more as a transfer than a quest, and students do not learn "choice, doubt, suspended judgment, [or] dissent". Parsons affirmed Peshkin's findings as "remarkably representative" based on his own visits to "Christian schools in 60 cities", though others are less absolutist. And while Julian McAllister Groves (Journal of Contemporary Ethnography) described the text as "beautifully written" and "poetic", he doubted whether the school's students were as converted as they said, and felt that Peshkin might have seen more "role distance" and examples of playing along simply for community acceptance had he stayed for lunch and other informal observations.	[ "## Summary", "## Reception" ]	2,375	10,899
19,254,233	Lazy Afternoon (Barbra Streisand album)	1,167,144,337	null	[ "1975 albums", "Albums recorded at Capitol Studios", "Barbra Streisand albums", "Columbia Records albums" ]	Lazy Afternoon is the seventeenth studio album recorded by American singer Barbra Streisand. It was released on October 14, 1975 by Columbia Records. Following a mixed critical response to her previous studio album, ButterFly (1974), the singer began working with new musicians for the project. Recorded in April 1975 in Los Angeles, Lazy Afternoon contains pop standards. Producer Rupert Holmes wrote three songs on the album, and co-wrote a fourth, "By the Way", with Streisand. She also included a few cover songs, such as Four Tops' "Shake Me, Wake Me (When It's Over)", Stevie Wonder's "You and I", and Libby Holman's "Moanin' Low". The album received generally favorable reviews from music critics who agreed that it was more exciting than ButterFly. Commercially, the album peaked at number 12 on the United States, number 42 in Canada, and number 84 in Australia. It was later certified gold by the RIAA for shipments of 500,000 copies. "My Father's Song" and "Shake Me, Wake Me (When It's Over)" were released as singles in August and November 1975, respectively. The former entered the Adult Contemporary charts in the United States and Canada while the latter was a success on two of Billboard's dance charts in late 1975. ## Development Following the release of the Funny Lady soundtrack earlier in 1975, Streisand began work on Lazy Afternoon with producers Jeffrey Lesser and Rupert Holmes, with whom she had not previously worked. Because of the lackluster critical response to her previous album, ButterFly (1974), and her personal dislike for the record, she chose to collaborate with new musicians for the then-upcoming album. Holmes, in particular, was nervous while working with the singer. Following the completion of the album, Streisand hand-wrote a note to Holmes that read, "Dear Rupert, don't be frightened, you're the best, love Barbra". Specifically, she was touched by "My Father's Song", writing in the liner notes that she considered the song to be "a very personal gift [that] means a great to deal to me". Recording sessions for the album took place at Record Plant, RCA Studios, and Capitol Recording Studios in Los Angeles in April 1975. Columbia Records released Lazy Afternoon on October 14, 1975. It features handwritten liner notes developed by Streisand herself; she opened the booklet by writing, "While I usually let the vinyl speak for itself, I really had fun making this record, and I thought it might interest you to know something about each song. After all, I wouldn't want to be a chef who doesn't share her secrets!" Additionally, the label issued the album as an 8-track cartridge in 1975, with the track listing switching the order of "By the Way" and "Widescreen" around. Also a Cassette Tape version was issued. The album was finally released in compact disc format on October 25, 1990. ## Music and lyrics As a whole, the album contains a mixture of several different genres of music, particularly pop standards. Commenting on the diverse musical nature of the album, author Tom Santopietro described as the singer being able to "cover [...] all fan bases without seriously alienating any". Lazy Afternoon opens with the title track, written by John La Touche and Jerome Moross. A "poetic nature song" where "Streisand gives her voice totally over to the lyrics", director Francis Ford Coppola suggested the song to the singer in order to revive it. "My Father's Song" was written by Holmes and is the first original song on the track listing. Like other album tracks, it was considered to be a "sympathetic" ballad that relies on Streisand's vocals, according to AllMusic's William Ruhlmann. "By the Way", the record's third track, is noted as Streisand's first English-lyric songwriting credit in her career. While creating the track, Streisand decided to write from a "sense of resolute rather than desperate emotions". It is followed by a cover of the Four Tops' "Shake Me, Wake Me (When It's Over)". The original version, set in a gospel rock tempo, was updated into a disco track. The song tells a story of a lost love, with neighbors supposedly discussing the matter during "long and sleepless night[s]". "I Never Had It So Good" is the fifth track on Lazy Afternoon and was written by Paul Williams and Roger Nichols. She wrote in the album's liner notes that she had always wanted to sing it and accompany it with someone playing the harmonica. "Letters That Cross in the Mail" was the first song recorded for the album. Streisand claimed that the inspiration behind the track was "about love and the postal service". Santopietro wrote that Holmes' love for of "big band sound[s]" and "a full symphonic orchestra" is evident in the production. Following her cover of "All in Love Is Fair" in 1974, seventh track "You and I" is Streisand's second cover of a Stevie Wonder song. Taken from his 1972 studio album Talking Book, she called the pop song "immediately [...] touch[ing]" and considered Wonder "brilliant" for his work on it. Written by Howard Dietz and Ralph Rainger, Streisand's cover of Libby Holman's "Moanin' Low" appears as the eighth song. In order to place focus on the lyrics during the song, the production contains "octave leaps" while Streisand "changes timbre frequently and quickly between loud and soft sections and high and low pitches". Ninth track "A Child Is Born" features a simple piano arrangement accompanied by Streisand's vocals; Columbia Records executive reacted to the track's new genre for the singer, stating, "You could put Barbra in front of a rock band or a symphony orchestra, she would still be Barbra Streisand, not compromising, not uncomfortable". "Widescreen", the album's closing track, was inspired by the singer's love of film; according to author Patrick E. Horrigan, it specifically explains "how the movies, dark and dreamlike, seduce us into believing that life can be fulfilling, then let us down as soon as we return to the light of day". It was also the last of four tracks written by Holmes and has a production consisting of "synthesized electronics". ## Singles "My Father's Song" was released as the album's lead single in August 1975. The 7" record was released in the United States and Spain where the song was retitled "La Canción de Mi Padre". The song was paired with B-side "By the Way", although in Spain the track was titled "Da Paso". The single enjoyed success on the United States Adult Contemporary chart, where it peaked at number 11. It also entered the similar chart in Canada, where it reached number 15. Nicky Siano, a disc jockey, began playing Streisand's version of "Shake Me, Wake Me (When It's Over)" at The Gallery nightclub in New York City in the fall of 1975; in a handwritten letter by Streisand for Siano, she wrote that the hype generated from playing her cover at the club prompted Columbia Records to release it as another single from Lazy Afternoon. It was distributed in 7" and 12" vinyl formats on November 12, 1975 featuring the B-side and album track "Widescreen". A British version of the single was also created and features the longer cut of the single instead of the album version. Streisand's cover was noted by writers for Billboard as an attempt for pop singers to begin "releasing disco records"; other singers like Andy Williams and Ethel Merman were also mentioned as individuals following the fad. Due to heavy airplay in dance clubs, it entered two of the dance charts compiled by Billboard; it peaked at number 14 on the Dance Club Songs chart and number 10 on the Disco Singles chart. ## Critical reception Lazy Afternoon received a positive response from music critics and her fans. Stephen Holden from Rolling Stone applauded Streisand, finding it to be a better album than 1974's ButterFly. He called "By the Way" as one of her most classic songs and found her vocals to be "controlled"; he also liked Holmes and Lesser's contributions as producers. Furthermore, Holden felt that as "the greatest singer of the past quarter-century, Streisand is one artist who not only withstands elaborate production but thrives on it". Derek Winnert, who wrote a biography of Streisand, found the album to be "outstanding" and considered "Shake Me, Wake Me (When It's Over)" and "By the Way" as the album's two best tracks. With a more mixed opinion, AllMusic's William Ruhlmann awarded the album three out of five stars. He liked Streisand's vocals and the "delicately played individual instruments" that focused on them. However, he concluded "for the most part, Lazy Afternoon was true to its title, a collection of relaxed performances that was pleasant without being particularly impressive". British singer Rumer stated in The Quietus that Lazy Afternoon is one of her favorite albums, in addition to calling it "cinematic", "dreamy", and a "gorgeous experience". She recommended it as "the album for people who don't like Barbra Streisand" as it would likely change their minds. ## Commercial performance In the United States, Lazy Afternoon debuted at number 107 on the Billboard 200 chart for the week ending November 1, 1975. It continued rising on the charts for several weeks before peaking at number 12 on December 20 of that same year. Later in 1976 due to the album's strong sales, the Recording Industry Association of America (RIAA) certified Lazy Afternoon Gold on April 14, 1976 for shipments of 500,000 copies. In Canada, the album peaked at a much lower position; it debuted on RPM's official list at number 69 as the week's third highest entry on December 20, 1975. The following month and year, it would reach its peak position at number 42. It also charted in Australia, where it peaked at number 84 according to the Kent Music Report. ## Track listing All tracks produced by Jeffrey Lesser and Rupert Holmes. ## Personnel Credits adapted from the liner notes of the standard edition of Lazy Afternoon. - Barbra Streisand – vocals - Nancy Donald – album design - Sam Emerson – black and white photography - Rupert Holmes – producer, conductor, arranger - Jeffrey Lesser – producer, engineer, mixer - Steve Schapiro – photography - Frank DeCaro – music contractor, album supervisor ## Charts ## Certifications	[ "## Development", "## Music and lyrics", "## Singles", "## Critical reception", "## Commercial performance", "## Track listing", "## Personnel", "## Charts", "## Certifications" ]	2,310	37,119
34,561,190	Russian submarine Sankt Peterburg (B-585)	1,151,479,475	Russian Lada-class submarine	[ "2004 ships", "Attack submarines", "Lada-class submarines", "Ships built at Admiralty Shipyard", "Submarines of the Russian Navy" ]	B-585 Sankt Peterburg (Russian: Б-585 «Санкт-Петербург»; named after Saint Petersburg) is the lead boat of the Lada-class submarines of the Russian Navy. The Lada class is the fourth generation of diesel-electric submarines designed and constructed in the former Soviet Union and Russia to replace the Kilo class. Construction of the boat started in December 1997, and she was launched in October 2004. After undergoing a series of sea trials, Sankt Peterburg was commissioned in May 2010. However, the Russian Navy decided not to accept the St. Petersburg class after it was discovered that the boat's propulsion and sonar systems were inadequate. After design corrections the submarine was accepted. In 2014, Sankt Peterburg joined the Northern Fleet. In 2023, it was reported that due to the extremely high costs of modernising the submarine, the Sankt Peterburg was to be decommissioned and scrapped, with the funds being diverted to new submarine construction. ## Background and construction Sankt Peterburg is first boat of Rubin Design Bureau's Lada class, of which a total of eight were expected to be procured by the Russian Navy. A less capable version, the Amur class, is marketed for export. Designed during the 1990s, the St. Petersburg class is intended to be the successor to the larger Kilo class. The Kilo class is considered to be one of the quietest diesel classes in operations, giving rise to the nickname "Black Hole". Among the expected capabilities improvements of the St. Petersburg class over its predecessor were the incorporation of improved anechoic coating (to minimize sonar contact), extended cruise range, and the upgrade to newer weapons for anti-submarine and anti-ship operations. St. Petersburg-class boats can also conduct reconnaissance and defend naval facilities and sea lanes. Amid a severe shortage of funds experienced during the 1990s following the dissolution of the Soviet Union, the keel of Sankt Peterburg was laid down on 26 December 1997, in Saint Petersburg by Admiralty Shipyard. The company specialises in submarine construction, having built more than 300 boats, including the Victor and Alfa-class nuclear-powered submarines. By 2006, two more of Sankt Peterburg's sister boats, Kronshtadt and Sevastopol had had their keels laid down. Sankt Peterburg was launched on 28 October 2004, to coincide with the 300th anniversary of Sankt Peterburg's founding, before undergoing several sea trials, to validate her systems, until 2009. As of 25 February 2008, Sankt Peterburg was part of the 13th Brigade of Ships Under Repair and Construction (military unit number 22875), Leningrad Naval Base. ## Operational history On 6 May 2010, Sankt Peterburg was commissioned into the Russian Navy, signalling the official start of her operational service. The boat thereafter underwent combat training with the Baltic Fleet and participated in a naval parade and an exercise. At the same time, she continued sea trials until late 2011. Despite having been commissioned, in November 2011 the Russian Navy decided that the St. Petersburg class would not be accepted into service, as Sankt Peterburg had fallen far short of requirements during trials. According to Izvestia, the main drawback was the propulsion unit's inability to produce half of the expected power, along with the inefficiency of the sonar system. With the construction of the other two St. Petersburg-class submarines being halted, the Russian Navy ordered additional Improved Kilo-class submarines. The decision to reject the St. Petersburg class was confirmed in February 2012 by Russian Navy Commander-in-Chief Admiral Vladimir Vysotsky, who stated, "The Russian Navy does not need the St. Petersburg in its current form." Sankt Peterburg would remain an experimental prototype. Sankt Peterburg successfully carried a missile launch in accordance with the combat training schedule in the Barents Sea. The cruise missile was launched from an underwater position at a naval target on 17 November 2016. Tests were successfully finished in December 2018. Nevertheless, as of 2020, the submarine continued to be used as a test platform for the class and according to one report, was noted not to be fully operational. In April 2020, the boat was reported undergoing new trials in the Baltic to prepare for her return to the Northern Fleet where her role in protecting the SSBN force was described as "vital". Another report in 2020 suggested that her deployment could in future be shifted to the Baltic Fleet. In 2021 it was reported that after years of being used as a "test platform", she was formally "accepted into service". On 18 April 2023, it was reported that Sankt Peterburg is planned to be decommissioned, as its modernisation is very expensive and a new submarine could be built using those funds.	[ "## Background and construction", "## Operational history" ]	1,047	27,877
2,460,827	Chitty Chitty Death Bang	1,147,313,405	null	[ "1999 American television episodes", "Family Guy (season 1) episodes", "Fiction about cults", "Heaven's Gate (religious group)", "Television episodes about suicide", "Television episodes directed by Dominic Polcino" ]	"Chitty Chitty Death Bang" is the third episode of the first season of the animated comedy series Family Guy. It was originally shown on Fox in the United States on April 18, 1999. The episode follows Peter after he tries to make amends for his son, Stewie's, first birthday party when he loses their reservation at a popular kids' restaurant known as Cheesie Charlie's. Meanwhile, Meg becomes friends with an excitable girl named Jennifer, who leads her to join a death cult (inspired from the 1997 Heaven's Gate mass suicide), in an attempt to fit in. The episode was written by Danny Smith and directed by Dominic Polcino, both firsts in the Family Guy series. The episode featured guest performances by Butch Hartman, Waylon Jennings, Rachael MacFarlane and John O'Hurley, along with several recurring voice actors for the series. Much of the episode features a cutaway style of humor that is typically used in Family Guy, many of which feature cultural references including the Incredible Hulk, The Dukes of Hazzard, Three Little Pigs, and Couplehood. The title "Chitty Chitty Death Bang" is a variation on that of the 1968 musical film, Chitty Chitty Bang Bang. ## Plot Lois has booked Cheesie Charlie's for Stewie's upcoming first birthday party and sends Peter, along with Chris, to drop off the deposit check at the restaurant. However, once they arrive, they seek the opportunity to play with all the machines, causing Peter to lose his watch in a claw machine. A little boy wins his watch, which causes Peter to become angry and tries to force the watch off the child. Five minutes later, the manager sees this and asks Peter to leave. But once Peter shows the deposit check, he immediately apologizes and exclaims how they are very excited to host Stewie's birthday party. Peter, angered by how he was treated, states that they will not be celebrating Stewie's party there, which causes a crowd of people to circle around the manager shouting for the reservation. Peter, realizing what he has just done, immediately returns home with a poorly crafted lie in an attempt to evade Lois' aggravation, which involves him saying that they are Nazis who torture, kill and kidnap people. He pretends that he has already planned an extravagant party at home so that Lois does not have to do any work. Meanwhile, Stewie misinterprets the meaning of his birthday and assumes that the same mysterious "Man in White" who delivered him as an infant will be returning to force Stewie back into Lois' womb, from which he escaped just one year ago. Meg cries all the way home to Peter from cheerleading practice, and has been having trouble fitting in at school. Later, she discovers a new friend named Jennifer. Meanwhile, Stewie makes it all the way to the airport looking for tickets, but then is stopped by a member of staff. The man then gives Stewie some advice, saying that running from your problems never solves anything. Stewie then reflects on this, deciding to finally face "The Man in White". But before he leaves, he wishes the man luck before freezing him in carbonite. Peter tries desperately, but ultimately unsuccessfully, to put together a party in time for Stewie's birthday. He finally reroutes a circus into the Griffins' backyard, saving the day - that is, until he reveals to Lois that he gave Meg permission to go to a party at her friend's house. Lois, who wanted the whole family together for Stewie's party, is upset with Peter for letting Meg go. What Peter and Lois do not realize is that Meg's "party" is actually a cult meeting where all the members are about to commit group suicide. Peter goes to retrieve Meg from her "party" and asks Meg to come as Lois wants her there. Meg just says it is just a birthday party and asks who would remember if she was not there. Peter says that Lois would, as she remembers everything, and that her best memories are of when Meg and her brothers were born. He then has an epiphany: having the entire family at the party is more for Lois than Stewie. Realizing how terrible she has been, Meg agrees to come home, and the cult members agree as well. Peter makes a toast, then looks at his watch before he can drink the poisoned punch and pulls Meg out before she can drink hers, oblivious to the fact that he is saving her life in the process while the cult members all die. The cult leader chases after them while wearing his ceremonial white robe and is mistaken by Stewie as "The Man in White". Stewie does away with him and, feeling victorious, joins the others to enjoy his party. ## Production "Chitty Chitty Death Bang" was written by Danny Smith and directed by Dominic Polcino, both their first episodes in the Family Guy series. Staff writers included voice actor Mike Henry and Andrew Gormley, while Ricky Blitt, Chris Sheridan as executive story editors, and Neil Goldman and Garrett Donovan acted as the story editors. To help Polcino direct the episode were supervising directors Peter Shin and Roy Allen Smith. In addition to the regular cast, guest stars included actor and comedian Patrick Bristow, animator, executive producer, animation director, storyboard artist and producer Butch Hartman (who played Mr. Weed, Peter's boss, and various other characters), writer Gary Janetti (who played the Demon and Riff), actor John O'Hurley (who played the Cult Leader), and Waylon Jennings (who played himself). Recurring cast members included Mike Henry who played Cleveland Brown and Lori Alan who played Dianne Simons. This is the first episode Seth MacFarlane's sister, Rachael MacFarlane guest starred in the episode as the voice of Jennifer. In future episodes, she would become a recurring voice actor for the series. Rachel has noted that she was asked by Seth to lend her voice for the show, but she did have to audition for the role. As with the remaining first four episodes of the season, the title of the episode, "Chitty Chitty Death Bang", was derived from 1930s and 1940s radio programs, particularly the radio thriller anthology "Suspense", which featured several elements pertaining to death and murder. This convention was later dropped following the fifth episode of the season, "A Hero Sits Next Door". due to individual episodes becoming difficult to identify and distinguish. ## Cultural references When Peter explains to Lois why he canceled the party at Cheesie Charlie's, he said he had been kidnapped by them and that they are Nazis. He explains to Lois that he escaped by turning into the Incredible Hulk. The place where Lois had planned Stewie's birthday party is called Cheesie Charlie's, which is a reference to the food chain Chuck E. Cheese's. When Stewie recalls how he was conceived, he tells the story of which he was in a sperm ship and gets into a fight with other sperm ships is a reference to fights in the Star Wars trilogy. Peter loses his Dukes of Hazzard watch. When Peter is looking for pigs for a petting zoo he takes down a house of straw and a house made of sticks, this is a reference to the fairy tale Three Little Pigs. Peter is also struck in the head by a paint can on a string, a reference to the film Home Alone. Items added to the suicide cult punch mix by Jennifer include cyanide, arsenic, rat poison, and the book Couplehood by Paul Reiser. The episode title is a reference to the 1968 musical film, Chitty Chitty Bang Bang. ## Reception A 2008 review of the episode written by Ahsan Haque of IGN was generally positive; Haque stated that while he did not believe "Chitty Chitty Death Bang" was an "instant classic", it has "plenty of memorable moments" and "a nicely crafted storyline". Haque went on to praise Peter's attempt to "convince that the people at Cheesie Charlie's are Nazi devils who kidnapped him and that he only manages to escape because he was able to turn into the Incredible Hulk", as well as Stewie's role in the episode, calling it "extremely clever". Haque concluded his review by rating the episode an 8.4/10. David Williams from the DVD Movie Guide said that this and other episodes of the first season did a marvelous job of introducing the characters of the series to the viewers. In his review of "Chitty Chitty Death Bang" the TV Critic called the writing in the episode wittier than in previous ones. He found the Stewie storyline very enjoyable, and also commented positively on the moral of the story. He criticized the Meg storyline as he did not find mass suicide funny; he also commented that Peter felt a lot like Homer from The Simpsons. In his final comments he said it had some odd moments but it was a fun story.	[ "## Plot", "## Production", "## Cultural references", "## Reception" ]	1,877	1,158
21,847,067	Blood (OSI album)	1,119,945,232	null	[ "2009 albums", "Inside Out Music albums", "OSI (band) albums" ]	Blood is the third studio album by American progressive rock band OSI, released by InsideOut Music on April 27, 2009, in Europe and May 19, 2009, in North America. Guitarist Jim Matheos and keyboardist and vocalist Kevin Moore started work on the album in 2008, collaborating by email. Matheos would send Moore a song idea which Moore would edit and send back to Matheos. Mike Portnoy of Dream Theater, who performed drums on Office of Strategic Influence and Free, was replaced by then-Porcupine Tree drummer Gavin Harrison on Blood. Matheos played bass guitar on the album, having hired guest musicians to perform bass duties on the first two OSI albums. Mikael Åkerfeldt of Opeth and Tim Bowness of No-Man wrote lyrics and performed vocals on one track each. Critical reception of Blood was generally positive. The more atmospheric and ambient tracks were praised; the more metal-oriented tracks received mixed reactions. Moore's lyrics and Harrison's drumming, in particular, were met with acclaim. ## Background On September 4, 2008, keyboardist and vocalist Kevin Moore posted a news update to the official Chroma Key website. In it, he stated that he had been working with guitarist Jim Matheos on a third OSI album "for several months now, slowly but surely." Moore later stated that with OSI, he and Matheos "usually play it by ear. We never really know if we're going to do another OSI, we never agree on it. I don't remember ever agreeing to start a new one, really. But Jim will send me an idea or something and we just start talking about it." Blood was written and recorded in the same way as the first two OSI albums. Matheos and Moore worked together on the album long-distance, mainly by emailing each other files. Matheos would send Moore song ideas, "from just a guitar riff to elaborate, almost completed songs," Moore said. "Then I ask what I can do, and I mess around, complete a verse and add a chorus, do editing, add some vocals, and send it back to him." Moore considered the writing of Blood to be harder compared to previous OSI albums. Previously, Matheos would send Moore guitar parts to work with, allowing Moore to "work with editing them, pitching them, and fucking about them different ways, and then programming drums and keyboards." When working on Blood, Matheos also provided programming, keyboard and drum parts. "If he sent me stuff that already had drums and keyboard parts, and it wasn't a complete idea, I had to figure out a way to elaborate on it without having that same equipment that he has there," Moore said. Overall, he considered the writing process to be "smoother because we got on a roll and we're more fluid together". Mike Portnoy of Dream Theater played drums on Office of Strategic Influence and Free, but found the experience frustrating. Moore regarded Portnoy's contributions to the first two albums as "great", but he and Matheos decided to recruit a different drummer for Blood. "We were continuing to try to get new voices involved with the album", he explained. Matheos, a fan of Porcupine Tree, was in control of personnel on Blood and asked Porcupine Tree drummer Gavin Harrison to perform drums on the album. Harrison had a schedule gap in the fourth quarter of 2008, so agreed to work on the album. He never met Matheos and Moore, recording his drums parts in his recording studio in England and exchanging files with them over the Internet. Most songs were sent to Harrison with programmed drums. "For the most part, we usually told him to try to stay away from the programmed drums and come up with his own parts, and he did. So much of that is his taking it in a different direction," Moore said. "There was probably at least one song, maybe two, where we said 'We'd like you to keep closer to the programmed drums,' but he had a lot of say in what went on." Matheos and Moore were "very happy" with Harrison's work on Blood, and hoped to work with him on the fourth OSI album. Blood marked the first time Matheos played bass on an OSI album instead of recruiting an outside bassist. Matheos asked Opeth vocalist and guitarist Mikael Åkerfeldt to write lyrics and perform vocals on one track, which would become "Stockholm". Matheos and Moore sent him the track they wanted him to work on, and he sent back a rough mix of his vocals. "We were really happy with it," Moore said. "We didn't do any revisions or ask for any changes, like we were expecting to... It was a different approach than I would have taken, and that's what was refreshing about it. That's why we wanted to get somebody else to do some vocals on the album." Tim Bowness of No-Man wrote lyrics and performed vocals on "No Celebrations", a bonus track. ## Music Moore regarded Blood as "[distilling] the OSI vibe that we've been going for all along with this album". He noted that there was "conflict" due to his and Matheos' different musical tastes, "but it's not a personality conflict. It's a musical conflict where we want different things to happen and have to work it musically." Moore considered this conflict to be "pretty much the only thing that makes OSI relatively original. If it was just one way or the other, like the singer-songwriter stuff, electronic music or progressive metal, there's a lot of people doing those things already." Moore stated that he found writing songs which combined progressive metal and electronic music easier than writing songs confined to one genre. "There's people who do that better. Working with the two genres, they're different enough from each other – almost natural enemies – that it keeps it interesting," he said. "It doesn't feel like being in conquered territory, it feels like there's still room to explore. There's always conflicts between the two writing elements that keeps it interesting." When writing lyrics for previous releases, Moore would "start mumbling and I try to figure out what I'm saying and then try to make it make sense". With Blood, he "really wrote them down and tried to make them coherent. I didn't want it to be like 'Oh, you get your own impression of the lyrics. Everybody has their own idea!' I wanted to have an idea that I wanted to communicate, and something communicable." Moore noted that he did occasionally use his "mumbling" method as it "puts you in the right direction as far as sounds, vowel sounds, and stresses on certain syllables. And if you can write some words and lyrics that match that, sometimes it flows really well." He described all the songs as based on "personal experiences". "I'll start writing a song that has a little bit of a world view or political view or something," he said, "but then by the time I'm finished the lyrics it'll be about a relationship or something like that." Matheos recorded his parts in Pro Tools using a FocusRite Saffire PRO 40 preamp. Matheos primarily used PRS guitars and Mesa Boogie amplifiers. Moore used Ableton Live to write music and record his vocals. The only keyboard he used was a Minimoog Voyager. ## Release and promotion Blood was released by InsideOut Music on April 27, 2009, in Europe and May 19 in North America. Matheos and Moore unsuccessfully tried to organise a tour in support of Free. "We sort of disappointed people by saying that we were trying to making [a tour] happen and we wanted to make it happen," Moore said, "so this time we're not going to say that stuff." Moore stated that OSI would remain a studio-only project "until further notice". The special edition of Blood came with a bonus disc featuring three extra tracks. Tim Bowness (of No-Man) wrote lyrics and performed vocals on the first song, "No Celebrations". The second track is a cover of "Christian Brothers" by Elliott Smith. The third track is "Terminal (Endless)", an extended version of the regular CD track "Terminal". "It still has something interesting drum stuff where Gavin just plays steady beats with variations on it," Moore said. "We had some mercy on the album version, but on the bonus CD, we don't have any mercy and we just let it go." ## Reception Critical reception of Blood was generally positive. Writing for Blogcritics, Marty Dodge praised the album as "jaw droppingly impressive", considering it to "[have] the potential to be up there in top albums of the year". Andrew Reilly of MadeLoud lauded Blood as OSI's best album, although considered other individual songs from the band's catalog to be stronger than those on the album. Alex Henderson of Allmusic regarded Blood as "an album that falls short of earth-shattering but is still solid and worthwhile". Reilly described Blood as "fully mastering the techno-informed brand of progressive metal so many others have pursued to no avail... with Blood the two have finally found the stylistic fusion their first two discs hinted at". Henderson described the sound of the album as "Pink Floyd and King Crimson by way of Radiohead, Nirvana, grunge, alt-metal and alt rock." Reilly lauded Moore's lyrics, describing them as closer to his work in Dream Theater and Chroma Key than on the first two OSI albums. "Moore turns conventional phrases... into thinly-veiled warnings to some unknown subject," Reilly commented. "OSI has long been Moore's avenue for exploring the political as the personal, but here those two subjects fully cannibalize each other which, given this group's past efforts and considerable talents, would not at all be an impossible intention or unforeseen consequence." He praised Gavin Harrison's drum performance, describing it as "phenomenal". He considered "Stockholm" and "Blood" to be the highlights of the album. Dodge praised "Radiologue" as "stunning". ## Track listing Special edition bonus disc ## Personnel - Jim Matheos – guitar, bass, keyboards, programming - Kevin Moore – vocals, keyboards, programming - Gavin Harrison – drums - Mikael Åkerfeldt – vocals on "Stockholm" - Tim Bowness – vocals on "No Celebrations" - Produced by Jim Matheos and Kevin Moore - Mixed by Phil Magnotti, Jim Matheos and Kevin Moore	[ "## Background", "## Music", "## Release and promotion", "## Reception", "## Track listing", "## Personnel" ]	2,196	19,915
21,920,738	1940 World Snooker Championship	1,164,545,557	null	[ "1940 in English sport", "1940 in snooker", "1940 sports events in London", "February 1940 sports events", "March 1940 sports events", "World Snooker Championships" ]	The 1940 World Snooker Championship was a professional snooker tournament held at Thurston's Hall in London, England from 22 February to 20 March 1940. It was the fourteenth edition of the World Snooker Championship. Joe Davis defeated his younger brother Fred Davis by 37 to 36 in the final, to retain the title that he had held since the tournament's inception in 1927. Joe Davis compiled a century break in the penultimate frame to win the match at 37–35 before a was played out. The only other century break of the tournament was 101 by Fred Davis earlier in the final. There were nine participants. Herbert Holt and Conrad Stanbury played a qualifying match, which Holt won to join the other seven players in the competition proper. Holt was eliminated in the first round by Walter Donaldson. This was the last World Championship to be held until the end of World War II, the next edition being held in 1946. ## Background The World Snooker Championship is a professional tournament and the official world championship of the game of snooker. The sport was developed in the late 19th century by British Army soldiers stationed in India. Professional English billiards player and billiard hall manager Joe Davis noticed the increasing popularity of snooker compared to billiards in the 1920s, and with Birmingham-based billiards equipment manager Bill Camkin, persuaded the Billiards Association and Control Council (BACC) to recognise an official professional snooker championship in the 1926–27 season. In 1927, the final of the first professional snooker championship was held at Camkin's Hall; Davis won the tournament by beating Tom Dennis in the final. The annual competition was not titled the World Championship until the 1935 tournament, but the 1927 tournament is now referred to as the first World Snooker Championship. Davis also won the title every year from 1928 to 1939. There were nine entries for the championship. There were eight places in the competition proper, with a qualifying match scheduled between Herbert Holt and Conrad Stanbury to determine which of them would join the other seven participants in the main draw. ## Summary ### First round (quarter-finals) The first round was held as the best of 31 . Holt, who joined the main draw by defeating Stanbury in the qualifying round, met Walter Donaldson in the first match of the competition proper from 22 to 24 February. Donaldson claimed the first four and led 6–4 overnight. Donaldson won eight frames on the second day to lead 14–6, two frames from victory, and took the first two frames on the final day to win 16–6. He eventually won 10 of the 11 frames played, for a final score of 24–7. All 11 frames on the final day were completed in 2 hours and 15 minutes. The Glasgow Herald reported that Donaldson "created what must be a world record for fast scoring". Joe Davis and Alec Brown played in the second quarter-final from 26 to 28 February. Brown had recently won the Daily Mail Gold Cup beating Davis 39–22 in October 1939. However, in that match he received a start of 25 in each frame. Brown took a 2–1 lead but Davis led 7–3 after the first day. Davis extended his lead to 10–3 but at the end of the second day Brown had reduced Davis's lead to 12–8. By winning the last frame of the final afternoon , Davis achieved a decisive 16–9 lead. The final score was 20–11. From 29 February to 2 March, Fred Davis faced Sydney Lee in the third quarter-final. On the first day Lee won frame 4 but Davis led 9–1. The players each won five frames on the second day so Davis led 14–6. Davis took the first two frames on the third day to win the match 16–6. The final score was 20–11, with Davis making a of 88 in the evening session. The last quarter-final was between Sidney Smith, a tournament finalist in the two preceding years, and Tom Newman, from 4 to 6 March. Newman won the first frame with a break of 53 but Smith led 8–2 overnight and won comfortably 16–3 on the second day. The final score was 22–9. ### Semi-finals Both Semi-finals were also played as the best of 31 frames, with the first taking place from 7 to 9 March. Joe Davis and Donaldson met in the first semi-final. Davis won the first three frames but Donaldson levelled the match at 5–5 at the end of the first day. Davis won 7 frames on the second day to lead 12–8. On the final day Donaldson won the first frame but Davis won the next four to win the match 16–9. Davis then extended his winning run to 10 frames to leave a final score of 22–9. From 11 to 13 March, the second semi-final, between Fred Davis and Sidney Smith, was played. Smith established a 7–2 lead, before Davis won the last frame of the day to reduce the gap to four frames. Davis won seven frames on the second day to level the match at 10–10 and then added three of the five frames on the final afternoon to lead 13–12. Winning the first two frames in the concluding evening session gave him a 15–12 lead and, although Smith won the following frame, Davis took the match 16–13. The final score was 17–14. ### Final Brothers Joe and Fred Davis met in the final from 14 to 20 March (with no play on 17 March, a Sunday). The match was played as the best of 73 frames. Joe took an 8–4 lead on the first day by winning both sessions 4–2. Joe led 14–10 after the second day. Fred won the first 10 frames on the third day and led 21–15 at the end of the day. Including the last frame on the second day, Fred had won 11 frames in succession. Joe won 9 frames on the fourth day to level the match at 24–24. The fifth afternoon session was shared. Fred made a 101 break in frame 50, including 13 , 11 , a and a . It was the first century break of the tournament. Joe won four frames in the evening to lead 31–29. On the final day Joe won the first three frames to lead 34–29 but Fred won the next four frames. When Joe won frame 70, he took a 36–34 lead but Fred won the next. In frame 72 Fred scored the first 12 points but Joe then made a 101 break to take a winning 37–35 lead. Joe got his century by the blue, leaving just the pink and black remaining. The spectators cheered for nearly a minute when Joe made his century. Fred won the last frame, giving a final score of 37–36. Snooker historian Clive Everton noted that this was the closest that Davis had ever come to defeat in the history of the championship. It was the last time that the pair met in the tournament. Joe Davis retired from the competition after winning for the fifteenth time when the tournament was next held, which was in 1946, after a break due to World War II. In his book Talking Snooker, Fred Davis recalled the 1940 final "The cynics were not slow to suggest that Joe had 'taken it easy' with his younger brother, but those on the inside knew how wrong they were." The Billiard Player magazine's correspondent wrote that there was no incentive for Joe Davis not to try to win every frame, as "the hall would be packed just the same" even if he had a commanding lead, and attributed the closeness of the result to the younger brother playing the best snooker of his career whilst the defending champion was not consistently at his best. In Joe Davis's autobiography, he claimed that he had always tried his hardest when playing his brother, and commented that 1940 was the "toughest" of all his championship finals. ## Schedule ## Main draw Match results are shown below. Winning players and scores are denoted in bold text. ## Final ## Qualifying Herbert Holt and Conrad Stanbury met at Thurston's Hall for their qualifying match, played from 19 to 21 February. Holt led 6–4 after the first day and 13–7 after day two. Although he lost the first frame on the final day, he took the next three to secure a winning 16–8 lead. Stanbury won five of the seven for a final score of 18–13. ## Century breaks There were two century breaks during the tournament, both during the final. - 101 Fred Davis - 101 Joe Davis	[ "## Background", "## Summary", "### First round (quarter-finals)", "### Semi-finals", "### Final", "## Schedule", "## Main draw", "## Final", "## Qualifying", "## Century breaks" ]	1,878	26,032
31,299,650	Hurricane Beatriz (2011)	1,167,282,130	Category 1 Pacific hurricane in 2011	[ "2011 Pacific hurricane season", "2011 in Mexico", "Category 1 Pacific hurricanes", "Pacific hurricanes in Mexico", "Tropical cyclones in 2011" ]	Hurricane Beatriz was a Category 1 hurricane that killed four people after brushing the western coast of Mexico in June 2011. The second named storm and hurricane of the 2011 Pacific hurricane season, Beatriz originated from an area of disturbed weather on June 19, several hundred miles south of Mexico, and gradually intensified. Gaining latitude, the system became increasingly organized and reached hurricane status on the evening of June 20. The following morning, Beatriz attained winds of 90 mph (150 km/h) as it passed roughly 15 mi (20 km) of Mexico. Due to its interaction with land, the hurricane abruptly weakened hours later. Early on June 22, Beatriz dissipated over open waters. Prior to Beatriz's arrival in Mexico, hurricane watches and warnings were issued for coastal areas. Hundreds of shelters opened across the states of Colima and Guerrero. Heavy rains from the storm triggered significant flooding along the Sabana River in Acapulco, killing four people. However, the overall effects of Beatriz were limited and the rains were largely beneficial in mitigating a severe drought. ## Meteorological history On June 16, 2011, a trough situated off the southern coast of Guatemala showed signs of possible tropical cyclogenesis. Though located within an area favoring development, the system remained broad and disorganized as it moved slowly west-northwestward. Gradually, convection consolidated around an area of low pressure. On June 18, a Tropical Cyclone Formation Alert was issued for the system as it was expected to develop into a tropical depression within 24 hours. On the following day, the low further developed and was declared Tropical Depression Two-E by the National Hurricane Center at 1500 UTC. Upon being declared, the depression was located about 335 mi (540 km) south-southeast of Lázaro Cárdenas, Mexico. However, after post-analysis, the depression had actually developed nine hours earlier. Maintaining a west-northwesterly track in response to a subtropical ridge to the north, the depression was forecast to move into a favorable environment, characterized by low wind shear and sea surface temperatures up to 86 °F (30 °C). Three hours after classification, the depression strengthened Tropical Storm Beatriz, the second named storm of the season. Early on June 20, convection increased markedly with several overshooting tops (denoted by cloud-top temperatures below −80 °C (−112 °F)) appearing on satellite imagery. A notable increase in southerly outflow also took place. As the subtropical ridge north of the storm weakened, Beatriz acquired a more northerly component to its track, bringing the center of the storm closer to Mexico. Convective bands gradually wrapped around the system throughout the day. During the afternoon hours of June 20, a hurricane hunter aircraft found Beatriz just below hurricane strength, and subsequently, the system was upgraded just a few hours later, while situated roughly 85 mi (140 km) southeast of Manzanillo, Mexico. Early on June 21, a 23 to 29 mi (37 to 47 km) wide eye developed within the central dense overcast. In light of this, the National Hurricane Center estimated Beatriz to have attained winds of 90 mph (150 km/h) along with a barometric pressure of 977 mbar (hPa; 28.85 inHg); however, it was noted that this could be conservative based on estimates of 105 mph (165 km/h) from the University of Wisconsin and the Satellite Analysis Branch. Throughout the morning of June 21, Beatriz brushed the coast of Mexico, with the center passing roughly 15 mi (20 km) south-southeast of La Fortuna, Mexico. Centered just off the coast of Mexico, the system interacted with land and began weakening. Hours later, convection rapidly diminished as dry air became entrained in the circulation. In response to quick degradation of the system's structure, the NHC downgraded Beatriz to a tropical storm. Rapid weakening continued throughout the day and by the evening hours, the storm no longer had a defined circulation. Lacking an organized center and deep convection, the final advisory was issued on Beatriz. The storm's remnants persisted for several more hours before dissipating roughly 175 mi (280 km) southwest of Cabo Corrientes, Jalisco. ## Preparations and impact Following the classification of Tropical Depression Two-E on June 19, the Government of Mexico issued a tropical storm warning for coastal areas between Zihuatanejo and Manzanillo. A hurricane watch was also put in place from Tecpán de Galeana to Punta San Telmo. Later that day, the tropical storm warning was upgraded to a hurricane warning and the watch was extended westward to La Fortuna. As Beatriz continued to strengthen, the watches and warnings were extended westward to Cabo Corrientes on June 20. Early on June 21, the easternmost advisories were discontinued as Beatriz moved away. Later that morning, all watches and warnings were discontinued in light of Beatriz's rapid weakening. In Colima and Jalisco, residents were warned of heavy rains that could trigger flooding and mudslides. Schools across both states canceled classes for June 21. In Colima, 236 shelters were opened to the public. Additionally, the Mexican Navy was placed on standby for hurricane relief. A total of 980 temporary shelters were opened in Guerrero, many of which were in Acapulco, as many residents were expected to evacuate flood-prone area. An orange-level alert was issued for portions of Chiapas in light of potentially heavy rains. Throughout Western and Southwestern Mexico, the Servicio Meteorológico Nacional (National Weather Service) advised that all air and sea traffic be suspended until the passage of Beatriz. Across Guerrero, Beatriz produced heavy rain, peaking at 222.5 mm (8.76 in) in Copala, Guerrero. Several homes across the state were damaged, though none were destroyed. In Acapulco, 380 homes were inundated by flood waters, prompting evacuations in areas built in 1999 to relocate residents after Hurricane Pauline. Several landslides blocked off roads and a 100 m (330 ft) section of a roundabout was destroyed. In the community of Amatillo, three people were killed after being washed away by flood waters. Heavy rains from Beatriz caused the Sabana River to overflow its banks, placing 150 homes across 14 colonias under water. One person drowned in San Agustín after falling in the swollen river. Twenty-seven colonias in and around the city lost power after muddy floodwaters entered a substation. Throughout Oaxaca, at least a dozen homes lost their roofs due to high winds. Portions of Colima, Chiapas, Michoacán and Jalisco experienced heavy rains; however, in many areas, the rain proved beneficial in mitigating a severe drought. ## See also - Other storms with the same name - Hurricane Lily (1971)	[ "## Meteorological history", "## Preparations and impact", "## See also" ]	1,457	5,143
50,568,313	Megalovania	1,173,295,344	Video game music track	[ "2008 compositions", "2008 songs", "2010s in Internet culture", "Character songs", "Internet memes", "MS Paint Adventures", "Mother (video game series)", "Songs written for video games", "Undertale" ]	"Megalovania" is a video game song composed by Toby Fox. It was first composed for the Radiation Halloween Hack, a romhack of EarthBound, developed for a Mother fansite's competition in November 2008. Inspired by "Megalomania" from Live A Live and the final boss music of Brandish 2: The Planet Buster, the track was intended for the romhack's final boss battle, and was developed by Fox screaming "whatever [he] felt like" into a microphone and copying it down. The name itself is a combination of "Megalomania" and "Transylvania", the latter of which intended to tie into the project's Halloween theme. Years later the track would be remixed for internet fiction Homestuck's soundtrack as "MeGaLoVania" with help from Joren "Tensei" de Bruin, and Fox would use another rendition as the final boss theme for the "genocide" route in his 2015 video game, Undertale, when fighting the character Sans. The track has been widely popular, and more so with the release of Undertale, which spawned various memes and remixes to the degree of being called its own subgenre on YouTube. The track has since appeared in other games and media such as Super Smash Bros. Ultimate, and has been performed in a live rendition for Pope Francis by a circus. Other musicians such as Yoko Shimomura and Jack Black have also performed their own interpretations. Various media outlets have praised it for its intensity and composition, and "Megalovania" has been used to not only examine Undertale's underlying messages but internet reaction as a whole through its use on social media platforms such as TikTok. ## Conception and history In 2008, starmen.net, a fansite dedicated to the Mother video game series, held its annual "Halloween Funfest" competition for fan works related to the franchise. In November of that year, Toby Fox, going by the online alias "Radiation", submitted an EarthBound romhack simply titled Radiation Halloween Hack. The romhack featured custom music from other games, and for the final boss Fox originally intended to use the song "Megalomania" from the Super Nintendo game Live A Live. A recurring theme playing at the end of each of the game's chapters, Fox was struck by the simplicity of "Megalomania", but also felt its repeated use had created a "Pavlovian" sense of "This is the end" in player's minds due to its repeated use. However, when he attempted to transcribe the music to recreate it he found it too difficult, and after some consideration decided instead to make a completely new song. To this end he screamed "whatever [he] felt like" into a microphone and then copied it down, making it a lengthy process. Composing the song afterward by comparison was very quick, taking Fox about thirty minutes. Despite using similar chords, the track took inspiration from "Megalomania" not in terms of composition but by "TOTALLY attempting to be the kind of a badass song that might be suitable for a similar purpose." Meanwhile, the melody itself was inspired by the final boss theme of Brandish 2: The Planet Buster, a game series that heavily influenced several other aspects of the romhack. After the romhack's release, he noticed people were ripping the music from it directly; however, the in-game rendition had a built in delay which carried over to the rips. He chose to release a copy generated directly from the music editor, but then realized he'd never named the song. After consideration he dubbed it "Megalovania", a combination of its original inspiration and "Transylvania", the latter half meant to try and add some "Halloweeniness into it" due to its origin. Toby Fox later worked as a musician for the internet fiction series Homestuck, and in 2011 "Megalovania" was remixed for its sixth volume, Heir Transparent with Joren "Tensei" de Bruin providing guitar music to the track. The track was made noticeably longer, and while Fox had used synthesized guitars on his other tracks, he found them sounding "muddy" when shifting them down an octave due to the original Super Nintendo audio, which itself couldn't be altered as in Fox's eyes that would have defeated the purpose of the song. Instead he wrote several extended guitar sections, trying to ensure they didn't "sound screechy and stupid" while still sounding "badass", which was aided by the fact de Bruin's guitar could play a note higher than most can. Due to it being technically the third release of the song, he capitalized various letters to differentiate it, resulting in "MeGaLoVania". After its release, despite both he and de Bruin being happy with the final results he acknowledged some of the criticisms it had received, stating he felt the guitar solo he had added was "uncreative" and would do the track over without the Super Nintendo audio for later renditions. In 2015, Toby Fox released Undertale, a game he developed and composed music for. "Megalovania" returns as the boss music for the character Sans, who will fight the player near the end of the game's "genocide" route after they have killed nearly every other non-player character in the game. This rendition is closer to the original romhack's, though removes the slow startup that preceded it. It has also served as the basis for subsequent uses of the song, such as an arrangement composed by Fox for Super Smash Bros. Ultimate in 2019 as downloadable content. Additionally, several other games have used the song as part of a cross-promotion with Undertale, including Pop'n Music, Dance Dance Revolution A3, and Gitadora High-Voltage, the last of which utilized a rock and roll arrangement of it by Yuya Yokoyama. In 2019, MUSIC Engine in Tokyo, Japan performed an orchestral renditions of Undertale's music, which included "Megalovania". ## Reception and legacy Since its release, "Megalovania" has become one of the most popular video game songs, appearing on television programs and being briefly sung by actor and musician Jack Black for his YouTube gaming channel, and has been described as easily recognizable just from its beginning notes even for those unfamiliar with gaming. Ryan Stevens in an article for Cultured Vultures described the song as one of the best boss battle themes of all time, praising its "understated riff" and "foreboding bass", further describing it as symbolizing when an "unstoppable force meeting an immovable object." Ryan Woodrow for Sports Illustrated described it as a song worth listening to every now and then to "remember what a fantastic track it is", with the song in Undertale contrasting "in the best way possible" to Sans' character for the "all-out" fight. Several renditions of "Megalovania" have also been produced by other creators and outlets. The original composer for Live A Live, Yoko Shimomura, noted that after Undertale's release many of her fans asked her about the song, and according to Toby Fox at an official concert she performed a remixed rendition of "Megalomania" with "Megalovania" spliced in. The Twitter account for Cult of the Lamb utilized the song in promotional material, with the social media handler using the game's merchandise to sound out "Megalovania"'s notes and encourage sales of it. For Pesterquest, a game set in the Homestuck universe, musician James Roach utilized the melody from "Megalovania" for the track "Yeah It Is". In 2022, the song was played at the Vatican as part of a papal audience circus act for Pope Francis. In a paper titled Undertale: A Case Study in Ludomusicology, Matthew Perez acknowledged that while much of its popularity stemmed from its use in Undertale, he felt it worked against Toby Fox's "confusing message about ethics and decision-making in video games", seemingly rewarding the players with the melody. He however praised the track itself, stating its baseline "gives the track a ferocity throughout its various sections, and its varying instrumentation continually refreshes the sonic atmosphere during the combat scenario." Polygon's Palmer Haasch described the song as having "consistent presence in internet game culture of the late 2010s", which he attributed in part due to Undertale's success and its frequent use in fanmade remixes and "shitposts" that persisted for years, the former of which had formed its own subgenre on YouTube according to Jen Glennon of Inverse. Haasch also noted the song's massive presence on the social media website TikTok, stating that "its repetitive riffs and melodramatic, chiptune-esque palette [...] play out well on TikTok because they make sounds memorable and quirky", and worked well with the various meme cultures already forming on the platform, and adaptions of older memes such as rickrolling to incorporate the song. Haasch closed stating that few songs had left a footprint on 2010s internet culture, and that it made an argument for measuring a song's success "not by its chart history, but by its ability to be continuously reinvented."	[ "## Conception and history", "## Reception and legacy" ]	1,921	24,898
54,718,896	Las Vegas Lights FC	1,172,098,073	Soccer team based in Las Vegas, Nevada, U.S.	[ "2017 establishments in Nevada", "Association football clubs established in 2017", "Las Vegas Lights FC", "Soccer clubs in Nevada", "Sports teams in Las Vegas", "USL Championship teams" ]	Las Vegas Lights FC is an American professional soccer team based in Las Vegas, Nevada, that plays in the USL Championship. The team made its debut in 2018 and plays its home games at Cashman Field. The team employs neon imagery in its crest and jerseys. It has engaged in unusual promotions to attract fans, including the use of llama mascots and rewarding players with casino chips. The team's main rivals were Reno 1868 FC, a Nevada club who used to play in the USL Championship but folded due to the COVID-19 pandemic in 2020. ## History The first professional soccer team to be based in Las Vegas was the Las Vegas Quicksilvers of the North American Soccer League, who moved from San Diego after the 1976 season. The team played at Las Vegas Stadium and had an average attendance of 7,092 during the 1977 season, but moved back to San Diego the following year. The Las Vegas Seagulls of the American Soccer League briefly played at Las Vegas Stadium (by then the Las Vegas Silver Bowl) in 1979, but were terminated by the league after their first season due to financial issues. The city also played host to the 1994 FIFA World Cup draw in December 1993 and was considered several times for a Major League Soccer (MLS) franchise, but was passed over by the league. The city hosted several exhibition matches between club and national soccer teams during the early 2010s, including a 2012 World Football Challenge match between Real Madrid and Santos Laguna that drew a state-record attendance of 29,152 spectators. An MLS expansion bid was explored in 2014, led by Findlay Sports and Entertainment and the Cordish Company, proposing a 24,000-seat stadium at Symphony Park in Downtown Las Vegas. The Las Vegas bid was rejected for further consideration by MLS in February 2015, putting an end to plans for the publicly financed downtown stadium. Despite an attempted revival, the city declined to submit a proposal in time for the league's deadline for expansion bids in February 2017. In April 2017, Brett Lashbrook submitted a formal proposal to the Las Vegas City Manager to use Cashman Field as the venue of a USL expansion team that would begin play in 2018. The Las Vegas City Council approved the Cashman Field lease in July, and the USL began planning for a formal announcement in mid-August. On August 11, 2017, Las Vegas was formally announced as a USL expansion team that would join the league in 2018. The team unveiled its official name, Las Vegas Lights FC, on August 29 and its official crest in late October. ### Inaugural season Chelís, a former MLS and Liga MX manager, was introduced as the team's head coach in November and promised to build a team that would entertain. The Lights held their first scouting camps in December and signed several Mexican players using connections from Chelís. In the inaugural preseason match, the team lost 2–0 to the Montreal Impact but attracted a sellout crowd of 10,387 people. The signing of Mexican players caused a language barrier that hindered on-field chemistry during its preseason matches against MLS teams, losing all three, but the team's players worked through the language gap. The team signed former MLS teenage prodigy Freddy Adu, who debuted in a preseason match against his first club, D.C. United. The team played their inaugural regular season match in Fresno, California, on March 17, 2018, winning 3–2 over Fresno FC. In their first home regular season match, played on March 24, the Lights drew 1–1 with in-state rivals Reno 1868 FC in a match attended by 9,019 spectators. In the 2018 U.S. Open Cup, the Lights defeated FC Tucson and advanced to the third round, where they lost to FC Golden State Force. The club went on a long winless streak in August and September that eliminated the Lights from qualifying for the USL Playoffs. Chelis announced his departure from the club on September 18, following poor performances and an eight-match suspension for misconduct involving a spectator. Las Vegas concluded the season with 8 wins, 19 losses, and 7 draws, and manager Isidro Sánchez was fired on October 14. Former U.S. player and Atlanta Silverbacks coach Eric Wynalda was hired as manager and technical director on October 17. ### Affiliation with Los Angeles FC On March 12, 2021, Las Vegas Lights FC announced an affiliation partnership with Los Angeles FC (LAFC) of Major League Soccer. Under the one-year partnership, Las Vegas became the USL affiliate of LAFC and shared technical staff, including new manager Steve Cherundolo, a former U.S. national team player. In 2022, the affiliation was extended for another season. ## Stadium The Lights play their home matches at Cashman Field, a stadium in Downtown Las Vegas that was primarily used for the Las Vegas 51s, a minor league baseball team from 1983 until 2018. It has 9,334 permanent seats and additional standing room capacity. The configuration of Cashman Field is more suited for soccer than other former baseball parks. With center field at a right angle and all the foul territory behind first and third base at equal distance, the field is in a square shape and seats are close to the field for soccer. Prior to the Lights, the stadium also hosted MLS preseason matches between the LA Galaxy and San Jose Earthquakes in 2016 and 2017. The Lights have a 15-year lease agreement with the city government to use Cashman Field, expiring in 2032. The Las Vegas 51s (renamed the Las Vegas Aviators) relocated to a new stadium in Summerlin in 2019, leaving the Lights as the sole tenant of Cashman Field. The Lights began renovations to the locker rooms and stadium offices prior to the 2019 season, with further plans to make it a soccer-specific venue. The city government also began exploring options for a larger soccer-specific stadium in downtown Las Vegas to accommodate an MLS expansion team. The team is scheduled to play two regular season games at Las Vegas Ballpark in October 2023. ## Club brand and jerseys The Lights name was announced on August 29, 2017, after being decided in an online poll ahead of five other finalists, including Las Vegas FC, Las Vegas Silver, Club Vegas, Viva Vegas and Las Vegas Action. The name evokes the Las Vegas Strip and Downtown Las Vegas, where many buildings use neon lights and signage. The neon imagery is also reflected in the club's crest, a rotated version of the Welcome to Fabulous Las Vegas sign bordered by neon tubes. The crest also features text written in neon tubes, as well as a pink star. The team's colors, blue, yellow, and pink, were submitted by fans and are derived from the city's traditional seal. The club's jerseys are manufactured by BLK and include the logos of sponsors Zappos and Findlay Toyota. The home jersey was designed by Zappos's art director and is primarily black with the team's color in neon trim. The underside has an emoji smiley face covered in confetti, to be used in goal celebrations when pulled up and over players' heads. The away jersey is primarily white, with light blue and yellow accents and was unveiled with players donning a body painted replica. ### Sponsorship ## Ownership and management The Lights are owned by Las Vegas Soccer, LLC, founded by Brett Lashbrook, a former consultant to USL and MLS clubs in Florida and the team's current general manager. Lashbrook spent part of his childhood in the Las Vegas area and was part of Orlando City SC during their transition from the USL to MLS and also worked for the Tampa Bay Rowdies. The team's vice president of corporate partnerships is Steve Pastorino, who worked with the Chicago Fire and Oakland Athletics as marketing director. The team's first head coach and technical director was Chelís, who left the club in September 2018 after earning a losing record and missing 12 matches due to a suspension. His son and assistant coach, Isidro Sánchez, took over for the remainder of the inaugural season until his firing in October 2018. Former U.S. national team player and television commentator Eric Wynalda was subsequently hired and led the Lights to an improved record but short of a playoff spot. On June 17, 2020, Wynalda was fired by the Lights for an undisclosed violation of league rules during the USL's preparations to resume play amid the COVID-19 pandemic. Former MLS coach Frank Yallop was named as interim head coach later that month. In April 2018, the Lights became the first professional sports team in the United States to be sponsored by a licensed marijuana dispensary. As part of the agreement, the Nuwu dispensary has a sign in Cashman Field advertising its downtown store, located two blocks from the stadium. Two months later, the club announced a partnership with bookmaker William Hill to offer in-game betting via a special mobile app, along with free \$5 bets for each home win. ## Club culture The Lights have used unusual promotions and gimmicks to attract fans, including a DJ in the supporters' section and two llama mascots, Dolly and Dotty. The llamas were provided by sponsors Zappos and appear during tailgate parties and pre-game festivities, including the team photos; during one incident, a llama defecated on the field with only two minutes left before kickoff. The team's mascot is "Cash the Soccer Rocker", a dancing caricature of Johnny Cash and Elvis Presley, who rides a Harley Davidson motorcycle around the stadium. The team's players are rewarded with casino chips for regular season home wins with three or more goals, out of a pot of \$30,000 supplied by the Plaza Hotel & Casino for the team. Owner Brett Lashbrook stated that he wanted his team to be "a fast, fun soccer party" and encouraged the use of flags and smoke bombs by supporters. The team regularly hosts "cash drop" stunts, in which helicopters or other means are used to drop money onto the field for fans to grab. One instance with a helicopter in September 2019 was investigated by the Federal Aviation Administration for improper altitude control. Before home matches, the Lights award a "pink scarf" to Las Vegas residents for their contributions to the community at large. The inaugural honoree of the pink scarf was mayor Carolyn Goodman. The team had a rivalry with Reno 1868 FC, the other USL team in the state of Nevada, called the Silver State Cup. The rivalry was named in an online poll by fans of both teams ahead of their first match in March 2018. ## Broadcasting The Lights broadcast their home matches and some away matches on KVCW, an over-the-air channel serving the Las Vegas market. All matches are streamed online on ESPN+ as part of a league-wide broadcast deal that began in April 2018. Some of the club's matches are also scheduled to be broadcast on ESPNews and ESPN3. The inaugural preseason match in February 2018 had been aired on "KCLV", a city-run government access channel, but a broadcast agreement could not be reached due to the commercial nature of the club. Radio broadcasts for Lights matches are carried on 1460 AM ESPN Deportes in Spanish. ## Players and staff ### Roster ### Staff ### Head coaches - Includes USL Regular Season, USL Playoffs, and U.S. Open Cup. Excludes friendlies. ## Record ### Year-by-year	[ "## History", "### Inaugural season", "### Affiliation with Los Angeles FC", "## Stadium", "## Club brand and jerseys", "### Sponsorship", "## Ownership and management", "## Club culture", "## Broadcasting", "## Players and staff", "### Roster", "### Staff", "### Head coaches", "## Record", "### Year-by-year" ]	2,424	12,048
41,536,565	Ontario Highway 74	1,015,363,286	Former Ontario provincial highway	[ "Ontario provincial highways" ]	King's Highway 74, commonly referred to as Highway 74, was a provincially maintained highway in the Canadian province of Ontario that travelled north from Highway 3 at New Sarum to Middlesex County Road 29 (Hamilton Road) on the outskirts of London. The 22.4-kilometre-long (13.9 mi) was assumed by the province in September 1937. Aside from paving and the construction of an interchange with Highway 401, it remained generally unchanged for the next six decades until it was decommissioned in 1997 and transferred to Elgin County and Middlesex County. The road has since been redesignated as Elgin County Road 74 and Middlsex County Road 74. ## Route description Highway 74 began at an intersection with Highway 3 in the community of New Sarum, midway between the city of St. Thomas to the west, and the town of Aylmer to the east. It crossed the St. Thomas and Eastern Railway just north of Highway 3 before curving to cross the West Catfish Creek, which it meandered alongside into Mapleton. Immediately north of that community, the route curved to the north and was straight for the remainder of its route. The highway continued, entering the village of Belmont, where it intersected a Canadian Pacific Railway line. North of there it crossed the boundary between Elgin County to the south and Middlesex County to the north. North of the county line, Highway 74 continued into the community of Derwent. Shortly thereafter, it crossed and interchanged with Highway 401 at Exit 195. The highway ended just north of Highway 401 in Nilestown at an intersection with Middlesex County Road 29 (Hamilton Road). ## History Highway 74 was established in mid-1937 when the New Sarum to Dorchester Road was designated by the Department of Highways (DHO), the predecessor to the Ministry of Transportation of Ontario (MTO). The section within Elgin County was assumed by the DHO on August 25, 1937, while the section within Middlesex County was assumed one week later on September 1. Originally an unpaved gravel road, the route was paved between Belmont and its northern terminus by 1938. The remainder of the route was paved in 1952. Otherwise, the route remained generally unchanged for six decades until March 31, 1997, when it was decommissioned in its entirety and transferred to Elgin County and Middlesex County. It has since been known as Elgin County Road 74 and Middlesex County Road 74. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	539	44,613
36,590,949	Wigwam (Bob Dylan song)	1,163,176,298	1970 song by Bob Dylan	[ "1970 singles", "1970 songs", "2013 singles", "Bob Dylan songs", "Columbia Records singles", "Song recordings produced by Bob Johnston", "Songs written by Bob Dylan" ]	"Wigwam" is a song by Bob Dylan that was released on his 1970 album Self Portrait. It was a hit single that reached the Top 10 in several countries worldwide. The song's basic track, including "la-la" vocals, was recorded in early March 1970 in New York City. Later that month, producer Bob Johnston had brass instrument overdubs added to the track; these were recorded in Nashville, Tennessee at a session without Dylan present. Critical appraisal of "Wigwam" has been mostly positive, and reviewers have called it a highlight of Self Portrait. Several artists have covered the composition, including Drafi Deutscher, whose version of it was a Top 20 hit in Germany. ## Recording "Wigwam" was recorded during the sessions for Dylan's Self Portrait album, and produced by Bob Johnston. The basic track was put on tape on March 4, 1970, at Columbia Studio A in New York City, and was labelled "New Song 1" on the recording sheet. The musicians on the basic track were Dylan, vocals and guitar; David Bromberg, guitar; Al Kooper, piano. On April 20, 2013, this early version of "Wigwam" was released as a single for Record Store Day, and on August 27 of the same year, it appeared on The Bootleg Series Vol. 10 – Another Self Portrait (1969–1971). On March 17, 1970, at Columbia Recording Studios in Nashville, Tennessee, instrumental overdubs were recorded for "Wigwam" and several other songs. Dylan was not present for the overdubs, and they were overseen by Johnston. In the song, Dylan sings "la-la" vocals, accompanied by horns, in an arrangement that has been called "mariachi-like", and "Tex-Mex". The feeling of the song has also been described as "campfire music" and as having a "hazy glow". ## Release "Wigwam" was released on Self Portrait on June 8, 1970, and as a single in June or July. The single's B-side is "Copper Kettle". The single was a Top 10 hit in Belgium, Denmark (in 1972), France, Malaysia, the Netherlands, Singapore, and Switzerland, and was a Top 40 hit in Canada and Germany. In the US, the song reached No. 41 on the Billboard Hot 100, and No. 13 on the Billboard Top 40 Easy Listening chart. Years later, in the early 2000s, "Wigwam" appeared on the "Limited Tour Edition" of The Essential Bob Dylan. The song was also included on the soundtrack to the film The Royal Tenenbaums (2001), as well as on the compilations One Hit Wonders and Hard to Find Classics (2003), Radio 2 - De Topcollectie '70 Vol. 2 (2010), Top 40 Hitarchief - 1970 (2011), and Remember the 70s Vol. 5. ## Reception Reactions to the song have been generally positive. A review in Billboard magazine describes the track as "winning". Biographer Rober Shelton includes "Wigwam" among the "quality" songs on Self Portrait, describing it as "hard to forget"; Michael Gray similarly rates it as one of the "best tracks" on the album. Greil Marcus is likewise positive about the track, calling it "a great job of arranging". PopMatters reviewer Tom Useted calls the song "more than worthy", while NME writer Paul Stokes qualifies it as "melodious" and as demonstrating Dylan's "versatility and impact". In a review of The Royal Tenenbaums soundtrack, critic Heather Phares writes that the "hazy glow" of the song "add[s] to the album's strangely timeless but emotionally direct atmosphere." Critic Sean Egan writes that "Dylan la-las against a big brass arrangement in a not disagreeable way—but is 'not disagreeable' supposed to be what a Dylan track amounts to?" On a more negative note, writer Seth Rogovoy describes "Wigwam" as a "bizarre, wordless vocal tune," although Rogovoy claims that this is merely a description of the song and not a negative judgment at all Critic Anthony Varesi considers the instrumentation on "Wigwam" to be an example of "horns misplaced", and "evidence of flaws" in Bob Johnston's production choices on Self Portrait. Pitchfork writer Rob Mitchum characterizes the song as "moaning along with the brass section" and "rather unpleasant". ## Covers Artists who have covered "Wigwam" include the New Christy Minstrels, Sounds Orchestral, and the French orchestra leaders Raymond Lefèvre and Caravelli. Drafi Deutscher released a version with German lyrics, entitled "Weil ich dich liebe" ("Because I Love You"), that was a Top 20 hit in Germany in 1970. Saragossa Band have covered this song as well. ## Charts	[ "## Recording", "## Release", "## Reception", "## Covers", "## Charts" ]	1,074	37,347
33,439,352	Bloodletting (The Walking Dead)	1,143,056,613	null	[ "2011 American television episodes", "Television episodes directed by Ernest Dickerson", "The Walking Dead (season 2) episodes" ]	"Bloodletting" is the second episode of the second season of the post-apocalyptic horror television series The Walking Dead, and the 8th overall episode of the series. It initially aired on AMC in the United States on October 23, 2011. The episode was written by Glen Mazzara and directed by Ernest Dickerson. In this episode, Rick Grimes (Andrew Lincoln) and Shane Walsh (Jon Bernthal) rush to save the life of Rick's son, Carl (Chandler Riggs), and discover a possible safe haven in the process. Production commenced in Newnan, Georgia at Newnan High School in early July 2011, after attaining approval from the city council and the Coweta County School System. The episode featured guest appearances from Scott Wilson, Lauren Cohan, Emily Kinney and Pruitt Taylor Vince, amongst several other recurring actors and actresses for the series. "Bloodletting" was well received by television critics, who praised the character development in the episode. Upon airing, it gained 6.70 million viewers and garnered a 3.6 rating in the 18-49 demographic, according to Nielsen ratings. ## Plot In a flashback, Lori Grimes is talking with other mothers about a fight she had with her husband, Rick. Rick's partner, Shane Walsh, pulls up in a police cruiser and tells Lori that Rick has been severely wounded in a highway shootout. Lori then tells her and Rick's son, Carl the news, causing him to break down in tears. In the present, Carl has been accidentally shot by a man named Otis (Pruitt Taylor Vince), who was hunting for deer. Otis brings Rick, Carl and Shane to a veterinarian named Hershel Greene (Scott Wilson), for whom Otis works as a farm hand. Hershel lives with his daughters Maggie (Lauren Cohan) and Beth (Emily Kinney), Beth's boyfriend Jimmy (James Allen McCune), and Otis' wife Patricia (Jane McNeill). He treats Carl, but he reveals that the bullet was broken into six fragments. Rick must donate blood to Carl in order to keep him alive. Lori, Glenn, Carol, Daryl, and Andrea are still searching for Carol's daughter, Sophia, when they overhear a gunshot. Meanwhile, on the highway, Dale believes that T-Dog has contracted a blood infection from the wound he received in the previous episode, prompting their fruitless search for antibiotics. At the Greene farm, Hershel reveals that Carl needs major surgery to live, and that he will need a respirator. Otis suggests that they might find supplies at a nearby high school—where the Federal Emergency Management Agency has set up a trailer—although the place is likely overrun with walkers. Otis and Shane decide to get the supplies, while Maggie retrieves Lori from the group and brings her to the Greene home. Rick and Hershel discuss the walker epidemic; Rick believes there is no cure, while Hershel has faith that there could be one. The group searching for Sophia returns to the highway, where Daryl reveals that he has a bag containing painkillers and doxycycline antibiotics that T-Dog can take. Shane and Otis retrieve the supplies, but are spotted by walkers. The two have no choice but to barricade themselves in the high school. ## Production "Bloodletting" was written by Glen Mazzara and directed by Ernest Dickerson. In June 2011, it was announced that Scott Wilson, Lauren Cohan, and Pruitt Taylor Vince would appear on the second season as recurring characters. In an interview with TV Guide, Gale Anne Hurd explained that Wilson's character, Hershel Greene, served as a patriarchal figure for the group. She continued: "He's a veterinarian with a great sense of humanity and a very unique take on the [walkers]." According to Hurd, Scott Wilson was cast because of his "tremendous scope and gravitas". Hurd also stated that Cohan's character, Greene's daughter Maggie, was a woman in her twenties who eventually becomes a romantic interest for Glenn (Steven Yeun). Further, Cohan added in an interview with the Philadelphia Daily News that Maggie was a Christian from a sheltered background. In preparation for her role, she spent a few months in Los Angeles, California to work with a dialect coach. Emily Kinney also joined the cast as Hershel's younger daughter and Maggie's half-sister, Beth. Principal photography commenced in Newnan, Georgia at Newnan High School in July 2011, after approval was received from the city council and the Coweta County School System. Site preparation initiated on July 1, and filming began at the gymnasium of the school over a period of four days from July 7–8 and again from July 11–12. The location was temporarily renovated to mirror an abandoned Federal Emergency Management Agency camp. Michael Riley, the production manager for the episode, contacted the Newnan Police Department to collaborate with producers. Because of the large size of the filming location, Riley's production company notified surrounding neighborhoods, to avoid inconvenience. "Bloodletting" begins with a flashback of Rick Grimes' relationship with Lori, before she became romantically linked to Shane. In an interview with Entertainment Weekly, Robert Kirkman asserted that it "speaks to Shane and his relationship to Lori and Rick in the early days." He continued: > "A lot of people think of Shane as a clear villain and that he did a bad thing. But if you really analyze that situation, he’s a good guy and has done the right thing at every turn. Because he's done that, and it’s not working out for him, it’s driving him crazy. So we really wanted to show that he’s a tragic figure much more than a villainous figure. It’s just a series of unfortunate situations that have led to him slowly losing himself in this world. Popping back in time and showing his concern for Rick and how he cares for Lori and Carl, I thought that would be a good thing to do." During a scene on the road, Daryl reveals a plastic bag of Merle's drug stash he originally kept in hiding from the crew, only bringing it out to aid T-Dog's rising fever. In the bag are doxycyclin (because, Daryl explains, Merle occasionally catches the clap), painkillers, ecstasy, and methamphetamine. The meth is blue, leading to speculations that it was a reference to the famous blue meth prepared by Walter White in the television series, Breaking Bad. In his interview in the after-show Talking Dead, Kirkman stated that the scene was "a little Easter egg we were doing for AMC fans." ## Reception ### Ratings "Bloodletting" was first broadcast on October 23, 2011, in the United States on AMC. The episode received 6.70 million viewers and attained a 3.6 rating in the 18-49 demographic, according to Nielsen ratings. An encore presentation gained an additional 2.077 million viewers and garnered a 1.0 rating in the 18-49 demographic. Along with becoming the highest-rated program on basic cable for the night, "Bloodletting" became the second highest-rated program of the week on basic cable, scoring higher than the season finale of Jersey Shore, but garnering less than a game between the Miami Dolphins and the New York Jets as part of the 2011 NFL season. Total viewership and ratings for the episode were moderately down from the previous episode, "What Lies Ahead", which was watched by 7.26 million viewers and attained a 3.8 rating in the 18-49 demographic, according to the Nielsen ratings. ### Critical response The episode was well received by television critics. Ology writer Josh Harrison gave the episode a nine out of ten rating, and opined that the episode was a "home run episode" for the series. Harrison continued: "Its central conflict is intense, its action is solid, and its new arrivals are engaging characters in their own right. Light on the gore and heavy on the drama—just how I like my Sunday night zombie adventures." Scott Meslow from The Atlantic gave the episode a positive review, deeming it as an improvement from the previous episode, and appreciated that the episode had opened up new plot points for future episodes to come. Meslow wrote, "At the bare minimum, The Walking Dead should be exciting, and the final moments of "Bloodletting" provides more than enough action." Echoing similar sentiments, Catherine Gee of The Daily Telegraph gave the episode a 3.5 out of 5 stars, and compared it to the second season premiere, opining: "It may have been a calmer episode but there was no shortage of story to chew on." Joe Oesterle of Mania.com commended the opening sequence of the episode, and praised the performances of Lincoln and Bernthal. Oesterle wrote, "Andrew Lincoln and Jon Bernthal [...] gave a fine bit of acting, and I found it interesting how the character Rick started looking and walking a little bit zombish after giving blood. The scenes between the two men were moving, and if you listened close you could decipher the main differences between these two cowboy cops. Rick is bound and determined to get back to his wife and let her know their son is in mortal danger, without ever doubting his own ability to successfully complete the mission, while Shane on the other hand is not quite as automatically selfless and heroic." In conclusion, Oesterle gave "Bloodletting" a 'B' grade. Eric Goldman of IGN gave the episode an 8.5 out of ten, signaling a "great" response. Goldman stated that it was an improvement over the last episode, and that it had a great scare moment and cliffhanger. Similarly, Paste's Josh Jackson gave the episode an 8.3 out of ten rating, signifying a "commendable" rating. Steve West of Cinema Blend expressed that "Bloodletting" was superior to the previous episode, opining that it was "a character strengthening episode." He continued: "Even those throwaway threads are immensely important to what’s about to go down at the Green farm." Some television critics were less enthusiastic about the episode. Zack Handlen from The A.V. Club felt that the episode was inferior to the previous episode, deeming it tedious. He wrote, "'Bloodletting' was a step down from last week's première, mostly because it focused more on conversations than scares. Much as I want this show to find some way to do its characters right, those conversations were bland, providing no new information beyond, hey, it would suck to have your son get shot in front of you, huh?" Concluding his review, Handlen gave the episode a 'B−' grade. In concurrence, Nate Rawlings of Time stated: "For an episode titled 'Bloodletting' there was surprisingly little of it last night. What we got instead were outpourings of emotion and frustration. Two entries in, and it's already clear that the show wants to strike a balance between gore and humanity." Andrew Conrad of the Chicago Tribune was unhappy with the episode; he expressed disappointment with the low number of zombie sequences, writing, "It must be a bit of a relief for the show's make-up department, but I'd like to see at least one walker every ten minutes or so."	[ "## Plot", "## Production", "## Reception", "### Ratings", "### Critical response" ]	2,351	36,084
46,355,671	James Francis Dwyer	1,129,507,567	Australian writer	[ "1874 births", "1952 deaths", "Australian male writers", "Australian short story writers", "Pulp fiction writers", "Writers from New South Wales" ]	James Francis Dwyer (22 April 1874 – 11 November 1952) was an Australian writer. Born in Camden Park, New South Wales, Dwyer worked as a postal assistant until he was convicted in a scheme to make fraudulent postal orders and sentenced to seven years imprisonment in 1899. In prison, Dwyer began writing, and with the help of another inmate and a prison guard, had his work published in The Bulletin. After completing his sentence, he relocated to London and then New York, where he established a successful career as a writer of short stories and novels. Dwyer later moved to France, where he wrote his autobiography, Leg-Irons on Wings, in 1949. Dwyer wrote over 1,000 short stories during his career, and was the first Australian-born person to become a millionaire from writing. ## Early life Born in Camden Park, New South Wales, Dwyer was the fifth son of farm labourer Michael Dwyer and Margaret Dwyer (née Mahoney), who were both from Mitchelstown, Ireland. They would eventually have eleven children, eight boys and three girls. Dwyer regarded his childhood as a happy one. In 1883, his family moved to Menangle, and in 1884 they moved again to Campbelltown. Dwyer attended public schools until he was 14, when he was sent to Sydney to live with relatives. He initially gained employment as a publisher's clerk for The Evening News, before becoming a mail carrier in Rockdale in 1892 and a postal assistant on Oxford Street in 1895. Dwyer had a brief meeting with Robert Louis Stevenson, which gave him ideas about becoming a writer himself; Dwyer noticed Stevenson while making a delivery for his clerk job, and followed him in fascination. Stevenson, noticing he was being followed, confronted Dwyer in a friendly manner and asked him his name. After being told his name was Jim, Stevenson encouraged him to be a good person like his namesake Jim Hawkins. Dwyer married Selina Cassandra Stewart on 7 November 1893. They had a son and a daughter. ## Arrest and imprisonment Dwyer, with aspirations of travel and adventure, went to Melbourne with his friend Joseph Miller, a boilermaker, intending to make money taking bets on the Caulfield Cup. He ended up £30 pounds in debt, and desperately in need of money to pay his creditors. He proposed a scheme to Miller, though Miller confided the plan to a friend who then informed the police. In April 1899, police apprehended Miller, and found 22 fraudulent postal orders for £10 in his pockets. Miller confessed, saying that Dwyer was the mastermind of a scheme to make 65 fraudulent orders and cash them at suburban post offices. Miller also recruited printer Frederick Peter Craig to print the postal orders. Dwyer told police that Miller was lying and was trying to set him up, though the evidence against Dwyer was strong. His handwriting was matched to that on the postal notes and envelopes, and he had previously warned his superiors about the possibility of such a scheme in an attempt to impress them. The trial of the three men was overseen by Chief Justice Frederick Matthew Darley, who informed the jury he thought Dwyer was obviously guilty before they began deliberating. In his autobiography, Dwyer said he could not blame Darley for doing so, as he thought his guilt was obvious as well; during the trial Dwyer advised his lawyer he wished to change his plea to guilty though his lawyer advised him not to, saying he would be acquitted. The jury found all three guilty; Dwyer was convicted of forgery and uttering on 16 June 1899. Craig and Miller were given one and two years hard labour respectively. Dwyer was given a seven year sentence. The sentence was extremely harsh for a first offence; by comparison, it was longer than the average sentence for manslaughter at the time. His lawyer protested the sentence as too severe, though Darley said it would act as a deterrent to others. Dwyer was sent to Goulburn Gaol. Along with four other prisoners he was taken through a crowded public train station in chains, where they were followed by a group of curious onlookers, before boarding a reserved carriage on a train to Goulburn. Dwyer described the event as an unforgettable humiliation; a young woman on the platform came to the defense of Dwyer and the others, angrily protesting to the prison guards that they should have brought them around the back of the station to save them from embarrassment. As his sentence was longer than three years, he was automatically considered a dangerous prisoner, and accordingly was required to spend the first nine months of his sentence in solitary confinement. After finishing his period of solitary confinement, Dwyer obtained a job cataloguing books in the prison library. There he developed a passion for reading and also a desire to become a writer himself. Dwyer did not have access to paper or pencils while in prison, though he did have a writing slate on which he would write poems and short stories. A friend whose sentence was nearly completed committed one of Dwyer's poems, The Boot of Fate, to memory, and said he would send it to The Bulletin upon his release. Dwyer only learned the poem had been printed when one of the prison guards, who had seen the poem in the magazine, asked if he had in fact written it. Dwyer befriended the guard who, against regulations, helped him write by giving him paper and pencils. By his third year in prison, the guard had sent four short stories and another poem to The Bulletin on Dwyer's behalf. The poem, entitled The Trekkers, was printed, but the magazine's editor, J. F. Archibald, chose not to print the short stories on the fear there would be repercussions for Dwyer from prison management. ## Release and parole A petition for Dwyer's release was approved by the Minister for Justice Bernhard Wise, and he was released in 1902 after serving three years of his sentence. Two of his short stories were published in The Bulletin on the day of his release on parole. After his release, Dwyer worked various jobs including sales, buying pigeons for pigeon-shooting, and sign-writing. Dwyer found it difficult to obtain employment, as he could provide no references for the last several years of his life. One day when walking along William Street, Dwyer ran into Chief Justice Darley, who recognised him. The two struck up a friendly conversation, during which Dwyer informed Darley of his difficulties finding employment and reintegrating back into society and also of his wishes to become a writer. Darley was sympathetic, and wrote him a letter of introduction to the editor of The Sydney Morning Herald, recommending him for employment. Despite this, the editor told Dwyer no positions were available. Disheartened, that same afternoon Dwyer partook in unlicensed gambling outside a race track, and lost the last threepence he had for the week. Nevertheless, the excitement from this new experience prompted him to write a short story about street gambling, which he submitted to the Sydney Sportsman. The newspaper's owner, John Norton, subsequently offered him a steady job writing features for both the Sydney Sportsman and Truth. He also obtained work writing for The Bulletin. During his career as a journalist, Dwyer used the pen names Burglar Bill, J.F.D., D, and Marat; the Burglar Bill pseudonym was reserved for writing about prison related matters. ## Career and travels After his parole period was completed, Dwyer relocated to London in 1906, saying that "the Australian writer has no real chance in his own land", and going against advice given to him by Rudyard Kipling; Dwyer had written to Kipling a few years prior, enclosing some written verses and mentioned he was thinking about coming to London. In a long-handwritten reply, Kipling discouraged such a move, appearing to be unimpressed with his writing. Dwyer moved to London with his wife, though he found little success there as a writer. He relocated to New York City the following year, where he worked various jobs including as a streetcar conductor. His wife and daughter joined him there several months later. Dwyer continued to try selling stories in New York. After winning a contest, he was given a commission to write for Black Cat. From there his stories were also published in Harper's Bazaar, Collier's, Blue Book and Argosy. As was common at the time, Dwyer often sold the rights to his short stories to the editors who printed them. He sold one to Frank Munsey for \$30, which went on to be adapted into the 1914 film The Kaffir's Skull, directed by John G. Adolfi. The first of his novels, The White Waterfall, was published in 1912. It was an adventure story set in Australia. His 1913 novel, The Spotted Panther, received praise from The New York Times, who compared his style to H. Rider Haggard and said it was "written in a clear, spirited style, with the knack of narrative which makes all things seem possible". Dwyer travelled the US and Europe to gather information for the settings of his stories, and also visited Australia again in 1913. His short story The Citizen was included in The Best Short Stories of 1915, a book compiled by Edward Joseph Harrington O'Brien. O'Brien selected it and 19 other short stories for the book out of over 2,200 submissions. In 1915, Dwyer published Breath of the Jungle. It was the only collection of short stories that Dwyer published in book form. Most of the stories within it were set in the East Indies. In December 1919, Dwyer divorced his wife and married his American agent, Catherine Welch. In 1921, Dwyer and Welch formed the business Dwyer Travel Letters, which offered prospective tourists information about Europe. That same year, an issue of Short Stories published his full-length novel Pomegranates of Gold to critical acclaim. The 1926 film, Bride of the Storm, is based on his short story "Maryland, My Maryland". Dwyer and Welch settled in Pau, France, though they frequently traveled through Europe, Asia, and North Africa. In 1934 they traveled through the Near East, and in 1935 they went to Timbuktu and French Congo. Dwyer wrote several anti-Nazi articles for French newspapers. One day he received a letter in the mail telling him his neck would be broken when the Germans reached Pau. After the Battle of France in 1940, Dwyer and his wife fled to Dover, New Hampshire via Spain, though they returned to Pau in September 1945. In 1949, Dwyer published his autobiography, Leg-Irons on Wings. He had concealed his criminal past for most of his life, though his autobiography described his crime and prison experience in detail. He died in Pau in 1952. ## Legacy Dwyer's novels were mostly within the genres of mystery, adventure, thrillers and romance. According to The Encyclopedia of Science Fiction, some of his works will be of interest to science fiction fans, such as the 1913 lost race novel The City of the Unseen, which was published in an edition of Argosy. Dwyer is mentioned in Encyclopædia Britannica Twelfth Edition as one of several successful writers who were influenced in some way by J. F. Archibald. He was considered to be among the most successful writers of the 1920s to have immigrated from English speaking countries to the US. Dwyer wrote over 1,000 short stories during his career. According to a 1940 book on Australian literature by E. Morris Miller, Dwyer was "perhaps the most prolific short story writer" from Australia, though his work reached a much wider audience internationally than in his homeland. His obituary in the Australian literary magazine Southerly said that Dwyer had been "virtually unknown in Australia until the publication of his autobiography". Dwyer was the first Australian-born person to become a millionaire from writing. While he had been very successful during his lifetime, his work had been largely forgotten by the end of the 20th century. ## Publications Dwyer published at least 11 fiction books throughout his career, plus his 1949 autobiography. - The White Waterfall (1912) - The Spotted Panther (1913) - Breath of the Jungle (1915) - The Green Half-Moon (1917) - O Splendid Sorcery (1930) - Evelyn: Something More Than a Story (1931) - The Romantic Quest of Peter Lamonte (1932) - Cold Eyes (1933) - Hespamora (1935) - The Lady With Feet of Gold (1937) - The City of Cobras (1938) - Leg-Irons on Wings (1949)	[ "## Early life", "## Arrest and imprisonment", "## Release and parole", "## Career and travels", "## Legacy", "## Publications" ]	2,743	17,221
56,604,364	No Excuses (Meghan Trainor song)	1,167,595,124	null	[ "2018 singles", "2018 songs", "Epic Records singles", "Meghan Trainor songs", "Music videos directed by Colin Tilley", "Songs written by Andrew Wells (record producer)", "Songs written by Jacob Kasher", "Songs written by Meghan Trainor" ]	"No Excuses" is a song by American singer-songwriter Meghan Trainor, released on March 1, 2018, as the lead single from her third major-label studio album, Treat Myself (2020). Trainor co-wrote it with Jacob Kasher Hindlin and Andrew Wells, who produced it as well. The track was announced in February 2018 along with its official single artwork. The pop song, with country and R&B influences, has lyrics against sexism. The song received acclaim from music critics, some of whom noted that it was a return to the sound of Trainor's album Title (2015). "No Excuses" debuted and peaked at number 46 on the US Billboard Hot 100. It peaked within the top 40 of few countries such as Slovakia, Hungary and Scotland. The track is certified Platinum in the US and Canada, and Gold in Australia. Colin Tilley directed the music video for "No Excuses", which features visual effects showing Trainor with two carbon copies of herself and donning various outfits that were inspired by the 1980s, in pastel-colored backdrops. She performed the song on several shows, including The Ellen DeGeneres Show, The Tonight Show Starring Jimmy Fallon, Sport Relief, Sounds Like Friday Night and The Today Show. ## Background and release Meghan Trainor had been searching for a producer to create her upcoming third major-label studio album Treat Myself (2020) with, when she conducted the first session for it with songwriter Jacob Kasher Hindlin. He suggested that they work with then-unknown producer Andrew Wells. Trainor, who was expecting the session to go "really bad or really awesome", ended up writing the song "Let You Be Right" with them, and knew Wells "was the one". The trio subsequently wrote "No Excuses" and recorded it on January 17, 2018, with Wells producing the song. "No Excuses" was one of the last songs written for the album. While describing the song, Trainor said "it needs to be heard right now -- the world could use a song like this. It's about respect -- we need a little more R-E-S-P-E-C-T in the world, especially right now," and called it the "sassiest" song on its parent album. She revealed the song's title and overall vibe on The Tonight Show Starring Jimmy Fallon by saying, "don't disrespect me. I'm a woman, have you never met one before?" In the following days, Trainor revealed song lyrics including: "I don't disrespect you, don't you disrespect me", and "Have you lost your mind...open up your eyes." On February 25, 2018, Trainor referenced the song in a letter she published on her site and social media, followed by unveiling of the single's artwork the next day. "No Excuses" was digitally released on March 1, 2018, as the lead single from Treat Myself. It was sent to hot adult contemporary radio in the United States on March 5, and contemporary hit radio the next day. "No Excuses" was also serviced to radio airplay in Italy on March 9. ## Composition "No Excuses" is two minutes and 32 seconds long. Andrew Wells produced the song; he engineered it with Matt Wolach and recorded it with Jonas Jalhay at EastWest Studios in Hollywood, Los Angeles. Wells and Jalhay play guitar. Background vocalists include Hindlin, Daryl Sabara, Kelli Trainor, Wolach, and Ryan Trainor. John Hanes and Serban Ghenea mixed it at MixStar Studios in Virginia Beach, Virginia, and Randy Merrill mastered it at Sterling Sound in New York City. Sonically, "No Excuses" is a pop song with country and R&B influences. It was described as a sexism-blasting empowerment anthem. It features Trainor singing over a "funky, retro" beat. Trainor sings the lyrics, "What you sipping on that got you talking crazy? Looking at me sideways, always coming at me," over an incandescent beat. According to Idolator writer Mike Nied, the song is a confident take-down of a disrespectful suitor, that has "fiery" production and playful lyrics and Trainor sounds "right at home" on it. ## Critical reception The song received acclaim from music critics. Writing for the Daily Express, Shaun Kitchener thought that "No Excuses" was Trainor returning to the "bouncy pop roots" of her first major-label studio album, Title (2015). Entertainment Tonight Canada writer Shakiel Mahjouri noted that the song is taking an aim at sexism, and added that the funky and retro song showcases Trainor's "trademark wit and attitude". MTV News' Sam Prance described the song as "amazing" and "incredible" and dubbed it a "stomping girl-power anthem" with a brilliant and catchy chorus. Hugh McIntyre of Forbes called the song a solid pop offering that is suitable for all ages, adding that it is "tailor-made to be the type of hit that everyone can get behind" and a perfect utilization of the call and response technique. Writing for Bustle, Emily Czachor praised the track, writing that it "touts a marked air of female grit," which seems "particularly relevant right now." It was described as a "newly minted, funk-laden" song. Jezebel's Clover Hope likened it to Aretha Franklin's rendition of "Respect" (1967) and called it a "sassy Time's Up-inspired jam", adding "the orchestrated sass is built into Trainor's voice." A Plus writer Jill O'Rourke was positive of the song, calling it "empowering" and adding, "it's all about demanding respect." Mike Nied of Idolator wrote that Trainor "has a serious hit on her hands", describing it as "the sassy pop bop we need in 2018". In a 2020 album review, Nied stated that it "still holds up as a gem", adding that "with its supersized production and unapologetically sassy message", it is "so quintessentially Meghan it simply could not have been forgotten". ## Chart performance "No Excuses" debuted and peaked at number 46 on the Billboard Hot 100 and spent a total of 12 weeks on the chart. The song peaked at number 17 on the Adult Contemporary chart and at number 16 on the Mainstream Top 40 chart. It was certified platinum by the Recording Industry Association of America for one million copies certified units. "No Excuses" peaked at number 49 on the Canadian Hot 100, and at number eight on the Canada Hot AC chart, being certified platinum by Music Canada. The song reached number 60 in Australia and number 4 on the New Zealand Heatseekers chart. Despite its low peak, it was certified platinum by the Australian Recording Industry Association in the former country in 2023. "No Excuses" made the top 40 in a few countries: number 21 in Hungary, number 26 in Scotland and number 20 on Slovakia's Radio Hot 100 chart. ## Music video The song's music video, directed by Colin Tilley, premiered on the same day as the song's release, which Trainor had previously teased on her Instagram account along with a short behind the scenes look at it. The video features visual effects showing the singer with two "carbon copies" of herself. The video features looks inspired by the '80s, including Trainor donning a denim jacket and another one that looks like a cheerleader outfit. Patrick Hosken of MTV News noted that the looks "belong in a mall-pop video from 1987." An official choreography video for "No Excuses" was released in collaboration with Zumba, on March 5, 2018. It was directed by Tim Milgram. The visual features a "fun, easy" and empowering routine. It made Trainor the first recording artist to star in an official Zumba choreography video. Describing the initiative, the singer stated that always hearing her music in Zumba classes at the gym made her want to create something special for "No Excuses". She intended the choreography to "empower everyone out there to get on their feet", and think about "respect, sassiness and loving [themselves]". The VP of marketing for Zumba said that they have "always been focused on inspiring others to feel empowered and confident", and they hear these themes in Trainor's music which makes her an ideal partner. On April 3, 2018, Trainor released a dance video to her Vevo page featuring a group of children and young adults performing "energetic" choreography to the song; Trainor herself does not feature in the video. The singer and her creative director, Charm LaDonna, hand-selected the dancers to execute a choreographed dance routine to "No Excuses". ## Live performances Trainor sung "No Excuses" live on The Ellen DeGeneres Show on March 2, 2018. During this performance, the singer wore white trousers and a denim jacket, and was accompanied by a vocal quartet. According to Idolator's Mike Nied, Trainor delivered "pitch-perfect" vocals in front of the simple stage that featured a lot of glitter. She also performed it on The Tonight Show Starring Jimmy Fallon on March 5. Trainor wore a glitter-infused top with a "dazzling" jacket and wide-legged pants, joined by a group of four backup dancers and vocalists who wore black, crystallized outfits. A spacey background was projected on a screen and it ended with the group chanting in unison. On March 23, the singer sang the track during the 2018 Sport Relief telethon on BBC One. On April 6, 2018, Trainor performed the song on Sounds Like Friday Night, and an acoustic version of it during an appearance on The Today Show, alongside her backup singers and a guitarist playing the song, the same month. "No Excuses" was performed as part of a medley with "All About That Bass", "Let You Be Right" and "Me Too" at the 2018 iHeartRadio MMVAs, held on August 26, 2018. ## Credits and personnel Credits are adapted from the liner notes of Treat Myself. - Andrew Wells – producer, engineer, guitar, recording engineer, songwriter - Meghan Trainor – lead vocals, background vocals, songwriter - Jacob Kasher Hindlin – background vocals, songwriter - Daryl Sabara – background vocals - Kelli Trainor – background vocals - Matt Wolach – background vocals, engineer - Ryan Trainor – background vocals - Jonas Jalhay – guitar, recording engineer - John Hanes – mixing engineer - Serban Ghenea – mixing engineer - Randy Merrill – mastering engineer ## Charts ### Weekly charts ### Year-end charts ## Certifications ## Release history	[ "## Background and release", "## Composition", "## Critical reception", "## Chart performance", "## Music video", "## Live performances", "## Credits and personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications", "## Release history" ]	2,299	30,797
61,626,585	Mxmtoon	1,171,429,153	American singer-songwriter and YouTuber (born 2000)	[ "2000 births", "21st-century American LGBT people", "21st-century American singers", "21st-century American women singers", "American LGBT people of Asian descent", "American LGBT singers", "American LGBT songwriters", "American TikTokers", "American YouTubers", "American indie pop musicians", "American people of Chinese descent", "American people of German descent", "American people of Scottish descent", "American podcasters", "American women podcasters", "American women pop singers", "American women singer-songwriters", "Bedroom pop musicians", "Bisexual singers", "Bisexual songwriters", "Bisexual women", "LGBT TikTokers", "LGBT YouTubers", "LGBT people from California", "LGBT people from the San Francisco Bay Area", "Living people", "Music YouTubers", "Musicians from Oakland, California", "Singer-songwriters from California", "Women video bloggers", "YouTube vloggers" ]	Maia X. M. T. (born July 9, 2000), known professionally as mxmtoon,''' is an American singer-songwriter and YouTuber. Her music is characterized by emotionally transparent, confessional lyrics, and often employs the ukulele. She released her first EP, Plum Blossom, in 2018; her debut album, The Masquerade, was released in September 2019. This was followed by the twin EPs Dawn and Dusk in 2020, and second studio album Rising, which was released on May 20, 2022. Maia began self-releasing songs in secret in 2017, before the size of her online presence became too substantial to conceal. In addition to involvement with music, Maia is a streamer on Twitch, has made a podcast, and has released two graphic novels. She has collaborated with artists such as Cavetown and Chloe Moriondo, and resides in Brooklyn, New York City. ## Early life Maia was born on July 9, 2000, in Oakland, California; she grew up near Lake Merritt. Her mother is Chinese-American, and her father is German and Scottish. While at school, she enjoyed taking art and architecture classes. She became interested in music from a young age; her brother took violin lessons, and in first grade, Maia joined him. A few years later, she began playing classical cello and trumpet. In fifth grade, she auditioned for her school rock band. Expecting to audition for cello, she was instead asked to sing Oasis' song "Wonderwall," and ended up joining as a vocalist, where she recalls singing "The Middle" by Jimmy Eat World. In sixth grade, she began playing guitar, learning in part from her father. Maia first coined the name "mxmtoon" on her Instagram account, where she drew cartoon sketches. She started a YouTube channel in September 2013, and began playing the ukulele in middle school. She wrote her first song at age 13. ## Career ### 2017–2018: Plum Blossom Maia began self-releasing songs on YouTube under the online alias "mxmtoon" in 2017; the name is derived from her initials. Although she started her career secretly, subsequent growth of her online presence compelled her to disclose her activity in this field to her family. Her early oeuvre was recorded with GarageBand in her parents' guest bedroom, and percussion tracks were created with found objects such as hair straighteners. After initially attempting to write comedy songs, she began writing in a confessional style. Her 2017 collaboration with lo-fi producer Peachy, "Falling for U," became an early signature song; it has since garnered more than three hundred million streams on Spotify. In 2018, Maia released her debut EP, Plum Blossom; It was accompanied by the "Plum Blossom Tour," scheduled for the March of the following year. While it was initially scheduled for five US shows with fellow Californian singer-songwriter Khai Dreams in March 2019, it sold out and was extended to include additional concerts in North America and Europe, including opening appearances for bedroom pop YouTuber Cavetown. After high school, Maia took a gap year by postponing college to focus on her music. She was planning to study architecture after graduating from high school, until her music went viral in April 2018. ### 2019–2021: The Masquerade, Dawn, and Dusk Maia's debut studio album, The Masquerade, was released on September 17, 2019; the album peaked at number 45 on the US Indie Albums Chart. "Prom Dress," the lead single, found considerable usage on social media platform TikTok, where it has been used in over a hundred thousand videos. The album's release had been accompanied by 21 Days, a podcast in audio diary format by Spotify that concerned Maia's activities while working on the project in New York City. To support the album, Maia embarked on The Masquerade Tour, of North America and United Kingdom, in the same month of the album's release. Her first graphic novel, The Adventures Of mxmtoon: The Masquerade, began selling in October 2019. In the succeeding month, Maia signed to the label of Kobalt Music Group, under a global publishing deal. She released a remix album, The Masquerade (The Edits) soon after, and recorded "Prom Dress" in Simlish, the fictional language used in The Sims games. Maia released her first single of 2020, "Fever Dream," in January. "Fever Dream" was followed by EP Dawn in April; accompanying EP Dusk was released in October. In an interview given in the interregnum between the releases of the two EPs, Maia detailed an intention to make music that "gracefully said thank you and goodbye" to her past work. Dawn and Dusk were soon amalgamated to form album Dawn & Dusk; in the meantime, she also started a daily history podcast, 365 days with mxmtoon. Maia was featured in Dork's Hype List of 2020, alongside artists including Girl in Red, Beabadoobee and Maisie Peters. In the March of the following year, she was announced as the singing voice for Alex Chen, the protagonist of the Square Enix game Life Is Strange: True Colors. An accompanying EP entitled True Colors (from Life is Strange) was released concurrently. ### 2022–present: Rising In February 2022, Maia announced a North American tour for her then-upcoming album Rising, entitled "rising (the tour)"; it was indicated that fellow musician Chloe Moriondo would be joining her in concert. She also released "Mona Lisa", which served as the lead single for the album. Further tour dates across the United Kingdom, Europe, and Australasia were announced in the following month, with Ricky Montgomery accompanying her on European and British touring dates. Rising was released on the twentieth of May, after releases of singles "Sad Disco", "Victim of Nostalgia", and "Coming of Age". A deluxe version followed in September. ## Public image > I can be as ridiculous as I want but I can also be an emo teenager and people like both sides. Maia has been credited in NPR criticism as having an "endearingly intimate presence." Her music has been described as "warm folk-pop tunes with acoustic ornamentations," "one part acoustic-pop a-la Kina Grannis, mixed with sharp lyricism and avant-garde, off-kilter melodics akin to Fiona Apple or PJ Harvey," and artistry that "explore[s] themes such as the trials of love, being a burden to those close to you, and connecting with your family's heritage." Joshua Bote of Paste wrote that Maia "might be the songwriter a new generation needs", noting that she is "made for these times" and is "armed with a ukulele, a sardonic charm and social media savvy;" he went on to describe her as "really, really good at the internet." Grant Rindner of Nylon wrote: "With a commitment to covering topics she rarely hears addressed by other artists, and a keen understanding of how to bond with her audience, she's emerged as a charming and relatable singer-songwriter with a massive platform." After attending Maia's performance at the Gramercy Theatre, Briana Younger of The New Yorker wrote, "She sang of routine high-school problems, such as crippling self-doubt and unrequited love, with an emotional sophistication that reminded us that there are some things we never outgrow." Joe Coscarelli of New York Times compared Maia's bedroom pop style to that of Girl in Red, Clairo and Beabadoobee, as well as the folk-pop "simplicity" of Regina Spektor and The Moldy Peaches; he described her as a character "who overflows with earnestness and giggles", and her rise in popularity as the assemblage of "an independent, D.I.Y. mini-empire almost by accident." Maia remains active on TikTok, where she has amassed nearly three million followers and 140 million likes, as of January 2023. To date, she has had online presences on Vine, Tumblr, Facebook, Twitch, Snapchat, Bandcamp, Pinterest, and SoundCloud, as well as TikTok. She also streams on Twitch, where she has over two hundred thousand followers. ## Artistry ### Influences Maia has cited Arctic Monkeys, The Black Keys, Sufjan Stevens and Elliott Smith as her influences. She also has credited inspiration from female artists, such as Clairo. ## Personal life Maia is a young bisexual woman of color from a family of immigrants" and currently lives in Brooklyn, New York, where she writes, records, and produces her own music from her home that she shares with her younger brother. She graduated from high school in 2019. In Maia's youth, her parents played R&B and hip-hop, including Salt-N-Pepa and A Tribe Called Quest, which she still listens to "for nostalgia." Maia has been diagnosed with premenstrual dysphoric disorder; in 2021, she partnered with Kotex, a brand that sells menstrual hygiene products, to discuss her experience living with the disorder. ## Discography ### Studio albums ### Compilation albums ### Extended plays ### Singles #### As lead artist #### As featured artist ## Awards and nominations ## Tours Headlining''' - Plum Blossom Tour (2019) - The Masquerade Tour (2019) - dawn & dusk Tour (Cancelled) - rising (The Tour) (2022)	[ "## Early life", "## Career", "### 2017–2018: Plum Blossom", "### 2019–2021: The Masquerade, Dawn, and Dusk", "### 2022–present: Rising", "## Public image", "## Artistry", "### Influences", "## Personal life", "## Discography", "### Studio albums", "### Compilation albums", "### Extended plays", "### Singles", "#### As lead artist", "#### As featured artist", "## Awards and nominations", "## Tours" ]	2,052	44,365
8,633,507	The Elder Scrolls IV: Shivering Isles	1,169,095,653	Expansion to the video game The Elder Scrolls IV: Oblivion	[ "2007 video games", "Action role-playing video games", "Bethesda Game Studios games", "Gamebryo games", "Open-world video games", "PlayStation 3 games", "The Elder Scrolls", "Video game expansion packs", "Video games developed in the United States", "Video games set on fictional islands", "Video games with gender-selectable protagonists", "Windows games", "Xbox 360 games" ]	The Elder Scrolls IV: Shivering Isles is the second expansion pack for the role-playing video game The Elder Scrolls IV: Oblivion. Announced on January 18, 2007, the expansion was developed, published, and released over the Xbox Live Marketplace by Bethesda Softworks; its retail release was co-published with 2K Games. It was released for Microsoft Windows in a boxed retail edition on March 26, 2007, while the Xbox 360 version was released digitally on the Xbox Live Marketplace. Shivering Isles takes place on the eponymous isles ruled by the Daedric Prince of Madness, Sheogorath. The player becomes Sheogorath's protégé, and together they try to defeat the Daedric Lord of Order, Jyggalag, thus preventing the isles from being destroyed; this main quest can be ignored for as long as the player wishes to interact with the new world. ## Gameplay Shivering Isles is identical to the basic gameplay of The Elder Scrolls IV: Oblivion; the basic design, maneuvers, and interfaces remain unchanged. As such, it is a fantasy-based role-playing adventure game. Players begin Oblivion by defining their character, deciding on its skill set, specialization, physical features, and race. The player gains experience points through the practice of specific skills, such as gaining archery experience by practicing archery. This goes against standard role-playing game form, where any skill use garners generic experience points that may be put towards any type of specialization. Enemies increase in difficulty as players strengthen their skills, scaling the game's challenge to the players' strength. As with the original game, The Shivering Isles is an open-ended expansion. The main quest may be delayed or completely ignored as the player explores the game world, follows side quests, interacts with non-player characters, and develops a character according to their taste. Once the game is updated the player can access the extra content at any time with any character. ## Plot The expansion pack takes place on the Shivering Isles, ruled by the Daedric Prince of Madness, Sheogorath. The realm is divided into two sections, Mania and Dementia, both of which have different characteristics in the art and design. The player enters the realm as an event called the Greymarch is about to occur - in which the Daedric Prince of Order, Jyggalag, completely destroys the Shivering Isles. Upon entering the realm, the player has access to only one area of the Shivering Isles, called the Fringe. To gain access to the other areas, the player must defeat a creature called the Gatekeeper. Before entering the other areas, the player is summoned for an audience with the mad god Sheogorath. Sheogorath explains to the player that the Greymarch will destroy the realm, and Sheogorath needs a "champion" to stop the event from occurring. Sheogorath decides to choose the player as his protégé, whom he sends off on various quests in an attempt to stop the Greymarch. Sheogorath's and the player's attempts to stop the Greymarch ultimately fail. Sheogorath then transforms into Jyggalag, by then revealed to be his alter-ego, and disappears. As the player defends the Court of Madness from the ensuing invasion of the forces of Order, Jyggalag himself appears and attacks the player. The player defeats Jyggalag, and the Greymarch stops. Jyggalag then explains to the player that, when the Daedric Princes were creating their own lands, his power and the rapid expansion of his realm caused the other princes to become fearful and jealous, prompting them to curse him with madness, changing him into Sheogorath, the Prince of Madness. Since Daedra are subject to a reincarnation cycle, Jyggalag/Sheogorath was doomed to relive the Greymarch at the end of each era, after which Jyggalag would once again be transformed into Sheogorath. After explaining this history, Jyggalag thanks the player for breaking the cycle and dubs him/her the "new" Sheogorath, Prince of Madness and ruler of the Shivering Isles. ## Development The earliest news about Shivering Isles surfaced on January 4, 2007 when an issue of PC Zone revealed the expansion. The issue revealed details about the plot and setting of the expansion, published its first screenshots and announced its expected arrival in the second quarter of 2007. Bethesda did not announce the expansion until January 18, 2007. The announcement came after the expansion had already been featured in both PC Zone and PC Gamer, after it had been scheduled for a February 6, 2007 appearance in Games for Windows, and after it had been reported in several online publications. The official announcement also confirmed an eventual release for the Xbox 360, something the magazines, being PC publications, had not previously mentioned. Further clarification came in early March when Executive Producer Todd Howard revealed the specific release date of March 27, 2007, but due to unscheduled maintenance, it was released on Xbox Live a day early. A disc version of Shivering Isles was announced on September 6, 2007 with a previously disallowed hard drive requirement. The expansion was released as a standalone for the PlayStation 3 version of the game on November 20, 2007 and as a download from the PlayStation Network on November 29, 2007. The expansion was made available for download to Australian customers only on November 23, 2007. Shivering Isles and Knights of the Nine expansions shipped together in the packaged release of Oblivion's Game of the Year edition. ### Concept art Much of the distinctive look of Shivering Isles is credited to concept artist Adam Adamowicz. The landscape of the Isles is divided into two main areas: Mania and Dementia. The land of Mania is characterized by vivid colour and fantastical flora, while Dementia is filled with bogs and agonistically twisted trees and roots. Adamowicz had a major influence on the style of other Bethesda Softworks game titles such as Fallout 3 and The Elder Scrolls V: Skyrim. The portal to the Shivering Isles was also designed by Adamowicz, and bears his signature style. ## Reception The Shivering Isles was generally well received in the gaming press. Aggregate sites Metacritic and GameRankings scored both the PC version and the Xbox 360 version of the game at 86 out of 100. Greg Mueller from GameSpot recommends the game for its value but sees it as "not an absolutely essential expansion" and rates some of the later quests as repetitive and uninspired. Similar comments followed from GamePro reviewer Newton, who found that it is "an impressive expansion" which "delivers more of what made Oblivion great: creative quests, a huge land to explore, and tons of things to do there, [therefore] making this expansion is a solid purchase for anyone who was a fan of the core game". Jim Rossignol from Eurogamer initially rated the game as equally memorable to Oblivion but later saying that it is "the same game as it ever was, only this time with a slightly weirder backdrop, and less interesting questing". Charles Onyett from IGN rates it as "an entirely worthy addition to Bethesda's stellar fourth entry in The Elder Scrolls series" and as "a great excuse to jump back in [the series]". The expansion received accolades from several media publishers, including "Best RPG" at the 2008 Game of the Year Awards offered by Game Industry News, the "Best Expansion" at the 2007 Game of the Year Awards offered by Voodoo Extreme, as well as those offered by Primotech, and "Best Downloadable Content" at the G-Phoria 2007 Awards. It also received the "Editor's Choice Award" from Team Xbox, Game Pro, and IGN, as well as the "Top Pick Award" by Game Vortex, and the "Silver Award" from Advanced Media Network.	[ "## Gameplay", "## Plot", "## Development", "### Concept art", "## Reception" ]	1,687	9,719
31,083,578	I Am the Walrus (American Dad!)	1,135,981,774	null	[ "2011 American television episodes", "American Dad! (season 7) episodes" ]	"I Am the Walrus" is the thirteenth episode of the Sixth season of American Dad!, first airing on Fox in the United States on March 27, 2011. It mainly centers around Stan and his son Steve, who are both competing for the dominant role of the house. Steve is the first person to finish his meal, much to Stan's dismay. Stan becomes intimidated by his son, and he is afraid that he will lose his status of alpha male. Meanwhile, Hayley and Jeff are suffering marital relationship problems, so they seek marriage counseling. "I Am the Walrus" was directed by Tim Parsons, with Jennifer Graves serving as co-director for the episode, and was written by Keith Heisler. It featured guest appearances from Jeff Fischer, as well as several recurring actors and actresses for the series. Most critics gave the episode positive reviews, with much of the praise stemming from the main storyline, and it was viewed by over 4.9 million viewers, acquiring a 3.0 rating in the 18-49 demographic upon its initial airing, according to the Nielsen ratings. ## Plot The Smith family have dinner together, and Stan talks about the events that occurred on a nature documentary that aired earlier. Shortly after the conversation, Steve is the first person to finish his meal, much to Stan's surprise. Stan later becomes insecure about the incident, and he is afraid that he will lose his stance as the alpha male of the household. The next morning, when Steve is watching a movie on television, Stan abruptly pushes him off the couch and claims it as his "territory" by peeing all over it. Steve becomes furious, and he tells Francine about the situation in the kitchen. Francine tells him that Stan is intimidated by him, and that he feels that he will lose his dominant position in the family. Puzzled, Steve talks to Stan about the issue and openly challenges him. Though Steve manages to outdo him in everything, Stan is inspired by a walrus documentary to do the one thing his son can not do: have sex. Steve turns to Roger for help, who suggests he go to a party (hosted by Roger himself as a high school senior named Bing Cooper) to get laid; after having his idea involving paralytic drugs and a persona named Ace Chapman rejected, as the sex has to be consensual. Informed by Klaus of this, Stan rushes to the party to stop his son. However, upon arriving there, Stan learns that Steve's various attempts to have sex with a girl failed miserably as the boy is having a mental breakdown. Roger explains now there's no threat to Steve challenging Stan, and no threat of Steve's future son, who shall never be born, challenging him. Stan later apologizes to him, and admits to having failed to raise him to be a man. Meanwhile, Jeff and Hayley decide to take marriage counseling after continuously getting into arguments. They arrive at a class dedicated to pottery, learning the counselor is Principal Lewis. Hayley opts out of the session, but Jeff insists that she stay with the plan. The couple later arrive at Principal Lewis' home, which is an enormous mess, where he tells him that their first goal is to clean his house. Confused, Hayley and Jeff refuse, but Lewis holds them at gunpoint. Jeff later decides to use Roger's paralytic drugs to escape; Principal Lewis immediately takes them upon hearing the word "drugs" without hearing what they do, allowing Hayley and Jeff to steal his rare Mickey Mouse watch and escape. He returns to get the watch back and declares he has fixed Hayley and Jeff's relationship. After he gets his watch back, he takes more of the "Stephen Hawking pills" and is later used by Stan to teach Steve how to shave, and Roger (as Ace Chapman) drags him away. ## Production "I Am the Walrus" was directed by series regular Tim Parsons, in his second episode of the season. This would be the first episode that Parsons would direct since the season six episode "100 A.D.". Jennifer Graves served as the co-director for the episode. It was written by series regular Keith Heisler. This would be the second time Heisler has written an episode for the season, having also written season six episode "100 A.D.". Seth MacFarlane, the creator and executive producer of American Dad!, as well as its sister shows Family Guy and The Cleveland Show, served as the executive producer for the episode, along with series veterans Mike Barker, Rick Wiener, Matt Weitzman, Eli Dolleman, and Kenny Schwartz. Diana Retchey was the animation producer for the episode, in her tenth episode of the season. Amanda Bell served as the production manager, and this episode would be Bell's tenth episode of the season where she served as the production manager. Several recurring voice actors were featured in this episode. Curtis Armstrong, Daisuke Suzuki and Eddie Kaye Thomas guest starred as Steve's friends in the episode, while Kevin Michael Richardson would return to play his part as Principal Lewis. Jeff Fischer would return to resume his role as Hayley's husband. Armstrong, Suzuki, Thomas, and Richardson all previously reprised their roles in the season six episode "You Debt Your Life", while Fischer previously reprised his role in the season six episode "For Whom the Sleigh Bell Tolls". ## Cultural references The episode makes several references to pop culture referencing films, music and media. When Roger takes on a persona to help Steve lose his virginity Steve exclaims his excitement to finally being able to use his dance moves. Afterwards the scene cuts to Toshi, Berry, Steve, Snot and Roger taking turns humping an ottoman in a nod to a video, that went viral in 2006, in which five teenagers danced similarly. The song "Pony" by Ginuwine plays during this sequence. Steve and Roger get distracted from the problem with Stan with watching Airplane! after they quote the classic "Don't call me Shirley" scene. They even watch Airplane II: The Sequel, which Steve says is better than the first film, but actual reception was generally negative.[^1] The title of the episode is a reference to The Beatles' song of the same name. The sequence where Steve picks up a line of comic books and repeatedly says "Ooh!", is a call back to the Family Guy episodes "Peter's Got Woods" and "Back to the Woods", in which James Woods eats a trail of candy and says "Ooh, a piece of candy!" repeatedly. ## Reception "I Am the Walrus" was first broadcast on March 27, 2011 as part of the animation television night on Fox. The episode ended the line-up, the first time an American Dad! episode ended the animation television night on Fox since the season seven episode "For Whom the Sleigh Bell Tolls". It was the first new episode of American Dad! shortly following a month-long hiatus. It was preceded by The Simpsons, Bob's Burgers, and a rerun of its sister show Family Guy. Its other relative show, The Cleveland Show, was notably absent, as it did not air on that date. It was viewed by 4.9 million viewers upon its original airing, despite airing simultaneously with Celebrity Apprentice on NBC, Undercover Boss on CBS, and a rerun of Desperate Housewives on ABC. The total viewership of the episode was slightly higher than Bob's Burgers, but significantly lower than Family Guy and The Simpsons. It achieved a 3.0 rating in the 18–49 demographic group, according to the Nielsen ratings, the third highest rating in the line-up. The episode's total viewership and ratings were significantly up from the previous episode, "You Debt Your Life", which was viewed by 4.25 million viewers upon its initial airing, and garnered a 2.0 rating in the 18–49 demographic. The episode's ratings and total viewership were also the highest since the season seven episode "For Whom the Sleigh Bell Tolls", which was viewed by 6.26 million viewers and acquired a 3.1 rating in the 18-49 demographic. "I Am the Walrus" was met with mostly positive reviews from critics. Rowan Kaiser of The A.V. Club gave the episode a positive review. In his review for the episode, he opined: "The episode itself didn't disappoint either, as [...] this was a quality half-hour of jokes. Kaiser praised the argument between Stan and Steve, calling it a "superb sequence". Concluding his review, Kaiser went on to write, "Despite all the absurdity, the episode even manages to successfully come around to an emotional resolution when Stan, realizing that Steve is an utter failure at attempted mating, resolves to see Steve as a son instead of potential masculine competition. Then [...] there's a rape joke. But, it being American Dad, it's actually a surprisingly funny rape joke." He went on to give the episode an "A−", scoring higher than The Simpsons episode "Love Is a Many Strangled Thing", but scoring lower than Bob's Burgers episode "Spaghetti Western and Meatballs". Jason Hughes of TV Squad also reacted positively, writing, "It was good to have American Dad'' back in the lineup. Roger was in fine form, and I can at least appreciate that they're trying to figure out how to make Hayley and Jeff work in the family dynamic. They never quite got there with Hayley alone, so maybe things will work better this way." However, he was more critical on the sub-plot. In his review for the episode, Hughes opined: "The B-story left me wanting. The writers are still trying to figure out the new dynamic of having Hayley married and Jeff living in the house with the Smiths. The whole thing has been barely addressed, and this week we got a fairly weak exploration of them having fairly standard marital problems." [^1]: [ Variety Reviews - Airplane II: The Sequel]	[ "## Plot", "## Production", "## Cultural references", "## Reception" ]	2,063	36,365
55,845,694	People's Anti-Imperialist Association	1,172,998,260	Ruling political party in Xinjiang between 1935-1942	[ "1935 establishments in China", "1942 disestablishments in China", "Defunct political parties in China", "Formerly ruling communist parties", "Parties of one-party systems", "Political parties disestablished in 1942", "Political parties established in 1935", "Political parties in the Republic of China" ]	The People's Anti-Imperialist Association (Chinese: 民眾反帝聯合會; pinyin: Mínzhòng Fǎn Dì Liánhé Huì; Wade–Giles: Minchung Fan Ti Lienho Hui) was a political party in Xinjiang, China during the rule of Sheng Shicai, between 1935 and 1942. ## History The People's Anti-Imperialist Association was founded by Sheng Shicai in Ürümqi on 1 August 1935. The propaganda outlet of the Association was the Anti-Imperialist War Front. The Sinkiang's Youth and the Sinkiang's Women served as the Association's youth and women's wing respectively. The Association saw a large increase in membership. In 1935 it had 2,489 members, in 1937 the membership grew to 5,281, and in 1939 the Association's membership rose to 10,000. The membership was nationally diverse, and included Han, Hui and various Turkic peoples. The ideology of the People's Anti-Imperialist Association were the "Six Great Policies", issued by Sheng in December 1934. The Policies guaranteed his previously enacted "Great Eight-Point Manifesto" and included "anti-imperialism, friendship with the Soviet Union, racial and national equality, clean government, peace and reconstruction". Sheng referred to them as "a skillful, vital application of Marxism, Leninism, and Stalinism in the conditions of the feudal society of economically and culturally backward Sinkiang". They served as the ideological basis of Sheng's rule. With the proclamation of the Six Great Policies, Sheng adopted a new flag with a six-pointed star to represent these policies. With Sheng's rapprochement with the Central government, the Kuomintang spread throughout the province, replacing the People's Anti-Imperialist Association, which was disbanded in April 1942.	[ "## History" ]	419	18,357
17,860,742	Shon the Piper	1,137,167,249	1913 film	[ "1910s American films", "1910s English-language films", "1910s historical romance films", "1913 films", "1913 lost films", "1913 romantic drama films", "1913 short films", "American black-and-white films", "American historical romance films", "American romantic drama films", "American silent short films", "Films directed by Otis Turner", "Films set in Scotland", "Films set in the 18th century", "Lost American films", "Lost romantic drama films", "Silent American drama films", "Silent historical romance films", "Silent romantic drama films", "Universal Pictures short films" ]	Shon the Piper is a 1913 American silent short historical romantic drama film directed by Otis Turner and starring Robert Z. Leonard and Lon Chaney. The film follows a Scottish Duke who disguises himself as a piper and falls in love with a woman by the name of Madge. The woman's father refuses to let the two marry because he wants his daughter to marry the Laird of the Isla. At the wedding, Shon steals Madge away and a battle ensues between the clans. The film was produced by the 101 Bison Film Company and released on September 30, 1913. The film saw a widespread national release and garnered some positive attention. Some sources have disputed the fact that Lon Chaney appeared in this film, but the Blake book states Chaney played a member of a Scottish clan (uncredited). The film is presumed lost. ## Plot The synopsis of the film was provided in Moving Picture News as: "The action is laid in the latter part of the eighteenth century while the story revolves about a young Scotch duke who, determined not to marry one seeking his money, searches for adventure in the Highlands, disguised as a piper. He meets, during his wanderings, Madge, the daughter of Donald Maclvor. They fall in love at first sight. Unaware of Shon's real identity, the old father refuses to sanction the match. He prefers to give his daughter to the wealthy Laird of the Isla. When the girl carries this news to her lover he tells her to "Be of good cheer, my bonny lass; I'll pipe them a tune of another class." The wedding day is fixed and the Laird leads his melancholy fiancée forth. Shon visits the feast in the garb of a harpist. He amuses the guests for a while and then, throwing off his disguise, escapes with Madge from a window. But previous to this, Shon has called his clan together and when speeding away to his mansion, they cover his retreat. What follows is a remarkably thrilling and fresh piece of business; a battle between two kilted Scotch clans. And then the title of the youth is discovered and all ends well." ## Cast - Robert Z. Leonard as Shon the Piper - Margarita Fischer as Madge of the Hills - Joseph Singleton as The Laird of the Isla - Joseph Fischer - John Burton as Tam MacIvor - Lon Chaney as a member of the Scottish clans (disputed) ## Production The film was produced by the 101 Bison Film Company. On August 23, 1910, the New York Clipper announced that J. W. Kerrigan had joined Universal Studios and would star in a new series of films directed by Allan Dwan. The first film listed was titled "A Restless Spirit" (The Restless Spirit) and the second film would be Shon the Piper. It is unknown if there was some change in Shon the Piper's production or if the Clipper was mistaken because neither Kerrigan nor Dwan are credited. Instead, Otis Turner would direct the film and the film would star Robert Z. Leonard and Margarita Fischer. Prior to his motion picture debut, Leonard previously had a noted stage career in the California Opera Company in a variety of roles and sung in over a hundred light operas. Joseph Singleton played The Laird of the Isla and would be credited through an answer column in The Photo-play Journal. The cast of the film was not billed or credited in the production. Michael Blake credits Lon Chaney in a role in this film in his book, The Films of Lon Chaney. Jon C. Mirsalis states that he cannot confirm or deny an appearance by Lon Chaney, but notes that the only surviving film still does not show Lon Chaney among the cast members. Also, although most sources list the film as a three-reeler, a review exists from "Motion Picture World" that calls it "A remarkably fresh and interesting two-reel subject..." ## Release and reception The three reel film was released on September 30, 1913. The Leavenworth Times gave a review prior to its release, stating "This is one of those bright sunny pictures that cannot fail to please everybody. The action is laid in the latter part of the eighteenth century and Margaret Fischer as the daughter of the rich Laird of the Isla takes part in some of the most enchanting pictures ever shown on a screen." The Huntington Herald said the film was a "remarkably fresh and interesting subject" and it described the film as a Scottish ballad. The film had viewings in Kansas, Indiana, Texas, Chicago, Illinois, Missouri, Lincoln, Nebraska, North Carolina, Pennsylvania, and Wisconsin. Other showings include the "Indian Territory" of Oklahoma, Seattle, Washington, Arizona, Vermont, Oregon, and Utah. One of the last advertisements for the film was on December 19, 1913 announcing a showing at the Airdome in Durham, North Carolina. The film is now considered lost. It is unknown when the film was lost, but if it was in Universal's vaults, it would have been deliberately destroyed along with the remaining copies of Universal's silent era films in 1948.	[ "## Plot", "## Cast", "## Production", "## Release and reception" ]	1,088	8,678
3,485,095	The One with the Embryos	1,170,997,015	null	[ "1998 American television episodes", "Friends (season 4) episodes" ]	"The One with the Embryos" is the twelfth episode of Friends' fourth season. It first aired on the NBC network in the United States on January 15, 1998. In the episode, Phoebe (Lisa Kudrow) agrees to be the surrogate mother for her brother Frank Jr. (Giovanni Ribisi) and his older wife Alice Knight (Debra Jo Rupp). Meanwhile, a display by Chandler (Matthew Perry) and Joey (Matt LeBlanc) of how well they know Monica (Courteney Cox) and Rachel (Jennifer Aniston) by guessing the items in their shopping bag leads to a large-scale bet on a quiz, for which Ross (David Schwimmer) acts as the gamemaster. The episode was directed by Kevin S. Bright and co-written by Jill Condon and Amy Toomin. The idea for Kudrow's character Phoebe becoming a surrogate mother coincided with the actress' real-time pregnancy. The producers wanted to find a way to use the pregnancy in a narrative for the fourth season and designated the task to the writers. Ribisi and Rupp reprised their recurring roles of Frank Jr. and Alice respectively which was initially difficult as both had filming commitments. In its original broadcast on NBC, "The One with the Embryos" acquired a 17.3 Nielsen rating, finishing the week ranked fourth. The episode received critical acclaim, is generally considered one of the best of the entire series, and is a favorite amongst the cast members and producers. In 2009, "The One with the Embryos" was ranked \#21 on TV Guide'''s list of "TV's Top 100 Episodes of All Time." ## Plot Rachel (Jennifer Aniston) and Monica (Courteney Cox) are woken up too early in the morning by Joey (Matt LeBlanc) and Chandler's (Matthew Perry) chick and duck, as the maturing chick has just begun crowing. Later, as Rachel returns with her shopping and complains to the others about the situation, Phoebe (Lisa Kudrow) urges the boys to get rid of their birds as they should not be living in an apartment. As Phoebe leaves for her doctor's appointment to get her brother Frank (Giovanni Ribisi) and his older wife Alice's (Debra Jo Rupp) embryo transferred into her uterus, Monica and Joey have an argument after Joey boasts that he and Chandler know more about Rachel and her than vice versa. Chandler backs Joey up, and the two correctly identify the contents of Rachel's shopping bag. Monica suggests a trivia contest to see who knows more about whom: the men or the women. They place a \$100 bet on the outcome and Ross (David Schwimmer) puts together some questions and plays as host. Meanwhile, Phoebe learns that the doctor will implant five of Frank and Alice's embryos into her uterus, which only has a 25% chance of success. She offers to do this as many times as possible for them, but is concerned when the two reveal that they are paying \$16,000, which is all of their savings, for the single IVF procedure, and is helpless to influence the results. The trivia game begins, with various facts about the characters being revealed such as Joey's space-cowboy imaginary friend (Maurice) and Rachel's actual favorite movie (Weekend at Bernie's). A nine-all score leads to a lightning round. Monica raises the stakes: If the women win, Joey and Chandler must give up their birds. Chandler rebuts by suggesting Rachel and Monica give up their apartment to them, which Monica immediately agrees to without consulting Rachel. The girls lose the lightning round because they cannot identify Chandler's job, and the boys win. As the four pack up their respective apartments—Rachel, in particular, displeased about having to switch—Phoebe returns home and takes a pregnancy test, though it is too soon for a result, so she sits in the apartment for several days waiting for another result. Later with packing complete, Rachel finally refuses to move as Frank and Alice come by with another pregnancy test. The boys and the girls begin to argue along with Ross, which is cut short when Phoebe emerges from the bathroom and joyfully announces she is pregnant, the mood turning to one of celebration. The tag scene shows Rachel and Monica horrified at having to deal with living in Chandler and Joey's cramped and dirty apartment, while the boys are content to live in the girls' large apartment. ## Production "The One with the Embryos" was co-written by Jill Condon and Amy Toomin and directed by Kevin S. Bright. In October 1997, Lisa Kudrow announced she and her husband Michel Stern were expecting their first child. When Marta Kauffman first learned of Kudrow's pregnancy, she was overjoyed and wanted to find a solution of incorporating it into the show without choosing to cover up. At the time of filming "The One with the Embryos" in December, Kudrow was four months pregnant and the writers discussed ways of narrating the pregnancy on the show, settling with Kudrow's character carrying her brother's embryos. According to David Crane, the story arc with Phoebe carrying Frank and Alice's baby was considered "risky". When the plot was first discussed, the main concern was whether it was "too crazy ... where's the line with Phoebe?". Crane felt if it were not for the actors, the storyline would not have been believable. The producers found it difficult to get Giovanni Ribisi to reprise his role as Frank Jr. on a longer-term basis because the actor had continuous filming commitments. A similar situation occurred with Debra Jo Rupp, who was named as a cast member in the upcoming period sitcom, That '70s Show on the Fox network. The chick and the duck, who first appeared in "The One with a Chick and a Duck" as Chandler and Joey's pets were used "as a spark" for the main plot. The animals were originally intended for one episode but because the producers believed they got "so much mileage out of them", they made recurring appearances. As many television shows used similar fictional pets, the producers settled on a chicken and a duck as they were different. The idea for the trivia contest came up in the writers' room, partially based on a real game that writer Seth Kurland watched his friends play. The "Miss Chanandler Bong" joke was inspired by an incident from Kurland's childhood when his surname was misspelled on an address label. Kauffman told TV Guide the writers felt it was important that the trivia contest reveal new information about the characters "otherwise it's just exposition." The answer "Viva Las Gay-gas" in response to 'What is the name of Chandler's dad's show in Vegas?' changed "about a million times" in drafts according to Crane. On the night the show was being filmed, writers continued to pitch for different answers in order to receive a better response from the audience. The staff found it difficult coming up with different points of view for each character as all wanted to win the game. The writers decided to go through with the apartment switch to avoid creating fake stakes, which they called "schmuck bait". "The discussion was if we do it, we have to stick to it," Crane said. There was never discussion of changing the look of either apartment because "the fun of it was that they were in spaces they 'shouldn't' be in," according to Bright. ## Reception In its original airing, "The One with the Embryos" finished fourth in ratings for the week of January 12–January 18, 1998, with a Nielsen rating of 17.3, equivalent to approximately 16.8 million viewing households. It was the fourth highest-rated show on NBC that week, following ER, Seinfeld and Veronica's Closet–all of which aired on the network's Thursday night Must See TV lineup. "The One with the Embryos" was Courteney Cox and Matt LeBlanc's favorite episode of the series. Cox liked the episode because she enjoys playing Monica at her most competitive, while LeBlanc spoke fondly of the pace of the episode and the information about the characters that came out. He identified scenes that featured just the six core cast as the best, "because you don't have to introduce a character—you don't have to lay any pipeline—you just get right to the funny". On the DVD audio commentary for the episode, Marta Kauffman cited the episode being "so much fun to do" and enjoyed the writing process. The scene involving Phoebe talking to the embryos was Kevin S. Bright's favorite in the show's history because of Kudrow's ability to "draw you into the scene ... even though it's only her talking to the dish". David Crane highlights how the episode explores generosity; doing a selfless act which pays off when Phoebe gives birth in "The One Hundredth". Bright moreover felt the trivia contest was the catalyst that rejuvenated the entire fourth season and "put Friends in a different place". In a 2001 review, Entertainment Weekly rated the episode A+, stating that "Thanks to the trivia contest alone, Embryos is quite possibly Friends' finest moment". The article singles out Rachel's line "He's a transpon—transpondster!" (in response to the question "What is Chandler Bing's job?") as the best line of the episode. The authors of Friends Like Us: The Unofficial Guide to Friends called it a "sure-fire contender for the best episode of all time ... not one to be missed under any circumstances". In 2004, Tara Ariano of MSNBC.com wrote that the character trivia is "revealed in a manner completely organic to the plot. Beautifully written and acted, 'The One With The Embryos' encapsulates the whole series in a single episode". The episode was ranked \#21 on TV Guide's list of "TV's Top 100 Episodes of All Time". In a 2018 oral history marking the episode's 20th anniversary, TV Guide declared it the series' best episode and "Friends at its peak, a lightning-in-a-bottle gem." Kauffman said she hopes "the episode's legacy is what people would say about the series, which is it's really funny and real and sweet." ## Merchandise The episode was released as part of Friends'': The Complete Fourth Season in Regions 1, 2 and 4. As part of the DVD release, "Who Knows Whom Best? – Ross's Ultimate Challenge" an interactive game was included, based on the quiz in "The One with the Embryos". The game uses clips from the show to provide answers, allows viewers to choose a team (boys or girls) and call the coin toss.	[ "## Plot", "## Production", "## Reception", "## Merchandise" ]	2,244	16,814
30,800,779	Black and Blue (Homicide: Life on the Street)	1,165,239,716	null	[ "1994 American television episodes", "Homicide: Life on the Street (season 2) episodes" ]	"Black and Blue" is the third episode of the second season of the American police drama television series Homicide: Life on the Street, and the twelfth overall episode of the series. It originally aired on NBC in the United States on January 20, 1994. In the episode, Pembleton aggressively investigates what he believes to be a police-related shooting. Amid pressure from Gee to pursue civilian suspects, Pembleton elicits a successful confession from an innocent man, leaving Gee feeling conflicted. Directed by Chris Menaul, the episode's teleplay was written by James Yoshimura based on a story by series executive producer Tom Fontana. Yoshimura considered "Black and Blue" the favorite script he wrote for Homicide. Pembleton's investigation was based on a real-life investigation into a suspicious shooting featured in David Simon's non-fiction book Homicide: A Year on the Killing Streets, on which the Homicide series was based. However, fictional elements like Howard's romantic interest in the perpetrator were added so more cast members could be part of the story. Detectives from the Baltimore Police Department wrote a letter of formal protest to executive producer Barry Levinson over the negative portrayal of police in the episode. "Black and Blue" featured Julianna Margulies as a waitress who befriends Bolander and Isaiah Washington as an innocent man who Pembleton tricks into confessing to murder. Mel Proctor, home team sports announcer for the Washington Bullets, also reprised his recurring role as reporter Grant Besser. According to Nielsen Media Research, the episode was seen by 10.83 million household viewers, a drop from the previous episode "See No Evil". It received generally positive reviews, with critics particularly praising the performance of Andre Braugher. ## Plot summary Pembleton (Andre Braugher) continues his investigation into the shooting death of small-time drug peddler Charles Courtland Cox, who he suspects was killed by police during a botched crackhouse raid. As the involved police officers turn over their guns for testing, the press reports heavily on the story, which results in pressure from the department heads to solve the case. Pembleton aggressively questions several officers, but none are cooperative. Gee (Yaphet Kotto) is angry with Pembleton's focus on the police and demands civilian suspects be pursued. Howard (Melissa Leo) and Bayliss (Kyle Secor) canvas the neighborhood of the shooting and find most residents do not trust the police, who they feel are responsible for the death of one of their own. However, one woman named Dale (June Thorne) tells Bayliss her grandson, Lane Staley (Isaiah Washington) witnessed the shooting. Staley is brought in to the station for questioning and, while Pembleton plans to question him as an eyewitness, Gee demands he be treated as a suspect. Frustrated that Gee refuses to consider the possibility of a police shooting, Pembleton assures him he will get a confession out of Staley, whether he did it or not. Pembleton starts the interrogation calm and polite, but gradually becomes angrier, frightening Staley. Pembleton makes him feel responsible for allowing Cox to be at the crackhouse, and uses that guilt to break Staley down and confess, even though he is obviously innocent. Pembleton gives the confession to Gee, who is conflicted, especially when Pembleton compares it to past police practices of white detectives getting confessions from black suspects no matter what the cost. Ultimately, Gee tears up the confession and instead visits Staley at jail. Staley admits to Gee that Lt. Jimmy Tyron (Michael S. Kennedy) shot Cox in the back without warning while Cox was running away. Pembleton and Bayliss arrest Tyron at his home, where they confiscate a gun and bullets that appear to match those used against Cox. The arrest deeply saddens Howard, who had previously had an affair with Tyron. The affair ended because Tyron was married with children, but Howard continues to harbor romantic feelings for him. Meanwhile, in a B story, Munch (Richard Belzer) repeatedly and loudly declares his love for his girlfriend Felicia, much to the annoyance of his lonely partner Bolander (Ned Beatty). The two confiscate a live tropical fish from the murder scene of a dead drug dealer. Upon learning it will not be used as evidence, Munch decides to give it as a gift to Felicia, who loves fish. However, she breaks up with Munch after the fish, a Jack Dempsey, ends up eating all her other fish. The now lonely Munch turns to Bolander for comfort, but finds the tables have turned and that Bolander has met a local waitress named Linda (Julianna Margulies). The two get along very well and bond over their mutual love of music. The episode ends with Linda and Bolander getting together to play music: Linda plays the violin, while Bolander plays the cello. ## Production "Black and Blue" was written by James Yoshimura and directed by series executive producer Tom Fontana. Like the other three second-season episodes, the script was already finished by the time the first season ended, but due to poor Nielsen ratings throughout the duration of the show, NBC executives asked for several refinements – including fewer episode subplots and fewer camera movements and jump cuts – before approving a second season. Although Yoshimura continued working on Homicide throughout the entire life of the show, he considered "Black and Blue" his favorite script. Braugher also complimented the writing, particularly during the interrogation scene with his character: > "I didn't dare judge my character before I did that scene. Andre Braugher doesn't judge Frank Pembleton about being right or wrong. It's a way for me to remain blessedly free of conscience. But for me the beauty of that scene was that we really dared to get into it. Typically in TV shows we skim over the edges of issues like water spiders, spouting platitudes and spouting unearned 'clarifying' emotions. But there were no violins strumming in 'Black and Blue'." Pembleton's investigation of fellow police officers for a suspicious shooting was based on a real-life investigation chronicled in David Simon's 1991 non-fiction book Homicide: A Year on the Killing Streets, from which the Homicide series was adapted. Baltimore Police Department Detective Donald Worden, on whom the Bolander character is based, handled the actual real-life investigation in 1988. However, Howard's affair with the perpetrator was not part of the real-life incident, but rather was added by Yoshimura as part of the show's efforts to ensure as many detectives were personally involved in the storylines as possible. Several members of the Baltimore Police Department publicly criticized Homicide for its negative portrayal of the police in the episode, and 22 detectives wrote a formal letter of protest to executive producer Barry Levinson over the matter. Cellist Zuill Bailey served as a body double for Ned Beatty in the scenes with Bolander playing cello. Bailey was studying at Baltimore's Peabody Conservatory at the time, and his appearance on Homicide led to further collaborations with Tom Fontana, including a recurring guest appearance for Bailey on Fontana's drama series Oz. The episode featured guest appearances by Isaiah Washington, who went on to play Preston Burke on the medical drama series Grey's Anatomy, and Julianna Margulies, who started her long-running lead role as nurse Carol Hathaway on the medical drama series ER a few months after "Black and Blue" aired. She was cast in the part after having worked with Fontana on the unaired pilot of Philly Heat, an ABC miniseries he worked on about members of the Philadelphia Fire Department. Fontana offered Margulies a recurring role on Homicide, but she turned it down in favor of ER. Michael S. Kennedy, an actor from Richmond, Texas, reprised his role of Lt. Jimmy Tyron from the previous episode, "See No Evil". A struggling actor, Kennedy received a call from a casting director he knew, in the middle of an all-night Virginia Beach shoot for a small role in Assault at West Point: The Court-Martial of Johnson Whittaker, giving him one day's notice of the audition for Homicide. He so enjoyed working on the show that he wrote a Homicide script himself, with the Tyron character playing a major part, although it was ultimately never used. "Black and Blue" also featured the second of five guest appearances by Mel Proctor, then the home team sports announcer for the Washington Bullets, as Grant Besser, a recurring reporter character in Homicide. The songs "Slow Fire" by Just Like Jane, and "Up on the Roof" by Gerry Goffin and Carole King, were featured in "Black and Blue". During the final scene, Bolander and Linda perform a movement of "Passacaglia", a classical music song composed by George Frideric Handel. ## Reception ### Ratings While the season premiere episode, "Bop Gun", opened with an extremely high rating due to a guest appearance by Robin Williams, the ratings had declined since then and Tom Fontana said a future decision about whether Homicide would be renewed depended heavily on the ratings performance of "Black and Blue": "I hope the numbers level off now. This Thursday night is do-or-die. It will tell the tale." In its original American broadcast on January 20, 1994, the episode was watched by 10.83 million households, according to Nielsen Media Research, earning the episode an 11.5 rating. That constituted a drop from the previous week's episode, "See No Evil", which was seen by 12.53 million households. Although a drop from the previous episode, "Bop Gun", which drew 16.3 million household viewers and was the 31st highest-rated show of the week. "Black and Blue" was the 47th highest rated show the week it aired, tying with the CBS drama series Picket Fences and the ABC comedy series Thea. ### Reviews "Black and Blue" received generally positive reviews, with critics particularly praising the performance of Andre Braugher. David P. Kalat, author of Homicide: Life on the Street – The Unofficial Companion, praised the script of "Black and Blue", writing: "Yoshimura has written some of the series' most memorable installments, but the scene of Pembleton extracting a 'confession' from an innocent man is one of his greatest achievements." Kalat also complimented the performance by Margulies, who he said "exhibits the same charm and charisma that made her a star on ER". Kinney Littlefield of the Orange County Register praised Braugher, particularly during the "excruciating" interrogation scene, and wrote, "Unbelievably, 'Black and Blue' didn't earn Braugher an Emmy nomination." Greg Paeth of Scripps Howard News Service called it an "exceptional cop drama" and complimented the dramatic tension between Pembleton and Gee. Chicago Sun-Times writer Lon Grahnke gave the episode four stars and said "Anyone who likes NYPD Blue should give Homicide a try." Tom Shales of The Washington Post strongly praised both "Black and Blue" and "See No Evil" in part because they showcased Braugher, who he called the finest actor in the ensemble cast. Shales said: "Braugher manages to be utterly compelling whether slamming doors and throwing chairs, reducing a murder suspect to quivering tears, having furious arguments with Lt. Giardello (rock-solid Yaphet Kotto) or simply lurking about." The Baltimore Sun writer David Bianculli called it a superb episode with a "lyrical, beautiful climax", praising Braugher's performance, particularly during the intense interrogation scene with Isaiah Washington. "Black and Blue"" was among a 1999 Court TV marathon of the top 15 Homicide episodes, as voted on by 20,000 visitors to the channel's website. ## Home media "Black and Blue" and the rest of the first and second-season episodes were included in the four-DVD box-set "Homicide: Life on the Street: The Complete Seasons 1 & 2", which was released by A&E Home Video on May 27, 2003, for \$69.95.	[ "## Plot summary", "## Production", "## Reception", "### Ratings", "### Reviews", "## Home media" ]	2,590	10,826
264,441	Lek mating	1,150,493,383	Type of animal mating behaviour	[ "Animal breeding", "Articles containing video clips", "Bird breeding", "Crowds", "Ethology", "Reproduction in animals" ]	A lek is an aggregation of male animals gathered to engage in competitive displays and courtship rituals, known as lekking, to entice visiting females which are surveying prospective partners with which to mate. A lek can also indicate an available plot of space able to be utilized by displaying males to defend their own share of territory for the breeding season. A lekking species is characterised by male displays, strong female mate choice, and the conferring of indirect benefits to males and reduced costs to females. Although most prevalent among birds such as black grouse, lekking is also found in a wide range of vertebrates including some bony fish, amphibians, reptiles, and mammals, and arthropods including crustaceans and insects. A classical lek consists of male territories in visual and auditory range of each other. An exploded lek, as seen in the kakapo (the owl parrot), has more widely separated territories, but still in auditory range. Lekking is associated with an apparent paradox: strong sexual selection by females for specific male traits ought to erode genetic diversity by Fisherian runaway, but diversity is maintained and runaway does not occur. Many attempts have been made to explain it away, but the paradox remains. ## Etymology The term derives from the Swedish lek, a noun which typically denotes pleasurable and less rule-bound games and activities ("play", as by children). English use of lek dates to the 1860s. Llewelyn Lloyd's The Game birds and wild fowl of Sweden and Norway (1867) introduces it (capitalised and in single quotes, as 'Lek') explicitly as a Swedish term. ## Taxonomic range Lekking was originally described in the Tetraonidae (grouse, boldface in cladogram), in particular the black grouse (Swedish: "orrlek") and capercaillie (Swedish: "tjäderlek"), but it is widely distributed phylogenetically among other birds, and in many other animal groups within the vertebrates and the arthropods, as shown in the cladogram. The presence of a group name means that some species in that group lek; groups with no lekking members are not shown. ## Lekking behaviour ### Types There are two types of lekking arrangement: classical and exploded. In the classic lekking system, male territories are in visual and auditory range of their neighbours. In an exploded lek, males are further away from one another than they would be in a classical lek. Males in an exploded lek are outside visual range of one another, but they stay within earshot. Exploded lek territories are much larger than classic systems and more variable in size. A well-known example of exploded leks is the "booming" call of the kakapo, the males of which position themselves many kilometres apart from one another to signal to potential mates. ### Stability Lek territories of different taxa are stable and do not vary in terms of size and location. Males often return to the same mating sites because of female fidelity. Avian females such as the black grouse and great snipe are faithful to males and not to mating sites. Successful males congregate in the same area as the previous breeding season because it is familiar to them, while females return to reunite with their males. Females do not return to a mating site if their male partner is not present. Another possible explanation for lek stability is from male hierarchies within a lek. In some species of manakin, subordinate betas may inherit an alpha's display site, increasing the chances of female visitation. Rank may also contribute to the stability of lek size, as lower ranking males may congregate to achieve a perceived optimal size to attract females. ### Female mating preferences A meta analysis of 27 species found that qualities such as lekking size, male display rate, and the rate of male aggression exhibit positive correlation with male success rates. A positive correlation was also found between attendance, magnitude of exaggerated traits, age, frequency of fights, and mating success. This female preference leads to mating skew, with some males being more successful at copulating with females. The variation in mating success is quite large in lek mating systems with 70–80% of matings being attributed to only 10–20% of the males present. ## Costs and benefits The main benefit for both sexes is mating success. For males, the costs stem from females' preferences. The traits that are selected for may be energetically costly to maintain and may cause increased predation. For example, increased vocalization rate caused a decrease in the mass of male great snipes. Other costs can derive from male combat. For example, male great snipes regularly fight to display dominance or defend their territory, with females preferring victorious males. Aggressive male black grouse are preferred over non-aggressive males and when the males fight they tear feathers from each other's tails. Lekking is associated with sexual dimorphism across a range of bird taxa. At first glance, it may seem that females receive no direct benefits from lekking, since the males are only contributing genes to the offspring in the absence of parental care or other benefits. However, lekking reduces the cost of female searching because the congregating of males makes mate selection easier. Females do not have to travel as far, since they are able to evaluate and compare multiple males within the same vicinity. Further, having the males in one place may reduce the amount of time a female is vulnerable to predators. When under predatory pressure, female marbled reed frogs consistently choose leks near their release sites; high male calling rates were observed to reduce female search time. ## The lek paradox Since sexual selection by females for specific male trait values should erode genetic diversity, the maintenance of genetic variation in lekking species constitutes a paradox in evolutionary biology. Many attempts have been made to explain it away, but the paradox remains. There are two conditions in which the lek paradox arises. The first is that males contribute only genes and the second is that female preference does not affect fecundity. Female choice should lead to directional runaway selection, resulting in a greater prevalence for the selected traits. Stronger selection should lead to impaired survival, as it decreases genetic variance and ensures that more offspring have similar traits. However, lekking species do not exhibit runaway selection. In a lekking reproductive system, what male sexual characteristics can signal to females is limited, as the males provide no resources to females or parental care to their offspring. This implies that a female gains indirect benefits from her choice in the form of "good genes" for her offspring. Amotz Zahavi argued that male sexual characteristics only convey useful information to the females if these traits confer a handicap on the male. Zahavi's handicap principle may offer a resolution to the lek paradox, for if females select for the condition of male ornaments, then their offspring have better fitness. Another potential resolution to the lek paradox is Rowe and Houle's theory that sexually selected traits depend on physical condition, which might in turn, summarize many genetic loci. This is the genic capture hypothesis, which describes how a significant amount of the genome is involved in shaping the traits that are sexually selected. There are two assumptions in the genic capture hypothesis: the first is that sexually selected traits are dependent upon condition, and the second is that general condition is attributable to high genetic variance. In addition, W. D. Hamilton and Marlene Zuk proposed that sexually selected traits might signal resistance to parasites. One resolution to the lek paradox involves female preferences and how preference alone does not cause a drastic enough directional selection to diminish the genetic variance in fitness. Another conclusion is that the preferred trait is not naturally selected for or against and the trait is maintained because it implies increased attractiveness to the male. ## Evolution Several possible mechanisms have been proposed as to why males cluster into leks, including the hotshot, hotspot, black hole, kin selection, and predation protection hypotheses, as described below. ### Hotshot hypothesis The hotshot hypothesis is the only model that attributes males as the driving force behind aggregation. The hotshot model hypothesizes that attractive males, known as hotshots, garner both female and male attention. Females go to the hotshots because they are attracted to these males. Other males form leks around these hotshots as a way to lure females away from the hotshot. A manipulative experiment using the little bustard, Tetrax tetrax, was done to test the various lek evolution models. The experiment involved varying the size and sex ratio of leks using decoys. To test whether or not the presence of a hotshot determined lek formation, a hotshot little bustard decoy was placed within a lek. After the fake hotshot was added to the lek, both male and female visitation to the lek increased, tending to confirm the hypothesis. ### Hotspot model The hotspot model considers the female density to be the catalyst for the clustering of males. This model predicts that leks will form where females tend to reside as a way to increase female interaction. Female manakin traffic has been observed to be concentrated around leks, bathing sites, and fruiting areas, with males aggregated near the most visited fruiting resources. The hotspot model also predicts that lek size is dependent upon the number of females inhabiting a patch of land. To test if the number of females affects lek formation, a group of female little bustard decoys were added to a lek. The presence of these female decoys did not have an effect on lek size, tending to refute the hypothesis. ### Blackhole model The blackhole model proposes that females have a preference for neither size nor type of male, but rather that females tend to be mobile and mate wherever leks may be located. This model predicts that female mobility is a response to male harassment. This prediction is difficult to test, but there was a negative correlation found between male aggressiveness and female visitation in the little bustard population, suggesting that the model might be correct. Evidence supporting the black hole model is mainly found in ungulates. ### Kin selection An alternative hypothesis for lekking is kin selection, which assumes that males within a lek are related to one another. As females rarely mate outside of leks, it is advantageous for males to form leks. Although not all males within a lek mate with a female, the unmated males still receive fitness benefits. Kin selection explains that related males congregate to form leks, as a way to attract females and increase inclusive fitness. In some species, the males at the leks show a high degree of relatedness, but this does not apply as a rule to lek-forming species in general. In a few species such as peacocks and black grouse, leks are composed of brothers and half-brothers. The lower-ranking males gain some fitness benefit by passing their genes on through attracting mates for their brothers, since larger leks attract more females. Peacocks recognize and lek with their brothers, even if they have never met before. ### Predation protection Another hypothesis is predation protection, or the idea that there is a reduction in individual predation risk in a larger group. This could work both for the males within the group and any female who visits the lek. Protection also explains the presence of mixed leks, when a male of one species joins a lek of another species for protection from a common set of predators. This occurs with manakins, as well as other birds such as grouse species.	[ "## Etymology", "## Taxonomic range", "## Lekking behaviour", "### Types", "### Stability", "### Female mating preferences", "## Costs and benefits", "## The lek paradox", "## Evolution", "### Hotshot hypothesis", "### Hotspot model", "### Blackhole model", "### Kin selection", "### Predation protection" ]	2,408	17,035
30,862,962	Macuahuitl	1,163,873,371	Weapon used by pre-Columbian Mesoamericans	[ "Aztec warfare", "Melee weapons", "Mesoamerican military equipment", "Obsidian" ]	A macuahuitl () is a weapon, a wooden club with several embedded obsidian blades. The name is derived from the Nahuatl language and means "hand-wood". Its sides are embedded with prismatic blades traditionally made from obsidian. Obsidian is capable of producing an edge sharper than high quality steel razor blades. The macuahuitl was a standard close combat weapon. Use of the macuahuitl as a weapon is attested from the first millennium CE, although specimens can be found in art dating to at least pre-classic times. By the time of the Spanish conquest the macuahuitl was widely distributed in Mesoamerica. The weapon was used by different civilisations including the Aztec (Mexicas), Olmec, Maya, Mixtec, Toltec, and Tarascans. One example of this weapon survived the Conquest of the Aztec Empire; it was part of the Royal Armoury of Madrid until it was destroyed by a fire in 1884. Images of the original designs survive in diverse catalogues. The oldest replica is the macuahuitl created by the medievalist Achille Jubinal in the 19th century. ## Description The maquahuitl (Classical Nahuatl: māccuahuitl, other orthographic variants include mākkwawitl and mācquahuitl; plural māccuahuimeh), a type of macana, was a common weapon used by the Aztec military forces and other cultures of central Mexico. It was noted during the 16th-century Spanish conquest of the region. Other military equipment recorded includes the round shield (, ), the bow (tlahuītōlli, ), and the spear-thrower (, ). Its sides are embedded with prismatic blades traditionally made from obsidian (volcanic glass); obsidian is capable of producing an edge sharper than high-quality steel razor blades. It was capable of inflicting serious lacerations from the rows of obsidian blades embedded in its sides. These could be knapped into blades or spikes, or into a circular design that looked like scales. The macuahuitl is not specifically a sword or a club, although it approximates a European broadsword. Historian John Pohl defines the weapon as a "kind of a saw sword". According to conquistador Bernal Díaz del Castillo, the macuahuitl was 0.91 to 1.22 m long, and 75 mm wide, with a groove along either edge, into which sharp-edged pieces of flint or obsidian were inserted and firmly fixed with an adhesive. Based on his research, historian John Pohl indicates that the length was just over a meter, although other models were larger, and intended for use with both hands. According to the research of historian Marco Cervera Obregón, the sharp pieces of obsidian, each about 3 cm long, were attached to the flat paddle with a natural adhesive, bitumen. The rows of obsidian blades were sometimes discontinuous, leaving gaps along the side, while at other times the rows were set close together and formed a single edge. It was noted by the Spanish that the macuahuitl was so cleverly constructed that the blades could be neither pulled out nor broken. The macuahuitl was made with either a one-handed or two-handed grip, as well as in rectangular, ovoid, or pointed forms. Two-handed macuahuitl have been described as being "as tall as a man". ## Typology According to National School of Anthropology and History (ENAH) archaeologist Marco Cervera Obregón, there were two versions of this weapon: The macuahuitl, about 70 to 80 centimetres (28 to 31 in) long with six to eight blades on each side; and the mācuāhuitzōctli, a smaller club about 50 centimetres (20 in) long with only four obsidian blades. ## Specimens According to Ross Hassig, the last authentic macuahuitl was destroyed in 1884 in a fire in the Real Armería in Madrid, where it was housed beside the last tepoztopilli. According to Marco Cervera Obregón, there is supposed to be at least one macuahuitl in a Museo Nacional de Antropología warehouse, but it is possibly lost. No actual maquahuitl specimens remain and the present knowledge of them comes from contemporaneous accounts and illustrations that date to the 16th century and earlier. ## Origins and distribution The maquahuitl predates the Aztecs. Tools made from obsidian fragments were used by some of the earliest Mesoamericans. Obsidian used in ceramic vessels has been found at Aztec sites. Obsidian cutting knives, sickles, scrapers, drills, razors, and arrow points have also been found. Several obsidian mines were close to the Aztec civilizations in the Valley of Mexico as well as in the mountains north of the valley. Among these were the Sierra de las Navajas (Razor Mountains), named after their obsidian deposits. Use of the macuahuitl as a weapon is attested from the 1st millennia CE. A Mayan carving at Chichen Itza shows a warrior holding a macuahuitl, depicted as a club having separate blades sticking out from each side. In a mural, a warrior holds a club with many blades on one side and one sharp point on the other, also a possible variant of the macuahuitl. Some attestations of a type of macuahuitl are also present dating to Olmec times. By the time of the Spanish conquest, the macuahuitl was widely distributed in Mesoamerica, with records of its use by the Aztecs, Mixtecs, Tarascans, Toltecs and others. It was also commonly used by the Indian auxiliaries of Spain, though they favored Spanish swords. As Mesoamericans in Spanish service needed a special permission to carry European arms, metal swords brought Indian auxiliaries more prestige than maquahuitls in the eyes of Europeans as well as natives. ## Effectiveness `The macuahuitl was sharp enough to decapitate a man. According to an account by Bernal Díaz del Castillo, one of Hernán Cortés's conquistadors, it could even decapitate a horse:` > Pedro de Morón was a very good horseman, and as he charged with three other horsemen into the ranks of the enemy the Indians seized hold of his lance and he was not able to drag it away, and others gave him cuts with their broadswords, and wounded him badly, and then they slashed at the mare, and cut her head off at the neck so that it hung by the skin, and she fell dead. Another account by a companion of Cortés known as The Anonymous Conqueror tells a similar story of its effectiveness: > They have swords of this kind – of wood made like a two-handed sword, but with the hilt not so long; about three fingers in breadth. The edges are grooved, and in the grooves they insert stone knives, that cut like a Toledo blade. I saw one day an Indian fighting with a mounted man, and the Indian gave the horse of his antagonist such a blow in the breast that he opened it to the entrails, and it fell dead on the spot. And the same day I saw another Indian give another horse a blow in the neck, that stretched it dead at his feet. Another account by Francisco de Aguilar reads: > They used ... cudgels and swords and a great many bows and arrows ... One Indian at a single stroke cut open the whole neck of Cristóbal de Olid's horse, killing the horse. The Indian on the other side slashed at the second horseman and the blow cut through the horse's pastern, whereupon this horse also fell dead. As soon as this sentry gave the alarm, they all ran out with their weapons to cut us off, following us with great fury, shooting arrows, spears and stones, and wounding us with their swords. Here many Spaniards fell, some dead and some wounded, and others without any injury who fainted away from fright. Given the importance of human sacrifice in Nahua cultures, their warfare styles, particularly those of the Aztec and Maya, placed a premium on the capture of enemy warriors for live sacrifice. Advancement into the elite cuāuhocēlōtl warrior societies of the Aztec, for example, required taking 20 live captives from the battlefield. The macuahuitl thus shows several features designed to make it a useful tool for capturing prisoners: fitting spaced instead of contiguous blades, as seen in many codex illustrations, would intentionally limit the wound depth from a single blow, and the heavy wooden construction allows weakened opponents to be easily clubbed unconscious with the flat side of the weapon. The art of disabling opponents using an un-bladed macuahuitl as a sparring club was taught from a young age in the Aztec Tēlpochcalli schools. The macuahuitl had many drawbacks in combat versus European steel swords. Despite being sharper, prismatic obsidian is also considerably more brittle than steel; obsidian blades of the type used on the macuahuitl tended to shatter on impact with other obsidian blades, steel swords or plate armour. Obsidian blades also have difficulty penetrating European mail. The thin, replaceable blades used on the macuahuitl were easily dulled or chipped by repeated impacts on bone or wood, making artful use of the weapon critical. It takes more time to lift and swing a club than it does to thrust with a sword. More space is needed as well, so warriors advanced in loose formations and fought in single combat. ## Experimental archaeology Replicas of the macuahuitl have been produced and tested against sides of beef for documentary shows on the History and Discovery channels, to demonstrate the effectiveness of this weapon. On the History show Warriors, special forces operator and martial artist Terry Schappert injured himself while fencing with a macuahuitl; he cut the back of his left leg as the result of a back-swing motion. For SpikeTV's reality program Deadliest Warrior a replica was created and tested against a model of a horse's head created using a horse's skeleton and ballistics gel. Actor and martial artist Éder Saúl López was able to decapitate the model, but it took three swings. Blows from the replica macuahuitl were most effective when it was swung and then dragged backwards upon impact, creating a sawing motion. This led Max Geiger, the computer programmer of the series, to refer to the weapon as "the obsidian chainsaw". This may have been due to the unrefined obsidian cutting edges of the weapon used in the show, compared with more finely made prismatic obsidian blades, as in the Madrid specimen. ## See also - Macana - Aztec warfare - Maya warfare - Obsidian use in Mesoamerica - Zhanmadao - Leiomano	[ "## Description", "## Typology", "## Specimens", "## Origins and distribution", "## Effectiveness", "## Experimental archaeology", "## See also" ]	2,358	6,362
378,268	The Great Milenko	1,144,594,926	null	[ "1997 albums", "Albums produced by Mike E. Clark", "Concept albums", "Hollywood Records albums", "Horrorcore albums", "Insane Clown Posse albums", "Island Records albums", "Obscenity controversies in music", "Psychopathic Records albums", "Rap rock albums by American artists", "Recalled publications" ]	The Great Milenko is the fourth studio album by American hip hop group Insane Clown Posse, released on June 24, 1997, by Hollywood Records in association with Psychopathic Records. As the fourth Joker's Card in the group's Dark Carnival mythology, the album's lyrics focus on the titular Great Milenko, who is a necromancer. The album was recorded and initially released by the Disney-owned record label Hollywood Records. The album was taken off shelves by Hollywood hours after its release, in response to criticism from the Southern Baptist Church of decisions that the church believed did not reflect Disney's family-friendly image, although Disney claimed that the album was released due to an oversight by its review board. After Hollywood terminated the group's contract, Insane Clown Posse signed a new contract with Island Records (whose parent at the time, PolyGram, distributed Hollywood releases in North America), which agreed to release the album as it was originally intended. Island then re-released the album on August 12, 1997. The music of The Great Milenko features a rap metal sound and features guest appearances by popular rock stars Alice Cooper, Steve Jones and Slash. Although the album was poorly received by critics, it debuted at number 63 on the Billboard charts, and was later certified platinum by the Recording Industry Association of America (RIAA). ## Conception ### Background Following the 1994 release of the album Ringmaster, Insane Clown Posse started to attract a strong local following in Detroit, Michigan. The group began selling out large clubs such as St. Andrew's Hall and the State Theatre, and drew the attention of major record label Jive Records. The following year, Insane Clown Posse signed with the label Battery Records, a subsidiary of Jive Records. Battery/Jive released the duo's third studio album, Riddle Box (1995), but showed little interest in promoting the album. The group's manager Alex Abbiss negotiated a contract with Disney's Hollywood Records label, which reportedly paid \$1 million to purchase the Insane Clown Posse contract from Battery/Jive Records. The expansion of the Juggalo fanbase into its own culture inspired Insane Clown Posse to write the songs "What Is a Juggalo?" and "Down with the Clown" for this album. ### Recording The group started recording The Great Milenko in 1996, and Violent J began thinking of a title for the album shortly after. Bruce later came up with the title The Great Milenko. Bruce also admitted that he had always liked the ring name of professional wrestler Dean Simon ("Dean Malenko"), because he felt that the name Malenko had a "carnival" sound to it. Believing that he had created the name himself, Bruce later realized that he had unwittingly used the nickname of Dean's father, Boris "The Great" Malenko. The band wanted to include famous rock stars on the album. Julian Raymond, the artists and repertoire representative for Hollywood Records, contacted Slash, Steve Jones, and Alice Cooper. Slash, who was a self-professed fan of the band's music, reportedly only asked for Wild Irish Rose as payment for his contributions. Bruce, who knew very little about the Sex Pistols or Steve Jones, declined to show up at the studio when Jones played his guitar part for "Piggy Pie". Although not knowing much about Alice Cooper either, Bruce decided to fly to Arizona and coach Cooper on his parts. Bruce and Clark also met George Clinton, who was staying in the same hotel, and recorded his voice in his room, but it did not fit anywhere on the album. After the recording sessions were finished, executives at Hollywood Records—and the label's parent company, Disney—expressed dissatisfaction with several tracks. Disney requested that the tracks "The Neden Game", "Under the Moon", and "Boogie Woogie Wu" be removed because of lyrics referencing abuse of women, rape and murder, and the slaughter of children, respectively. Disney also asked that the lyrics of "Piggy Pie" be changed, due to lyrics about murdering police officers. Disney threatened not to release the album if their requests were not met. Begrudgingly, Bruce and Utsler complied with Disney's requests. The uncensored version of "Piggy Pie" was later released on Forgotten Freshness Volumes 1 & 2. After recording was finalized, the duo planned to go on a national tour with House of Krazees and Myzery as its opening acts. Several songs were recorded with the intention of releasing them on The Great Milenko. One such song, "House of Wonders", was recorded but was later released on Mutilation Mix (1997) and Forgotten Freshness Volumes 1 & 2 (1998). ### Joker's Cards The Great Milenko is the fourth Joker's Card in Insane Clown Posse's Dark Carnival concept album series. The Dark Carnival is a concept of the afterlife in which souls are sent to a form of limbo while waiting to be sent to heaven or hell based on their individual actions. These concepts are related by Insane Clown Posse in a series of albums called the six Joker's Cards. Each of the six Joker's Cards relate to a specific character—an entity of the Dark Carnival—that tries to "save the human soul" by showing the wickedness inside of one's self. This Joker's Card is a necromancer and illusionist who tries to trick individuals into acts of greed, envy, and lust. The Card ultimately issues a warning against such acts of sin, and enlightens listeners that The Great Milenko is a part of every individual, and that they have the power to fall under his illusions or cast his hoaxes aside. ## Music ### Style The Great Milenko featured more rock influences than previous Insane Clown Posse albums, including an introduction performed by Alice Cooper and guitar tracks performed by Steve Jones (on "Piggy Pie"), and Slash (on "Halls of Illusions"). Stephen Thomas Erlewine of AllMusic wrote, in his review of The Amazing Jeckel Brothers (1999) that, "The Great Milenko [...] was targeted at white-boy, adolescent metalheads -- really, how could any album that contained guest spots from Alice Cooper, Slash, Steve Jones and Legs Diamond be anything else?" Insane Clown Posse hired renowned Detroit record producer and DJ Mike E. Clark to produce the record. Clark made the album sound more rock-oriented, as opposed to the duo's earlier material, which featured a more prominent hip-hop sound. To create the record, Clark utilized standard hip hop techniques such as record scratching, and mixed them with elements of rock and heavy metal. ### Lyricism According to the group's mythology, The Great Milenko is a necromancer and illusionist who tries to trick individuals into greed and other such sins. He takes out the worst in an individual and creates powerful illusions in an attempt to cause them to become hedonistic and greedy. An honorable individual must fight his magic in order to make it to Shangri-La (as revealed in the track "Pass Me By"). The album's themes mostly revolve around those of death, morality, and everyday decisions. For instance, "How Many Times?" talks about annoying traffic jams and other everyday-life inconveniences. "Piggy Pie" references the Three Little Pigs and tells Violent J's story of murdering three kinds of people: an incest-prone redneck, a judge who unjustly sentences people based on their looks, and a stuck-up wealthy person. "Under the Moon" tells the tale of a man convicted after killing a man who tried to rape his girlfriend. "Boogie Woogie Wu" is told from the perspective of the boogie man and talks about the slaughter of children. The "Neden Game" takes the form of a Dating Game-esque show, albeit with added misogynistic banter for humor. Finally, the lyrics to "Hellalujah" target money-hungry preachers. ### Singles Two singles were released from the album: "Halls of Illusions" and "Hokus Pokus". "Halls of Illusions" was the first single released in 1997. The single peaked at number 56 on the UK Singles Chart, and its accompanying music video peaked at number one on The Box video request channel. The album's second single, "Hokus Pokus", was released in June 1997. In 1998, it peaked at number 54 on the UK Singles Chart. ## Promotion and release Initially, Hollywood Records shipped 100,000 copies of The Great Milenko to various record stores. During a music-store autograph signing, Insane Clown Posse was notified that Hollywood Records had deleted the album within hours of its release, despite having sold 18,000 copies and reaching number 63 on the Billboard 200. The group was also informed that its in-store signings and 25-city nationwide tour had been canceled, commercials for the album and the music video for "Halls of Illusions" (which had reached number one on The Box video request channel) were pulled from television, and that the group was dropped from the label. It was later revealed that Disney was being criticized by the Southern Baptist Church at the time because of Disney's promotion of Gay Days at Disneyland, in addition to producing and distributing the gay-themed television sitcom Ellen. The church claimed Disney was turning its back on family values. Although Abbiss told the press that Disney had stopped production of The Great Milenko to avoid further controversy, Disney claimed instead that the release of the album was an oversight by their review board, and that the album "did not fit the Disney image" because of its "inappropriate" lyrics, which they claimed were offensive to women. Although Hollywood Records had ordered record stores to return shipments of the now-deleted album, many record stores refused, including the Michigan-based Harmony House where 1,700 CDs were sold in 36 stores after the termination order. After the termination of the Hollywood Records contract, labels such as Interscope and Geffen Records wanted to sign the group, but Island Records' Chris Blackwell came to the group's rescue and agreed to release The Great Milenko as it was originally intended. As part of the deal, Island also agreed to rerelease the group's first two Joker's Card albums. Milenko was released in four colors: red, green, purple, and gold. Each color had a different secret message that would help reveal the title of the fifth Joker's Card, The Amazing Jeckel Brothers. Music videos were filmed for "Halls of Illusions", "How Many Times?", and "Piggy Pie". An unofficial music video for "Down with the Clown" was featured on the home-video release Juggalo Championshxt Wrestling Volume 1. A music video for the Headhuntaz Remix of "Hokus Pokus" was produced after the release of the album. The video featured appearances by Twiztid and Myzery. Blackwell left Island Records shortly after the group released Forgotten Freshness Volumes 1 & 2, and the merger of PolyGram into Universal Music Group (which owned Interscope and Geffen) affected the way the label handled its next Joker's Card release. Despite the rough start, The Great Milenko has sold well over the years. On May 5, 1998, the album was certified gold by the Recording Industry Association of America (RIAA). A year later, on April 21, 1999, the album was certified platinum for shipments of over one million copies. As of 2007, the album has sold over 1.7 million copies in the United States. ## Critical reception Entertainment Weekly music critic David Browne gave the record a C-minus rating: "[With] its puerile humor and intentionally ugly metal-rap tunes, the album feels oddly dated." AllMusic reviewer Stephen Thomas Erlewine said that The Great Milenko is "the sort of record you wish they would take off the stereo at excruciating frat parties." In The Great Rock Discography, Martin Charles Strong gave the album five out of ten stars. The album received two out of five stars in The New Rolling Stone Album Guide, in which Ben Sisario identified it as the album in which "the group came into its own". Although the reviews were mostly negative, some critics complimented the album's improved sound over its precursors. Stephen Thomas Erlewine said that the album was "a better record than [its] predecessors, boasting a tougher sound and some actual hooks, without losing the juvenile vulgarity that pleased their following", and added that "it is better than the rest of ICP's work". David Browne said that "Milenko is better produced than the duo's earlier output (Slash grinds out metal chords on Halls of Illusions), and Pass Me By is a genuinely melodic song." In 2009, Fangoria named The Great Milenko an iconic horrorcore album. ## Track listing ## Personnel Band members and production - Violent J – vocals, lyrics - Shaggy 2 Dope – vocals, lyrics - Mike E. Clark – production, programmer, engineer - Rich "Legz Diamond" Murrell – guitar, vocals - John Srebalu – assistant engineer - John Polito – album sequencer - Brian Gardner – engineer - Bernie Grundman – engineer Other personnel - Alice Cooper – guest vocals on "Intro" - Steve Jones – guitar on "Piggy Pie" - Slash – guitar on "Halls of Illusions" - Deb Agoli – vocals on "House of Horrors" - Kim Marro – vocals on "Hokus Pokus" ## Charts and certifications ### Weekly charts ### Year-end charts ### Certifications ### Singles	[ "## Conception", "### Background", "### Recording", "### Joker's Cards", "## Music", "### Style", "### Lyricism", "### Singles", "## Promotion and release", "## Critical reception", "## Track listing", "## Personnel", "## Charts and certifications", "### Weekly charts", "### Year-end charts", "### Certifications", "### Singles" ]	2,856	16,029
12,392,212	Chinese cruiser Jiyuan	1,171,860,009	Protected cruiser of the Imperial Chinese Navy	[ "1883 ships", "Captured ships", "Cruisers of Germany", "Cruisers of the Beiyang Fleet", "Cruisers of the Imperial Japanese Navy", "First Sino-Japanese War cruisers of China", "Maritime incidents in 1904", "Naval ships of China", "Russo-Japanese War cruisers of Japan", "Ships built in Stettin", "Ships sunk by mines", "Shipwrecks in the Yellow Sea", "Shipwrecks of the Russo-Japanese War" ]	Jiyuan (simplified Chinese: 济远; traditional Chinese: 濟遠; pinyin: Jiyuan, sometimes Chiyuan; Wade–Giles: Tsi Yuan), was a protected cruiser of the Imperial Chinese Navy, assigned to the Beiyang Fleet. She was constructed in Germany as China lacked the industrial facilities needed to build them at the time. Jiyuan was originally intended to be the third ironclad battleship of the Dingyuan class, but was reduced in size due to funding issues. Upon completion, she was prevented from sailing to China during the Sino-French War. In the First Sino-Japanese War, she was involved in the Battle of Pungdo, and at the Battle of Yalu River, which resulted in the subsequent execution of her captain. She was captured by the Imperial Japanese Navy as a prize of war at the Battle of Weihaiwei, and commissioned as Saien (済遠巡洋艦, Saien jun'yōkan) on 16 March 1895. Under the Japanese flag, she was used to bombard positions in the Japanese invasion of Taiwan, and was sunk on 30 November 1904 after striking a Russian mine during the Battle of Port Arthur of the Russo-Japanese War. ## Design When Jiyuan was originally ordered by the Imperial Chinese Navy, she was to be the third Dingyuan-class ironclad battleship built by AG Vulcan Stettin in Stettin, Germany. The Chinese had been seeking larger warships from British shipyards, but negotiations had stalled. They turned instead to German shipyards, who the Chinese managed to negotiate a deal with. The orders for the three ironclads were placed following the construction of the German Sachsen class. Due to funding issues, she was instead reduced in size to that of a protected cruiser, and the planned build of up to a dozen ships was reduced to just those three. Jiyuan displaced 2,300 long tons (2,337 t) and measured 236 feet (72 m) long overall, with a beam of 34.5 ft (10.5 m) and an average draft of 17 ft (5.2 m). The propulsion system consisted of a 2,800 indicated horsepower (2,100 kilowatts) produced by a pair of compound-expansion steam engines with two shafts, enabling a cruising speed of 15 knots (28 kilometres per hour; 17 miles per hour). She was normally fitted with a single military mast, but for the sea voyage from Germany to China she was equipped with additional masts and sails. Jiyuan's armour consisted of two 10 in (254.0 mm) thick steel barbettes around her main guns, 2 in (51 mm) thick gun shields around the others, and 3 in (76 mm) thick deck armour. Her main armament was her two breech-loading 8.2 in (210 mm) Krupp guns, mounted in a barbette towards the front of the ship. She had a further 5.9 in (150 mm) Krupp gun mounted in a rear barbette, five Hotchkiss guns and four above water mounted torpedo tubes. ## Career ### China Jiyuan was laid down on 16 January 1883. After being launched from the yard in Stettin on 1 December, she was completed in August the following year. Due to the ongoing Sino-French War, the three Stettin-built ships were prevented from travelling to China and were held up for the following ten months. On 3 July 1885, Jiyuan, Dingyuan and Zhenyuan set off from Kiel, Germany, on the voyage to China, equipped with a German crew. They stopped on the way in Devonport, England; Gibraltar; Aden, Yemen and Colombo, Sri Lanka. At the end of October, the ships arrived at the Taku Forts in China, where Chinese crews were embarked. Their arrival signalled the creation of a new post-war Beiyang Fleet with the battleships at the centre of the formation. The fleet was based out of the newly expanded Port Arthur (now Lüshunkou District), however since the port froze over during the winter, both Jiyuan and the battleships would spend part of the year in Shanghai. The three ships worked up alongside the cruisers Chaoyong and Yangwei in exercises held in 1886. Several ships of the Beiyang Fleet sailed to Hong Kong from Shanghai at the end of 1889, including Jiyuan. They sailed onto Singapore, before returning to Shanghai during the following April. #### First Sino-Japanese War By the time of the First Sino-Japanese War in 1894, Jiyuan was captained by Fang Pai-chen. She was among several ships to be assigned as escorts to troopships heading to Korea in June 1894. Jiyuan departed on 22 July alongside the gunboat Kuang Yi from Weihaiwei (now Weihai) for Asan in Korea, beginning the return journey on 25 July. The two ships were meant to meet up with the troopship Kowshing, but instead were confronted by three cruisers of the Imperial Japanese Navy in the Battle of Pungdo. Jiyuan attempted to pass close to the Japanese cruiser Naniwa, as her captain anticipated a short-range torpedo attack. The other two Japanese cruisers, Yoshino and Akitsushima also began firing on Jiyuan. Jiyuan was hit by a multitude of shells, disabling her forward-mounted Krupp gun and severely damaging all the structures above her armour belt. Captain Fang gave orders to flee at full speed towards Waihaiwei, with Yoshino in pursuit. Reports differed on why Jiyuan was not overtaken by the faster Japanese cruiser, with one claim stating that Jiyuan's aft mounted Krupp gun scored a hit on the bridge of the Yoshino, and another indicating that the shot was fired by the Kuang Yi. While Jiyuan got away, the Kuang Yi fought against the remaining two cruisers until she was holed and sank, at which point she was beached to allow her crew to escape. As the Tsi Yuan headed to Weihaiwei, she passed the Kowshing which was still heading to Korea. The troop ship was stopped by the Japanese, and after prolonged negotiations she was sunk with a loss of a great number of the troops and crew on board. Upon her arrival at Weihaiwei, she was sent to Port Arthur for repairs. Captain Fang of the Jiyuan was court-martialled for his actions but found not guilty and returned to duty. Jiyuan was repaired and rejoined the fleet on 7 August in Weihaiwei, shortly before the Japanese attacked the port three days later, bombarding the defensive forts before leaving. On 17 September, at the Battle of Yalu River, she was at the far left of the Chinese line and in a fighting pair with the cruiser Guangjia. Jiyuan signalled early on that she was damaged, and was withdrawn. The ship was manoeuvred into some nearby shallows where the crew found it difficult to steer the vessel, and instead steamed back into the engagement. While doing so, it collided with the Chinese cruiser Chaoyong, which subsequently sank. At some point during the battle, Captain Fang was relieved of his duties by First Lieutenant Shen Sou Ch'ang, but Fang returned to command after Shen was killed. Jiyuan then travelled back to Port Arthur, where the foreign engineer refused to serve the captain of the vessel any longer, and left. Captain Fang Peh-Kien was executed for his actions in the battle, with command passed to First Lieutenant Huang Tsu-Lien. Of the surviving Chinese warships from the battle, the Jiyuan was the least damaged. As the other surviving ships from the battle arrived in Port Arthur, their guns were dressed in red. Jiyuan was the exception, with no decoration and was docked away from the other vessels. She was of one several Chinese ships caught in the harbour of Weihaiwei when the Japanese laid siege over the winter in early 1895 in the Battle of Weihaiwei. Huang refused to leave Jiyuan to seek treatment for injuries sustained during the battle; instead his wounds were dressed and he continued in his duties. He was then shot through the thigh, and continued to refuse treatment. A few minutes later he was killed by an explosive shell fired by a Japanese vessel. Admiral Ding Ruchang, in command of the fleet, surrendered on 12 February, and committed suicide shortly afterwards. In exchange for the surrender of all war material including the fleet, good behaviour was promised by the Japanese. Jiyuan was later commissioned into the Imperial Japanese Navy as Saien, the same Chinese character name. ### Japan Saien was pressed immediately into Japanese service. During the Japanese invasion of Taiwan later in 1895, she was assigned together with six other ships to bombard the coastal defences of Takow (Kaohsiung). The fleet arrived off the coast on 12 October, warning foreign vessels that the attack would begin at 7am the following morning. The Japanese ships attacked on schedule, firing on the defenses until they stopped returning fire after half an hour. At 2pm, the ships closed the distance to the beach and began launching boats into the water with troops. Their forces had successfully captured the coastal fort by 2:35pm. The Japanese refitted Saien in 1898, replacing her existing light guns with eight quick-firing 3 pounders. While supporting the Imperial Japanese Army following the Battle of Port Arthur during the opening stages of the Russo-Japanese War of 1904–1905, Saien struck a submerged Russian mine on 30 November 1904. Eight crewmen in the engine room were killed immediately by the explosion, with the cruiser sinking rapidly over the following two minutes. During this time only two boats could be launched, saving 70 of the crew, along with a collection of various items entrusted to them by the officers such as the signal book and some paintings of the Imperial family. The gunboat Akagi was nearby bombarding enemy positions, and diverted to the Saien following the explosion. Together, a total of 191 officers and crew were saved between the launches, the Akagi and another gunboat. Saien's Captain Tajima was lost, as were another 39 men. The wreck is located at . The loss of the Saien was thought to be insignificant due to her age and capabilities compared to the other ships of the Japanese fleet. She was one of several Japanese ships to be mined out of Port Arthur during the period including the pre-dreadnought battleships Hatsuse and Yashima, which demonstrated the usefulness of naval mines for harbour defence.	[ "## Design", "## Career", "### China", "#### First Sino-Japanese War", "### Japan" ]	2,264	22,545
1,292,397	Lev Chernyi	1,152,836,748	Leading figure of the Third Russian Revolution (died 1921)	[ "1921 deaths", "Anarchist theorists", "Egoist anarchists", "Executed anarchists", "Individualist anarchists", "Russian anarchists", "Russian male poets", "Russian people executed by the Soviet Union", "Soviet anarchists", "Year of birth unknown" ]	Lev Chernyi (Russian: Лев Чёрный, IPA: [ˈljef ˈtɕɵrnɨj] ; born Pavel Dimitrievich Turchaninov, Russian: Па́вел Дми́триевич Турчани́нов, IPA: [ˈpavjɪl ˈdmjitrjɪjɪvjɪtɕ tʊrtɕɪˈnjinəf]; died September 21, 1921) was a Russian individualist anarchist theorist, activist and poet, and a leading figure of the Third Russian Revolution. In 1917, Chernyi was released from his political imprisonment by the Imperial Russian regime, and swiftly became one of the leading figures in Russian anarchism. After strongly denouncing the new Bolshevik government in various anarchist publications and joining several underground resistance movements, Chernyi was arrested by the Cheka on a charge of counterfeiting and in 1921 was executed without trial. ## Early life, philosophy and imprisonment Chernyi was born Pavel Dimitrievich Turchaninov to an army colonel father. A "déclassé intellectual" whom anarchist historian Paul Avrich compares with Volin, Chernyi advocated a Nietzschean overthrow of the values of bourgeois Russian society, and rejected the voluntary communes of anarcho-communist Peter Kropotkin as a threat to the freedom of the individual. Chernyi advocated the "free association of independent individuals" in a book titled Associational Anarchism and published in 1907. Scholars including Avrich and Allan Antliff have interpreted this vision of society to have been greatly influenced by the individualist anarchists Max Stirner, and Benjamin Tucker. Subsequent to the book's publication, Chernyi was imprisoned in Siberia under the Russian Czarist regime for his revolutionary activities. ## Return to Moscow and opposition to the Bolsheviks On his return from Siberia in 1917, Chernyi enjoyed great popularity among Moscow workers as a lecturer, and was at this time one of Russia's leading individualist anarchists and one of anarchism's main ideologues. He was the Secretary and leading theorist of the Moscow Federation of Anarchist Groups, which was formed in March 1917 after the abdication of Tsar Nicholas II and was primarily concerned with disseminating propaganda to Moscow's poorer classes. A personal acquaintance of Lev Kamenev and other leading Bolsheviks, Chernyi denounced the nascent Russian Soviet Republic at a rally on March 5, 1918, declaring that for anarchists, the socialist state was as much an enemy as its bourgeois predecessor and promising to "paralyze the governmental mechanism". A vociferous advocate of seizing private homes, Chernyi agitated against the state in the pages of Anarkhiia, the anarchist weekly newspaper, proposing increasingly detailed means of decentralized production and "complete absence of internal power structures". In the spring of 1918, the anarchist groups within the Moscow Federation formed armed detachments in reaction to the growing repression of all resistance and free expression. These were the Black Guards, precursors to the anarchist Black Army which fought the Bolsheviks in the Russian Civil War. On the night of April 11, the Cheka (Soviet secret police) raided the House of Anarchy, a building occupied by the Moscow Federation, with the official aim of arresting and charging "robber bands" in the anarchist ranks. They were met with armed resistance by the Black Guards and in the ensuing battle, approximately forty anarchists were killed or wounded and about five hundred were imprisoned. ## Arrest and execution Having helped establish an underground group in 1918, Chernyi joined another group called the Underground Anarchists the following year. The organization, which had been founded by Kazimir Kovalevich and Piotr Sobalev, published two issues of an incendiary broadsheet denouncing the Communist dictatorship as the worst tyranny in human history. On September 25, 1919, together with a number of leftist social revolutionaries, the Underground Anarchists bombed the headquarters of the Moscow Committee of the Communist Party during a plenary meeting. Twelve Communists were killed and fifty-five others were wounded, including among the wounded the eminent Bolshevik theorist and Pravda editor Nikolai Bukharin. Chernyi was detained along with Fanya Baron on a counterfeiting charge. In August 1921, the Moscow Izvestia published an official report announcing that ten "anarchist bandits", among them Chernyi, had been shot without hearing or trial. However, historian of anarchism Paul Avrich contends that Chernyi was executed in September of that year rather than August. Although he was not personally involved in the bombing of the Communist Party headquarters, Chernyi was, because of his association with the Underground Anarchists, a likely candidate for a frameup. The Communists refused to turn over his body to his family for burial, and rumors persisted that he had in fact died of torture. ## See also - Individualist anarchism in Europe - List of anarchist poets - One of the people who visited his lectures was Gerard Shelley [1921 deaths](Category:1921_deaths "wikilink") [Anarchist theorists](Category:Anarchist_theorists "wikilink") [Individualist anarchists](Category:Individualist_anarchists "wikilink") [Russian anarchists](Category:Russian_anarchists "wikilink") [Russian male poets](Category:Russian_male_poets "wikilink") [Soviet anarchists](Category:Soviet_anarchists "wikilink") [Egoist anarchists](Category:Egoist_anarchists "wikilink") [Year of birth unknown](Category:Year_of_birth_unknown "wikilink") [Russian people executed by the Soviet Union](Category:Russian_people_executed_by_the_Soviet_Union "wikilink") [Executed anarchists](Category:Executed_anarchists "wikilink")	[ "## Early life, philosophy and imprisonment", "## Return to Moscow and opposition to the Bolsheviks", "## Arrest and execution", "## See also" ]	1,256	26,903
22,822,937	Miss Meyers	1,169,943,389	Quarter Horse champion race mare	[ "1949 racehorse births", "1963 racehorse deaths", "AQHA Hall of Fame (horses)", "American Quarter Horse broodmares", "American Quarter Horse racehorses" ]	Miss Meyers (1949 – March 1963) was an American Quarter Horse racehorse and broodmare, the 1953 World Champion Quarter Running Horse. She won \$28,725 () as well as 17 races. As a broodmare, she produced, or was the mother of, the first American Quarter Horse Association (AQHA) Supreme Champion, Kid Meyers. She was the mother of three other foals, and was inducted into the AQHA Hall of Fame in 2009. ## Early life Miss Meyers was a chestnut-colored mare born in 1949 and sired, or fathered, by Leo, a member of the AQHA Hall of Fame. Miss Meyers' dam, or mother, was Star's Lou. Star's Lou's father was Oklahoma Star P-6, another AQHA Hall of Fame member. She was bred by O. C. Meyer, and later owned by Bruce A. Green. ## Race career Miss Meyers raced from 1952 until 1955 and won seven stakes races, placing second in seven others, and third in two more. She won 17 of her 59 starts on the racetrack. She placed second in another 15 races and third in 5. Her total earnings on the track were \$28,727 (). Among her wins in stakes races were the 1952 Buttons and Bows Stakes, the 1953 California Championship, the 1953 Billy Anson Stakes, the 1953 Rocky Mountain Quarter Horse Association World Championship Dash, the 1955 Bart B Stakes, the 1955 Barbara B Stakes and the 1955 Traveler Stakes. She set four track records, twice at 350 yards (320 m), once at 400 yards (370 m), and once at 440 yards (400 m). In 1953 she was named the AQHA World Champion Quarter Running Horse, as well as the High Money Earning Horse; the AQHA also awarded her the title of Superior Race Horse in 1954. The highest speed index she achieved, a measure of how fast she was able to run, during her racing career was AAAT, the highest possible at the time. It was not until she was a four-year-old, during 1953, that Miss Meyers performed well and started winning on the track. That year she won \$15,398 (), over half her lifetime earnings, as well as seven of her seventeen career wins. ## Broodmare and legacy After Miss Meyers retired from the racetrack, she became the dam of the first AQHA Supreme Champion, Kid Meyers, sired by fellow Hall of Famer Three Bars, a Thoroughbred. (A Supreme Champion is a horse that is outstanding on the racetrack, as a riding horse at horse shows and also conformationally, or how well put together the horse is). Kid Meyers was a 1963 sorrel stallion, and had 23 starts on the racetrack, winning 6 times. He earned a total of \$10,655 () on the track. After retiring from the racetrack, he earned his AQHA Champion in 1966 and his AQHA Supreme Champion in 1967. His highest speed index was AAA. Unlike most foals, who nurse for months after birth, Kid Meyers was orphaned at the age of one month in March 1963. Miss Meyers had three other foals. Oh My Oh, a 1957 bay mare sired by the Thoroughbred stallion Spotted Bull, started 30 times, winning eight races for a total earnings of \$12,592 () and coming in second in a stakes race. She earned an AAAT speed index. As a broodmare, she was the dam of All American Futurity winner Three Oh's. Miss Meyers' 1958 foal was Mr Meyers, a sorrel stallion sired by fellow Hall of Famer Go Man Go, who started 41 times, winning 9 times and placing third in four stakes races. His total race earnings were \$25,656 (). He went on to earn an AQHA Champion title along with a Superior Race Horse award, to go with his AAAT speed index. Mr Meyers became a successful breeding stallion. Miss Meyers' fourth foal was a 1959 chestnut mare named Milpool sired by Vandy. Milpool was never raced or entered in a horse show. Miss Meyers died in March 1963, shortly after having Kid Meyers. She was inducted into the AQHA's American Quarter Horse Hall of Fame in 2009. ## Pedigree	[ "## Early life", "## Race career", "## Broodmare and legacy", "## Pedigree" ]	969	42,963
18,811,446	Paul Gondjout	1,105,996,818	Gabonese politician (1912–1990)	[ "1912 births", "1990 deaths", "French Senators of the Fourth Republic", "Gabonese Democratic Party politicians", "Gabonese politicians", "Gabonese prisoners and detainees", "Leaders ousted by a coup", "Presidents of the National Assembly of Gabon", "Prisoners and detainees of Gabon", "Senators of French Equatorial Africa" ]	Paul Marie Indjendjet Gondjout (4 June 1912 – 1 July 1990) was a Gabonese politician and civil servant, and the father of Laure Gondjout, another prominent Gabonese politician. Gondjout was a member of the Mpongwe ethnic group, and served in the French colonial administration from 1928, and founded the Cercle amical et mutualiste des évolués de Port-Gentil in 1943. He was a delegate to the French Senate from 1949 to 1958, and founded the Gabonese Democratic Bloc (BDG). In 1954, Léon M'ba joined the party and eventually overthrew Gondjout as leader. In 1960, then President M'ba reshuffled the government without consulting Parliament. When Gondjout filed a motion of censure he was charged with attempting a coup d'état and sentenced to two years in prison. Following his release, M'ba appointed him to the largely symbolic post of President of the Economic Council, in part to silence the threat he represented. Gondjout served as Minister of State during the abortive 1964 Gabon coup d'état but was acquitted of all charges during his subsequent trial. He lived outside public view from his 1966 acquittal to his death on 1 July 1990 and there is little record of his life during this period. ## Early life and political career Gondjout was born on 4 June 1912, to a Mpongwe family. He had a younger brother named Edouard. The elder Gondjout began his service in the French colonial administration in 1928. In 1943 he founded the Cercle amical et mutualiste des évolués de Port-Gentil (roughly translated as Mutual Friends for the Evolution of Port-Gentil), an organization that encouraged and utilised the talents of educated Gabonese. With the assistance of Mpongwe businesspeople, In 1945 he established the Gabonese Democratic Party alongside Emile Issembe. Gondjout was elected to the Senate of France on 24 July 1949 and re-elected on 18 May 1952—both times as an independent candidate—serving until the end of his term on 7 June 1958. On 18 December 1953, he became the father of Laure Gondjout. She would later become a prominent politician as would his son, Vincent de Paul Gondjout, and nephew, Georges Rawiri. In August 1953 Gondjout's PDG merged with the Gabonese Mixed Committee to form the Gabonese Democratic Bloc (BDG). Over the course of the following seven years, the party published a newspaper which caught the eye of the aspiring politician Léon M'ba, whom Gondjout had earlier helped to elect to the Gabonese council of government. The two formed an alliance supported by the Mpongwe business community, the wealthy coastal Fangs (like M'ba), and the French, which managed to overpower Jean-Hilaire Aubame and fellow members of the Gabonese Democratic and Social Union. Gondjout, the self-appointed secretary of the BDG, decreed M'ba to be the secretary-general. He and M'ba both believed that Gabon should not have full political independence, stating shortly before it was obtained: > I affirm my belief that it would be premature now for Gabon to achieve total independence, for this would precipitate it irreparably into anarchy or, what would be even worse, into a sort of neocolonialism. M'ba overthrew Gondjout as head of the BDG and Goundjout aligned with Aubame on several issues, such as opposing M'ba's amount of power. Nonetheless, when Gabon gained its independence on 17 August 1960 Gondjout was named President of the National Assembly by the new President of Gabon, Leon M'ba. In November 1960 or 1961, Gondjout called for a constitutional amendment to allow him more executive power. When M'ba reshuffled his cabinet without consulting Parliament, Gondjout filed a motion of censure. He supposedly hoped to benefit from a balance of power modified to his own advantage, and to model Gabon after the Western democracies. M'ba, who did not share these ideas, reacted repressively. On 16 November, under the pretext of a conspiracy, M'ba declared a state of emergency, ordering the internment of eight BDG opponents and the dissolution of the National Assembly the day after. Electors were asked to vote again on 12 February 1961. Gondjout himself was sentenced to two years in prison. He was imprisoned in a remote village under house arrest, where he was supplied, according to U.S. ambassador to Gabon, Charles Darlington, "with all the whisky and beer he [could] drink and all the girls he want[ed]". Unable to fulfill his position, it was given to Louis Bigmann. Upon Gondjout's release, M'ba appointed him to the mostly symbolic post of President of the Economic Council, in part to silence any threat to M'ba's power. ## 1964 Gabon coup d'état During the night of 17 February and the early morning of 18 February 1964, 150 members of the Gabonese military, gendarmerie, and police, headed by Lieutenant Jacques Mombo and Valére Essone, seized the presidential palace. They arrested President of the National Assembly Louis Bigmann, French commanders Claude Haulin and Major Royer, several ministers, and President M'ba, who was dragged from his bed at gunpoint. On Radio Libreville, the military announced to the Gabonese people that a coup d'état had taken place, asked for technical assistance, and told the French not to interfere in this matter. M'ba was forced to broadcast a speech acknowledging his defeat, in which he said, "The D-Day is here, the injustices are beyond measure, these people are patient, but their patience has limits. It came to a boil." No blood was shed during the event, and when the Gabonese people did not respond violently the military interpreted this as a sign of approval. Aubame was offered the presidency of the newly formed provisional government. The government was composed of civilian politicians from both the UDSG and BDG, such as Gondjout. During the coup, he served as Minister of State. The coup's leaders were content at restoring security for the civilians. The small Gabonese army did not intervene; composed mostly of French officers, they remained in their barracks. Second Lieutenant Ndo Edou gave instructions to transfer M'ba to Ndjolé, Aubame's electoral stronghold. However, due to heavy rain, the deposed president and his captors took shelter in an unknown village. The next morning they decided to take him over the easier road to Lambaréné. Several hours later, they returned to Libreville. The new head of government contacted French ambassador Paul Cousseran, to assure him that the property of foreign nationals would be protected and to request against French military intervention. In Paris, President Charles de Gaulle decided against the plea. M'ba was one of France's most loyal African allies, and during a visit to France in 1961, declared, "all Gabonese have two fatherlands: France and Gabon." Moreover, under his regime, Europeans were particularly well treated. The French authorities therefore decided, in accordance with signed Franco-Gabon agreements, to restore the legitimate government. Intervention could not commence without a formal request to the Head of State of Gabon. Since M'ba was imprisoned, the French contacted the Vice President of Gabon, Paul-Marie Yembit, who had not been arrested. However, he remained unaccounted for; therefore, they decided to compose a predated letter confirming their intervention, that Yembit would later sign. Less than 24 hours later, French troops stationed in Dakar and Brazzaville landed in Libreville and restored M'ba to power. During the operation, a French soldier and 15 to 25 Gabonese died. ## Post coup d'état Aubame and Gondjout fled Libreville, but were captured sometime before 20 February. In August a trial of the rebels and provisional government was opened in Lambaréné. A "state of precations" was imposed, which decreed that local government keep surveillance on suspected troublemakers and, if necessary, order curfew, and special permits were required to travel through the town. The trial was held in a school building overlooking the Ogooue River, which was near Albert Schweitzer's hospital. Space at the hearing was limited, so members of the public were disallowed from attending. Permits were required to attend the trial, and family members were restricted to one permit each. Press coverage was limited, and journalists were allowed only if they represented a high-profile news agency. In addition, there were restrictions on the defence of the accused. During a trial which carried the death sentence as a maximum, the prosecution called 64 separate witnesses. Aubame claimed he had formed his provisional government in a constitutional manner; at the request of members of the "putschists". He argued that the French intervention was effectively an illegal act of interference; a belief shared by both Gondjout and the former education minister, Jean Mare Ekoh. On 9 September, without consulting M'ba, Leon Auge handed down a verdict acquitting both Ekoh and Gondjout of all charges. Little is known of Goundjout's life between his 1966 acquittal and death on 1 July 1990, in Libreville. He is buried in Libreville near his wife Odette (d. 2006), a former fashion model. A secondary school has been established in his name.	[ "## Early life and political career", "## 1964 Gabon coup d'état", "## Post coup d'état" ]	2,110	3,882
660,021	Pat Seerey	1,162,188,399	American baseball player	[ "1923 births", "1986 deaths", "Appleton Papermakers players", "Baseball players from Oklahoma", "Burials at Calvary Cemetery (St. Louis)", "Cedar Rapids Raiders players", "Chicago White Sox players", "Cleveland Indians players", "Colorado Springs Sky Sox (WL) players", "Deaths from lung cancer in Missouri", "Kansas City Blues (baseball) players", "Los Angeles Angels (minor league) players", "Major League Baseball center fielders", "Major League Baseball left fielders", "Major League Baseball outfielders", "Major League Baseball right fielders", "Memphis Chickasaws players", "Newark Bears (International League) players", "People from Latimer County, Oklahoma", "San Antonio Missions players", "Tampa Smokers players", "Wilkes-Barre Barons (baseball) players" ]	James Patrick Seerey (March 17, 1923 – April 28, 1986) was an American professional baseball player. An outfielder, Seerey played in Major League Baseball (MLB) for seven seasons in the American League with the Cleveland Indians and Chicago White Sox. In 561 career games, Seerey recorded a batting average of .224 and accumulated 86 home runs and 261 runs batted in (RBI). Born in Oklahoma and raised in Arkansas, Seerey played football and baseball in high school. After graduating, he joined the Cleveland Indians' farm system in 1941, and made his major league debut two-and-a-half years later. He was primarily a starting outfielder the next five seasons for the Indians, but led the league in strikeouts four times. He was traded partway through the 1948 season to the Chicago White Sox, and a month after being traded became the fifth player in major league history to hit four home runs in one game. The following season, he was sent to the minor leagues, and played a few seasons in the farm system for the White Sox before retiring. ## Early life and minor leagues Pat Seerey was born in Wilburton, Oklahoma, in 1923 to James and Marie Seerey. His family moved to Little Rock, Arkansas, when he was a child, and he played baseball for the Little Rock Boys' Club at Lamar Porter Field. He attended Little Rock Catholic High School, where he played baseball and American football, serving as the team's starting fullback. After graduating from high school in 1941, he was signed by the Cleveland Indians. Shortly afterwards, he was classified as 4-F, meaning he would not be lost to the military during World War II. Seerey started his minor league baseball career in 1941 with the Appleton Papermakers of the Wisconsin State League. In one of his first appearances for the team, he hit for the cycle in a 15–4 victory against the Fond du Lac Panthers. In 104 games for Appleton that year, Seerey had a .330 batting average with 31 home runs and 117 runs batted in; the 31 home runs were a record for the Wisconsin State League at the time. The following season, Seerey played for the Cedar Rapids Raiders of the Three-I League. In 117 games for the Raiders, he had a .303 batting average and 33 home runs. In 1943, Seerey was promoted to the Wilkes-Barre Barons of the Eastern League, and played in 31 games over the first two months of the season. In early June, outfielder Hank Edwards broke his collarbone, and the Indians needed an extra outfielder on the roster; Seerey was promoted as a result. ## Cleveland Indians Seerey made his debut with the Indians on June 9, 1943. Almost immediately after his debut, he earned the nickname of "people's choice" in media due to both his hitting ability and his "willingness to challenge the brick walls of the stadium". He played in 26 games for the Indians on the season, and hit .222 in 72 at-bats. Entering the 1944 Cleveland Indians season, manager Lou Boudreau planned to use Seerey as the starting center fielder, as he had reported to spring training 25 pounds lighter and Boudreau felt that Seerey could improve on a weak area on the team's roster. Seerey moved back to left field to begin the season; in his first game there on the year, he hit a three-run home run to give the Indians a 7–4 victory over the Detroit Tigers. A month into the season, Seerey was among the league leaders in runs batted in, which was attributed to better plate discipline, though his fielding in the outfield was still considered a liability. Partway through the season, Seerey's playing time diminished, yet he remained the team leader in home runs for most of the season despite limited at-bats. He finished the season with 15 home runs, 39 runs batted in, and a league-leading 99 strikeouts in 101 games. Entering the 1945 Cleveland Indians season, Seerey was re-classified as 1-A, and took a military examination during the offseason. He was not slated to join the military after the exam, and the season started with him on the roster as one of the team's starting three outfielders, thanks in part to getting in shape after a strict diet during the offseason. He started off with hits in the first seven games of the season. A month into the season, Seerey hit his first two home runs of the season in a 7–3 loss to the New York Yankees. He followed that up in a mid-July game against the Yankees with three home runs and eight runs batted in, becoming the fourth Indians player to hit three home runs in a game in a 16–4 Indians win. He spent the second half of the season in and out of the starting lineup due to his inconsistent hitting; manager Boudreau felt that occasional rest days would increase his consistency. In a career-high 126 games, Seerey hit .236 with 14 home runs and 97 strikeouts, which again led the league. After getting married in early 1946 to Jeanne Dillinger, Seerey started the 1946 Cleveland Indians season working with Boudreau to fix his hitting, as his lunge when he swung the bat was causing him to strike out too often and not hit enough home runs. The change worked, as by the start of July Seerey had a team-leading 11 home runs. His second-half performance included a doubleheader against the Chicago White Sox where he hit a home run in each game; the second home run landed in the upper deck of Cleveland Municipal Stadium, a feat that at the time had only been matched by fellow Indians outfielder Jeff Heath. He finished the season with a .225 batting average, 26 home runs, 62 RBIs, and 101 strikeouts. The 26 home runs were fourth in the league, and for the third straight year Seerey led the league in strikeouts. Indians catcher Jim Hegan and Seerey spent the offseason improving their hitting, attending batting school led by Hall of Famer Rogers Hornsby; Hornsby concentrated primarily on improving Seerey's timing to help him to hit the ball more frequently. In spring training games, Seerey had nine home runs, and expectations were high for him; Boudreau gave him the starting job in left field for the opener against the White Sox. Through the first month of the season, Seerey had six home runs, but his performance worsened as the season went on. At the end of June, Seerey was removed from the starting lineup and replaced by both Dale Mitchell and Hank Edwards; he spent the rest of the season playing part-time. He finished the season with a .171 batting average and 11 home runs in 82 games. After the 1947 season ended, Indians owner Bill Veeck put Seerey on a strict diet and exercise regimen for the offseason, stating that he had to lose 35 pounds if he wanted to remain on the team. By the start of spring training, he had reached his goal of 195 pounds, and felt like he had an easier time swinging the baseball bat as a result. After a good month of spring training, Boudreau named him the starter in right field for the 1948 season, saying that "he'll be in there until he stops hitting." Shortly afterwards, Seerey was removed from the starting lineup, and he ended up playing 10 games for the Indians before being traded. On June 2, Seerey was traded with Al Gettel to the White Sox for Bob Kennedy due to his inconsistency as well as an overstocked group of outfielders on the roster. ## Chicago White Sox and later life Seerey was named the starting left fielder upon joining the White Sox, a position he held the rest of the season. Through his first 12 games, Seerey had 16 RBIs. On July 18, Seerey made history, becoming the fifth player to hit four home runs in one game, doing so in an 11-inning, 12–11 win over the Philadelphia Athletics. Seerey homered in three successive innings (fourth through sixth), hitting his first two off starting pitcher Carl Scheib and the third off reliever Bob Savage. His fourth home run, in the 11th off Lou Brissie, gave the White Sox the win. On that day, Seerey went 4-for-6 with seven runs batted in. In 105 games, 95 with the White Sox, Seerey had a .231 batting average, 19 home runs, 70 RBIs, and 102 strikeouts; he led the league in strikeouts for the fourth time. The White Sox brought on new manager Jack Onslow to begin the 1949 Chicago White Sox season. He had a problem with Seerey, who arrived overweight to spring training, and did not consider him worthy of practicing with the other players until he got the weight back down. After playing in four games for the Sox, his last coming on May 7, Seerey was sent to the Los Angeles Angels of the Pacific Coast League, ending his major league career. He played for four minor league teams in 1949: Los Angeles, the Newark Bears, the Kansas City Blues, and the San Antonio Missions. Seerey spent 1950 with the Colorado Springs Sky Sox of the Western League. Partway through the season, he broke the league's home run record of 30, and went on to hit 44 for the Sky Sox over the course of the season. He then finished the season with the Memphis Chickasaws, playing 136 total games with both teams. Seerey split most of the 1951 season between Memphis and Colorado Springs. In one game with the Sky Sox in June, Seerey had two grand slams and nine RBIs in a game, both league records at the time. He ended the season with the Tampa Smokers, and had 28 home runs in 113 between the three teams. In 1952, Seerey joined a semi-professional baseball team in Guelph, Ontario. With them, he had 11 home runs and a .253 batting average, and retired at season's end. The 11 home runs were the highest in the league that season. After retiring, Seerey became a janitor in the St. Louis public school system. He died in Jennings, Missouri, from lung cancer on April 28, 1986, at the age of 63. ## See also - List of Major League Baseball single-game home run leaders	[ "## Early life and minor leagues", "## Cleveland Indians", "## Chicago White Sox and later life", "## See also" ]	2,269	17,641
2,150,120	The Trouble with Trillions	1,110,260,910	null	[ "1998 American television episodes", "Cultural depictions of Fidel Castro", "Federal Bureau of Investigation in fiction", "Havana in fiction", "New Year television episodes", "Television episodes set in Cuba", "The Simpsons (season 9) episodes" ]	"The Trouble with Trillions" is the twentieth 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 5, 1998. It was written by Ian Maxtone-Graham and directed by Swinton O. Scott III. The episode sees Homer being sent by the Federal Bureau of Investigation to try to obtain a trillion dollar bill that Mr. Burns failed to deliver to Europe during the post-war era. ## Plot All of Springfield celebrates the arrival of the New Year except for Ned Flanders, who instead focuses on filing his tax returns. A few months later, as all of Springfield rushes to send out their returns just before midnight on April 15, Homer realizes he did not file his. He rushes and provides false information before delivering it to the post office. However, at the IRS the somewhat spherical package containing Homer's tax returns bounces into a “Severe Audit” bin, and the government arrests him for tax fraud. To avoid prison, Homer agrees to help Agent Johnson of the FBI. With a hidden microphone under his shirt, Homer uncovers that his coworker Charlie is leading a militia planning to assault all government officials, and has him arrested by the FBI for conspiracy. Impressed, Johnson reveals to Homer that in 1945, President Harry S. Truman printed a one trillion-dollar bill to help reconstruct post-war Western Europe and enlisted Montgomery Burns to transport the bill. However, it never arrived and the FBI suspects Burns still has it with him. Homer is sent in to investigate. At the Burns estate, Homer searches for the bill before Burns, who believes Homer is a reporter from Collier's magazine, reveals that he keeps it in his wallet. Johnson and Agent Miller burst in and arrest Burns, who, insisting he's innocent, protests that the government oppresses the average American. Moved by Burns' speech, Homer knocks out the FBI agents and frees Burns. The two men go to Smithers, who suggests they leave the country. Burns takes Smithers and Homer in his old plane, setting off to find an island and start a new country. The three land in Cuba and appear before Fidel Castro. Burns tries to buy the island, but Castro foils his plan when he asks to see the trillion-dollar bill and then refuses to give it back. Later, Burns, Smithers, and Homer are on a makeshift raft. Smithers asks whether Burns will be facing jail time; Burns replies that, if it is a crime to love one's country or steal a trillion dollars or bribe a jury, he is guilty. ## Production The episode was written by Ian Maxtone-Graham, though the original draft of the plot was much different. Originally, Homer was to learn that he was a Native American, and would try to exploit it to not have to pay taxes. The idea had been going well for a few days, but the staff did not actually know whether Native Americans had to pay taxes. When the writers found out that they did, the whole plot had to be scrapped. Executive producer Mike Scully's brother Brian pitched the idea of the trillion-dollar bill, which they accepted, as they were out of ideas. ## Cultural references The episode's title is a reference to the Star Trek episode "The Trouble with Tribbles". The scene where the FBI agent sits near Homer is a reference to the film JFK. While Homer, Mr. Burns, and Smithers are in Cuba, a billboard can be seen with a picture of Marxist revolutionary Che Guevara being used to advertise Duff Beer. ## Reception In its original broadcast, "The Trouble with Trillions" finished 51st in ratings for the week of March 30–April 5, 1998, with a Nielsen rating of 7.5, equivalent to approximately 7.4 million viewing households. It was the third highest-rated show on the Fox network that week, following World's Wildest Police Videos and Melrose Place. Since airing, the episode has received mixed reviews from television critics. The authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood, did not enjoy the episode, calling it, "Rather dull and unfunny", adding, "A mediocre episode at best that makes Burns out to be altruistic (which he's not) and very stupid in letting Castro have his money (which he so wouldn't)." The Daily Telegraph characterized the episode as one of "The 10 Best Simpsons TV Episodes". The article noted the episode contained "one of the few gags in comedy history about relying too heavily on surveillance photography in spying". Ian Jones and Steve Williams for Off the Telly criticized all of season 9 for lacking an episode that centered on Burns, as they consider Burns to be the crux of many good episodes, though they noted that "The Trouble with Trillions" came the closest, with Burns having a supporting role. In a review of The Simpsons' ninth season, Isaac Mitchell-Frey of the Herald Sun described the episode as "brilliant", and highlighted it along with episodes "Bart Carny" and "The Joy of Sect". In the United Kingdom, the episode was screened on BBC Two in January 1999, before any other episode from season six or later were seen by viewers on the channel, as part of a night of Cuba-themed programming. The episode had made its UK premiere in June 1998, by the program's primary rights holder in the country, Sky One. ## See also - "The Trouble with Tribbles", an episode of Star Trek - Large denominations of United States currency - Trillion-dollar coin - Taxation in the United States - Marshall Plan - JFK (1991) - Cuba - Cuba–United States relations	[ "## Plot", "## Production", "## Cultural references", "## Reception", "## See also" ]	1,192	33,502
23,922,485	Typhoon Kirogi (2000)	1,171,523,659	Pacific typhoon in 2000	[ "2000 Pacific typhoon season", "2000 disasters in the Philippines", "2000 in Japan", "Tropical cyclones in 2000", "Typhoons", "Typhoons in Japan", "Typhoons in the Philippines" ]	Typhoon Kirogi (), known in the Philippines as Typhoon Ditang, was a large typhoon that caused severe damage in Japan during early July 2000. Forming out of an area of disturbed weather on June 30, Kirogi initially tracked slowly towards the north. On July 3, the storm underwent rapid intensification and attained Category 4 status on the Saffir–Simpson Hurricane Scale the next day, according to the JTWC. On July 5, the Japan Meteorological Agency (JMA) assessed the storm to have reached its peak intensity with 10-minute sustained winds of 155 km/h (100 mph) and a barometric pressure of 940 hPa (27.76 inHg). Over the following several days, the storm tracked towards the northeast and accelerated towards Japan. Early on July 8, Kirogi brushed eastern Japan before transitioning into an extratropical cyclone. Initial news reports stated that Kirogi produced deadly flooding in the Philippines; however, the storm was too far from the country to have any impacts. In Japan, Kirogi produced torrential rainfall and high winds, killing three people and leaving ¥15 billion (2000 JPY, \$ million USD) in damages. Flooding inundated nearly 1,300 homes around Tokyo and high winds cut power to roughly 20,000 residences. Three homes were destroyed in a landslide on Kozushima. ## Meteorological history Typhoon Kirogi originated out of a disorganized area of showers and thunderstorms on June 30, 2000, associated with a weak area of low pressure, situated roughly 650 km (400 mi) east of the Philippine island of Mindanao. The system remained nearly stationary for two days as it became increasingly organized. On July 1, the Joint Typhoon Warning Center (JTWC) issued a Tropical Cyclone Formation Alert as they anticipated the low to develop into a significant tropical cyclone within 24 hours. Around 0600 UTC the following day, the Japan Meteorological Agency (JMA) began monitoring the system as a tropical depression. At the same time, the JTWC also classified the system as Tropical Depression 05W and six hours later, the Philippine Atmospheric, Geophysical and Astronomical Services Administration (PAGASA) began issuing advisories on the same system, classifying it as Tropical Depression Ditang. Throughout the day on July 2, the depression began to take a slow northward track in response to a mid-level subtropical ridge to the east and later that day, the JTWC upgraded it to a tropical storm. Early the next day, the JMA also upgraded the system to a tropical storm, at which time it received the name Kirogi. Although a broad cyclone, convection was gradually wrapping around the southern periphery of the circulation. Several hours after being named, the JMA upgraded Kirogi to a severe tropical storm and later a typhoon. At the same time, the JTWC classified the storm as a typhoon. Upon being upgraded the typhoon featured a well-developed outflow and prominent banding features consolidating around the system. Not long after attaining typhoon intensity, Kirogi began to undergo rapid intensification. Roughly 18 hours later, the JTWC reported that the storm had attained its peak intensity with 1-minute sustained winds of 215 km/h (130 mph), equivalent to a Category 4 hurricane on the Saffir–Simpson Hurricane Scale. By this time, the typhoon was situated roughly 870 km (540 mi) southeast of Okinawa. The storm featured a 59 km (37 mi) wide symmetrical eye. Early on July 5, the JMA reported that Kirogi attained its peak intensity with 10-minute sustained winds of 155 km/h (100 mph) and a barometric pressure of 940 hPa (27.76 inHg). The storm was a relatively large typhoon, with a gale diameter of 520 km (320 mi). Several hours after attaining peak intensity on July 5, a mid-level trough caused convection around the center of Kirogi to weaken and the eye became cloud-filled. Later in the day, most of the convective bands were confined to the eastern periphery of the system. Around this time, the storm took a northeasterly track, which it maintained for several days. Increasing in forward motion, the storm began to weaken; however, it also grew in size. By July 6, the storm had a gale-diameter of 925 km (575 mi). Gradual weakening took place as Kirogi tracked towards Japan, with both the JTWC and JMA reporting sustained winds at 140 km/h (85 mph) by July 7. Early on July 8, the storm brushed the eastern coast of Japan near Chōshi, Chiba with 10-minute sustained winds of 150 km/h (90 mph). Several hours later, the typhoon weakened to a severe tropical storm before transitioning into an extratropical cyclone near the southeast coast of Hokkaido. By this time, the storm took a sharp eastward turn and briefly slowed before re-accelerating. The remnants of the storm persisted until July 10, at which time it dissipated to the southwest of the Aleutian Islands. ## Preparations and impact ### Philippines In the typhoon's early stages, news reports stated that the outer bands of the storm produced heavy rainfall in the Philippines, resulting in 16 fatalities. However, a meteorological analysis of the storm showed that Kirogi was not responsible for the rain; instead, a monsoon depression that later became Typhoon Kai-tak caused the flooding rains. Typhoon Kirogi was never closer than 835 km (519 mi) from the Philippines. However, large swells produced by the storm caused moderate damage along coastal areas of the Philippines, forcing workers in Manila to clear debris left by the damaging waves. ### Japan In Japan, Kirogi became the first typhoon to threaten the city of Tokyo since a storm in the 1989 Pacific typhoon season, prompting hundreds of residents to evacuate. A total of 120 flights were canceled ahead of the storm and 30 ferry services were halted due to rough seas up to 9 m (30 ft). In Kozushima, 788 residents were evacuated as heavy rain from the typhoon produced landslides. Forecasters warned that upwards of 250 mm (9.8 in) of rain could fall in the Tokyo region. In the city of Tokyo, Japanese officials ordered 800 residents to evacuate to shelters due to the threat of Typhoon Kirogi. Since the storm weakened considerably from its peak intensity, damage was much less than initially anticipated. In all, damages from the storm amounted to ¥15 billion (2000 JPY, \$ million USD). Three people were killed by the storm, all of whom were found in irrigation ditches. The first fatality was an 81-year-old man, the second was a 30-year-old man who lost control of his car and crashed into a ditch, and the last fatality was a 3-year-old boy who fell in a ditch near his home. Two 11-year-old boys, initially reported as missing, were later found in a ditch after being swept away by flood waters. About 1,300 homes were inundated by flood waters around Tokyo and three were destroyed on Kōzushima by a landslide. Widespread power outages took place, leaving an estimated 20,000 people without power in Kanagawa and Shizuoka prefectures as winds up to 177 km/h (110 mph) knocked down trees and power lines. Rainfall from the storm fell at rates of 55 mm/h (2.2 in/h). Total amounts reached 416 mm (16.4 in) in Tokyo, 400 mm (16 in) on Izu Ōshima and 357 mm (14.1 in) in Ogatsu, Miyagi Prefecture. These rains were more than double the monthly average for July in eastern Japan. Rainfall up to 182 mm (7.2 in) caused flooding throughout eastern Hokkaidō, resulting in widespread agricultural losses. Throughout Aomori Prefecture, large stretches of roads were washed out by flood waters and several thousand homes were inundated. Damage from the storm in Aomori was estimated at ¥777 million (2000 JPY, \$ million USD). In Obihiro, Hokkaidō, a total of 2,957 ha (7,310 acres) of agricultural land was inundated by flood waters. The fishing industry in Urakawa District, Hokkaidō sustained severe losses, amounting to ¥899 million (2000 JPY, \$ million USD). High winds in the district resulted in moderate roof damage to several homes, some of which lost their roofs. ## See also - Other tropical cyclones named Kirogi - 2000 Pacific typhoon season - Typhoon Wipha (2013)	[ "## Meteorological history", "## Preparations and impact", "### Philippines", "### Japan", "## See also" ]	1,876	23,277
39,634,735	Shemanski Fountain	1,161,171,106	Fountain and sculpture in Portland, Oregon	[ "1926 establishments in Oregon", "1926 sculptures", "1928 establishments in Oregon", "1928 sculptures", "Bronze sculptures in Oregon", "Carl L. Linde buildings", "Drinking fountains in Oregon", "Fountains in Portland, Oregon", "Outdoor sculptures in Portland, Oregon", "Sandstone sculptures in the United States", "Sculptures depicting Hebrew Bible people", "Sculptures of women in Oregon", "South Park Blocks", "Statues in Portland, Oregon", "Stone sculptures in Oregon", "Vandalized works of art in Oregon" ]	Shemanski Fountain, also known as Rebecca at the Well, is an outdoor fountain with a bronze sculpture, located in the South Park Blocks of downtown Portland, Oregon, in the United States. The sandstone fountain was designed in 1925, completed in 1926, and named after Joseph Shemanski, a Polish immigrant and businessman who gave it to the city. Carl L. Linde designed the trefoil, which features a statue designed by Oliver L. Barrett. The sculpture, which was added to the fountain in 1928, depicts the biblical personage Rebecca. Shemanski Fountain includes two drinking platforms with three basins each, with one platform intended for use by dogs. The fountain underwent major renovations between 1987 and 1988 and in 2004. It has been vandalized on several occasions and has been used as a reference point for gatherings. It has also been included in public art guides and walking tours of Portland. According to "cultureNOW", the statue Rebecca at the Well is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council—the agency that maintains the sculpture. The fountain surrounding the statue, often considered part of the artwork, is maintained by the Portland Water Bureau with assistance from the Regional Arts & Culture Council. ## Description Shemanski Fountain was designed by Carl L. Linde in 1925, and is located behind the Arlene Schnitzer Concert Hall between Main Street and Salmon Street in Shemanski Park, part of the South Park Blocks of downtown Portland, Oregon. It was gifted to Portland by Joseph Shemanski (1869–1951), a Polish immigrant who became a successful businessman after founding Eastern Outfitting Co., to "express in small measure gratitude" for what the city offered to him. The fountain is triangular and cast from Oregon sandstone. The Italianesque trefoil supports two drinking platforms with three basins each, with one platform intended for use by dogs. Inara Verzemnieks of The Oregonian described the fountain's lower water basins as "cute little bowl-sized pools at the base" for the purpose of serving pets "who did not have a place to cool off". Thayne Logan, a designer who worked for Linde, said that Shemanski "wanted something for the little animals". Logan also said that the fountain's original design called for granite, but it was constructed of cast stone because of that material's popularity at the time. According to the Regional Arts & Culture Council, the fountain is 144 inches (3.7 m) high and has a diameter of 224 inches (5.7 m). An inscription around the top of the fountain reads: "To the People of / The City of Portland / By Joseph Shemanski". Other inscriptions include "O. Barrett SC '27 Cal. Br. Foundry, L.A" and a signed Founder's mark. The bottom of the fountain is decorated with busts of females. It is maintained by the Portland Water Bureau with assistance from the Regional Arts & Culture Council. The fountain's original design included a large planter, but following its construction Shemanski hired Oliver Laurence Barrett to create a bronze statue to replace the vase. Barrett, an arts professor at the University of Oregon, designed Rebecca at the Well, though his reasons for depicting the Biblical personage Rebecca fetching water are unknown. According to Portland Parks & Recreation, which operates the South Park Blocks, he chose Rebecca for "her hospitality to strangers and kindness to animals". The bureau has also said that Rebecca was chosen because of her offers to draw water for Abraham. The statue, which depicts Rebecca holding a jug on her right shoulder, was added to the fountain in 1928. Rebecca at the Well measures 42 inches (110 cm) x 18 inches (46 cm) × 14 inches (36 cm) and is maintained by the Regional Arts & Culture Council. ## History Shemanski petitioned the City Council to let him gift the fountain, which began operating on September 3, 1926. In 1987, the fountain's plumbing was repaired and a new base was poured as part of a renovation of the South Park Blocks. That same year, Logan and two other men—David L. Lipman and Jeff Wolfstone, grandson and great-grandson of Shemanski, respectively—approached the Portland Bureau of Parks and Recreation, advocating for the fountain's restoration. During the renovation process, the fountain was thoroughly cleaned, had missing pieces such as finials and urns replaced and chipped corners repaired, and was coated with a sealant to protect it from the elements and graffiti. In July 1988, the fountain re-opened following nearly a year of reconditioning. A dedication ceremony to mark the restoration was held on the afternoon of July 18. One park designer with the Park Bureau said, "the water will be turned on for the first time that anybody can remember." Lipman, Logan and Wolfstone attended the ceremony. Logan, aged 88, was the only surviving person who participated in the fountain's design and construction. The men offered funds for part of the renovation and the purchase of a bronze plaque that includes the original rendering done by Logan and describes the fountain's history and recent work. Costs for the plaque and renovation totaled \$14,000. The fountain and sculpture were surveyed by the Smithsonian's Save Outdoor Sculpture! program in 1993. Lee Lacey advocated for a 2004 restoration of the fountain; his lobbying efforts, among other accomplishments, earned him the Downtown Neighborhood Association's inaugural First Neighbor Award in 2005. The restoration was completed by conservator Marie Laibinis-Craft and Pioneer Waterproofing. In 2008, The Oregonian reported that the fountain was "completely dry". According to The Oregonian, the fountain and statue "commemorates kindness"; however it has been vandalized on several occasions. In 1988, three brass bowls were removed from the recently renovated fountain. In 2007, the statue of Rebecca was pushed off its base, resulting in nearly \$10,000 in damage. In 2008, one of the fountain's three brass nozzles was stolen. In December 2011, when Occupy Portland protesters were camping at Shemanski Park, a cup of coffee was drawn on the statue using a marker or paint. The fountain has been used as a reference point for gatherings. In 2001, following the September 11 attacks, a peace shrine consisting of flowers, "scrawled words" and candles was erected at the fountain. In 2003, People for the Ethical Treatment of Animals displayed photographs of slaughterhouses next to those of Nazi extermination camps by the fountain. In 2006, a PDX AIDS Day Promise Vigil was held in conjunction with World AIDS Day at the site. In 2010, 600 Catholic women and their supporters gathered at the site for the first "One Spirit – One Call" event, which brought focus to their role within the Church. Shemanski Fountain was chosen at the gathering site for its depiction of Rebecca. ## Reception AOL Travel said that Rebecca is depicted "with motion and grace". Shemanski Fountain has been included in public art guides and walking tours of fountains in downtown Portland. In 1988, The Oregonian's Suzanne Richards referred to Shemanski Fountain as "one of the city's favorite fountains". In 2006, Bonnie Darves of The Oregonian included the fountain in her walking tour of Portland landmarks, and said it is "worth getting wet for". ## See also - 1926 in art - 1928 in art - Drinking fountains in the United States - History of fountains in the United States - Theodore Roosevelt Memorial (Portland, Oregon), designed by Barrett	[ "## Description", "## History", "## Reception", "## See also" ]	1,627	10,650
5,096,980	Washington State Route 24	1,134,881,994	Highway in Washington	[ "State highways in Washington (state)", "Transportation in Adams County, Washington", "Transportation in Benton County, Washington", "Transportation in Grant County, Washington", "Transportation in Yakima County, Washington" ]	State Route 24 (SR 24) is a state highway in the south-central region of Washington, in the United States. It travels 79 miles (127 km) from Yakima to Othello, across a portion of the Columbia Plateau. The highway crosses the Columbia River on the Vernita Bridge, located near the Hanford Site. SR 24 terminates to the west at an interchange with Interstate 82 (I-82) in Yakima and to the east at SR 26 in Othello. The highway was added to the state highway system in 1937 as Secondary State Highway 11A (SSH 11A), composed of several county-built gravel roads from Yakima to Connell, with a ferry crossing at Hanford. The Hanford section of SSH 11A was closed in 1943 due to wartime activities at the Hanford Nuclear Reservation, forcing the state government to relocate the highway to the north side of the Columbia River. The new highway opened in 1961 and was supplanted by the new Vernita toll bridge in 1965. During the 1964 state highway renumbering, SR 24 replaced most of SSH 11A and was rerouted to a terminus in Othello. ## Route description SR 24 begins in eastern Yakima as an extension of Nob Hill Boulevard at a diamond interchange with I-82 and the concurrent US 12 and US 97. The interchange is located southeast of the Central Washington State Fairgrounds and the SunDome arena. SR 24 travels southeasterly from the interchange as a four-lane divided highway and crosses the Yakima River into unincorporated Yakima County near Yakima Sportsman State Park. The highway narrows to two lanes and continues southeast along the Central Washington Railroad, a branch of the BNSF Railway, changing course to bypass the city of Moxee on its south side. SR 24 continues beyond the railroad's terminus and runs deeper into the Moxee Valley, an irrigated area situated between the Yakima Ridge and Yakima Training Center to the north and the Rattlesnake Hills to the south. At the east end of the valley, SR 24 turns northeast and crosses through a narrow pass in the hills before reaching the Black Rock Valley, which it continues across. Midway through the valley at the Silver Dollar Cafe, the highway intersects SR 241, an auxiliary route that travels south towards Sunnyside. SR 24 continues northeast from the junction and enters Benton County, where it climbs a section of the Yakima Ridge and exits the valley. The highway crosses part of the Fitzner–Eberhardt Arid Lands Ecology Reserve, a restricted wildlife preserve that forms part of the Hanford Reach National Monument. SR 24 meets SR 240, a major highway connecting to the Tri-Cities, at the northeast corner of the reserve. SR 24 turns north at the junction and travels along the northwest edge of the Hanford Site, flanked by fences on both sides of the road. The highway descends from the plateau by turning west and returning to its northerly course, eventually reaching a rest area on the south shore of the Columbia River. SR 24 crosses the Columbia River on the Vernita Bridge, a 1,982-foot-long (604 m) steel truss bridge downriver from the Priest Rapids Dam. On the north side of the bridge in Grant County, the highway intersects SR 243, which travels along the Columbia River towards Mattawa and Vantage. SR 23 turns northeast and follows the south wall of the Wahluke Slope before traveling due east across the Saddle Mountain National Wildlife Refuge and into Adams County. The highway leaves the Hanford Reach National Monument and forms the boundary between Adams and Franklin counties for several miles, briefly turning to cross a section of the Saddle Mountains. Near the former Othello Air Force Station, SR 24 turns north and follows Radar Road through farmland on the outskirts of Othello. After entering Othello, the highway becomes Broadway Avenue and continues through an industrial area before terminating at an underpass with SR 26. The two highways are connected via an extension of 1st Avenue on both sides of the underpass. SR 24 is maintained by the Washington State Department of Transportation (WSDOT), which conducts an annual survey on the state's highways to measure traffic volume in terms of average annual daily traffic. The busiest section of the highway, at its interchange with I-82, carried a daily average of 23,000 vehicles in 2016; the least busiest section of the highway, northeast of the Vernita Bridge, carried only 1,100 vehicles. A short section between I-82 and Faucher Road in Moxee is designated as a MAP-21 arterial under the National Highway System, a network of roads identified as important to the national economy, defense, and mobility. ## History SR 24 was added to Washington's state highway system in 1937 as Secondary State Highway 11A (SSH 11A), which traveled from Primary State Highway 3 (PSH 3) and US 410 in Yakima to PSH 11 and US 395 in Connell. The highway was preceded by several unpaved roads built by county governments along the corridor by the 1910s, including a road across the Moxee and Black Rock valleys, a ferry across the Columbia River at White Bluffs, and a road continuing to Connell, bypassing Othello. The state government did not improve the gravel county roads that encompassed SSH 11A, but did relocate its toll-free ferry from White Bluffs to Hanford in May 1938. The Hanford ferry was initially planned to use a cable-operated system, but costs forced it to be downgraded to a tug-and-barge ferry. During World War II, the U.S. military selected the Hanford area as the site of a major weapons development facility and a section of SSH 11A was acquired via a request of the Secretary of War filed on July 21, 1943. The 28-mile (45 km) section, located between Cold Creek and Hanford, was closed permanently to non-military traffic on November 15, 1943, and divided SSH 11A into two disconnected highways. The rest of the highway had been paved by the state government in the early 1940s, with the exception of a section west of Connell that remained gravel. SSH 11A was relocated in 1953 to a crossing of the Columbia River north of Cold Creek at Vernita and would continue along a new highway along the Columbia River to the east end of the former Hanford ferry. The state government had initially expected the highway to re-open after the war, but continued use of Hanford for weapons and energy development prompted them to file a lawsuit against the federal government to seek reimbursement to fund construction of the new highway around the site. The U.S. District Court's decision to award only \$1 in nominal damages in 1952 was upheld by a decision of the Ninth Circuit Court of Appeals two years later, citing the state's delay in identifying a suitable alternate route. In response, Representative Donald H. Magnuson introduced a Congressional bill to reimburse \$581,721 to the state (equivalent to \$ in dollars), but it was vetoed by President Dwight D. Eisenhower in September 1957. From January 1954 to December 1955, Army Corps of Engineers constructed a dirt road on the north side of the Columbia River between Vernita and White Bluffs, passing through a less-restricted portion of the Hanford Site. The road was built as part of an agreement between the state and federal governments that was negotiated during the lawsuit, as an alternative to re-opening SSH 11A across the Hanford restricted zone. A private toll ferry connecting SSH 11A at Vernita to SSH 7C on the north side of the river began operating in November 1957 and was taken over by the state in May 1961. The state government completed construction of the paved 8.3-mile (13.4 km) highway along the Wahluke Slope on May 19, 1961, extending SSH 11A to a junction with SSH 11G south of Othello. As part of the agreement with the federal Atomic Energy Commission, the highway was ringed by fences and signs prohibiting parking and loitering, as well as controlled traffic signals that would allow for a large-scale evacuation of the Hanford area. The west end of SSH 11A was truncated to the newly-opened Yakima bypass (part of I-82) in November 1963. The Vernita Bridge began construction in October 1964 and was opened to traffic on October 1, 1965, replacing the state-run ferry. The bridge was funded using \$3 million in bonds (equivalent to \$ in dollars) that were paid off using a toll of 75 cents to \$2.50 collected until 1977. During the 1964 state highway renumbering, SSH 11A was divided between three new state highways under the sign route system: State Route 24 (SR 24) from Yakima to the junction with SSH 11G (now SR 17), SR 170 from Ringold on the Columbia River to Mesa, and SR 260 between Mesa and Connell. The Ringold section of SR 170 was later transferred to Franklin County in 1967, per a clause in a 1963 highway bill that was triggered by the completion of SR 240. SR 24 was formally codified in 1970, with its eastern terminus changed to a junction with SR 26 south of downtown Othello. The Othello link was built by the end of the decade, effectively completing all of SR 24. Congestion on a two-mile (3.2 km) section of SR 24 between I-82 and the east side of the Yakima River had worsened by the late 1990s and prompted the state government to consider a \$35 million replacement and expansion project. The project was combined with a floodplain restoration plan proposed by the county government in response to a major flood in 1996 and originally considered building a second bridge upriver and realigning the highway. A revised plan placing the higher replacement bridge next to the existing crossing, saving costs and environmental mitigation for 7 acres (2.8 ha) of wetlands, was adopted in 2002 and funded by the legislature's 2003 Nickel Program gas tax. Construction on the new bridge and the widened four-lane highway began in May 2005 and was dedicated on June 28, 2007, costing a total of \$54.5 million. In 2008, the state government also built a series of passing lanes along SR 24 between Silver Dollar and Cold Creek in response to increased truck traffic. ## Major intersections ## See also - List of state routes in Washington - Death of David Glenn Lewis, Texas man killed in accident on Route 24 in Moxee; not identified for 11 years	[ "## Route description", "## History", "## Major intersections", "## See also" ]	2,298	12,339
46,903,046	Tyler Stephenson	1,173,728,590	American baseball player (born 1996)	[ "1996 births", "Arizona League Reds players", "Baseball players from Atlanta", "Billings Mustangs players", "Chattanooga Lookouts players", "Cincinnati Reds players", "Dayton Dragons players", "Daytona Tortugas players", "Glendale Desert Dogs players", "Living people", "Major League Baseball catchers" ]	Tyler Robert Stephenson (born August 16, 1996) is an American professional baseball catcher for the Cincinnati Reds of Major League Baseball (MLB). The Reds selected him in the first round, 11th overall, of the 2015 MLB Draft. Born in Atlanta and raised in Kennesaw, Georgia, Stephenson played for the baseball team at Kennesaw Mountain High School, where he began calling pitches during his freshman season. The Reds drafted Stephenson out of high school, and he chose to forego his college baseball commitment to begin his professional career in their farm system. Stephenson suffered significant injuries during consecutive minor league seasons in 2016 and 2017, but he remained healthy the next two years and received praise from Southern League managers as a defensive catcher. The upheavals caused by the COVID-19 pandemic to MLB meant that Stephenson spent most of the 2020 season at an alternate training site rather than playing in Triple-A. He made his MLB debut that year, hitting a home run in his first major league plate appearance, but was used rarely, as the Reds had two catchers. When Curt Casali left the team prior to the 2021 season, Stephenson became Tucker Barnhart's backup catcher, and he also received significant time as a pinch hitter. Barnhart was traded after the 2021 season, allowing Stephenson to become the Reds' starting catcher in 2022. ## Early life Stephenson was born on August 16, 1996, in Atlanta, Georgia, to Rhonda and David Stephenson. He was raised in the suburb of Kennesaw, Georgia, and frequently attended baseball games at Turner Field to watch Chipper Jones and the Atlanta Braves of Major League Baseball (MLB). A catcher for the baseball team at Kennesaw Mountain High School, Stephenson began telling the pitcher what to throw during his freshman year, as his coach wanted to prepare him for the game-calling responsibilities of professional catchers. Offensively, Stephenson batted .415 during his senior year, with eight home runs and 25 runs batted in (RBI). ## Professional career ### Draft and minor leagues The Cincinnati Reds selected Stephenson in the first round, 11th overall, of the 2015 MLB Draft. He had previously committed to play college baseball for Georgia Tech, but chose to forego that commitment in favor of signing with Cincinnati. After signing professionally, Stephenson was assigned to the Rookie-level Billings Mustangs of the Pioneer League. He played in 54 games for Billings, batting .268 with one home run and 16 RBI in 194 at bats. He began the 2016 season with the Dayton Dragons in the Low-A Midwest League, where he batted .196 in 25 games before going on the disabled list with a wrist sprain at the end of May. After completing a five-game rehabilitation assignment with the Arizona League Reds, Stephenson rejoined the Dragons on July 13. He finished the season batting .278 in 139 at bats, with three home runs and 16 RBI in 39 Midwest League games. During his Arizona League rehabilitation assignment, Stephenson met major league outfielder Jesse Winker, who was also recovering from a wrist injury, and his discussions with Winker informed his plate discipline. Stephenson went from 12 walks and 45 strikeouts in 2016 to 44 walks and 58 strikeouts in 2017. Stephenson rejoined the Dragons for the 2017 Minor League Baseball season. He suffered a season-ending injury on July 14, when he injured a ligament in his thumb while sliding into a base. At the time of the injury, Stephenson had been batting .278 in 295 at bats, with six home runs and 50 RBI in 80 games. In the last 10 of those games, he batted .355 with 11 hits, seven runs scored, and three RBI in 31 at bats. Stephenson was promoted to the Class A-Advanced Daytona Tortugas of the Florida State League for the 2018 season. He remained fully healthy throughout the season but was uneven at the plate: Stephenson batted .351 through the first half of the minor league season but only .188 in August. He batted .250 for the season, with 11 home runs and 59 RBI in 388 at bats across 109 games, and was a Florida State League All-Star at the end of the season. The Reds' farm system promoted Stephenson to the Double-A Chattanooga Lookouts of the Southern League for the 2019 minor league season. In 89 games and 312 at bats there, Stephenson batted .285 with six home runs and 44 RBI, finishing strong with a .360 average in the final month of the regular minor league season. In a survey of Southern League managers conducted by Baseball America, Stephenson was also named the league's best defensive catcher. After the season, the Reds sent Stephenson, who had platooned the catcher position with Chris Okey, to the Arizona Fall League to continue his development. He batted .347 in 13 games for the Glendale Desert Dogs, with seven doubles and three RBI, and received the Dernell Stenson Sportsmanship Award as the player who "best exemplifies unselfishness, hard work, and leadership" in the Arizona Fall League. That November, the Reds added Stephenson to their 40-man roster to protect him from the Rule 5 draft. ### Cincinnati Reds Stephenson was slated to begin the 2020 season with the Triple-A Louisville Bats, but the changes to the 2020 MLB season caused by the COVID-19 pandemic meant that he was instead one of several prospects assigned to an alternate training site in Prasco Park, where he could be promoted in case of injury or illness to Tucker Barnhart or Curt Casali. The Reds sustained a number of injuries and illnesses at the beginning of their pandemic-abbreviated season, and Stephenson was promoted to make his MLB debut on July 26, 2020. Relieving Casali in the seventh inning, he hit a home run on the second pitch he saw, a 94 mph (151 km/h) fastball from Duane Underwood Jr. of the Chicago Cubs. It was the third time in franchise history that a Red had hit a home run in their first major league plate appearance, and the first time since Ted Tappe did so against the Brooklyn Dodgers on September 14, 1950. Pinch-hitting for leadoff hitter Shogo Akiyama in the first game of a doubleheader on September 14, Stephenson hit his first walk-off home run to win 3–1 against the Pittsburgh Pirates. Stephenson was used sparingly during the 2020 season, batting .294 with two home runs, four runs scored, and six RBI in eight games. He had hoped to join the Reds for the 2020 National League Wild Card Series against his hometown Atlanta Braves, but was ineligible to participate because he had been optioned off the major league roster too close to the end of the regular season. The Braves won the Wild Card, shutting out the Reds twice in the best-of-three series and eliminating them from the playoffs. The offseason departure of Curt Casali allowed Stephenseon to appear on the Reds' 2021 Opening Day roster alongside Tucker Barnhart. Although he was slated to back up Barnhart, Reds manager David Bell hoped to afford Stephenson significant playing time throughout the season as well, telling reporters in April, "[Barnhart] is getting two out of three [starts] right now ... But there will be other times of the year where, dpeending on a certain situation, maybe that would be reversed." The left-handed Barnhart started more often against right-handed starting pitchers, while the right-handed Stephenson received more playing time against southpaw pitchers. Stephenson also spent time at first base in May after an injury to Joey Votto. Regular playing time in the middle of the batting order during Votto's injury seemed beneficial for Stephenson, who batted .316 over a seven-game span in Votto's absence, and Bell promised to find Stephenson opportunities to bat even in games he did not start that season. He was a successful pinch hitter when not catching, going 9-for-35 with two doubles, three home runs, and 12 RBI in pinch-hitting situations by September 10. The Reds fell short of postseason contention, finishing seven games behind the St. Louis Cardinals in the Wild Card race, but Stephenson had a strong rookie season, batting .286 with 10 home runs and 45 RBI. He additionally led all rookie catchers with a .797 on-base plus slugging (OPS) and was named to the MLB All-Rookie First Team. Stephenson received two third-place votes in balloting for NL Rookie of the Year, an award which was won by Cincinnati teammate Jonathan India. The Reds traded Barnhart to the Detroit Tigers during the 2021–22 offseason, with general manager Nick Krall telling reporters that the move allowed Stephenson to become Cincinnati's everyday catcher in 2022. On April 19, Stephenson sustained a concussion when Luke Voit of the San Diego Padres collided with him at home plate: Voit was attempting to score on the play, while Stephenson was tagging him out. He returned two weeks later after clearing concussion protocols. Stephenson was injured again on June 10, fracturing his right thumb on a foul tip off the bat of Jordan Luplow during Cincinnati's game against the Arizona Diamondbacks. He was activated from the 10-day injured list on July 9 and returned to his role as everyday catcher. On July 22, Stephenson fractured his right clavicle on a foul tip off the bat of St. Louis Cardinals hitter Paul Goldschmidt. Stephenson required surgery to repair the fracture, which effectively ended his season. ## Personal life While he was in high school, a Vine of Stephenson's post-home run bat flip went viral. Stephenson told reporters, "It just kind of happened ... I saw the Vine of it later that night, and the next thing I know I wake up in the morning and it's got a million views ... Now everyone says, 'You're that bat flip kid!'" ## See also - List of Major League Baseball players with a home run in their first major league at bat	[ "## Early life", "## Professional career", "### Draft and minor leagues", "### Cincinnati Reds", "## Personal life", "## See also" ]	2,148	17,951
72,492,799	Fucking Trans Women	1,169,004,372	Zine about sexual activities involving trans women	[ "2010 non-fiction books", "2010s LGBT literature", "2013 non-fiction books", "American non-fiction books", "LGBT literature in the United States", "Sex manuals", "Transgender non-fiction books", "Transgender sexuality", "Zines" ]	Fucking Trans Women (FTW) is a zine created by Mira Bellwether. A single 80-page issue, numbered "#0", was published in October 2010 and republished in 2013 as Fucking Trans Women: A Zine About the Sex Lives of Trans Women; further issues were planned, but none had been published as of Bellwether's death in December 2022. Bellwether wrote all of the issue's articles, which explore a variety of sexual activities involving trans women, primarily ones who are pre-op or non-op with respect to bottom surgery. Fucking Trans Women was the first publication of note to focus on sex with trans women and was innovative in its focus on trans women's own perspectives and its inclusion of instructions for many of the sex acts depicted. Emphasizing sex acts possible with flaccid penises or not involving penises at all, it coined the term muffing to refer to stimulation of the inguinal canals, an act it popularized. The zine has received both popular-culture and scholarly attention, and was described in Sexuality & Culture as "a comprehensive guide to trans women's sexuality" and in Playboy as "widely considered" the "most in-depth guide to having sex with pre- and non-op trans femme bodies". ## Background Mira Bellwether, a self-described "trans dyke" then living in the U.S. state of Iowa, created the zine over the course of "a year or so". She was inspired partly by the 1970s–1980s magazine Drag and what she described as "a spirit of sisterhood and cooperation between drag queens, transsexuals, and crossdressers manifested in articles that talked about our commonalities and shared experiences as well as our shared political struggles across communities". She intended to publish a zine featuring submissions from others, but found the material insufficient; she instead chose to make the zine a solo effort and number it "#0" to leave room for a "#1" featuring others' contributions. In an interview with Kennedy Nadler of Autostraddle in 2013, she wrote that she "wanted to speak to aspects of our sexuality that are almost never given any attention in media whatsoever: those of us who enjoy sex with other women, trans and otherwise, and some of the difficulties (as well as unique pleasures) of trans women having sex with cis women". Fucking Trans Women \#0 was published online in October 2010, billed as an "80-Page Giant". Bellwether republished it in print through CreateSpace in August 2013, without the "#0" and with the subtitle A Zine About the Sex Lives of Trans Women. ## Design The zine's cover depicts a woman in a leotard (with prominent crotch bulge) and open jacket holding a whip. At her feet, indistinct figures run around in a ring. Rachel Stevens and Megan Purdy of WomenWriteAboutComics characterized the design as "intentionally messy". The zine is black and white, with articles overlaid on grayscale images of nude or erotically-posed women. For many of the acts Bellwether depicted, no scientific diagrams existed, and so she illustrated them herself, an innovative approach for the time. ## Content Rather than set a cohesive narrative, Bellwether focused on trans women's physical experiences. She highlighted both how trans women's bodies differ from cis men's and how they are similar to cis women's bodies, such as the structures of the penis and clitoris respectively. Bellwether had a penis and therefore focused on the perspective of pre-op and non-op trans women (those who have not had bottom surgery). She emphasized sex acts possible with flaccid ('soft') penises, associating feminizing hormone therapy–induced erectile dysfunction with pleasure rather than with a lack of sexual satisfaction. She criticized the focus of "almost all sexual discourse on penises" being "on erect penises, hard penises, penetrating penises". She also explained how trans women with penises can use strap-on dildos, which may be more pleasurable and allows trans women to decide the meaning of their body parts. Another major focus is the innervation of trans women's bodies. Bellwether described the "thick web" of nerves spanning trans women's genital areas and showed ways to use them to bring pleasure such as stimulating the perineum. She wrote that it was important that trans women's lovers be enthusiastic about touching their bodies, rather than avoid contact out of a fear of causing offense. Bellwether coined the term muffing to refer to the act of invaginating the scrotum and penetrating the inguinal canals, an act that Fucking Trans Women \#0 is credited with popularizing. Versions include pushing the testes in and out of the inguinal canals, which Bellwether terms 'autopenetration'; pushing the testes in and then massaging the teste and the mouth of the canal; and fingering the canals without use of the testes. This masturbation technique stimulates the ilioinguinal and genitofemoral nerves. Many trans women are familiar with inserting the testes into the inguinal canals in the context of tucking, which is how Bellwether discovered the practice. Bellwether emphasized trans women's need to learn how their own bodies work, describing a "sexy mad science (white lab coats and leather gloves optional)" of working from data toward conclusions and addressing her readers as her "fellow genital cartographers". She rejected attempts to impute a deeper meaning to trans people's genitals, writing, "what I have between my legs is not a metaphor or an analogy but something new and wonderful" and "My body is a woman's body and part of it is my penis, a woman's penis." In the context of muffing, she referred to her inguinal canals as cunts, which Lucie Fielding in Trans Sex notes in the context of a broader phenomenon of trans people renaming their body parts. Bellwether referred to "the sensitive, fleshy tube of flesh with all the nerves and blood vessels in it" as the penis for the sake of comprehension, without claiming that it is an objectively correct term. ## Reception and impact Fucking Trans Women has been highlighted by Greta R. Bauer and Rebecca Hammond in the Canadian Journal of Human Sexuality as a resource for trans sexual health and was described by Shoshanna Rosenberg et al. in Sexuality & Culture as "a comprehensive guide to trans women's sexuality". Muffing in particular has drawn attention in popular-culture sources including Playboy, Broadly, Autostraddle, and The Daily Dot; it was promoted by scholar Lucie Fielding in Jessica Stoya's sex advice column with Slate. Tobi Hill-Meyer in Autostraddle writes that "Having some familiarity with the area from tucking has led some trans women and trans fems to explore this area, and for trans women and trans fems who experience genital dysphoria, being penetrated in the front can be really meaningful." Katelyn Burns in Playboy, also emphasizing muffing as less prone to inducing dysphoria, says that Fucking Trans Women is "widely considered to be the first and most in-depth guide to having sex with pre- and non-op trans femme bodies"; Carla Pfeffer in the Journal of Homosexuality and Constance Augusta Zaber in Book Riot similarly characterize it as the first in that regard. Fielding's Trans Sex describes a "mystification" process of seeing past the "habitual reality" of one's body and identifies as "foundational" to this Bellwether's statement in Fucking Trans Women that "The form of someone's body doesn't necessarily determine what that body means, how it works, or what it can do"; she cites this phrase further to refute the proposition that all post-op trans women will wish to engage in vaginal penetration. Ana Valens in The Daily Dot praises in particular Fucking Trans Women's criticism of phallocentrism; writing sex guides there and in Allure, she cites Bellwether in discussing the innervation of trans women's genital areas as distinct from focusing solely on the penis. In a 2022 Mary Sue article, Valens refers to Fucking Trans Women as "the gold standard in transfeminine sex and masturbation" and writes that, 12 years after it was first published, it remained "one of the best resources for transfeminine people who have penises". Rachel Stevens of WomenWriteAboutComics praises Bellwether's message to trans women that they don't have to emulate transgender pornography; her colleague Morgan Purdy agrees and points to her "[t]otal rejection of codifying a single trans women's sexuality". Broadly's Diana Tourjée describes Fucking Trans Women as "groundbreaking" and "iconic". Using Bellwether's preferred term for her inguinal canals, she writes that the zine "helped a generation of pre or non-op trans girls reclaim their "cunts" and find new sexual practices that supported their gendered bodies." Autostraddle's Nadler says it was the zine that had most influenced her life and wrote, > The zine's focus on the bodies of pre- and non-op trans women, and how these bodies move in bed, was revelatory. Reading FTW provided perhaps my first glimpse into an understanding of trans women's bodies, like mine, not as incomplete projects or disturbing visions, but as always already carrying the capacity to be beautiful, the potential to be sexual and sexy. She also notes the duality of the zine's title, which can be read either in the sense of "how to fuck trans women" or "trans women who fuck". Kai Cheng Thom in Xtra Magazine also speaks of its impact on her transition and others', writing, "FTW leapt directly into the black hole that has historically surrounded trans women’s sexualities—and it shone like a guiding star. Written in Bellwether's distinctively unapologetic, funny and ferociously intelligent voice, FTW addressed trans women's pleasure on our own terms", when "mainstream society would prefer us not to have sexualities at all". Thom describes the zine as having a "mythic status", passed from one trans woman to the next as "community lore". ## Planned second issue Bellwether did not claim to speak for all trans women, but rather portrayed a diversity of experiences and sought reader submissions to fill in missing pieces. She acknowledged that the acts described in the zine may not be consistent with the experiences and desires of all trans women, telling Nadler, "It isn't everybody's story, but it's my story." Fucking Trans Women \#0 ends with a submission call for a next issue including anal sex, sex among trans partners, and BDSM. At the time of her death in 2022, Bellwether still wanted to publish at least one more issue, and was frustrated by the dearth of responses to the call for submissions, despite the first issue's widespread popularity in the trans community. As a result, she advocated for dialogue within the trans community that would make it more possible for trans women to write candidly about their sex lives.	[ "## Background", "## Design", "## Content", "## Reception and impact", "## Planned second issue" ]	2,322	37,345
22,671,990	Arisa (manga)	1,168,409,165	Japanese manga series	[ "2009 manga", "Del Rey Manga", "Kodansha manga", "Mystery anime and manga", "School life in anime and manga", "Shōjo manga", "Twins in fiction", "Works about twin sisters" ]	Arisa (Japanese: アリサ) is a Japanese mystery shōjo (targeted towards girls) manga series written and illustrated by Natsumi Ando. It appeared as a serial in the monthly manga magazine Nakayoshi from the February 2009 issue to the September 2012 issue. Kodansha published the chapters in twelve bound volumes, from April 2009 to September 2012. Set in present-day Japan, it focuses on teenager Tsubasa Uehara, as she investigates the mystery surrounding her twin sister's suicide attempt. With her sister left comatose, Tsubasa poses as her in the hopes of uncovering the identity of the King, a person who grants wishes to Arisa's class, often resulting in violence. Del Rey licensed the series for an English-language translation in North America. It published the first volume in October 2010, and shortly afterward, Kodansha USA took over publishing, with the final volume published in January 2014. The series was positively received by English-language readers, with three volumes placing on the New York Times Bestseller List for manga. Arisa generally received positive reviews from English-language reviewers, and the first volume placed on the Young Adult Library Services Association's list of "Great Graphic Novels for Teens" in 2011. ## Plot Set in modern-day Japan, the plot centers on Tsubasa Uehara (上原つばさ, Uehara Tsubasa) and Arisa Sonoda (園田ありさ, Sonoda Arisa), beautiful twin sisters separated by their parents' divorce who keep in contact through letters. Finally meeting again as teenagers three years later, tomboyish Tsubasa is envious, but proud, of her popular sister, in comparison to her own school life where she is often referred to as the "Demon Princess." When Arisa receives a letter from her school denouncing her as a traitor, she attempts suicide and becomes comatose. Shocked and saddened, Tsubasa poses as her, attending her school to find out why she tried to kill herself. She learns that Arisa's class sends wishes on their cellphones to a person called King each Friday. The King only grants one wish weekly, resulting mostly in violence. Tsubasa resolves to stop the King and find out the person's identity to save Arisa, in the hopes of waking her from her coma. Assisted in her investigations by Akira Manabe (真鍋明良, Manabe Akira), Arisa's classmate who learns Tsubasa's identity, she encounters Mariko Takagi (高木毬子, Takagi Mariko), Arisa's best friend whom the King manipulates; Midori Yamashita (山下緑, Yamashita Midori), Arisa's boyfriend; Rei Kudō (玖堂レイ, Kudō Rei), a transfer student whom Arisa had befriended online and who serves as the messenger of the King; and Shizuka Mochizuki (望月静華, Mochizuki Shizuka), Manabe's childhood friend who lost the use of her legs after a suicide attempt provoked by the King. Arisa awakens from her coma, but pretends to have amnesia and returns to Midori's side. She reveals that she was the original King: although she granted harmless wishes in the beginning, she eventually stole the answers to an exam for Mariko's wish, fearing disappointment if she refused. Midori caught her in the act, and she shared the task of granting the class's wishes with him, until he injured her mother, in an attempt to grant her wish. Midori then replaced her as King, using violence and bullying to grant wishes. Horrified by his cruelty and the perceived similarities between them, she then reached out to her twin, hoping that Tsubasa would be able to uncover the truth. Tsubasa learns that Midori suffered psychological trauma in his childhood after being abandoned by his mother and witnessing his twin, Akari, die of neglect. She later foils his attempt to kill her mother, as he hated his own mother and believed that Arisa hated hers as well. Arisa confesses that she loves him for noticing her loneliness, and he realizes that he loves her too. In the conclusion, Arisa's mother spends more time with her, and Arisa reconciles with Tsubasa. ## Development Manga artist Natsumi Ando's concept art of Arisa had two earlier models of Tsubasa with chin-length and shoulder-length hair, respectively. Ando initially felt worried about the absence of a potential romantic partner for Tsubasa, as Arisa's target audience is girls; however, as the manga progressed, she thought of it as "a selling point." As a result of this, she was able to focus on Tsubasa's emotions towards her twin. Soon after beginning the manga's serialization, Ando created "Tsubasa", a bonus chapter focusing on Arisa's pretending to be her elder sister; she continued to delay its publication, because it seemed inappropriate to have a bonus story with Arisa appear when she was comatose in the main storyline. According to Ando, it made a good chapter with which to conclude the series. ## Release Written and illustrated by Natsumi Ando, the chapters of Arisa appeared as a serial in the monthly manga magazine Nakayoshi from the February 2009 issue to the September 2012 issue. Kodansha collected the chapters into twelve bound volumes, and published them from April 28, 2009, to September 6, 2012. In 2009, Del Rey announced that it had licensed the series for an English-language translation in North America. Del Rey released the first volume on October 26, 2010; Kodansha USA continued publication of the series, with the final volume published on January 21, 2014. Digital editions of the series have also been published by Kodansha in the United Kingdom. Arisa has also been translated into German by Carlsen Comics. ## Reception Arisa was positively received by English-language readers. The second, fifth, and sixth volumes each placed on the New York Times Bestseller List for manga. Young Adult Library Services Association placed the first volume of Arisa on its list of "Great Graphic Novels for Teens" for 2011. About.com's Deb Aoki reviewed the first volume of Arisa positively, praising it as "compelling" and "a much darker tale" than Ando's previous work Kitchen Princess; she later placed Arisa on her 2010 list of the "Best New Manga" for the shōjo category. Otaku USA magazine's Danica Davidson agreed that the plot was darker than Kitchen Princess and described the artwork as "pretty and cutesy". According to Matthew Warner of Mania Entertainment, the initially clichéd-seeming characters and plain premise helped to provide a "strong contrast" to the main storyline and "the depraved and twisted nature of Arisa's class". While noting the presence of clichés and "plot holes", Carlo Santos of Anime News Network enjoyed the first volume, describing it as "a shoujo-styled Naoki Urasawa thriller, built upon layers of addictive mystery"; he had mixed feelings about her artwork, writing that it conveyed the plot well, but did not possess a distinct artistic style. In her review of the third volume, Rebecca Silverman, another reviewer for Anime News Network, wrote that while the middle-school setting felt believable and the mystery was intriguing, some aspects of the plot were trying on the reader's suspension of disbelief, and the artwork, though usually enjoyable, failed to be convincingly scary during frightening scenes. In her follow-up review of the eleventh and twelfth volumes, Silverman interpreted Arisa as struggling with Stockholm syndrome and wrote that it was unsettling, as by the conclusion, the character still remained in "an emotionally unhealthy (or even abusive) relationship." She enjoyed the suspense and wrote that Midori's backstory sufficed to explain his actions, concluding "Arisa has been a wild ride, an unexpected horror/mystery shoujo gem."	[ "## Plot", "## Development", "## Release", "## Reception" ]	1,707	22,850
39,010,463	1987 Football League Fourth Division play-off final	1,170,273,120	Association football match	[ "1987 Football League play-offs", "Aldershot F.C. matches", "EFL League Two play-off finals", "May 1987 sports events in the United Kingdom", "Wolverhampton Wanderers F.C. matches" ]	The 1987 Football League Fourth Division play-off Final was an association football match contested by Aldershot and Wolverhampton Wanderers over two legs on 22 May 1987 and 25 May 1987 to determine which club would play the next season in the Third Division. Aldershot had finished in sixth place in the Fourth Division while Wolverhampton Wanderers were fourth. They were joined in the play-offs by fifth-placed Colchester United and Bolton Wanderers, who had finished in 21st position in the division above. Aldershot defeated Bolton Wanderers in their semi-final, consigning the latter to relegation, while Wolverhampton Wanderers beat Colchester United in the other semi-final. The first leg of the final was played at Recreation Ground in Aldershot, in front of a crowd of 5,069. An early goal from Ian McDonald and a second-half penalty from Bobby Barnes gave Aldershot a 2–0 lead heading into the second leg. Three days later, at Molineux, 19,962 people saw Barnes score the only goal of the game to give Aldershot a 3–0 aggregate victory and promotion to the Third Division. Crowd violence followed the second leg with more than 40 people being arrested. Aldershot ended their following season in 20th position in the Third Division, one place and one point above the relegation play-off position. Wolverhampton Wanderers' next season saw them finish as champions of the Fourth Division, gaining automatic promotion to the Third Division for the 1988–89 season. ## Route to the final <div class="stack stack-margin-clear-right"> <div > \| Pos \| Team \| Pld \| W \| D \| L \| GF \| GA \| GD \| Pts \| \|-----\|-------------------------\|-----\|-----\|-----\|-----\|-----\|-----\|-----\|-----\| \| 1 \| Northampton Town F.C. \| 46 \| 30 \| 9 \| 7 \| 103 \| 53 \| +50 \| 99 \| \| 2 \| Preston North End \| 46 \| 26 \| 12 \| 8 \| 72 \| 47 \| +25 \| 90 \| \| 3 \| Southend United \| 46 \| 25 \| 5 \| 16 \| 68 \| 55 \| +13 \| 80 \| \| 4 \| Wolverhampton Wanderers \| 46 \| 24 \| 7 \| 15 \| 69 \| 50 \| +19 \| 79 \| \| 5 \| Colchester United \| 46 \| 21 \| 7 \| 18 \| 64 \| 56 \| +8 \| 70 \| \| 6 \| 'Aldershot \| 46 \| 20 \| 10 \| 16 \| 64 \| 57 \| +7 \| 70 \| Football League Fourth Division final table, leading positions </div> </div> This was the inaugural season of the Football League play-offs, which were introduced as part of the "Heathrow Agreement", a ten-point proposal to restructure the Football League. For the first two years of the play-offs, the team which had finished immediately above the relegation places in the Third Division competed with three clubs from the Fourth Division immediately below the promotion positions for promotion to the second tier of English football for the following season. The play-offs were not universally lauded: Oldham Athletic manager Joe Royle was scathing of them after losing in the semi-final of the Second Division play-offs, saying "We finished seven points clear of Leeds. So to go out on away goals to them means there is something unjust. I welcomed the play-offs but possibly hadn't considered the long-term ramifications." The Swindon Town manager Lou Macari was also dissatisfied with the play-offs, arguing "we have proved ourselves the better team over 46 games this season but then see our future decided in Cup-style matches". Bolton Wanderers had finished the 1986–87 season in 21st place in the Third Division, one position above the relegation zone. Wolverhampton Wanderers ended the season in fourth position in the Fourth Division, one point behind Southend, who were automatically promoted in third place, eleven behind Preston North End who were promoted as runners-up, and twenty behind champions Northampton Town. Colchester United finished nine points behind Wolverhampton Wanderers in fifth place while Aldershot ended the season in sixth, also nine points behind Wolverhampton Wanderers but with inferior goal difference to Colchester United. Bolton, along with Wolverhampton Wanderers, Colchester United, and Aldershot thus competed in the play-offs. Aldershot's opposition in their play-off semi-final were Bolton Wanderers, with the first match of the two-legged tie taking place at the Recreation Ground in Aldershot on 14 May 1987. The match ended 1–0 to Aldershot as Gary Johnson scored the only goal of the game in the 77th minute. The second leg was held three days later at Burnden Park in Bolton. Tony Caldwell scored a 50th minute penalty to level the tie on aggregate before Darren Anderson scored for Aldershot in the 76th minute. Caldwell's 81st minute goal meant extra time was required to decide the result. Glenn Burvill gave Aldershot the lead in the 103rd minute, and with no further goals, the tie ended 3–2 to Aldershot on aggregate. They progressed to the final while Bolton were relegated to the Fourth Division for the first time in their history. Wolverhampton Wanderers faced Colchester United in the other semi-final, with the first leg being played at Layer Road in Colchester on 14 May 1987. Rob Kelly gave the visitors the lead in the 28th minute when he headed in a deflected cross from Steve Bull. Five minutes later, Bull himself scored when he converted a shot from Andy Thompson which had rebounded off the Colchester United goalpost. Mark Kendall, the Wolverhampton Wanderers goalkeeper, made a number of saves to keep a clean sheet and his side won 2–0. The second leg took place three days later at Molineux in Wolverhampton. The match ended goalless and Wolverhampton Wanderers progressed to the final with a 2–0 aggregate victory. ## Match ### Background Wolverhampton Wanderers had been involved in numerous promotions and relegations in the seasons leading up to this one. Having been relegated to the Second Division in the 1981–82 season, they were promoted the following year after finishing as runners-up. Three consecutive relegations followed, in 1983–84, 1984–85 and 1985–86 to leave them in the Fourth Division, the lowest tier of English football in which they had ever played. Aldershot had played in the Fourth Division since being relegated in the 1975–76 season. Wolverhampton Wanderers won both matches between the sides during the regular season. The game at the Recreation Ground in August 1986 ended 2–1 and the return match at Molineux in February 1987 saw Wolverhampton win 3–0. ### First leg #### Summary The referee for the first leg, played on 22 May 1987 at the Recreation Ground in Aldershot in front of 5,069 spectators, was Allan Gunn. Conditions underfoot were poor with a heavily waterlogged pitch, and the first goal came about in the fourth minute when a number of players slipped, including Wolverhampton Wanderers captain Floyd Streete, and Ian McDonald scored. Kendall made a number of saves including one in the 40th minute to deny Mike Ring which Mike Ward, writing in the Sandwell Evening Mail, described as a "rescue act of quite stunning brilliance". Bull saw two attempts to score denied by Aldershot defenders before half-time and within thirty seconds of the start of the second half, Streete was adjudged to have handled the ball from a clearance by Nicky Clarke, his teammate. Bobby Barnes scored the resulting penalty. Bull then missed an opportunity to score in the 70th minute and the match ended in a 2–0 victory for Aldershot. #### Details ### Second leg #### Summary The referee for the second leg, played on 25 May 1987 at Molineux in Wolverhampton in front of a crowd of 19,962, was Keith Hackett. Wolverhampton Wanderers concentrated their efforts on playing long balls forward to their attackers, but according to Mike King of the Sandwell Evening Mail'', they were met with "an unflinching Aldershot defence". In the ninth minute, Bull struck a shot high over the Aldershot crossbar and two minutes later, Barry Powell's strike from distance was tipped away by Tony Lange, the Aldershot goalkeeper. Just before the hour mark, Thompson shot high and off-target before Lange made another save, this time from a strike which took a deflection off Jon Purdie. With nine minutes of the match remaining, Barnes scored for Aldershot to give them a 1–0 win, and a 3–0 aggregate victory, securing promotion to the Third Division. After the final whistle, hundreds of Wolverhampton Wanderers supporters rushed on the 2,000 travelling Aldershot fans, attacking them and the police. Ten officers and a police horse were injured in the riot while forty-two people, including one Aldershot supporter, were arrested. #### Details ## Post-match Graham Turner, the Wolverhampton Wanderers manager, was disappointed and bemoaned the new method of determining the final team to be promoted, saying "I'm bitterly disappointed. We ended nine points clear of Aldershot in the table with a better goal difference, so that makes it even harder to swallow at the moment". His counterpart Len Walker was sympathetic, noting "It's sad Wolves finished fourth and we finished sixth, but we all knew the rules to start with". After the game, Aldershot teammates Giorgio Mazzon, Burvill and Anderson were involved in a road traffic accident which eventually led to Mazzon's retirement. Goalscorer Barnes later talked of the violence at Molineux, noting "Crowd trouble was frequent in the Eighties ... I'd played at Newcastle and had bananas thrown at me so I wouldn't have been phased by the trouble that day at Molineux." Aldershot ended their following season in 20th position in the Third Division, one place and one point above the relegation play-off position. Wolverhampton Wanderers' next season saw them finish as champions of the Fourth Division, gaining automatic promotion to the Third Division for the 1988–89 season.	[ "## Route to the final", "## Match", "### Background", "### First leg", "#### Summary", "#### Details", "### Second leg", "#### Summary", "#### Details", "## Post-match" ]	2,293	23,274
65,255,278	Wu Hen	1,172,245,062	null	[ "2020 albums", "Contemporary R&B albums by English artists", "Electronic dance music albums by English artists", "Hip hop albums by English artists", "Jazz-funk albums", "Kamaal Williams albums" ]	Wu Hen is the second studio album by English musician Kamaal Williams, released on 24 July 2020 under his Black Focus label. It is considered to define Williams' own genre "Wu Funk", a blend of jazz, hip-hop, contemporary R&B and EDM. Other styles explored include funk, acid jazz, traditional jazz, breakbeat and house music. The album was announced simultaneously with the premiere of "One More Time" in May 2020; and was followed by "Hold On" in June and "Mr. Wu" in July. The second of the three tracks features the singer Lauren Faith. Wu Hen received generally favourable reviews from music critics, some praising Williams' drift from the sounds of its predecessor, Black Focus (2016), that informed him in his career with Yussef Kamaal, while others said the album's ideas shifted too urgently. In the United Kingdom, it reached number 2 on the Jazz & Blues Albums Chart and number 15 on the Independent Albums Chart. ## Background and recording Wu Hen is named after the nickname Williams' maternal grandmother gave him and is a nod to his lineage as a descendant of the Wu Dynasty. Williams intended to name the album "Wu Han" but changed it to "Wu Hen" to avoid stigma from the COVID-19 pandemic. The tracks "Toulouse" and "Pigalle" are named after real-life locations in France, while "1989" is named after the year of Williams' birth and "Big Rick" after the bassist Rick Leon James, who played on the album. Apple Music wrote that Wu Hen "spills over with movement and humor, with playful skits and snapshots of the characters around Williams' life". Williams said that it is "ultimately about understanding that there is a higher entity behind the creation of the universe". He also expressed his desire to "'represent' in the face of hate" with the album, regarding the rise of xenophobic attacks against East Asian communities due to the pandemic. Its guest musicians consist of Miguel Atwood-Ferguson for strings, Quinn Mason on saxophone, drummer Greg Paul, James on bass and harpist Alina Bzhezhinska. Haitian rapper Mach-Hommy was announced to perform on Wu Hen, but did not appear in the final mix. Recording was finished in Morocco on 13 April 2020, in lock-down isolation. ## Composition Wu Hen is considered to be part of William's own genre of jazz, hip-hop, R&B and EDM which he dubs "Wu Funk". Jack Bray of The Line of Best Fit classified the album as a jazz record, but stated that it experiments with genres, "Wu Hen could be an R&B album, it could be funk the next minute and then a house or breakbeat track the next minute". Bray continued that "there's a spectral 'big-band' quality which creeps across the album" with its strings and harp, "whilst, on the other hand there's also a delicate intimacy and closeness afforded through the crisp drum patterns and whinnying saxophone". Wu Hen begins with the string intro "Street Dreams", where Bzhezhinska plays the harp, followed by Mason on saxophone and then Atwood-Ferguson on strings. The track "juxtaposes Ravel's Afternoon of a Faun with bluesy, John Klemmer-esque tenor wailing from Mason before a modal Middle Eastern string interlude carries it out". Williams does not play on the track, but he added that "it still sounds like me". This is followed by "One More Time", a breakbeat track with "fitfully incessant drumming" from Paul and "synth chord patterns that function as rhythm, harmony, and textured tones for Mason's brisk post-bop tenor solo". The third track "1989" is a slow funk song with strings, where James' bass "becomes the primary instrument" that "alternat[es] between finger-style playing and rather aggressively thumped notes". "Toulouse" is a "gently galloping" track that has "strings alternating between sound-library lushness and staccato plucking in the offbeat spaces between Williams'’ syncopated piano". The fifth track "Pigalle" takes a more traditional approach to jazz, being compared to the material of John Coltrane. The first half of the track sees "Williams' emphatic chording leading the charge and James' frenetic walking following suit", which soon underscores "propulsive" saxophone playing from Mason. The song becomes subdued in its second half by Williams' piano sololing and Mason's playing as "a lingering afterthought". The sixth track "Big Rick" was said to have the "smoother elements of Headhunters-era Herbie Hancock" with its bass playing that was compared to Paul Jackson Jr. "Save Me" continues the same concept, but is "kicked up a few notches". It channels the acid jazz sounds of Jamiroquai, and "unfurls in a series of sputtering bits of saxophone and synth", with Paul having "more abstract, almost avant-garde fills". The song was meant to feature Mach-Hommy, who did not make the final cut. The eighth track "Mr. Wu" is a house song that has "neon-synths", an eight bar interlude by Mason and drums "finding syncopation in every corner of the beat". "Hold On" is a soul track that features vocalist Lauren Faith and has "wobbly synth and drifting piano chords" and harp. The song's lyrics are written by Williams, and are about the "universal principles of life: some people say karma, others destiny or faith...and some people say coincidence. These are all the same thing to me, except I don't say coincidence." Wu Hen closes with "First Prayer", consisting of two chord synths and "Mason's lyrical soloing". ## Release and reception On 26 May 2020, Wu Hen was announced for release, coinciding with the premiere of "One More Time", followed by "Hold On" on 24 June, and "Mr. Wu" on 21 July. The album was issued on 24 July 2020 under Williams' label Black Focus Records. In the United Kingdom, it reached number 2 on the Jazz & Blues Albums Chart, and number 15 on the Independent Albums Chart. Wu Hen entered the Scottish Singles Chart at number 64. ### Critical response Wu Hen was met with generally favourable reviews from music critics. At Metacritic, which assigns a weighted average rating out of 100 to reviews from mainstream publications, the album received an average score of 80, based on 8 reviews. Critics noted the maturity of Williams in the album, and considered it his proper debut, which drifted from the sound in his previous albums The Return (2018) and Black Focus (2016). Kate Hutchinson of The Observer commented: "Williams has always coolly evaded categorisation, whether DJing house as Henry Wu or making spectral slow jams and here [he succeeds at] reconcil[ing] those guises." Andrew Sacher of BrooklynVegan wrote that "there's still enough classic-style jazz on Wu Hen to refer to it as a jazz album, but it's a jazz album that finds kinship with artists like Flying Lotus and Thundercat, not traditional acoustic jazz combos". A critic of The Wire praised the album's strings on "Toulouse" and "1989", adding that they "suggest[ed] a Xanaxed Roy Ayers recording for CTI in the mid-70s". Writing for The Guardian, Ammar Kalia opined that Williams had been unable to develop his own style since the end of his partnership with Yussef Dayes as Yussef Kamaal, but believed him "taking on the driving force of 1950s jazz could hold the key to Williams' independent development – one which would rely on him honing his keyboard skills to convince as a bandleader, rather than just a producer". Other critics felt that the ideas of Wu Hen were unfocused because of its constant stylistic shifts, with Andy Beta of Pitchfork saying the album "feel[s] fidgety" in this manner, "hurriedly racing off to somewhere different rather than lingering and deepening its focus." ### Year-end lists Wu Hen ranked at number 19 on Rough Trade Records' year end list for 2020. The album was ranked at number 24 for Passion of the Weiss, with Dean van Nguyen writing: "Wu Hen manages to not only spotlight its creator’s musicianship and skills as an arranger, but also encapsulate the diverse London jazz scene that he cruises." It ranked at number 45 for Piccadilly Records', and number 44 for Deluxe magazine's year end lists. ## Track listing All tracks are written by Kamaal Williams, credited as Henry Wu. ## Personnel Credits for Wu Hen adapted from album liner notes. - Kamaal Williams – rhodes piano, synth, production - Zaineb Abelque – photography - Miguel Atwood-Ferguson – strings, additional writing - Alina Bzhezhinska – harp - Jackson Cantor – design - K Dubs – ad-libs - Lauren Faith – vocals (9) - Othelo Gervacio – painting - Mach-Hommy – vocals - Syed Adam Jaffrey – recording and mixing - Rick James – electric bass, additional writing - Quinn Mason – saxophone, additional writing - Greg Paul – drums, additional writing - Stirlos – ad-libs - Beau Thomas – mastering - Wbeeza – ad-libs ## Charts	[ "## Background and recording", "## Composition", "## Release and reception", "### Critical response", "### Year-end lists", "## Track listing", "## Personnel", "## Charts" ]	2,032	19,233
23,272,114	Frost at Midnight	1,034,629,316	Poem by Samuel Taylor Coleridge	[ "1798 poems", "Christian poetry", "Conversation poems" ]	Frost at Midnight is a poem by Samuel Taylor Coleridge, written in February 1798. Part of the conversation poems, the poem discusses Coleridge's childhood experience in a negative manner and emphasizes the need to be raised in the countryside. The poem expresses hope that Coleridge's son, Hartley, would be able to experience a childhood that his father could not and become a true "child of nature". The view of nature within the poem has a strong Christian element in that Coleridge believed that nature represents a physical presence of God's word and that the poem is steeped in Coleridge's understanding of Neoplatonism. Frost at Midnight has been well received by critics, and is seen as the best of the conversation poems. ## Background Frost at Midnight was written in February 1798 when he described to Thomas Poole aspects of his childhood at Christ's Hospital school that are similar to the content of the poem. The rest comes from Coleridge's experience with his friend, William Wordsworth. It was Wordsworth who provided Coleridge with a detailed description of the Lake District which served as a basis for Coleridge's description of the place. The relationship between Coleridge and Wordsworth was a close friendship, and Coleridge helped rewrite many of Wordsworth's poems during this time. Frost at Midnight was later connected to many of Wordsworth's poems. The poem was published in a small work containing his other poems France: An Ode and Fears in Solitude. The poem was intended to be added to Coleridge's third edition of his collected poems, but a dispute with Charles Lloyd, a fellow writer, and Joseph Cottle, their mutual publisher, altered his plans. The poem was later collected in Sibylline Leaves, published in 1817 (see 1817 in poetry). It was rewritten many times, and seven different versions were printed. Of these revisions, the 1798 edition differs from the others in the final six lines, which were removed in later versions. Of this removal, Coleridge explains in George Beaumont's copy of the poems: "The last six lines I omit because they destroy the rondo, and return upon itself of the Poem. Poems of this kind & length ought to lie coiled with its tail round its head." ## Themes The narrator comes to an understanding of nature after being isolated and left to his thoughts. Nature becomes a comforter, but the narrator remembers his loneliness during childhood. During his final year at Christ's Hospital, Coleridge completed a poem he titled "On Quitting School for College" for a school exercise. In the poem, he describes his time at the school as a pleasant experience. However, Frost at Midnight redefines the experience as one that deprived him of the countryside. There is another quality to Coleridge's retelling of his childhood experience: he adds supernatural descriptions to the common scenes of his youth. In particular, the church bells are able to make a promise of a better life. The Gothic elements of the poem connect it to many of his other works, including Ancient Mariner, "Ballad of the Dark Ladie", Fears in Solitude, France: An Ode, The Nightingale, "Three Graves", and "Wanderings of Cain". Within the poem, the narrator expresses his hope that his child, Hartley Coleridge, will experience a life connected to nature as represented by features typical of the Lake District, which Coleridge in common with other Lake Poets revered. This is similar to what Coleridge's friend William Wordsworth does with the narrator of Tintern Abbey, a poem composed later that year. Many of the feelings of the narrator for his child are connected to Coleridge's sonnet "To a Friend Who Asked, How I Felt When the Nurse Presented My Infant to Me". The ideas about nature in This Lime-Tree Bower are transformed into the basis for an education, and Hartley is to learn through nature in an innocent way. Coleridge's nature has a Christian presence and nature is a physical presence of God's word. Coleridge's understanding of God is Neoplatonic and emphasizes a need to experience the divine knowledge. Like many of the conversation poems, Frost at Midnight touches on Coleridge's idea of "One Life", which connects mankind to nature and to God. Touching on themes that come up in The Eolian Harp, Religious Musings, and other poems, the poem produces the image of a life that the narrator's child will experience in the countryside. The boy would become a "child of nature" and raised free of the constraints found in philosophical systems produced by those like William Godwin. Another key theme within Frost at Midnight that is important to note is that of the flickering film of ash. The flicker of ash reminds the reader, or Coleridge to be more specific, of a time long since past. The flicker of the ash film reminds the reader of the delicate nature of memory and how the past is like a shadow only barely hanging on. This film of ash adds a supernatural tone to the piece, it is similar to the major thematic trends of Gothic fiction in which the supernatural and the unknown are the focus. The flickering ash also hints at the language of wartime and anxiety. The first and last stanzas of Frost at Midnight evokes the language of anxiety. The first stanza points to the fact of the unknown ministry of frost found in line 1 of the poem. This unknown ministry of frost "disturbs and vexes meditation with its strange and extreme silentness." The language of anxiety is prevalent in the first stanza which brings in the final stanza as a point of contrast. The last stanza evokes the language of ease and acceptance. Coleridge, seemingly writing to his young son, is writing about how nature will teach all that we need to know. Contrasting with the anxious tone of the first stanza, the last stanza in Frost at Midnight helps to wrap up the anxious tone of the poem and bring it back to the comfortable tone of calmness. We again see the line "secret ministry of frost" in the third last line of the last stanza. In the first stanza, the "secret ministry of frost" was used as a point of anxiety and tension. This line was used as a point of contention and made the reader feel as if this was something to fear. In the last stanza, this repetition serves to illustrate the truly unknown powers of nature and how we should seek comfort in letting nature teach us all that we need to know. ## Critical response Christopher Moody, in the Monthly Review of May 1799, declared that the original six lines of the ending were "flat", a view that Coleridge probably agreed with. During the 20th century, Virginia Radley argues, "Although no conversation poem can rightly be said to stand equally with the poems of high imagination ... certainly "Frost at Midnight" and "This Lime-tree Bower ..." both have within them that quality of heart so essential to these latter poems. Because of this quality, and because of the striking effectiveness of their imagery, these poems can be said to be the true harbingers of Coleridge's greatest poems". Richard Holmes declares that the poem "is one of the most intricately structured of all the Conversation Poems, performing a characteristic 'outward and return' movement through time and space ... This curve of memory and prophesy gives the poem a rich emotional resonance – sadness, poignancy, hope, joy – held in exquisite tension". Rosemary Ashton believes that the poem is "one of [Coleridge's] most delightful conversation poems". Adam Sisman believes that Frost at Midnight is "perhaps the most beautiful of Coleridge's 'conversation poems'".	[ "## Background", "## Themes", "## Critical response" ]	1,605	19,470
47,303,378	San Giacomo Scossacavalli	1,164,233,809	Church in Rome, destroyed in 1937	[ "Buildings and structures demolished in 1937", "Churches of Rome (rione Borgo)", "Demolished buildings and structures in Rome", "Destroyed Roman Catholic churches in Rome", "Renaissance architecture in Rome" ]	San Giacomo Scossacavalli (San Giacomo a Scossacavalli) was a church in Rome important for historical and artistic reasons. The church, facing the Piazza Scossacavalli, was built during the early Middle Ages and since the early 16th century hosted a confraternity which commissioned Renaissance architect Antonio da Sangallo the Younger to build a new shrine. This was richly decorated with frescoes, painted (among others) by mannerist artist Giovanni Battista Ricci and his students. The church was demolished in 1937, when Via della Conciliazione (the avenue leading to St. Peter's Basilica) was built and the piazza and central part of the Borgo rione were demolished. Many decorative elements still exist, since they were preserved from demolition. ## Location The church was located in Rome's Borgo rione, on the east side of Piazza Scossacavalli, its facade facing west and opposite the Palazzo dei Convertendi. Its south side paralleled the Borgo Vecchio. ## History ### Middle Ages The church's name gave birth to a legend. When Helena (mother of Constantine the Great) returned from her trip to the Holy Land, she brought back two stone relics: one from the presentation of Jesus at the Temple and one on which Abraham bound Isaac. The empress wanted to donate the stones to Saint Peter's Basilica, but when the convoy arrived at the site of the future church the horses (Italian: cavalli) refused to move further despite urging (Italian: scossi). A chapel hosting the stones was built, the origin of the church. The most probable reason for the name was the discovery, near the square, of a thigh from a Roman equestrian statue (coxa caballi in Vulgar Latin). The church had an ancient origin: during the Middle Ages it was dedicated to the Redeemer (Italian: Salvatore), and was called San Salvatoris de Coxa Caballi in the papal bulls of Sergius I (r. 687–701) and Leo IV (r. 847-55). It is also mentioned in the main medieval catalogues of Roman churches, like that of Cencio Camerarius and of Paris. According to some sources, the church could be identified with San Salvatore de Bordonia; a bordone was the staff borne by pilgrims coming to St. Peter's. These would have left their staffs in San Giacomo before entering Saint Peter, exactly as they did after completing the Way of St. James, and this fact would explain also the late dedication to Saint James. In 1250, relics of St. James were brought to the church and its dedication was changed. It was usually known in contemporary documents as S. Jacobus de Portico, where the Porticus in medieval Rome was the covered passage linking Saint Peter's with the Tiber (Porticus Sancti Petri). In 1198 Pope Innocent III (r. 1198–1216) entrusted the Chapter of Saint Peter (Italian: Capitolo di San Pietro) with the church's care, and in 1275 the church became a parish. ### Renaissance In 1520 the confraternity of the Blessed Sacrament (Italian: Confraternita del Santissimo Sacramento) was entrusted with the church's care. The confraternity originated in Borgo in 1509. On a windy evening of 1506, a Carmelite coming from the old Santa Maria in Traspontina church (lying near Castel Sant'Angelo), followed by a lay brother bearing a candle, was bringing the sacramental bread to a sick person. Since the wind had extinguished the candle, the layman went into a nearby shop asking for fire, so that the priest was left alone. At the sight of the lone priest bearing the blessed Sacrament, several passers-by were moved, gathered around him and accompanied him, bearing a baldachin and torches. The group grew, and on 3 September 1509 its members formed a compagnia. The Carmelites assigned it to a chapel in Santa Maria in Traspontina, and in 1513 Pope Leo X (r. 1513–21) acknowledged the association, which in 1520 moved to San Giacomo. The members wore clothing made from white hessian fabric (Italian: sacchi). It had a small figure on the left shoulder: a vermilion chalice and an image of Christ with open arms. The confraternity was committed to provide a doctor and barber to the poor of the parish, and each Holy Thursday in the church it exhibited a wax sculpture of the crucified Christ. An annual procession went to Santa Maria Sopra Minerva in Pigna, the Pauline Chapel in the Apostolic Palace and finally to St. Peter's. In 1578 Pope Gregory XIII (r. 1572–85) made the association an archconfraternity. The association's duties and privileges increased; each year beginning in 1580, the brothers gave four poor parish girls a white dress and twenty-five scudi as a dowry. In 1590, Pope Sixtus V (r.1585–90) gave the archconfraternity the privilege of setting free each year a person condemned to death.. Shortly after their assignment to San Giacomo, the brethren started to reconstruct it, choosing as architect Antonio da Sangallo the Younger, but due to lack of funds its facade was still unfinished in 1590. That year Ludovico Fulgineo, ecclesiastical referendary and governor of the archconfraternity, died, leaving his inheritance to the association. Thanks to his legacy, two years later, the construction was finished. In 1601, an oratory dedicated to Saint Sebastian was built behind the church. ### Baroque and Modern Ages San Giacomo underwent thorough restorations in the first half of the 17th century and the second half of the 18th. On 23 November 1777, the church was reconsecrated by Cardinal Henry Benedict Stuart. It was damaged during the French occupation of Rome under Napoleon and restored in 1810 and 1880, when the stone socles were removed. In 1825 San Giacomo lost its status as a parish. In 1927 a fire damaged several works of art, and in 1929 it was assigned to the Sons of Divine Providence. The church was demolished by 30 September 1937 for the construction of Via della Conciliazione. Its art was given to the Capitolo di San Pietro and then to the Museo Petriano; some chapel frescoes are on display at the Museo di Roma. Elements of the facade, including the 17th-century travertino portal decorated with cherubs, are in the comune storehouse at the Bastione Ardeatino. The two relics (of Isaac's sacrifice and the presentation of Jesus in the temple) were placed in the church of the Santi Michele e Magno, the national church of the Dutch in Borgo, during the early 1990s; the latter is now the church's main altar. ## Description The church's artistic importance is primarily due to its design by Antonio da Sangallo the Younger and its frescoes and paintings, particularly those by the Piemontese mannerist painter Giovanni Battista Ricci and his students. ### Architecture When Antonio da Sangallo was commissioned to rebuild the church, his main problem was its shape; its width, facing Piazza Scossacavalli, was longer than its depth (along Borgo Vecchio). Drawings in the Uffizi indicate several solutions: a single-nave plan, oriented along its long side with a side entrance, and octagonal and oval plans. The latter was adopted by Giacomo Barozzi da Vignola for the church of Sant'Anna dei Palafrenieri, and became popular during the 17th century. Sangallo did not adopt any of these plans, instead deciding to reduce the area of the church, whose plan became a rectangle with its long side normal to Piazza Scossacavalli. Its nave was flanked by four large niches, and Sangallo designed four rooms (two on each side) as sacristies. The church's appearance in the mid-16th century, shortly before its completion, is known from a woodcut by Girolamo Franzini. Its facade appears almost square; at its center there was a portal with a tympanum, surmounted by a large fanlight opened by a round window. On its side were three rows of pilasters with two pairs of niches, one over the other. A bell-gable was on one side of the roof. When the facade was completed high plinths, consisting of a tympanum with a large panel adorned with frescoes and outlined by a mixtilinear frame, were added at the base of the pilasters. At the slopes' edges were two candelabra, and two oriflammes were at the base of the second order. These elements gave the facade (which, since 1592, also bore the coats of arms of Pope Clement VIII (r. 1592–1605) and the confraternity) an upward swing. The facade was adorned with frescoes of sacred subjects, including "faked figures of yellow Saints made of golden metal" attributed to Giovanni Guerra or Cristoforo Ambrogini. The church, without an apse and a transept, maintained its original single-nave plan until at least 1627. In 1662 the naves had become three, separated by two rows of square brick pillars and surmounted by vaults. The church had five altars in 1627, increasing to six in 1649. In 1726 the closing of its side gate along the Borgo Vecchio made room for another altar. ### Interior On the right side, the first chapel was dedicated to the Virgin Mary. On its vault were paintings of four Doctors of the Church (Ambrose, Jerome, Augustine and Gregory the Great), and its walls were adorned with frescoes by Cristoforo Ambrogini (or Ambrogi). Several frescoes, depicting events in the Life of the Virgin attributed to a late-mannerist Emilian artist, are on display at the Museo di Roma. The second chapel was dedicated to San Biagio, and housed a panel painting of the saint. This, the last chapel added to the church, was the original side door on the Borgo Vecchio. The third chapel was dedicated to the Nativity of Jesus. It was called "of the circumcision" because of a painting by Giovanni Battista Ricci (nicknamed "il Novara" after his birthplace) of the Circumcision of Jesus. It was also known as the "chapel of the stone", since the stone over which Jesus had reportedly been presented at the temple in Jerusalem was kept here; after the church's demolition, the stone and that of the sacrifice of Isaac were moved to the nearby church of Santi Michele e Magno. Above its altar was an oil painting by a student of Ricci of the presentation of Jesus. A 16th-century fresco depicting the Pietà as part of a choir of angels was on a bottom wall of the nave. On the left side, the first chapel was dedicated to the Nativity of Mary. Since 1573 this chapel, the giuspatronato of the Milanese Carcano family, contained the stone reportedly used for Isaac's sacrifice. A Ricci painting of the birth of Mary was on its altar; on its vault were the Four Evangelists, and its walls were decorated with frescoes. The second chapel, dedicated to San Giacomo, had a statue (later replaced by a painting) of the saint above the altar and was the burial place for members of the Confraternity of the Blessed Sacrament. The third chapel, dedicated to the Crucifixion, contained a large sculpture of Christ on the cross. A Ricci painting of the Last Supper was above the main altar, which was dedicated to Jesus the Redeemer; in 1662, a fresco of the Madonna was moved there. The Ardicini cardinals had the image painted on the facade of their palace in Borgo Sant'Angelo, and it was venerated by the local people because of a number of miracles attributed to her intercession. On the altar was an African-marble tabernacle by Giovanni Battista Ciolli, and to the right of the entrance was a holy water font presented to the church in 1589 by Francesco Del Sodo (a member of the archconfraternity). The church was the burial place of several people, whose tombstones adorned the floor; among them were the son and mother-in-law of Pirro Ligorio and Battista Gerosa, son of the Oratory of San Sebastiano architect Antonio Gerosa.	[ "## Location", "## History", "### Middle Ages", "### Renaissance", "### Baroque and Modern Ages", "## Description", "### Architecture", "### Interior" ]	2,709	36,469
20,706,805	No worries	1,129,774,433	English phrase used especially in Australia	[ "American slang", "Australian slang", "English phrases", "New Zealand slang" ]	No worries is an expression seen in English meaning "do not worry about that", "that's all right", "forget about it" or "sure thing". It is similar to the American English "no problem". The phrase is widely used in Australian speech and represents a feeling of friendliness, good humour, optimism and "mateship" in Australian culture. The phrase has been referred to as the national motto of Australia. The phrase has influenced a similar phrase used in the Tok Pisin language in Papua New Guinea. Its usage became more common in British English after increased usage in Australian soap operas that aired on television in the United Kingdom. Linguistics experts are uncertain how the phrase became utilized in American English; theories include use by Steve Irwin on the television program The Crocodile Hunter and usage by the United States media during the 2000 Sydney Olympics. It has also gained common usage into Canadian English. ## Definition No worries is an Australian English expression, meaning "do not worry about that", or "that's all right". It can also mean "sure thing" and "you're welcome". Other colloquial Australian terms which mean the same thing include "she'll be right". The expression has been compared to the American English equivalent "no problem". In their book Australian Language & Culture: No Worries!, authors Vanessa Battersby, Paul Smitz and Barry Blake note: "No worries is a popular Australian response akin to 'no problems', 'that's OK' or 'sure thing'." ## Cultural origins Early documentation dates the phrase back to 1966. According to author of When Cultures Collide: Leading Across Cultures, Richard D. Lewis, the phrase is a form of expression of the relaxed attitude in Australian culture. Anna Wierzbicka comments that the expression illustrates important parts of Australian culture, including: "amiability, friendliness, an expectation of shared attitudes (a proneness to easy 'mateship'), jocular toughness, good humour, and, above all, casual optimism". She concludes that along with "good on you", the expressions reflect the "national character" and "prevailing ethos" of Australia. ## Usage Wierzbicka writes in her book Cross-cultural Pragmatics that the expression "permeates Australian speech", "serves a wide range of illocutionary forces" and displays a "casual optimism". In her 1992 book Semantics, Culture, and Cognition, Wierzbicka classifies the phrase as "among the most characteristic Australian expressions", along with "good on you". The term can also be used in the context of an apology. The phrase has been used widely in British English since the late 1980s, a development partly attributed to the success of Australian soap operas such as Neighbours in the United Kingdom. The phrase "no wucking forries" has the same meaning in Australia; as a spoonerism of "no fucking worries", and is contracted to the phrases "no wuckers" and "no wucks". ## Influence No worries was referred to as "the national motto" of Australia in 1978, and in their 2006 work, Diving the World, Beth and Shaun Tierney call "no worries, mate" the national motto of the country. Writing in The New York Times Book Review, Annette Kobak calls the expression a "ritual incantation" which has "particular charm". The phrase "no waris" in the Papua New Guinea language Tok Pisin is derived from the Australian English term. According to The Sunday Mail a 2004 newspaper report notes that no worries has begun to be used in American English. Writing in a 2004 article for The Advertiser, Samela Harris comments: "The Americans have no idea of the etymology of 'no worries'. So, while they may cheerily adopt our 'no worries' mantra, 'no worries' will never catch on as an attitude." According to Tom Dalzell, author of two books on slang usage in the United States, linguistics experts are not certain how the expression became popular in that country. One possibility not mentioned in the source is the prominent position of this phrase in the lyrics of song "Hakuna Matata" in the popular 1994 Disney film The Lion King. Usage of the term by Steve Irwin on The Crocodile Hunter, as well as attempts by members of the American press to imitate the expression during the 2000 Sydney Olympics, have been put forth as theories explaining the pervasiveness of the expression in the United States. Linguistics professor Kate Burridge writes in her 2004 book Weeds in the Garden of Words that expressions including "no worries", "absolutely", and "bottom line" have become less prevalent in favor of newer sayings. ## See also - Australian comedy - Australian English phonology - Australian English vocabulary - Hakuna matata - Macquarie Dictionary - No problemo	[ "## Definition", "## Cultural origins", "## Usage", "## Influence", "## See also" ]	1,025	33,822
4,325,726	Lockheed Senior Prom	1,168,679,798	Classified stealth cruise missile program conducted by the USAF in the late 70s/early 80s	[ "1970s United States experimental aircraft", "Aircraft first flown in 1978", "Cancelled military aircraft projects of the United States", "Cruise missiles of the United States", "Lockheed aircraft", "Monoplanes", "Single-engined jet aircraft", "Stealth cruise missiles", "Unmanned stealth aircraft", "V-tail aircraft" ]	The Lockheed Senior Prom was a classified black project conducted by the United States Air Force in conjunction with the Lockheed Corporation's Skunk Works for the development and testing of a cruise missile using stealth technology. Based on the company's Have Blue demonstrator, the six Senior Prom vehicles proved successful in testing conducted at Area 51 in the late 1970s; despite this, the aircraft was not selected to enter production, and the program was terminated in the early 1980s. ## Design and development Following the success of the test program for the Lockheed Have Blue stealth technology demonstrator aircraft, the United States Air Force awarded a contract to the Lockheed Advanced Development Projects division—the "Skunk Works"—for the development of an unmanned aerial vehicle, intended to act as the prototype of a cruise missile, that would apply the Have Blue's faceted design in order to reduce the radar cross section of the missile by deflecting electromagnetic waves from radar transmitters away from their source, instead of directly back at the radar set's antenna. The program began in 1977, with a reported budget of USD \$24,000,000; the design of the aircraft was closely based on that of Have Blue, except scaled down. Intended for launch from Lockheed DC-130 Hercules drone launcher aircraft, the original configuration of the Senior Prom vehicle included winglets and a ventral fin; the aircraft was later modified to include a V-tail and more slender wings, closer in configuration to the F-117 Nighthawk stealth fighter. Radar-absorbent material was applied to the airframe as part of its stealth configuration; in addition to the faceting of the design, similar to that of Have Blue and the F-117, the "sawtooth" wing profile bore similarities to the B-2 stealth bomber's planform. The Senior Prom vehicle was intended to be expendable; however, it was modified to be reusable before testing commenced, with a ballistic parachute and inflatable landing bag located under the fuselage. The aircraft is believed to have been fitted with folding wings to facilitate carriage by the launching aircraft, and was powered by a single turbofan engine, with the air intake and exhaust being configured in such a manner that the airframe would shield them from the ground, reducing the aircraft's radar and infrared signatures. ## Testing and cancellation Flight testing of the Senior Prom vehicles began in October 1978; a total of six aircraft were built, which completed a total of fourteen flights over the duration of the testing program. The craft were reportedly capable of flying within 500 feet (150 m) of a SPS-13 radar without generating a discernible return. Most testing took place at Groom Lake ("Area 51") in Nevada, with a DC-130 Hercules acting as the launch aircraft; there are also reports that some testing was conducted at Edwards Air Force Base in California, with a B-52 Stratofortress being used as the launch platform, while "Hangar 18" at the Groom Lake test complex was reportedly constructed to house the B-52 and Senior Prom combination. Despite the success of the test program, Senior Prom was cancelled in 1982; reportedly one reason for the cancellation of the project was that the size and configuration of the Senior Prom aircraft rendered it incapable of being carried in internal weapons bays such as that on the B-1 bomber; the AGM-129 ACM, a competing design to Senior Prom for the cruise missile requirement, had a more slender airframe with retractable wings, which rendered it capable of internal carriage; it began flight testing shortly after the end of the Senior Prom program. Despite the cancellation of the program in 1982, Senior Prom remains highly classified into the 21st century.	[ "## Design and development", "## Testing and cancellation" ]	759	8,423
39,033,961	Frank Tarr	1,133,912,729	English rugby union footballer	[ "1887 births", "1915 deaths", "Alumni of University College, Oxford", "British Army personnel of World War I", "British military personnel killed in World War I", "Burials at Railway Dugouts Burial Ground (Transport Farm) Commonwealth War Graves Commission Cemetery", "England international rugby union players", "Leicester Tigers players", "Military personnel from Derbyshire", "Oxford University RFC players", "People from Ironville", "Richmond F.C. players", "Royal Leicestershire Regiment officers", "Rugby union centres", "Rugby union players from Derbyshire", "Rugby union players from Leicester" ]	Francis Nathaniel Tarr (14 August 1887 – 18 July 1915) was an English international rugby union player. He played centre for the Leicester Tigers and, between 1909 and 1913, won four caps for England, scoring two tries. He also earned three Blues while reading law at Oxford. He later became a solicitor in Leicester before volunteering for overseas service during the First World War. He was killed in July 1915 near Ypres on the Western Front, after being hit by a shell splinter while serving as a lieutenant in the 1/4th Battalion, Leicestershire Regiment. Tarr was one of 27 former England internationals killed in the war. ## Early life Born on 14 August 1887 at Ironville, near Belper, Derbyshire, Frank Tarr was the only son of Frederick and Emma Tarr. His father was a coal merchant. He was educated at Stoneygate School, Leicester, where he began playing rugby, before moving up to Uppingham School in 1902, where he was Captain of Games and played three-quarter in the rugby team for two years, encountering a future Oxford and England teammate Ronald Poulton-Palmer playing for Rugby School. From 1906 to 1910 he read law at University College, Oxford. ## Rugby career In his first season at Oxford, Tarr played for the 'A' team, which also included another future England player Anthony Henniker-Gotley. He was later selected for the senior team and gained three Blues from 1907 to 1909. He won his first Blue in the 1907 Varsity Match on 10 December, alongside Henry Vassall. Cambridge, with some notable international players on the team, were the clear favourites on the day. After they won the toss and elected to kick off with the wind behind them, the majority of the first 40 minutes was played in Oxford's half, much of it in their 25. Yet Cambridge failed to break through Oxford's defence, chiefly that of the centres Vassall and Tarr. Just before half time, with a scrum deep in Oxford's half, Rupert Williamson fed George Cunningham. The ball came to Tarr, who drew his opposite man, K. G. Macleod, and timed his pass to Vassall so that he, in turn, drew the Cambridge left wing near the half-way line and put H. Martin to run in a try from there. Oxford went on to win 16–0. With Oxford having won the Varsity Match in 1906 and again in 1907, Harold Hodges, the Oxford captain, was inclined to keep the winning three-quarter line for 1908, including the centre combination of Vassall and Tarr. One of that year's freshers was Tennant Sloan, a capped Scottish centre, who chose to try out for full back, realising that he was unlikely to be picked ahead of either of the incumbent centres. Vassall and Tarr had excellent ball handling skills, were quick around the field and fine decision makers; Tarr was also a formidable tackler. Ronnie Poulton played several games for Oxford ahead of the Varsity Match but it was clear that Hodges preferred the Vassall-Tarr pairing and Poulton only played when Vassall was injured, as he did in the 20–0 defeat of Richmond RFC. On 12 December, the 1908 Varsity Match resulted in a hard-fought 5–5 draw, the Cambridge pack having improved considerably since the previous year. As it turned out, Vassall's persistent ankle injury rendered him useless just five minutes into the game. The Times noted Tarr's performance saying: "FN Tarr, at left centre three-quarter, gave a magnificent display of defensive play." Tarr earned his first England cap on 9 January 1909 against the touring Australians at Rectory Field, Blackheath. His opportunity came up with both Vassall and John Birkett injured. Also earning their first caps that day were Edgar Mobbs on the right wing and Alex Ashcroft, of Cambridge University, at fly-half. England took an early lead, when Tarr put Mobbs in for a try in the opening stages. That try has been described by his contemporary, rugby journalist and author E. H. D. Sewell, as being "one of the very best ever scored, being perfect in execution from the moment Tarr first received the ball to the moment Mobbs touched it down for a try." However, Australia took control of the game to win 9–3. Tarr was selected to play Wales the following week in Cardiff. Although England played better than expected, Wales were favourites to win and beat the visitors 8–0. Two weeks later, on 30 January, England played France with a half back combination of Frank Hutchinson, earning his first cap, and Williamson; Poulton making his debut at centre alongside Tarr; and Mobbs and Tom Simpson on the wings. France was not yet part of what was to become the Five Nations tournament (now the Six Nations) and was a relatively easy side to play. England won the game comfortably 22–0, with Tarr scoring two tries, one through good interplay with Mobbs and the other, a fine individual run. Despite the tries, Tarr was dropped from the England squad. For the 1909 Varsity Match, Cunningham announced his choice of Poulton at a meeting on 2 December which Vassall was unable to attend. Cunningham sent him a letter by hand informing him of the decision. When the note returned undelivered, Cunningham hesitated, at which point Tarr offered to give up his own place for Poulton but Cunningham stuck to his initial selection. The game was played on 11 December, with Oxford at the start having the worse of it until one moment turned the game around: after the Oxford forwards got the ball back, Gotley, at scrum-half, sent the ball to Cunningham, who passed on to Tarr and he to his fellow centre Colin Gilray. He fed the ball to Poulton on the left wing still inside the Oxford half. Poulton then broke through the defence to score under the posts. With Oxford eight points ahead at the end of the first quarter, Tarr was forced off the field after breaking his collarbone making a tackle, and missed much of what was described by referee F.C. Potter-Irwin as "the fastest and most spectacular Varsity Match he had ever witnessed". Oxford beat Cambridge 23–3, Poulton scoring five tries. After graduating a Bachelor of Arts, Tarr was articled to the solicitors firm of Owston, Dickinson, Simpson, and Bigg in Leicester, and also joined the Leicester Tigers, then as now considered one of the strongest clubs in the country. He scored 72 points in 94 appearances. In 1913, having been dropped by England four years earlier, he was surprised to be called up again to play Scotland on 15 March at Twickenham. Tarr was not at his best and it was to be his last international appearance. England, meanwhile, only managed a 3–0 victory, but it was enough to regain the Calcutta Cup and earn its first Grand Slam. Although Tarr spent the majority of his rugby career with Oxford and Leicester, he is recorded as representing club teams Headingley and Richmond F.C. and also Midland Counties. ### International appearances ## Military service and death While at Oxford, Tarr had served in the Officers' Training Corps, reaching the rank of cadet sergeant. In 1911, he joined the Territorial Force, serving with the 1/4th Battalion, Leicestershire Regiment, as a second lieutenant. In 1913, he was promoted to lieutenant and when war was declared the following year, Tarr enlisted almost immediately, becoming the regiment machine-gun officer. His battalion was deployed to the Western Front with the 46th (North Midland) Division and landed at le Havre, France, on 3 March 1915. Following the Second Battle of Ypres, the battalion's dugouts were located between Lake Zillebeke and the Ypres–Comines railway line south-east of Ypres, Belgium. On the afternoon of 18 July 1915, Tarr, who was the acting adjutant of his battalion and whose name had been put forward for promotion to captain, had gone to the dugouts of the 5th Battalion, Lincolnshire Regiment, towards Zillebeke, to liaise with the adjutant. While the Germans were shelling the position, Tarr put his head out to tell some men to remain under cover when a splinter from a shell struck him in the face, killing him. If it had struck any other part of his body, he would have survived. Tarr was buried in the Railway Dugouts Burial Ground that night, not far from where he was killed. Captain John Milne, in Footprints of the 1/4th Leicestershire Regiment, described Tarr as > "...the most attractive personality in the battalion, young, good-looking, full of charm, with an eye that always had a twinkle in it, a born leader, yet the kindest person possible, a Rugger international, the idol of the machine-gun section, which he commanded before he became adjutant. Everybody was heartbroken, for everybody would miss him they would not look upon his like again...." Tarr was one of 27 England rugby players killed in the First World War. There are memorials to him on the family headstone in Welford Road Cemetery, at Uppingham School, University College, Oxford, the Oxford University rugby club and the Richmond Athletic Ground. ## See also - List of international rugby union players killed in action during the First World War	[ "## Early life", "## Rugby career", "### International appearances", "## Military service and death", "## See also" ]	2,062	2,484
41,375,117	Isaac Parsons (Virginia politician)	1,094,869,848	American slave owner and politician	[ "1752 births", "1796 deaths", "18th-century American landowners", "18th-century American politicians", "Accidental deaths in West Virginia", "American people of English descent", "American planters", "American slave owners", "Deaths by drowning in the United States", "Farmers from Virginia", "Farmers from West Virginia", "Members of the Virginia House of Delegates", "Military personnel from West Virginia", "Parsons family of West Virginia", "People from Romney, West Virginia", "Trustees of populated places in Virginia", "Virginia Federalists", "Virginia militiamen in the American Revolution", "West Virginia colonial people" ]	Isaac Parsons (January 27, 1752 – August 25, 1796) was an American slave owner, politician, and militia officer in the U.S. state of Virginia (now West Virginia). Parsons served as a member of the Virginia House of Delegates representing Hampshire County from 1789 until his death in 1796. Following an act of the Virginia General Assembly in 1789, Parsons was appointed to serve as a trustee for the town of Romney. In 1790, Parsons began serving as a justice for Hampshire County. He served as a captain in command of a company in the Virginia militia during the American Revolutionary War and continued to serve as a captain in the Hampshire County militia following the war. Parsons operated a public ferry across the South Branch Potomac River, and later died from drowning in the river in 1796. Parsons was the grandfather of Isaac Parsons (1814–1862), who also represented Hampshire County in the Virginia House of Delegates and served as an officer in the Confederate States Army. ## Early life and family Isaac Parsons was born on January 27, 1752, in Hampshire County, Virginia (now West Virginia). Parsons was the third son of Thomas Parsons and his wife Parthenia Baldwin (also spelled Bayldwin) Parsons. The Parsons family was a prominent family whose ancestors arrived to the Thirteen Colonies from England in 1635 and relocated to Hampshire County around 1740. Parsons' father settled on the Eastern Shore of Maryland in 1725 prior to relocating to Hampshire County, Virginia. ## Landholdings Following the death of his father Thomas Parsons between the date of his will and testament on May 27, 1771, and his will's recording on March 10, 1772, Parsons inherited a plantation on Lot Number 16 of the "South Branch Survey" of Thomas Fairfax, 6th Lord Fairfax of Cameron's Northern Neck Proprietary and other valuable lands in Hampshire County and in the present-day counties of Hardy and Grant. Parsons and his brother Baldwin also received land their father had acquired from Luke Collins, which was divided between Parsons and his brother by Nathaniel Kuykendall, John Foreman, and William Foreman. By 1778, Parsons owned 161 acres (65 ha; 0.252 sq mi) of Lot Number 16 and all of Lot Number 17 of Lord Fairfax's "South Branch Survey". By 1790, Parsons also owned the corner of Lot Number 1 within the town of Romney. In 1795, Parsons acquired an additional 100 acres (40 ha; 0.16 sq mi) along the South Branch Potomac River. Parsons' Lot 16 property along the South Branch Potomac River was later purchased by David Gibson in 1836, after which Gibson established his Sycamore Dale plantation there. ### Ferry service Parsons petitioned the Virginia General Assembly to establish a public ferry across the South Branch Potomac River, thus connecting his property on both sides of the river. In October 1786, the Virginia General Assembly passed an act establishing the public ferry at Parsons' property near the present site of the U.S. Route 50 bridge west of Romney. The assembly's act set the ferry's toll at three pence and three farthings per man, and the same price per horse. By 1790, Parsons was continuing the operation of the ferry, which had become known as "Parson's Ferry". On December 26, 1792, the Virginia General Assembly passed an additional act for the settlement and regulation of public ferries. The assembly's act mandated that Parsons' ferry be "constantly kept" at its location, and established its toll amounting to six cents per man, and six cents per horse. ## Political and military careers During the American Revolutionary War, Parsons served as a captain in command of a company under the charge of Major Vincent Williams in the Virginia militia. By December 11, 1788, Parsons was again serving as a captain in command of a company in the Hampshire County militia. Parsons served as a member of the Virginia House of Delegates representing Hampshire County from 1789 until his death on August 25, 1796. Parsons represented Hampshire County, which was a multi-member electoral district, in the Virginia House of Delegates. During the October 19 – December 19, 1789, session, Parsons served alongside Elias Poston and Isaac Miller. In the sessions between 1790 and 1793, Parsons served alongside Elias Poston. Parsons served alongside Francis White during the 1794 session. During the 1795 session, he again served alongside Elias Poston. Parsons died on August 25, 1796, before the November 8 – December 27, 1796, session of the Virginia House of Delegates, where he was to have served alongside Alexander King. Parsons' seat was filled by Fielding Calmes, who served out Parsons' term during this session. During his final two sessions in the Virginia House of Delegates in 1794 and 1795, Parsons was a member of the Federalist Party. By February 14, 1788, Parsons had been appointed as an appraiser of property in Hampshire County by an act of the Virginia General Assembly. On December 4, 1789, Parsons was again appointed by an act of the Virginia General Assembly to serve as a trustee of the town of Romney. Parsons served as a trustee alongside Isaac Miller, Andrew Wodrow, Stephen Colvin, Jonathan Purcell, Nicholas Casey, William McGuire, Perez Drew and James Murphy. Parsons and his fellow trustees were given authority by the Virginia General Assembly to settle disputes regarding the town's land lots and to "open and clear" the town's "streets and lanes" in accordance with the original survey and plan for Romney. In 1790, Parsons was either elected or appointed as a justice for Hampshire County alongside Jonathan Purcell, James Martin, Cornelius Ferrel, Edward McCarty, Solomon Jones, and Elias Poston. Parsons died on August 25, 1796; according to tradition, he died from drowning in the South Branch Potomac River. ## Personal life Parsons was married on April 23, 1772, to Mary E. Ellender Gregg. Mary E. Ellender Gregg was born on February 27, 1756. Parsons and his wife had two sons: James Gregg Parsons (1773–1847), married to Mary Catherine Casey in 1795, and David Parsons (1775-1857), married to Catherine Miller.	[ "## Early life and family", "## Landholdings", "### Ferry service", "## Political and military careers", "## Personal life" ]	1,368	13,275
67,566,566	Sunshine & Health	1,136,386,972	Nudist magazine	[ "Defunct magazines published in the United States", "Magazines disestablished in 1968", "Magazines established in 1933", "Naturism in the United States", "Naturist magazines" ]	Sunshine & Health (originally The Nudist) was an American nudist magazine published from 1933 until 1963. It has been described as the "flagship magazine" of the nudist movement in the US. It was published monthly, and sold at newsstands as well as being distributed by subscription through the mail. Though popular, the magazine faced a series of legal challenges relating to obscenity, particularly from the US Post Office, which repeatedly attempted to declare it nonmailable. This culminated in a favourable Supreme Court decision in Sunshine Book Co. v. Summerfield (1958). The subsequent weakening of obscenity enforcement ultimately hurt the magazine's circulation, as more sexually explicit magazines out-competed it, and it went bankrupt in 1963. ## Editorial staff The Nudist was a publication of the International Nudist Conference, which was founded in 1931 and later became the National Nudism Organization. At the launch of the magazine in 1933, Henry S. Huntington (the president of the Conference) served as editor, and Ilsley Boone (secretary of the Conference) was named as managing editor. Later, Boone's daughter, Margaret A. B. Pulis would also serve as editor. As of the early 1950s, the magazine's operations were based in Mays Landing, New Jersey. ## Circulation and audience The first issue of The Nudist sold 10,000 copies, and the subsequent issue sold 50,000. Given that the magazine's circulation far exceeded the International Nudist Conference's total membership, and that most copies were sold at newsstands rather than by subscription, it is believed that many readers bought the magazine for sexual titillation, rather than out of an interest in nudism per se. The magazine attempted to gain a more respectable image by changing its name to Sunshine & Health. The magazine saw a large increase in popularity during World War II, as it was enjoyed by American soldiers as pornographic gratification, and the magazine increasingly used suggestive poses to appeal to this audience. Because it also included nude men, the magazine could also serve as a covert source of gratification for gay soldiers. Sunshine & Health magazine went bankrupt in 1963. Its decline has been attributed to increasing competition from more explicitly pornographic periodicals which emerged in the wake of a series of court rulings which relaxed the legal definition of obscenity, including its own Supreme Court victory in Sunshine Book Co. v. Summerfield. ## Content The magazine included a combination of reporting related to the nudist movement and photographs of nudist men, women and children engaging in various activities. In a concession to postal authorities, the magazine initially avoided depictions of visible genitalia or pubic hair, using airbrushing to obscure them as necessary. Beginning around 1943, the magazine gradually relaxed this self-censorship policy, with photos increasingly including visible pubic hair and genitals (initially from a distance). A judge described the literary content of some 1951 issues of Sunshine & Health and sister publication SUN Magazine (also produced by Boone, but with an international scope) as: > reports of meeting and conventions, reports of officers, the "Olympic Games" of the movement, public relations theories for the expansion of nudism, reports of regional associations and local clubs, conflicts between nudism and the law, expositions of nudism for the advancement of physical and mental health, religious justifications of nudism, etc. The photographs in the same issues were described as a combination of "action pictures showing nudists in their camp activities, rowing, hitting volley balls, building fires, etc." as well as photos of "shapely and attractive young women in alluring poses". The judge noted that cover photos invariably belonged to the second category. ## Legal troubles Sunshine & Health faced a number of legal challenges, particularly from the US Post Office. In 1946, postal inspectors began an investigation of those placing letters and pen-pal notices in the magazine, suspecting them of sending nude photographs through the mail. Between 1948 and 1956, the magazine faced three separate investigations by the Post Office, in which issues were seized under suspicion of being nonmailable. Each case was eventually dismissed, but the effect on the magazine's distribution caused a significant financial burden. In New York City in 1951, several newsstand clerks were arrested for selling copies of Sunshine & Health and SUN Magazine, violating a state statute prohibiting the distribution of obscene materials. Newsstands were subsequently notified by the city's Department of Licenses that continuing to sell the magazines would result in losing their licenses. Initial appeals were unsuccessful, but six years later a New York appeals court found that the city's action was an unconstitutional act of prior restraint, violating the publisher's First Amendment rights. ### Sunshine Book Co. v. Summerfield In January 1955, Boone's Sunshine Book Company filed a complaint in US district court seeking an injunction to stop the Post Office's continued seizure of the magazine. They were represented by attorneys O. John Rogge and Josiah Lyman. Judge James Robert Kirkland ruled against the magazine, writing that the "American people are a clothed race", and identifying certain particular photographs as objectionable, such as a side view of a nude man with "the corona of his penis ... clearly discernible". The case was appealed to the District of Columbia Court of Appeals, which overturned the decision by a 2–1 vote in May of 1956. The government petitioned for an en banc review, and the District of Columbia Circuit Court of Appeals again reversed the earlier decision, finding in favour of the government by a 5–3 vote. Finally, the publisher appealed to the US Supreme Court. A short per curiam decision in Sunshine Book Co. v. Summerfield was handed down on January 13, 1958, finding in favour of the publisher, citing the earlier case Roth v. United States. On the same day, the court issued a similar decision in One, Inc. v. Olesen, which concerned similar actions taken by the Post Office against ONE, a magazine dedicated to the homophile movement.	[ "## Editorial staff", "## Circulation and audience", "## Content", "## Legal troubles", "### Sunshine Book Co. v. Summerfield" ]	1,267	844
67,323,940	Fordson Island	1,073,753,401	Island in Michigan	[ "Dearborn, Michigan", "Islands of Wayne County, Michigan", "River islands of Michigan" ]	Fordson Island is a 8.4-acre (3.4 ha) artificial island in the River Rouge, in southeast Michigan. It was created by the Ford Motor Company in 1918, while dredging the River Rouge, and the land was donated to Springwells Township by Henry Ford. It eventually became part of the City of Dearborn, which became aware of its existence in 1980; since its creation, it has been home to liquor smugglers, industrial facilities, several residents, a marina, and numerous abandoned watercraft. By the mid-1980s, the island was mostly uninhabited; in the early 2000s numerous abandoned vessels were dumped on its shores. ## Geography Fordson Island is in Wayne County. Its coordinates are , and the United States Geological Survey (USGS) gave its elevation as 574 ft (175 m) in 1980. The 8.4 acres (3.4 ha) island is "about a quarter mile long and perhaps half that wide". It is located at the junction between Detroit and Dearborn; while it is a part of Dearborn, it is an exclave and can only be accessed by going through Detroit. To its northeast is the straightened 125 ft (38 m) channel now followed by the River Rouge; to its southwest, it is bounded by a 20 ft (6.1 m) stream that constituted the river's original course. It is upstream of Zug Island. ## History Fordson Island was created in 1918 by the Ford Motor Company. In order to create a shipping channel through which lake freighters carrying ore could access the company's River Rouge Complex, the River Rouge was dredged; straightening the channel of the river caused a small piece of land to be cut off, creating an island (which was donated to the city by Henry Ford). The island was originally a part of Springwells Township, which became a village, and later the City of Springwells, whose name was changed to the City of Fordson. Residents eventually voted to merge into surrounding municipalities; the area containing Fordson Island became a part of Dearborn in 1929. The city of Dearborn would remain largely unaware of its existence until 1980, when a firm hired to appraise land in the city of Dearborn discovered Fordson Island. An employee later said: > I never knew an island existed. Nobody in the firm knew it existed. I sent a woman down there to look at it and she couldn't find it. And she's lived in Dearborn for 10 years. During Prohibition, several speakeasies operated on the island; it served as a "handy turnaround" for rum runners, whose feuds and rivalries occasionally resulted in gunfire. A small cottage on the island was destroyed by fire in 1936, causing one death which was later ruled an accident; the speakeasies, too, were demolished by the early 1940s. Businesses, including the A.J. Dupuis Pile Driving Company, operated there in the mid-20th century. The Hopwoods, a family who moved onto the island in 1947, rented a house for \$50 (equivalent to \$ in ) a month. They described it to the Detroit Free Press as having been "wild and full of nature", although oil from nearby industries occasionally collected near the banks of the river and caught fire: > It's changed a lot since we lived there. It was much more wild and full of nature. Across the little dirt road, it was just kind of like a swamp. You'd see a lot of birds. It was a pretty place to live. It was very exciting to see the big boats go by. We used to skate out in back of the house, when the Rouge would ice over [...] It was pretty rustic. If you didn't look in the direction of the Rouge plant, you could always see pheasant. By the 1980s, Marathon Oil had constructed a transfer facility on the island, the Fordson Island Terminal; for which they had applied for a permit in 1979 to discharge treated ship ballast water. In 1981, only four men lived on the island: William, Robert, Willie and Frank. Joseph, with whom William had maintained a violent rivalry over the course of multiple decades, had died several years earlier; his abandoned house was destroyed by vandals in April 1981. Rev. Leslie Lamb, a retired ship captain and electrician, purchased part of the island around 1976, which he used to restore shipwrecks and old boats. William operated a marina for many years, which closed after his death in 1984. Three years later, plans were submitted to the Michigan Department of Natural Resources for the marina to be reopened; the proposed site would have dock space for 13 boats up to 30 ft (9.1 m) long. The plan was still mentioned as a potential future development in a December 1999 Detroit Free Press article. In 1987, the city of Dearborn condemned two of the island's residences, and the Marathon facility occupied "most of the island" by 1987. In 1987, Marathon was discharging up to 15,000 US gal (57,000 L; 12,000 imp gal) of treated ballast water to the River Rouge on an intermittent basis. By the 2000s, marine debris had become a nuisance, as Fordson Island started to become a "boat graveyard". Abandoned boats first reported on the shore of the island in 2005 remained there in July 2007, even after a June campaign to pick up trash and remove weeds from the island. In 2010, the Detroit/Wayne County Port Authority removed debris (including abandoned boats) from the western shores of the island, and in May 2011, 21 boats were removed.	[ "## Geography", "## History" ]	1,220	32,038
6,126,074	Fallen Angel (The X-Files)	1,148,575,809	null	[ "1993 American television episodes", "Television episodes about alien abduction", "Television episodes set in Colorado", "Television episodes set in Wisconsin", "Television episodes written by Howard Gordon", "The X-Files (season 1) episodes" ]	"Fallen Angel" is the tenth episode of the first season of the American science fiction television series The X-Files, premiering on the Fox network on November 19, 1993. It was written by Howard Gordon and Alex Gansa, and directed by Larry Shaw. The episode saw Jerry Hardin reprise his role as Deep Throat. The episode explored the series' overarching mythology. The episode was mostly well received. The show centers on FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson), who work on cases called X-Files, which are linked to the paranormal. When Mulder and Scully investigate a mysterious crash site, they find that the official reports of the incident may be covering up the crash of a UFO. Meanwhile, Mulder meets a ufologist who he believes may be a former abductee. The episode introduced the UFO fanatic character Max Fenig, portrayed by Scott Bellis, who would later return in the fourth season episodes "Tempus Fugit" and "Max". In addition, Fenig also laid the template for the introduction of The Lone Gunmen in the later first-season episode "E.B.E." ## Plot Near Townsend, Wisconsin, a UFO crashes in the woods. When the deputy sheriff arrives on the scene, he is killed by an invisible figure while surrounded by bright white light. As the U.S. Air Force monitors the crash, Colonel Calvin Henderson (Marshall Bell), the military's UFO reclamations expert, launches an operation to clean up the site. After consulting with Deep Throat, Fox Mulder (David Duchovny) travels to Wisconsin and takes photos of the crash site, only to be captured. After being interrogated by Henderson, he is detained alongside an eccentric NICAP member named Max Fenig (Scott Bellis), who was also captured in the woods. The next morning, Dana Scully (Gillian Anderson) arrives to retrieve Mulder, telling him that FBI Section Chief Joseph McGrath is threatening to shut down the X-Files because of his actions. She also claims that the wreckage has been identified as a downed Libyan fighter jet; Mulder dismisses this explanation. Meanwhile, the invisible occupant of the UFO passes through an electronic fence set up around the crash site, escaping into the outside world. The agents return to Mulder's motel room, finding it ransacked by Max. He turns out to be a fan of Mulder's, having followed NICAP's research into his work on the X-Files. Max brings the agents to his Airstream trailer, where he shows them audio transmissions from the deputy, as well as a fire crew that arrived at the crash site. Mulder and Scully visit the deputy's widow, who claims the government won't release her husband's body and has threatened her into silence. They also meet a doctor who treated the deputy and the fire crew, revealing that they died of abnormally severe burns; he claims that he was also threatened. Henderson arrives at the hospital with a group of burned soldiers, who were attacked after they cornered the invisible alien at their base. Mulder returns to the motel and finds Max inside his trailer, having an apparent epileptic seizure. As Mulder tends to Max, he discovers a mysterious scar behind Max's ear. Mulder reviews earlier X-Files, discovering similar scars on two reported alien abductees. Scully believes that whatever abduction experience Max had was a schizophrenic delusion, having noticed medication in his trailer. But Mulder believes that Max, despite his interest in UFOs, is completely unaware of his experiences and was guided to Townsend by his abductors on the night of the crash. The Air Force tracks a larger UFO as it hovers over Townsend. The invisible alien enters Max's trailer and abducts him. When the agents visit the trailer and find Max missing, an Army radio transmission reveals that he has been transported to a waterfront. They race to save Max as Henderson's men scour the area searching for him. The alien kills two soldiers who encounter Max, causing him to flee into a warehouse. As Mulder finds Max inside, the building is surrounded by Henderson's forces. Mulder tries to comfort Max but is attacked and injured by the alien. Mulder then sees Max floating in a pillar of light before vanishing. When Henderson finds that Max is missing, he orders Mulder arrested. Back in Washington, both Mulder and Scully report to Section Chief McGrath, who does not believe their claims. McGrath offers an especially harsh reprimand to Mulder and presents written testimony by Henderson claiming that Max's body was found in a cargo container. McGrath and his disciplinary board decide to shut down the X-Files and dismiss Mulder from the FBI, but the decision is vetoed by Deep Throat, who feels it would be more dangerous for them to allow Mulder to turn whistleblower than to let him continue his work. ## Production "Fallen Angel" was written by Howard Gordon and Alex Gansa, and directed by Larry Shaw. The episode foreshadows the closing of the X-Files, which would occur in the season finale of the first season, "The Erlenmeyer Flask". The character Max Fenig also laid the template for the introduction of The Lone Gunmen in the later first-season episode "E.B.E.". Bellis would reprise his role as Max in the fourth season episodes "Tempus Fugit" and "Max", which explained the fate of the character after his disappearance in this episode. Max's NICAP baseball cap would make a brief appearance in Mulder's office in "Beyond the Sea", later in the first season. The scenes depicting Washington in the episode were filmed at Simon Fraser University on Burnaby Mountain in British Columbia. Shooting at this location was made difficult by the confined space available in which to set up the necessary equipment. The invisible alien featured in this episode appears to be inspired by the movie Predator. The alien was deliberately made invisible in order for it to be scarier to the audience, with series creator Chris Carter noting that "what you don't see is scarier than what you do see". Casting director Lynne Carrow was proud of Bellis' performance as Max, calling him perhaps her proudest find in casting the show, saying that he "just knocked our socks off". Carter also praised the performance of guest star Marshall Bell as Colonel Henderson and was proud that the episode permitted the producers to expand the role of Deep Throat. Actor Brent Stait, who plays Corporal Taylor in the episode, teaches alongside series regular William B. Davis at the William Davis Centre for Actors Study in Vancouver. ## Broadcast and reception "Fallen Angel" premiered on the Fox network on November 19, 1993, and was first broadcast in the United Kingdom on BBC Two on September 24, 1994. This episode earned a Nielsen household rating of 5.4, with a nine share, meaning that in the United States, roughly 5.4 percent of all television-equipped households, and nine percent of households watching television, were tuned in to the episode. It was viewed by 5.1 million households. It was, and would thereafter permanently remain, the lowest-rated episode of the series ever broadcast. The episode was mostly well-received, with a retrospective of the first season in Entertainment Weekly rating it a B+, describing it as "A very cool-looking episode that does the best job so far of illuminating the agents' position with relation to the government "; also noting the character of Max Fenig as a precursor to those of The Lone Gunmen. Keith Phipps, writing for The A.V. Club, also rated the episode a B+, calling it "a strong entry", finding that it served as a "slow reveal" of the series' themes. Phipps also noted the importance of Max Fenig as a sign of "the human toll exacted by all the dark goings on" in the series, claiming that "without Max we just get Mulder and Scully chasing a mysterious downed object and coming up empty-handed. With Max, we start to realize the stakes for which they're playing". Matt Haigh, writing for Den of Geek, reviewed the episode negatively, calling it "a mundane forty minutes" that "really fails to impress", and noting that the plot follows "more or less the same pattern", as the series' previous mythology episodes. Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated the episode three stars out of five. Shearman described "Fallen Angel" as having been produced "with style and wit", feeling that it featured a relatively static plot but was nevertheless entertaining. He found Duchovny's performance in the episode, and its final scene featuring Deep Throat's ambiguous motivations, to have been the highlights of an episode otherwise filled with "smoke and mirrors"; comparing it to the earlier episode "Conduit" in this regard.	[ "## Plot", "## Production", "## Broadcast and reception" ]	1,858	26,536
10,423,781	Gertrude Barrows Bennett	1,170,409,415	American writer	[ "1884 births", "1948 deaths", "20th-century American novelists", "20th-century American short story writers", "20th-century American women writers", "20th-century pseudonymous writers", "American fantasy writers", "American science fiction writers", "American women novelists", "American women short story writers", "Novelists from Minnesota", "Pseudonymous women writers", "Weird fiction writers", "Women science fiction and fantasy writers", "Writers from Minneapolis" ]	Gertrude Barrows Bennett (September 18, 1884 – February 2, 1948), known by the pseudonym Francis Stevens, was a pioneering author of fantasy and science fiction. Bennett wrote a number of fantasies between 1917 and 1923 and has been called "the woman who invented dark fantasy". Her most famous books include Claimed (which Augustus T. Swift, in a letter to The Argosy called "One of the strangest and most compelling science fantasy novels you will ever read") and the lost world novel The Citadel of Fear. Bennett also wrote an early dystopian novel, The Heads of Cerberus (1919). ## Life Gertrude Mabel Barrows was born in Minneapolis in 1884, to Charles and Caroline Barrows (née Hatch). Her father, a Civil War veteran from Illinois, died in 1892. Gertrude completed school through the eighth grade, then attended night school in hopes of becoming an illustrator (a goal she never achieved). Instead, she began working as a stenographer, a job she held on and off for the rest of her life. In 1909 Barrows married Stewart Bennett, a British journalist and explorer, and moved to Philadelphia. A year later her husband died during a tropical storm while on a treasure hunting expedition. With a new-born daughter to raise, Bennett continued working as a stenographer. When her father died toward the end of World War I, Bennett assumed care for her invalid mother. Virtually all of Bennett's work dates from 1917 to 1920, when she began to write short stories and novels to support the household. She stopped writing when her mother died in 1920; one later work published in 1923 appears to have been written during the late 'teens, and submitted to Weird Tales when that magazine was just starting up. In the mid-1920s, Bennett placed her daughter in the care of friends and moved to California. Because she was estranged from her daughter, for a number of years researchers believed Bennett died in 1939 – a 1939 letter from her daughter was returned as undeliverable, and her daughter did not hear from Bennett after this date. However, new research, including her death certificate, shows that she died in 1948. ## Writing career Gertrude Mabel Barrows wrote her first short story at age 17, a science fiction story titled "The Curious Experience of Thomas Dunbar". She mailed the story to Argosy, then one of the top pulp magazines. The story was accepted and published in the March 1904 issue, under the byline "G. M. Barrows". Although the initials disguised her gender, this appears to be the first instance of an American female author publishing science fiction, and using her real name. That same month, Youth's Companion published her poetry. Once Bennett began to take care of her mother, she decided to return to fiction writing as a means of supporting her family. The first story she completed after her return to writing was the novella "The Nightmare", which appeared in All-Story Weekly in 1917. The story is set on an island separated from the rest of the world, on which evolution has taken a different course. "The Nightmare" resembles Edgar Rice Burroughs' The Land That Time Forgot, itself published a year later. While Bennett had submitted "The Nightmare" under her own name, she had asked to use a pseudonym if it was published. The magazine's editor chose not to use the pseudonym Bennett suggested (Jean Vail) and instead credited the story to Francis Stevens. When readers responded positively to the story, Bennett chose to continue writing under the name. Over the next few years, Bennett wrote a number of short stories and novellas. Her short story "Friend Island" (All-Story Weekly, 1918), for example, is set in a 22nd-century ruled by women. Another story is the novella "Serapion" (Argosy, 1920), about a man possessed by a supernatural creature. This story has been released in an electronic book entitled Possessed: A Tale of the Demon Serapion, with three other stories by her. Many of her short stories have been collected in The Nightmare and Other Tales of Dark Fantasy (University of Nebraska Press, 2004). In 1918 she published her first, and perhaps best, novel The Citadel of Fear (Argosy, 1918). This lost world story focuses on a forgotten Aztec city, which is "rediscovered" during World War I. It was the introduction to a 1952 reprint edition of the novel which revealed that "Francis Stevens" was Bennett's pen-name. A year later she published her only science fiction novel, The Heads of Cerberus (The Thrill Book, 1919). One of the first dystopian novels, the book features a "grey dust from a silver phial" which transports anyone who inhales it to a totalitarian Philadelphia of 2118 AD. One of Bennett's most famous novels was Claimed! (Argosy, 1920; reprinted 1966, 2004, 2018), in which a supernatural artifact summons an ancient and powerful god to early 20th century New Jersey. Augustus T. Swift called the novel "One of the strangest and most compelling science fantasy novels you will ever read". Apparently The Thrill Book had accepted more of her stories when it was cancelled in October 1919, only seven months after the first issue. These were never published and became lost. It has been hypothesized that "Sunfire", which appeared in Weird Tales in 1923, was one of these stories that had originally been accepted by Thrill Book; it was the only 'new' story published by Bennett after 1920, although it was almost certainly written in 1919 or earlier. ## Influence Bennett has been credited as having "the best claim at creating the new genre of dark fantasy". It has been said that Bennett's writings influenced both H. P. Lovecraft and A. Merritt, both of whom "emulated Bennett's earlier style and themes". Lovecraft was even said to have praised Bennett's work. However, there is controversy about whether or not this actually happened and the praise appears to have resulted from letters wrongly attributed to Lovecraft. As for Merritt, for several decades critics and readers believed "Francis Stevens" was a pseudonym of his. This rumor only ended with the 1952 reprinting of Citadel of Fear, which featured a biographical introduction of Bennett by Lloyd Arthur Eshbach. Critic Sam Moskowitz said she was the "greatest woman writer of science fiction in the period between Mary Wollstonecraft Shelley and C.L. Moore". Because Bennett was the first American woman to have her fantasy and science fiction widely published, she qualifies as a pioneering female fantasy author. ## See also - Feminist science fiction - Women science fiction authors - Women in science fiction	[ "## Life", "## Writing career", "## Influence", "## See also" ]	1,463	29,035
58,026,119	Mississippi Highway 510	1,054,760,020	Highway in Mississippi	[ "State highways in Mississippi", "Transportation in Clarke County, Mississippi", "Transportation in Wayne County, Mississippi" ]	Mississippi Highway 510 (MS 510) is a state highway in eastern Mississippi. The route starts at MS 145 near Shubuta and travels eastward. The road turns southward near Matherville, and the route ends southeast of the unincorporated area. The road was constructed around 1957, and majority of the road was paved by 1967. A portion of the route east of Matherville was removed from the state highway system in 1999. ## Route description The route is located in northern Wayne and southern Clarke counties. MS 510 is legally defined in Mississippi Code § 65-3-3, and all of it is maintained by the Mississippi Department of Transportation (MDOT), as part of the Mississippi State Highway System. MS 510 starts at a three-way junction with MS 145 south of Shubuta in Wayne County, and it travels northward towards the Wayne–Clarke county line. The road crosses the county line, and it turns east at County Road 612 (CO 612). The route enters a large area of farmland, and it crosses Carson Sand Creek. It curves northward until it reaches the Choctaw Base Line, where it begins travelling eastward again. Past CO 611, MS 510 crosses Dry Creek and Shiloh Creek. The road intersects CO 617, which leads to Langsdale. At CO 610, the route turns south towards the county line. MS 510 crosses the county line past CO 6101. The route turns southeast near L.B. Odom Drive in Matherville, and state maintenance ends southeast of the unincorporated area. The road continues as Matherville–Frost Bridge Road, which ends at U.S. Route 84 (US 84). ## History Around 1957, a gravel road was constructed from US 45 near Shubuta to US 84 near Waynesboro, and it was designated as MS 510. The eastern terminus was rerouted closer to the Mississippi–Alabama state line by 1962. In January 1965, a project to grade and add culverts to the road began, costing \$386,157.67 (). By 1967, the majority of the route was paved, with a small section remaining in gravel near US 84. A section of the route from the beginning of the gravel section to US 84 became locally maintained by 1998, and it was removed from the state highway system by 1999. By 2001, US 45 was rerouted to a new bypass around Shubuta, with MS 510 still connected to US 45's old alignment. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	549	299
41,515,410	The Dog and Pony Show	1,052,492,781	null	[ "1997 American television episodes", "The Drew Carey Show episodes" ]	"The Dog and Pony Show" is the eighth episode of the third season of the American sitcom The Drew Carey Show, and the 54th overall. The series focuses on the work and home life of a fictionalized version of actor and comedian Drew Carey. The episode first aired on November 12, 1997 on ABC in the United States. The episode's plot sees Mr. Wick (Craig Ferguson) pass off caring for his boss Mrs. Lauder's (Nan Martin) Hungarian Puli to his employee Drew (Drew Carey). When Drew has the prize-winning dog shaved and neutered, he and his friends decide to perform a striptease at the local bar, The Warsaw Tavern, to earn quick cash to buy a replacement. The episode was co-written by producers Robert Borden and Deborah Oppenheimer, while Steve Zuckerman directed. It was inspired by the British comedy film The Full Monty and Carey invited four of the film's cast members to appear in the episode. "The Dog and Pony Show" was shot on October 15, 1997 at the Warner Bros. Television studios in Burbank, California. The set was closed to the usual taping audience while the cast performed their striptease routine. "The Dog and Pony Show" was seen by an estimated 12.4 million viewing households, finishing in 15th place in the ratings for the week it aired. Critical response was mostly positive, with reporters praising the script and the striptease routine. ## Plot When Mr. Wick (Craig Ferguson) is asked to look after Mrs. Lauder's (Nan Martin) prize-winning Hungarian Puli, he decides to pass the task on to his employee Drew (Drew Carey). Kate O'Brien (Christa Miller) offers to take the dog, Lucky, to Drew's house; but she has to leave suddenly to pick up her boyfriend Oswald (Diedrich Bader). Drew does not see Kate's note and assumes Lucky is a stray. He takes it to the vet to get it shaved and neutered. When Kate sees the dog, she fears that she, Drew and Mr. Wick will be fired. She finds an advertisement for a pure bred Hungarian Puli, but it costs \$4,500. Since no one has that kind of money, Oswald suggests they sell their bodies for money. Inspired by The Full Monty, the guys decide to perform a striptease at The Warsaw Tavern to make the money they need. Lewis Kiniski (Ryan Stiles) backs out of the performance at the last minute, but Larry Almada (Ian Gomez) steps in as his replacement. With the bar full, the guys begin their routine, but are soon stopped by the police, who explain that due to zoning regulations, stripping is illegal at The Warsaw. Drew and the guys go before the city council, but their request is denied. Drew questions how the council can deny something without seeing it and the guys, including Lewis, decide to demonstrate their striptease routine before the council members. Their request is then approved. After performing the striptease at the bar, Drew counts out the money and finds that they have \$4,800. Mr. Wick asks what they should do with the extra money and Drew replies that they should give it to the people that earned it. He then walks off stage and into the audience and starts handing out the extra cash, apologizing for them having seen his naked buttocks. ## Production "The Dog and Pony Show" was co-written by producers Robert Borden and Deborah Oppenheimer, and directed by Steve Zuckerman. The episode was inspired by the British comedy film The Full Monty. Following its release in the United States, Drew Carey saw the film three times and loved it so much he invited the cast to appear in the episode, while they were promoting the film. However, Andrew Essex from Entertainment Weekly reported that cast members Mark Addy, Paul Barber, Steve Huison and Hugo Speer were not allowed to perform on the show after being stopped by the American immigration department because they did not have work permits. The cast members were instead billed as "guests of honor" due to Actors Equity rules preventing them from being paid for their cameo. The episode was filmed at the Warner Bros. Television studios in Burbank, California on October 15, 1997. The set was closed to the usual taping audience when Carey, Bader, Ferguson, Gomez and Stiles performed their striptease to The Edgar Winter Group's "Free Ride". The Full Monty cast members came to the set to offer advice and watch the taping. The remainder of the episode was filmed before an audience later that same night. Gomez said that having two guys paint his body in make-up was "more embarrassing" than filming the routine, while Stiles joked that the episode was the first time he had been "totally naked" since he was cast in the show. Carey was grateful that stripping during prime-time had to be PG and apologized that viewers had to see his naked buttocks. He also clarified that the cast wore pouches to protect their modesty. ## Reception In its original broadcast, "The Dog and Pony Show" finished 15th in the ratings for the week of November 10–16, 1997, with a Nielsen rating of 12.8, equivalent to approximately 12.4 million viewing households. It was the fourth highest-rated show on ABC that week, following episodes of Home Improvement, Monday Night Football and 20/20. The episode received mostly positive attention from television critics. A reporter for the Los Angeles Daily News gave the episode a positive review calling it "meatier" than usual. The reporter thought the take on The Full Monty was "sharply silly" and said "Carey's striptease doesn't come till the show's end. The most we see is a full rear view – raw indeed but strategically blocked by microphones. But the bun fun, half-baked as it is, is exuberant and preceded by smarter writing than usual." The reporter called the characters "unlikely Chippendales" and added that Carey had one of the best scripts he had in a while, which mixed "understated humor with unself-conscious undress." Alan Pergament, writing for The Buffalo News, awarded the episode 3 and a half stars out of five and said the episode "offers a delicious take on the surprise theatrical movie hit from England." Pergament thought there were too many penis jokes, especially for the show's time slot, but called the dance scenes "hysterically funny." The Spokesman-Review's John Martin stated that while he usually condemned the "cheap, tawdry use of nudity" to boost ratings, it was different with Carey and he thought the take on The Full Monty was "riotous" and "wild". Martin finished by saying "Carey may be the only comic in prime time who could pull this off, so to speak. You gotta love the big guy." Lon Grahnke from the Chicago Sun-Times gave the episode three stars. The Chicago Tribune's Steve Johnson said the show was "working at its usual level" and called the homage to The Full Monty "uninspired". A reporter for The Age chose "The Dog and Pony Show" as one of the shows Melbourne would be talking about the week it aired in Australia. While The Sun-Herald's Rachel Browne awarded the episode four out of five stars and called it an "hilarious homage to The Full Monty". Browne was thankful that the gang's modesty was protected. James Joyce, writing for The Newcastle Herald, commented that the episode was "a crack-up." Joyce later branded the plot "contrived", but thought the end of the episode was "risque" and "suitably cheeky."	[ "## Plot", "## Production", "## Reception" ]	1,613	5,384
38,687,527	Operation Jackal	1,165,866,143	1992 offensive of the Bosnian War	[ "Battles of the Croatian War of Independence", "Bosnian War", "Conflicts in 1992", "June 1992 events in Europe", "Military operations of the Bosnian War" ]	Operation Jackal (Serbo-Croatian: Operacija Čagalj, Операција Чагаљ), also known as Operation June Dawns (Operacija Lipanjske zore, Операција Липањске зоре), was an offensive of the Bosnian War fought between a combined Croatian Army (HV) and Croatian Defence Council (HVO) army against the Army of Republika Srpska (VRS) from 7–26 June 1992. The offensive was a Croatian pre-emptive strike against the VRS, a Bosnian Serb military formed in May 1992 from Yugoslav People's Army (JNA) units that were stationed in Bosnia and Herzegovina. The HV concluded that the JNA offensive operations of April and May 1992, resulting in the capture of Kupres and much of the Neretva River valley south of Mostar, were aimed at capturing or threatening the Croatian Port of Ploče and possibly Split. To counter this threat, the Croatian leadership deployed the HV, under the command of General Janko Bobetko, to the "Southern Front" including the area in which Operation Jackal was to be conducted. The offensive marked the first significant Bosnian Serb defeat in the war and placed the HV in a favourable position to push back the VRS and remnants of the JNA holding positions north and east of Dubrovnik. The HV later re-established overland links with the city which had been under siege by the JNA since late 1991. The attack resulted in an HV/HVO victory and the capture of approximately 1,800 square kilometres (690 square miles) of territory in and around Mostar and Stolac. ## Background In August 1990, a Serbian uprising occurred in Croatia centred on the Dalmatian hinterland around the city of Knin, parts of the Lika, Kordun, and Banovina regions, as well as in settlements in eastern Croatia with significant Serb populations. The areas were subsequently named the Republic of Serbian Krajina (RSK). The RSK, supported by Serbia, declared its intention to integrate with Serbia, and was denounced by the Government of Croatia as a rebellion. Tensions rose and by March 1991 the Croatian War of Independence had broken out. With the disintegration of Yugoslavia, in June 1991 Croatia issued its declaration of independence which became official on 8 October after a three-month moratorium. The RSK then initiated a campaign of ethnic cleansing against Croatian civilians and most non-Serbs were expelled by early 1993. In May 1991, the Croatian National Guard (ZNG), subsequently renamed the Croatian Army (HV) in November, was formed as a result of growing support for the RSK from the Yugoslav People's Army (JNA) and the inability of the Croatian Police to cope with the situation. The establishment of the military of Croatia was hampered by a UN arms embargo introduced in September. The final months of 1991 saw the fiercest fighting of the war culminating in the Battle of the Barracks, the Siege of Dubrovnik, and the Battle of Vukovar. In January 1992, the Sarajevo Agreement was signed by representatives of Croatia, the JNA and the UN, and a ceasefire called. After a series of unsuccessful ceasefires, the United Nations Protection Force (UNPROFOR) was deployed to Croatia to supervise and maintain the agreement. The conflict largely passed on to entrenched positions, and the JNA soon retreated from Croatia into Bosnia and Herzegovina, where a new conflict was anticipated. As the Yugoslav People's Army (Jugoslavenska narodna armija – JNA) withdrew from Croatia following the acceptance and start of implementation of the Vance plan, its 55,000 officers and soldiers born in Bosnia and Herzegovina were transferred to a new Bosnian Serb army, which was later renamed the Army of Republika Srpska (VRS). This reorganisation followed the declaration of the Serbian Republic of Bosnia and Herzegovina on 9 January 1992, ahead of the 29 February – 1 March 1992 referendum on independence of Bosnia and Herzegovina. This declaration would later be cited as a pretext for the Bosnian War. Bosnian Serbs began fortifying the capital, Sarajevo, and other areas on 1 March. On the following day, the first fatalities of the war were recorded in Sarajevo and Doboj. In the final days of March, the Bosnian Serb army bombarded Bosanski Brod with artillery, drawing a border crossing by the HV 108th Brigade in response. On 4 April, JNA artillery began shelling Sarajevo. The JNA and the VRS in Bosnia and Herzegovina faced the Army of the Republic of Bosnia and Herzegovina (ARBiH) and the Croatian Defence Council (HVO), reporting to the Bosniak-dominated central government and the Bosnian Croat leadership respectively, as well as the HV, which occasionally supported HVO operations. ## Prelude In April 1992, the JNA renewed offensive operations against the HV and the HVO in areas of western and southern Herzegovina near Kupres and Stolac. The JNA's 2nd Military District, commanded by Colonel General Milutin Kukanjac, deployed elements of the 5th Banja Luka Corps and the 9th Knin Corps to the Kupres region, capturing the town from the HV and the HVO jointly defending the area in the 1992 Battle of Kupres on 7 April and threatening Livno and Tomislavgrad to the southwest. The 4th Military District of the JNA, commanded by General Pavle Strugar, employed the 13th Bileća Corps and the 2nd Titograd Corps to capture Stolac and most of the eastern bank of the Neretva River south of Mostar. The fighting around Mostar and JNA artillery attacks on the city started on 6 April, with the town of Široki Brijeg coming under attack by the Yugoslav Air Force on 7–8 April. While a Croatian attack of 9 April failed to capture a JNA-controlled airfield in Mostar, the Bosnian Serb Territorial Defence Force captured two nearby hydroelectric power plants on the Neretva River and the JNA pushed the HV/HVO force from Stolac on 11 April. Čapljina, 25 kilometres (16 miles) southwest from Mostar, came under intermittent JNA artillery and air attacks. A ceasefire was arranged on 7 May, but the JNA and the Bosnian Serb forces resumed the attack the next day. The attack succeeded in capturing a large part of Mostar and some territory on the west bank of the Neretva River. On 12 May, the transfer of JNA forces based in Bosnia and Herzegovina to the VRS was completed, and those JNA units which had not been transferred to the VRS withdrew from Bosnia and Herzegovina to the newly declared Federal Republic of Yugoslavia While the JNA planned the offensive to pre-empt a Croatian attack on Serb-held territory, Croatia saw the moves as a prelude to JNA attacks on southern Croatia, specifically aimed at the Port of Ploče and possibly Split. To counter the perceived threat, the HV deployed additional troops to the area redesignated as the "Southern Front". HV General Janko Bobetko, appointed to command the Southern Front, reorganised the HVO command structure and assumed command of the HVO in the area to stop the expected JNA/VRS offensive and regain the lost territory along the Neretva River. In late May, Bobetko launched an attack along the Adriatic coast, and in its immediate hinterland, towards besieged Dubrovnik linking up with the HV force in the city and breaking the JNA encirclement of the city by 1 June. The attack coincided with a JNA withdrawal towards Dubrovnik Airport in Konavle and positions within Bosnia and Herzegovina borders, 2 to 10 kilometres (1.2 to 6.2 miles) away from the coast. On 23 May, the HV/HVO captured the Hum Mountain south of Mostar. ## Order of battle The HV and the HVO committed 4,670 troops to Operation Jackal. The HVO deployed various units stationed or raised in the area, mostly drawn from Mostar, Široki Brijeg, and Čitluk. The HV contributed the 4th Guards Brigade, elements of the 116th Infantry Brigade and the 156th Infantry Brigade. The HV troops were deployed around Čapljina, for the main attack across the Neretva River and on the right flank of the axis, while the HVO troops were deployed to their left, as well as in the Čapljina area. The VRS Herzegovina Corps (former JNA 13th Bileća Corps), commanded by Major General Radovan Grubač, consisted of the 10th and 13th Brigades as well as Ljubinje Territorial Defence troops in the area of Mostar and Stolac. ## Timeline Operation Jackal, or alternatively Operation June Dawns, commenced on 7 June 1992. The attacking HV/HVO force moved east and north from Čapljina towards Stolac and Mostar aiming to push the VRS back from the Neretva River and capture positions around Mostar. The HV/HVO force captured the first objective of the offensive, the town of Tasovčići located across the Neretva River, opposite Čapljina, on 8 June. The HV component of the force which captured Tasovčići, the 156th Infantry Brigade, was detached from the force tasked with continued advance to capture Klepci and Prebilovci to protect the right flank of the Neretva bridgehead. The HV 116th Infantry Brigade held the Neretva River valley south of the bridgehead and east of Metković. As the VRS Herzegovina Corps positions around Tasovčići collapsed, the attacking forces were able to quickly move east along its planned line of advance. On 11 June, the Mostar HVO forces attacked VRS positions on the west bank of the Neretva River, south of the city of Mostar in support of the main attack. The advance was immediately successful, capturing the villages of Varda, Kruševo, Jasenica, Slipčići and the Orlovac Mountain. The HVO captured JNA/VRS Heliport Barracks in Mostar the same day. On 12 June, the HVO pushed all remaining VRS forces east across the river. The 1st Herzegovina Brigade of the HVO and the 156th Infantry Brigade advanced northeast from Čapljina and captured villages of Bivolje Brdo and Lokve ten kilometres (6.2 miles) away from the Neretva crossing point. The 116th Infantry Brigade, spearheading the Tactical Group-2, consisting of the brigade and supporting HVO troops, staged a rapid breakthrough and reached outskirts of Stolac, approximately 20 kilometres (12 miles) east of the Neretva crossing. The advance northeast towards Mostar continued north through Pijesci and Gubavica and reached the southern approaches to Mostar on 14 June. HVO units attacking from Čapljina secured Stolac by capturing VRS positions in Hodovo, approximately eight kilometres (5.0 miles) north of Stolac, on 15 June. The same day, the 4th Battalion of the Mostar HVO captured JNA "Sjeverni logor" barracks in Mostar while other elements of the HVO Mostar force captured nearby Fortica Hill overlooking the city. The final part of the northward advance of the force that set off from Čapljina was routed through the villages of Buna and Blagaj, which were also captured on 15 June. In order to complete a link up with the advancing HV and HVO units, the Mostar HVO forces, supported by the HV's 4th Battalion of the 4th Guards Brigade, moved south from the city through Jasenica. The two advancing forces met at the Mostar International Airport on 17 June. The HV and the HVO completely pushed the VRS from Mostar, advancing further east along the slopes of the Velež Mountain and capturing high ground overlooking the city by 21 June. The ARBiH supported the eastward push from the city only in a secondary role. Even though the front lines did not move significantly to the east, the city of Mostar was relatively secure from future VRS attacks. The offensive is considered to have ended on 26 June, when the HVO captured the Merdžan Glava peak of the Velež Mountain. ## Aftermath The HV and the HVO captured approximately 1,800 square kilometres (690 square miles) of territory during Operation Jackal, and the supporting attacks around Mostar, as well as handing the VRS their first significant defeat in the Bosnian War. The offensive removed a direct threat posed by the JNA and the VRS to Metković, and it accomplished the Croatian objective of capturing positions that were favourable to staging further offensives against JNA and VRS forces still positioned near Dubrovnik. The follow-up Operation Tiger was the first HV offensive to exploit the success of Operation Jackal and improve Croatian military positions on the Southern Front in general but specifically around Dubrovnik. HV deployment to Bosnia and Herzegovina not only gained them significant experience in the execution of large-scale military offensives, but also denied the Bosnian Serb VRS forces the chance to pursue a decisive victory.	[ "## Background", "## Prelude", "## Order of battle", "## Timeline", "## Aftermath" ]	2,941	26,218
30,877,517	Mildred Lewis Rutherford	1,143,752,027	White supremacist, historian general of the United Daughters of the Confederacy	[ "1851 births", "1928 deaths", "19th-century American women", "American proslavery activists", "American women educators", "American women historians", "Educators from Georgia (U.S. state)", "Historians from Georgia (U.S. state)", "Members of the United Daughters of the Confederacy", "Women and education", "Writers from Athens, Georgia" ]	Mildred Lewis "Miss Millie" Rutherford (July 16, 1851 – August 15, 1928) was a prominent white supremacist speaker and author from Athens, Georgia. She served the Lucy Cobb Institute, as its head and in other capacities, for over forty years, and oversaw the addition of the Seney-Stovall Chapel to the school. Heavily involved in many organizations, she became the historian general of the United Daughters of the Confederacy (UDC), and a speech given for the UDC was the first by a woman to be recorded in the Congressional Record. She was a prolific non-fiction writer. Also known for her oratory, Rutherford was distinctive in dressing as a southern belle for her speeches. She held strong pro-Confederacy, proslavery views and opposed women's suffrage. ## Biography ### Family background Mildred Rutherford was born July 16, 1851, in Athens, Georgia; she was the daughter of Laura Cobb Rutherford (Howell and Thomas's sister) and Williams Rutherford, a professor of mathematics at the University of Georgia. Mildred Rutherford was the granddaughter of John Addison Cobb, whose involvement in agriculture (he owned a plantation with 209 slaves by 1840), the Georgia Railroad, and real estate made him "one of the area's wealthiest men". She was the niece of John's sons Howell Cobb, who served six terms as a Democratic Congressman and Speaker of the House for two years, and the lawyer Thomas R. R. Cobb, one of the founders of the University of Georgia School of Law – he "codified Georgia's state laws", "wrote the wartime state constitution of 1861", and was a prominent proslavery propagandist; T.R.R. Cobb founded the Lucy Cobb Institute in response to a letter that Laura Rutherford had sent anonymously to the local paper. ### Education and career Rutherford entered the Lucy Cobb Institute at the age of eight "in the school's first session". She was graduated from there at the age of sixteen in 1868. #### Educator After teaching in Atlanta for eight years, Rutherford served as the principal of the Lucy Cobb Institute in Athens from 1880 to 1895 and lived in a house directly across the street until it burned c. 1926, continuing to serve the school in various capacities for over forty years (including several years again at its head "with the title of 'president' signaling the school's college-level ambitions"). According to Sarah Case, > Rutherford took over a struggling institution and rebuilt it into one of the most prestigious schools for young women in Georgia. She immediately went to work improving its academic standards, beautifying the physical plant, and increasing enrollment. In agreeing to head the school, Rutherford had insisted that the all-male board of directors cede to her its control of the budget and power to hire and fire staff. She decided the students needed a chapel and had them write seeking funding for one. In 1881, Nellie Stovall wrote "a beautiful and girlish letter" to George I. Seney, who responded with \$10,000 in funding (and a challenge to the town for an additional \$4,000) for the structure, an octagonal red brick building called the Seney-Stovall Chapel. Case further describes Lucy Cobb under Rutherford's direction: > Rutherford's deep concern with propriety and feminine modesty should not obscure the fact that the school prepared women for more than traditional domestic roles. Lucy Cobb recognized that many of its alumnae would seek employment, and by teaching students marketable, and at the same time, respectable, skills, as well as genteel decorum and dress, Lucy Cobb created a new image of elite white single womanhood that combined aspects of the new woman and the southern belle, what I call the "new belle." As early as 1885, a Lucy Cobb commencement speaker argued that women ought to be allowed into more professions. #### Orator and historian Rutherford was an accomplished public speaker – she ofttimes dressed as a southern belle when orating – who addressed a great number of local organizations, including the YMCA, the Ladies Memorial Association (for which she served as president), and the Athens chapter of the United Daughters of the Confederacy (UDC), and in November 1912 addressed the national assembly of the UDC as their historian general. She "became perhaps the best-known amateur historian in the early twentieth century for her extensive writings and speeches, her historical journal, published from 1923 to 1927, and her promotion of historical work among the UDC as that organization's Historian General from 1911 to 1916". She gave "the first speech by a woman to be printed in the Congressional Record" in 1916 at a UDC convention. ## Death and legacy In 1927 Rutherford became seriously ill. Late on Christmas night, as she convalesced, her house suffered a devastating fire, consuming many of her personal papers and belongings, including "most of her private collection of Confederate artifacts". She died on August 15, 1928, and was interred in Oconee Hill Cemetery, in East Hill, one of the two original sections of the cemetery. Her great niece Mildred Seydell was named in her honor and became a well-known journalist, one of the first in Georgia, and a nationally syndicated columnist. Rutherford has a student dormitory named after her at the University of Georgia. ## Views Rutherford was Baptist with a strong faith and expressed a "deep preoccupation with propriety and morality" in her textbooks, criticizing "authors who openly portrayed sexuality or themselves lived in ways Rutherford found immoral". She lauded the works of Southern writers and female writers. According to University of Georgia historian Ann E. Marshall, she was a "tireless advocate of the 'Lost Cause' version of southern history" (referring to the Lost Cause of the Confederacy). Goals of her writing included "establishing the South's contribution to United States history, legitimizing secession, and idealizing the antebellum plantation", and she defended American slavery, thinking its only problem was the burden it put upon the white slaveholders. She viewed "true history" – the way she saw, defined, and proselytized it – as a potential common ground between North and South, and also believed it to be a potent political weapon in support of the causes she espoused. Specifically she fought to indoctrinate future generations by eliminating any books which did not support her views, writing to all schools and librarians, "Reject any book that says the South fought to hold her slaves". She was willing to alter the historical record to make her point—in a speech in Dallas in 1916 she claimed that "the negroes in the South were never called slaves. That term came in with the abolition crusade," even though her own state of Georgia used the word "slaves" in its official Declaration of Causes of Secession. Historian David W. Blight stated that she sought the vindication of the Confederacy "with a political fervor that would rival the ministry of propaganda in any twentieth-century dictatorship". In 1914, she joined the Georgia Association Opposed to Woman Suffrage and became a "vocal opponent" of women's suffrage and the Nineteenth Amendment to the United States Constitution, which was ratified on August 18, 1920. She viewed suffrage as "not a step toward equality, but rather a way of robbing women of the only power they truly held – that of feminine influence and persuasion within their families. Rutherford never reconciled this view with the fact that she herself was one of Georgia's most publicly active and well-known women of her time". Her opposition was "formidable": Dolly Blount Lamar and Rutherford headed the organization, and in 1919 this "conservative state" became the nation's first to reject the amendment. Case asserts that while "Rutherford reserved her strongest resistance for the suffrage amendment," she "opposed all constitutional amendments, including prohibition, despite her anti-alcohol sentiments, on the basis of limiting federal power". ## Selected writings Mildred Lewis Rutherford wrote 29 historically significant books and pamphlets, many printed at her own expense. They were widely read. Among them are: - at Internet Archive.	[ "## Biography", "### Family background", "### Education and career", "#### Educator", "#### Orator and historian", "## Death and legacy", "## Views", "## Selected writings" ]	1,740	6,436
27,319,109	Stańczyk (painting)	1,172,460,130	Painting by Jan Matejko	[ "1862 paintings", "Cultural depictions of Stańczyk", "Nazi-looted art", "Oil on canvas paintings", "Paintings in the National Museum, Warsaw", "Portraits by Jan Matejko", "Portraits of historical figures" ]	Stańczyk (Full title: Stańczyk during a ball at the court of Queen Bona in the face of the loss of Smolensk, Polish: Stańczyk w czasie balu na dworze królowej Bony wobec straconego Smoleńska) is a painting by Jan Matejko finished in 1862. This painting was acquired by the Warsaw National Museum in 1924. During World War II it was looted by the Nazis and subsequently by the Soviet Union, but was returned to Poland around 1956. It is one of Matejko's most famous works and the one that launched him to fame. It has been described by the Warsaw National Museum as one of the most recognizable paintings in its collection, and is a flagship painting for the "Collection of Polish paintings prior to 1914". Its primary component is the contrast between the solemn jester (the titular Stańczyk) and the lively ball going on in the background. The painting presents Stańczyk with a sense of isolation and hopelessness, which reflects the political situation of Poland during the 19th century. Stańczyk remains an important symbol of Polish culture. Stańczyk embodied satire to criticize social problems while also offering wisdom to the common people. His character is remembered and is a proud part of Polish national character. The painting has created an image of Stańczyk that has become iconic and widely recognized in Poland. ## Stańczyk Stańczyk, the male figure depicted in the painting, was the court jester when Poland was at the height of its political, economic and cultural power during the era of the Renaissance in Poland, during the reign of King Sigismund I the Old (reigned 1506–1548). He was a popular figure; besides his fame as a jester he has been described as an eloquent, witty, and intelligent man, using satire to comment on the nation's past, present, and future. Unlike jesters of other European courts, Stańczyk has always been considered as much more than a mere entertainer. Stańczyk's fame and legend were strong in his own time and enjoyed a resurgence in the 19th century, and he remains well known to this day. Scarcity of sources gave rise to four distinct hypotheses about Stańczyk in the 19th century: that he was entirely invented by Jan Kochanowski and his colleagues, that he was "perhaps a typical jester dressed by his contemporaries in an Aesopian attire, perhaps a Shakespearean vision of 19th-century writers, or perhaps indeed a grey eminence of the societatis ioculatorum". In any measure, consensus among modern scholars is that such a person indeed existed and even if he did not, the figure had a tremendous importance to Polish culture of later centuries, appearing in works of many artists of the 19th and 20th centuries. He appears in a work of, among others, Julian Ursyn Niemcewicz (in Jan z Tęczna. Powieść historyczna, 1825) and several works by Józef Ignacy Kraszewski (1839, 1841). ## Content The full title of the painting is Stańczyk w czasie balu na dworze królowej Bony wobec straconego Smoleńska (Stańczyk during a ball at the court of Queen Bona in the face of the loss of Smolensk). The primary composition of the painting is in the contrast between the solemn jester (Stańczyk) – the focus of the painting – and the lively ball going on in the background. Stańczyk is shown sitting alone in a dark room, while a ball, hosted by the royal family, is in full swing in the neighbouring hall. His appearance is unlike that one would expect in a jester – gloomy, deep in thought. His seriousness is reinforced by his accessories: his marotte lies discarded on the floor, whereas a holy medallion of the Black Madonna of Częstochowa can be seen on his torso. The wrinkled carpet at Stańczyk's feet could have been formed by his collapsing heavily into the chair upon reading the letter, or through a nervous shifting of the feet thereafter. On the table lies a letter likely announcing that the Grand Duchy of Lithuania has lost Smolensk (now in Russia) to the Grand Duchy of Moscow, causing Stańczyk's sorrow and reflection on his fatherland's fate. The letter seems to have been discarded by some official, and only the jester realizes its significance – while the rulers are partying, celebrating the recent victory at the Battle of Orsha, disregarding the bad news about Smolensk. The letter bears the year 1533 (A.d. MDXXXIII) and the name "Samogitia", a province of the Commonwealth. The note is incongruent with the actual date of the fall of Smolensk in 1514, and is a matter of ongoing debate, though an outright mistake by the meticulous Matejko, known for use of symbolism and iconography, is unlikely. Another symbol, a lute, symbol of glory, is being carried by a court dwarf, stereotyped as a person of low stature and morale in Matejko's time; this suggests a decline of the Jagiellonian dynasty's fortunes. The window is thrown – or was blown – open, ruffling the tablecloth and alluding to an upset of the present order. Through the open window, the darkened profile of Wawel Cathedral in Krakow is visible – the site of the coronation of Polish kings. Next to it, a comet is seen – a portent of ill-fortune. The imagery of downfall is completed with the inclusion of the three stars of Orion's Belt seen above and to the left of the cathedral spire. In Greek mythology, Orion was a powerful hunter blinded by ego and his own greatness, but was ultimately brought down by the pinprick of a scorpion's sting. ## The Sad Clown Paradox The Sad Clown Paradox is the concept that someone who looks happy on the outside is actually sad inside. A clown is usually associated with this paradox since clowns are usually seen as happy figure, but they don't show that they are sad inside. This painting is a representation of the Sad Clown Paradox, since Stańczyk is a clown, whose job is to entertain, but he is shown in a moment of hopelessness. The dark colors in the painting convey this theme with the contrast of the bright colors in the ball. ## History, significance and historiography Matejko was fascinated by Stańczyk from the times of his youth, and portrayed him in several of his works (most notably, besides the painting discussed here, in Consecration of King Sigismund's Bell, 1874 and Prussian Homage, 1882). Working on this painting, Matejko was also inspired by the book Król zamczyska by Seweryn Goszczyński, whose main character – a loner, living in the castle's ruins, trying to reconcile past and present, and himself inspired by Stańczyk – likely influenced this painting. Completed in 1862, when Matejko was twenty-four years old, it is one of his most famous works and the one that launched him to fame. It is seen as a key painting for the understanding of Matejko's style and intentions in his art. Matejko used his own face for Stańczyk, and with this work began a series of paintings analyzing and interpreting the History of Poland through the figure of Stańczyk. The painting is also seen as highly significant for the culture of Poland in general. According to the Warsaw National Museum, Stańczyk is one of the most recognizable paintings in its collection, and is a flagship painting for the "Collection of Polish paintings prior to 1914". The painting has created an image of Stańczyk that has become iconic and has been repeated in other works such as the play Wesele (1901) of Stanisław Wyspiański. Matejko's most famous paintings are usually large, group scenes; individual scenes are less common in his work. Upon its creation, the painting did not gather much attention, and was acquired by the Kraków Society of Friends of Fine Arts for a purpose of a gift lottery. It was subsequently won by a certain individual, Korytko, in whose possession it was slightly damaged. Upon Matejko's rise to fame, the painting was rediscovered and applauded as a masterpiece, and acquired by the Warsaw National Museum in 1924. During World War II it was looted by the Nazis. It was subsequently seized by the Soviet Union and returned to Poland around 1956. ## See also - Art in Poland	[ "## Stańczyk", "## Content", "## The Sad Clown Paradox", "## History, significance and historiography", "## See also" ]	1,877	13,474
15,589,767	Kendal Green station	1,169,231,632	MBTA Commuter Rail station in Weston, Massachusetts	[ "Historic district contributing properties in Massachusetts", "MBTA Commuter Rail stations in Middlesex County, Massachusetts", "National Register of Historic Places in Middlesex County, Massachusetts", "Railway stations on the National Register of Historic Places in Massachusetts", "Stations along Boston and Maine Railroad lines" ]	Kendal Green station is an MBTA Commuter Rail station in Weston, Massachusetts, US, served by the Fitchburg Line. The station has a single platform serving two tracks; it is not accessible. It originally opened with the Fitchburg Railroad in 1844 as "Weston"; it was renamed Kendal Green after the green cloth around 1886. A new station building was constructed in 1896. Service passed to the Boston and Maine Railroad in 1900, and to the Massachusetts Bay Transportation Authority (MBTA) in the 1970s. The former station building, reused as a private residence, was added to the National Register of Historic Places in 2000 as a contributing property to the Kendal Green Historic District. ## Station design Kendal Green station is located on the north side of the Church Street grade crossing in Weston, about 400 feet (120 m) away from North Avenue (Route 117). The station has a single asphalt side platform on the north side of the two tracks of the Fitchburg Route, with a small paved crossing allowing passengers to board trains on the opposite track. The low-level platform is not accessible. Parking spaces for 57 vehicles are located along Lower Field Road south of Church Street. The former station building is located adjacent to the platform. It is a single-story hip-roofed clapboard building measuring 20 by 42 feet (6.1 m × 12.8 m), with a polygonal bay in the southern corner. The structure is privately owned and used as a residence, though the MBTA owns the land; the trackside eaves still offer shelter for passengers. The trackside windows and doors have been covered for the privacy of the residents. ## History ### Early history The Fitchburg Railroad opened along the Stony Brook valley through Weston on June 17, 1844, with stops at Weston and . New residential development occurred around Weston station, but not around Silver Hill. The original Weston station building, constructed around 1843, was a two-story wooden structure with an apartment for the station master on the second floor. A freight house, no longer extant, was constructed nearby in 1875. The Central Massachusetts Railroad was constructed through Weston in 1881, with its own Weston station closer to the town center. In 1885–86, a post office was opened to serve the North Avenue area. It was named "Kendal Green" at the suggestion of General James F.B. Marshall, co-founder of the Hampton Institute, who had previously used it as the name of his nearby estate. The name was taken from the Kendal green cloth produced in Kendal, England; Kendal was also the surname of Marshall's grandfather. The railroad station also took the name Kendal Green around 1886, possibly to avoid confusion with the two Weston stations. The railroad built a new station building at Kendal Green in 1896. A single-story wooden structure, it resembled a simpler version of the Central Massachusetts Railroad's stick style Weston station. The Fitchburg Railroad was acquired by the Boston and Maine Railroad (B&M) in 1900. ### MBTA era The B&M sold off disused station buildings in the mid 20th century; by 1962, Kendal Green and Weston stations both belonged to the same private owner. The Massachusetts Bay Transportation Authority (MBTA) was formed in 1964 to subsidize suburban commuter rail service. On January 18, 1965, the MBTA began subsidizing some B&M service, including as far as West Concord on the Fitchburg Route. The MBTA bought most B&M commuter rail assets, including the Fitchburg Route, on December 27, 1976. In 1989, the MBTA considered moving the station to the south to create a park and ride "superstation" for Route 128, similar to Route 128 station. The station was added to the National Register of Historic Places in 2000 as a contributing property to the Kendal Green Historic District. A February 2005 study for the Fitchburg Line Improvement Project recommended consolidation of the three Weston stations (Silver Hill, , and Kendal Green) into a single expanded Kendal Green station to reduce travel times, as did a September 2005 preliminary implementation plan. However, by 2007, the preferred alternative did not include station consolidation. Silver Hill and Hastings were temporarily closed in December 2020 due to low ridership, with permanent closure scheduled for April 2021, but Kendal Green station was not modified.	[ "## Station design", "## History", "### Early history", "### MBTA era" ]	945	27,859
23,846,441	The Mikado (Millennium)	1,102,274,646	null	[ "1998 American television episodes", "Fiction about snuff films", "Millennium (season 2) episodes" ]	"'The Mikado" is the thirteenth episode of the second season of the American crime-thriller television series Millennium. It premiered on the Fox network on February 6, 1998. The episode was written by Michael R. Perry and directed Roderick J. Pridy. "The Mikado" featured a guest appearance by Allan Zinyk as Brian Roedecker. After a group of boys witness a murder via a live webcam feed, Millennium Group profiler Frank Black (Lance Henriksen) realizes that the culprit is an old adversary who has learned to exploit the internet to continue his killing spree while avoiding capture. Perry was inspired to write the episode after considering the "dark side" of the internet, drawing influence from Jennifer Ringley's JenniCam website. Avatar, the episode's antagonist, was based on real-life murderer the Zodiac Killer. "The Mikado" was seen by over five million households in its initial broadcast, and has received positive reviews from critics. ## Plot A group of friends browse the internet for pornography, finding a live stream of a woman bound to a chair. Behind her a number is painted on the wall; when the feed's web counter reaches the painted number, a masked man appears and cuts the girl's throat. The boys quickly print an image of the feed as proof of what they have seen, just before the website disappears. Millennium Group member Frank Black (Lance Henriksen) finds that police across the United States have received calls from witnesses to the killing. The police believe it to be a hoax but Black is convinced of its authenticity. He and fellow Group members Brian Roedecker (Allan Zinyk) and Peter Watts (Terry O'Quinn) identify the victim as Rebecca Damsen. Damsen's email correspondence leads them to a San Jose address; Watts finds the bodies of both the owner and Damsen in a nearby graveyard. By the bodies is another number, which they determine to be an IP address. The IP address leads to another live feed similar in nature to the first one. However, the chair is empty this time. There is another number painted on the wall, which Black recognizes as a case file number from his time in the FBI—the case concerned Avatar, a serial killer who was able to evade all attempts at capture. Avatar sends Black a coded message twice, and places a woman in the chair on the feed, keeping her face hidden. Roedecker realizes that, through image differencing, the two messages contain additional information—a sound clip from The Mikado, known to be Avatar's favourite operetta. Black determines that another set of numbers visible on the feed are latitude and longitude co-ordinates for San Francisco. The San Francisco Police Department are uncooperative, however. After Black, Roedecker and Watts attempt to keep the feed counter from rising by recreating the live feed and substituting it, the second girl is murdered before the feed's counter reaches the allotted number. Avatar leaves another clue after the killing, which leads to two further video feeds—one shows a third set like the others, again with an empty chair, while the other shows the exterior of a mobile home. Police are able to locate the mobile home, but an officer is killed by a shotgun rigged to the front door, before the trailer is obliterated by a series of explosions. Black travels to San Francisco, finding an abandoned theater whose marquee is displaying The Mikado. He is shot at by a masked gunman and gives chase; however, he soon sees that the attacker is another kidnap victim, a gun tied to her arm in an attempt to trick Black into shooting her. Watts tells Black that they found a charred body in the remains of the trailer, but Black tells him it is just another victim, and Avatar will most likely fall silent again - for a while. ## Production "The Mikado" is the first episode of Millennium to have been written by Michael R. Perry, who would go on to pen a further four episodes in the third season. The episode is the final one helmed by director Roderick J. Pridy, who had also taken the reins on "Covenant" in the first season. Perry was inspired to write the episode upon wondering whether the internet, about which he had only heard positive remarks, had a "dark side". He was shown Jennifer Ringley's JenniCam website, which provided a constant webcam view of her daily life, and wondered what sort of investigations would arise if a murder were witnessed on a similar broadcast. The other main inspiration for the episode was the real-life Zodiac Killer, who formed the basis for the fictional Avatar. Perry's script was later given a "polish" by executive producer James Wong, with Perry stating that roughly ninety percent of the material is his own work. Several women in the episode, including possible murder victims investigated by Black and Roedecker, are named after Perry's sisters. After principal photography had finished for the episode, additional inserts were shot to add more variety to scenes featuring a lot of dialogue; Perry noted that this was something he had learned about from Wong and felt the technique was put to "great use". Filming several of the episode's scenes, including the webcam feeds and footage Black watches of police officers investigating suspects was filmed in a deliberately low-resolution manner, on handheld cameras, as Perry felt footage that was too clean and high-quality would lessen the episode's tension, citing The Blair Witch Project as an example of how this approach has later been put to use. "The Mikado" featured Allan Zinyk's last appearance as Group member Brian Roedecker. Wong and fellow executive producer Glen Morgan wanted to sign Zinyk on for further appearances, but actor declined in order to pursue a career in the theatre in Toronto. ## Broadcast and reception "The Mikado" was first broadcast on the Fox Network on February 6, 1998. The episode earned a Nielsen rating of 5.4 during its original broadcast, meaning that 5.4 percent of households in the United States viewed the episode. This represented approximately 5.29 million households, and left the episode the seventy-eighth most-viewed broadcast that week. The episode received positive reviews from critics. The A.V. Club's Emily VanDerWerff rated the episode an A−, calling it "one of the strongest episodes of the season". VanDerWerff felt that the episode accurately depicted the general unease about the growing role of the internet in the late 1990s; she also reflected that it follows the "serial killer of the week" formula of the series' first season while retaining the second season's "more mystical, supernatural bent". Bill Gibron, writing for DVD Talk, rated the episode 4 out of 5, calling it "very compelling". Gibron compared the episode to the films Seven and 8mm; he also felt that the unresolved plot helped to temper concerns about Black's seeming infallibility. Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated "The Mikado" three-and-a-half stars out of five. Shearman felt that although the episode's details seem dated, its verisimilitude and enthusiasm helps to overcome this; he noted that the episode "turns us all into spectators, and turns death into performance art".	[ "## Plot", "## Production", "## Broadcast and reception" ]	1,522	9,334
11,466,703	Elizabeth F. Ellet	1,150,039,943	American writer, poet, translator	[ "1818 births", "1877 deaths", "19th-century American historians", "19th-century American poets", "19th-century American women writers", "American women historians", "American women poets", "Burials at Green-Wood Cemetery", "Catholics from New York (state)", "Converts to Roman Catholicism from Anglicanism", "Deaths from nephritis", "Historians from New York (state)", "Historians of the American Revolution", "People from Sodus, New York", "Women military writers" ]	Elizabeth Fries Ellet (née Lummis; October 18, 1818 – June 3, 1877) was an American writer, historian and poet. She was the first writer to record the lives of women who contributed to the American Revolutionary War. Born Elizabeth Fries Lummis, in New York, she published her first book, Poems, Translated and Original, in 1835. She married the chemist William Henry Ellet and the couple moved to South Carolina. She had published several books and contributed to multiple journals. In 1845, she moved back to New York and took her place in the literary scene there. She was involved with a public scandal involving Edgar Allan Poe and Frances Sargent Osgood and, later, another involving Rufus Wilmot Griswold. Ellet's most important work, The Women of the American Revolution, was published in 1845. The three volume book profiled the lives of patriotic women in the early history of the United States. She continued writing until her death in 1877. ## Early life Elizabeth Fries Lummis was born in Sodus Point, New York, on October 18, 1818. Her mother was Sarah Maxwell (1780–1849) the daughter of American Revolutionary War captain John Maxwell. During the Revolution, John Maxwell was lieutenant of the first company raised in Sussex County, New Jersey. He was promoted to captain and attached to the Second Regiment Hunterdon County Militia. He was also a captain in Colonel Spencer's regiment of the Continental Army from February 7, 1777, to April 11, 1778. He later joined the army of General George Washington as captain of a company of 100 volunteers known as Maxwell's Company. Her father was William Nixon Lummis (1775–1833), a prominent physician who studied medicine in Philadelphia under the famous Dr. Benjamin Rush. In the early part of 1800, Dr. Lummis left Philadelphia and purchased the Pulteney estate in Sodus Point, Wayne County, New York. Elizabeth Lummis attended Aurora Female Seminary in Aurora, New York, where she studied, among other subjects, French, German and Italian. Her first published work, at age 16, was a translation of Silvio Pellico's Euphemio of Messina. ## Career In 1835, Elizabeth Lummis published her first book, entitled Poems, Translated and Original, which included her tragedy, Teresa Contarini, based on the history of Venice, that was successfully performed in New York and other cities. Around this time she married William Henry Ellet (1806–1859), a chemist from New York City. The couple moved to Columbia, South Carolina, when he was made professor of chemistry, mineralogy and geology at South Carolina College in 1836. During this time, Ellet published several books. In 1839, she wrote The Characters of Schiller, a critical essay on the writer Friedrich Schiller including her translation of many of his poems. She wrote Scenes in the Life of Joanna of Sicily, a history of the lifestyles of female nobility, and Rambles about the Country, a lively description of the scenery she had observed in her travels through the United States, in 1840. She continued writing poems, translations and essays on European literature which she contributed to the American Monthly, the North American Review, the Southern Literary Messenger, the Southern Quarterly Review and other periodicals. Ellet wrote abundantly in a wide variety of genres. In 1845, Ellet left her husband in the south, moving back to New York City where she resumed her place as a member of literary society along with such writers as Margaret Fuller, Anne Lynch Botta, Edgar Allan Poe, Rufus Wilmot Griswold, Anna Cora Mowatt and Frances Sargent Osgood. ### Scandal During this time, Ellet was a participant in a notorious scandal involving Edgar Allan Poe and Frances Sargent Osgood, both of whom were married to others. Accounts of the particulars of the scandal and the sequence of events differ. At the time, Poe was at the height of his fame, thanks to his work "The Raven". A number of women in literary society sent him letters, including Ellet and Osgood. Some of the letters sent may have been flirtatious or amorous ones. Ellet also spent time with Poe discussing literary matters. It is possible that Ellet felt herself in competition with Osgood for Poe's affections. During this time, Poe had written several poems to and about Osgood, including "A Valentine". On one visit to Poe's home in January 1846, Ellet allegedly observed letters from Osgood, shown to her by Poe's wife Virginia, and subsequently advised Osgood to ask for their return, implying to Osgood that they were an indiscretion. On behalf of Osgood, Margaret Fuller and Anne Lynch Botta asked Poe to return the letters. Poe, angered by their interference, suggested that Ellet had better "look after her own letters". One such letter, written in German, asked Poe to "call for it at her residence this evening", a phrase presumably meant to be seductive, though Poe either ignored it or did not understand its meaning. He then gathered up these letters from Ellet and left them at her house. Despite her letters having been returned, Ellet asked her brother "to demand of me the letters". Her brother, Colonel William Lummis, did not believe that Poe had already returned them and threatened to kill him. In order to defend himself, Poe requested a pistol from Thomas Dunn English, who did not believe that Ellet ever sent Poe any letters. Osgood's husband, Samuel Stillman Osgood, threatened to sue Ellet unless she formally apologized. She retracted her statements in a letter to Osgood saying, "The letter shown me by Mrs Poe must have been a forgery created by Poe himself". She put all the blame on Poe, suggesting the incident was because Poe was "intemperate and subject to acts of lunacy." The rumor that Poe was insane was spread by Ellet and by other enemies of Poe and eventually reported in newspapers. After Osgood reunited with her husband, the scandal died down. Poe's sick wife Virginia, however, was deeply affected by the scandal. As early as July 1845 she had been receiving anonymous letters, possibly from Ellet, which reported her husband's alleged indiscretions. On her deathbed, Virginia claimed "Mrs. E. had been her murderer." As Poe described years later, "I scorned Mrs. E simply because she revolted me, and to this day she has never ceased her anonymous persecutions." It is believed that Poe wrote the short story "Hop-Frog" as a literary revenge on Ellet and others. ### The Women of the American Revolution Around 1846, Ellet began a major project in historical writing: to profile the life stories of women who sacrificed for, and were committed to, the American Revolution. She did this by searching out unpublished letters and diaries, and by interviewing descendants of Revolutionary era and frontier women, becoming the first historian of the Revolution to carry out such an effort. She noted the "abundance of materials for the [masculine] history of action" and attempted to add balance by telling the feminine side, referring to the founding "mothers" as giving "nurture in the domestic sanctuary of that love of civil liberty which afterwards kindled into a flame and shed light on the world". She found so much information about female patriots that the first edition of The Women of the American Revolution (1848) had to be published in two volumes. These volumes were well received, and a third volume of additional material was published in 1850. Later historians consider these volumes to represent her most important work. Ellet also authored Domestic History of the American Revolution summarizing the same material in narrative form and also published in 1850. Ellet told the stories of women from every colony and from all ranks of society, with the exception of African Americans, whose role she chose to ignore. Some of the women she wrote about, such as Martha Washington, Abigail Adams, Mercy Otis Warren and Ann Eliza Bleecker, among others, were famous in their own right. She also wrote of the women who were more obscure but equally valuable: the wives of heroes who, during the American Revolutionary War, raised children and defended their homes. She wrote, "It is almost impossible now to appreciate the vast influence of woman's patriotism upon the destinies of the infant republic." Anthologist and critic Rufus Wilmot Griswold had aided Ellet in the production of the book and granted her access to the records of the New-York Historical Society, of which he was a member. She did not acknowledge his assistance, angering the vindictive Griswold. In a review, Griswold said, "with the assistance of a few gentlemen more familiar than herself with our public and domestic experience, she has made a valuable and interesting work." ### Further work Now an established and respected author, Ellet went on to write Family Pictures from the Bible in 1849. In 1850 she wrote Evenings at Woodlawn, a collection of German legends and traditions, and Domestic History of the American Revolution, possibly the only history of the American Revolution told from the perspective of both men and women. From 1851 to 1857 she wrote Watching Spirits, Pioneer Women of the West, Novelettes of the Musicians and Summer Rambles in the West. This book was inspired by a boating trip along the Minnesota River in 1852. The local town, Eden Prairie, Minnesota, got its name from Ellet and has dedicated a nature trail in her honor. In 1857, Ellet published a 600-page encyclopedia of American home economics entitled The Practical Housekeeper. The guide, which seemed to target middle to upper class readers, was organized into three parts: cooking, housekeeping and pharmaceutical concerns. Its contents included thousands of recipes and advice with references to philosophers, scientists, and ancient civilizations. There were also five hundred wood-engraved illustrations. She wrote in the preface, "No complete system of Domestic Economy, within the limits of a convenient manual, has been published in this country." Later works included Women Artists in All Ages and Countries (1859), the first book of its kind to represent a history of women artists. She wroteThe Queens of American Society (1867), and Court Circles of the Republic (1869), a look at the social life of eighteen presidents from George Washington to Ulysses S. Grant. ## Later years In 1850, Ellet and her husband relocated to New York, where he spent his final years as a chemical consultant for the Manhattan Gas Company. Ellet became involved with the divorce case between Rufus Griswold and his second wife, Charlotte Myers, in 1852. Ellet and Ann S. Stephens wrote to Myers telling her not to allow the divorce, as well as to Harriet McCrillis, who intended to marry Griswold after the divorce, to end her relationship with him. After it was granted, Ellet and Stephens continued writing to Myers and persuaded her to repeal the divorce on September 23, 1853. On February 24, 1856, the appeal went to court, with Ellet and Stephens providing lengthy testimony against Griswold's character. Neither Griswold nor Myers attended and the appeal was dismissed. When Griswold died in 1857, Sarah Anna Lewis, a friend and writer, suggested that Ellet had worsened Griswold's illness and that she "goaded Griswold to his death". In 1857, Ellet replaced Ann Stephens as literary editor of the New York Evening Express. Ellet's husband died two years later in 1859. She continued to write, and, although they had no children, she promoted charities for impoverished women and children by speaking in public to raise funds. An Episcopalian most of her life, she converted to Catholicism in her later years. She died of Bright's disease in New York City on June 3, 1877, and was buried beside her husband at Green-Wood Cemetery in Brooklyn. ## Legacy Ellet was the first historian to write about the relationship of women to the American Revolution. She felt that women shaped history by their influence, which was done through "sentiment" and "feeling". This was so hard to define that she stated "History can do it no Justice". Her book The Women of the American Revolution is still studied. ## List of works List of works taken from MSU Historic American project. - Euphemio of Messina (1834) a translation - Poems, Translated and Original including the play Teresa Conarini (1835) - The Characters of Schiller (1839) - Joanna of Sicily (1840) - Rambles about the Country (1840) - The Women of the American Revolution (1848–50) (3 volumes) - Evenings at Woodlawn (1849) - Family Pictures from the Bible (1849) - Domestic History of the American Revolution (1850) - Watching Spirits (1851) - Nouvelettes of the Musicians (1851) - Pioneer Women of the West (1852) - Summer Rambles in the West (1853), - The Practical Housekeeper (1857) - Women Artists in All Ages and Countries (1859) - The Queens of American Society (1867) - Court Circles of the Republic (1869)	[ "## Early life", "## Career", "### Scandal", "### The Women of the American Revolution", "### Further work", "## Later years", "## Legacy", "## List of works" ]	2,870	25,460
63,098,166	Paz Vizsla	1,167,514,347	Star Wars character	[ "Fantasy television characters", "Fictional gunfighters in television", "Fictional knife-fighters", "Fictional marksmen and snipers", "Fictional space pilots", "Male characters in television", "Television characters introduced in 2019", "The Book of Boba Fett characters", "The Mandalorian characters", "Western (genre) gunfighters", "Western (genre) outlaws" ]	Paz Vizsla is a fictional character in the Star Wars franchise. He first appeared in the first season of the Disney+ television series The Mandalorian as a member of the same tribe of Mandalorian warriors in service of the Armorer as the titular character, with whom Vizsla initially clashes with but later assists in repelling a remnant of the Galactic Empire. The two had another altercation in the spin-off series The Book of Boba Fett over ownership of the Darksaber, a legendary lightsaber forged by Paz's ancestor, Tarre Vizsla. He then returned in the third season of The Mandalorian, in which he dies protecting Bo-Katan Kryze. Encased in physically imposing Beskar armor, Paz Vizsla is a heavy infantry warrior who uses a large, minigun-like blaster as well as a jet pack. Physically portrayed by Tait Fletcher, a stunt performer and former mixed martial artist, the character was voiced by Jon Favreau, the creator and showrunner of The Mandalorian; Favreau previously voiced Pre Vizsla, another member of House Vizsla, in the computer-animated television series Star Wars: The Clone Wars. In-universe, Vizsla is the name of one of the largest Mandalorian clans. Paz Vizsla has received a positive response from fans and reviewers. Action figures and other merchandise of the character have been produced and sold. The character's name was initially misspelled as Paz Vizla onscreen and in marketing materials for the first season of The Mandalorian, before being corrected for the character's reappearance in The Book of Boba Fett. ## Appearances Paz Vizsla is a member of The Children of the Watch, a secret enclave of Mandalorian warriors on the planet Nevarro led by the Armorer, during the events of the first season of The Mandalorian. The Mandalorians are in hiding after having suffered persecution by the Galactic Empire, and although the Empire has fallen out of power by this time, the tribe has not yet regained its former status. Vizsla is a heavy infantry warrior who uses a large, minigun-like blaster as well as a jet pack. He appears in the episode "Chapter 3: The Sin". When the show's title character, a bounty hunter named Din Djarin, brings Beskar steel to the Armorer for her to forge him new armor, Vizsla observes that the steel was provided by a remnant of the Empire. Vizsla criticises Djarin for collaborating with Imperials, and the two have a brief knife fight which is broken up by the Armorer. Later in the episode, when Djarin is attacked by multiple bounty hunters after he rescued an alien child from an Imperial remnant, Vizsla and multiple Mandalorian warriors surface to assist him. As a result of revealing their presence, the Mandalorian tribe is later destroyed by the Imperials, though the Armorer notes that some of them managed to escape off-world. A pile of helmets belonging to the slain warriors is shown in the season finale "Chapter 8: Redemption", and fans noted that Vizsla's helmet was not among them, suggesting his possible survival. Paz Vizsla's survival is confirmed in the episode "Chapter 5: Return of the Mandalorian" of the spin-off series The Book of Boba Fett, where he and the Armorer have relocated to a new enclave beneath the massive space station city of Glavis. Djarin reunites with them at the new covert and presents the Darksaber, an ancient Mandalorian lightsaber that gives its wielder the right to claim rule over Mandalore, that he won in combat against Moff Gideon. Vizsla declares the Darksaber his birthright as it had been crafted by his ancestor, the Mandalorian Jedi Tarre Vizsla, and challenges Djarin to a duel. Although Paz loses, he denounces Djarin as an apostate upon learning that he previously broke the Mandalorian Creed by removing his helmet. Vizsla orders him to leave, which the Armorer upholds, but allows Djarin take the Darksaber with him. Vizsla returns in the third season The Mandalorian episode "Chapter 17: The Apostate", attending the initiation of his son Ragnar as a Mandalorian on a new covert planet where their enclave has moved. In "Chapter 19: The Convert", he witnesses the induction of Bo-Katan Kryze into his enclave and Din Djarin's redemption for breaking the Creed. In "Chapter 20: The Foundling", Paz is overseeing the training of young initiates when Ragnar is kidnapped by a pterodactyl-like creature. Paz and Djarin pursue the beast on their jetpacks only to run out of fuel. Bo-Katan is able to track the creature and rouses a rescue party, which Paz joins and consents the role of squad leader to her. Paz gets captured by the creature at her nest but is rescued by Kryze while Djarin rescues Ragnar. In "Chapter 23: The Spies", both the Nite Owls and the Children of the Watch tribes unite in order to reclaim Mandalore, requiring them to travel to the Great Forge alongside survivors from the planet's purge. However, the war party is ambushed by Moff Gideon's forces and subsequently trapped. In order to allow the others to escape, Paz remains to hold off their ambushers, where he is ultimately killed by Praetorian Guards. ## Characterization Paz Vizsla is physically imposing, displaying great height and tremendous strength. Tough and aggressive, he is good in a fight, as seen by his efficiency in attacking and repelling multiple bounty hunters during the climactic scene in "Chapter 3: The Sin". Vizsla has a confident personality and is more outspoken than most of the other Mandalorians in his tribe; Scott Snowden of Space.com called him "the alpha-Mandalorian in the room". He despises the Galactic Empire due to its persecution of the Mandalorian people. His hatred for the Empire runs so deep that he opposes any collaboration or association with them whatsoever. This distinguishes him from the show's title character, who reluctantly accepts a bounty hunting assignment from Imperials, a decision that ultimately leads to a brief physical skirmish between him and Vizsla. However, Vizsla has a respect for both his tribe and Mandalorian culture that supersedes his feelings of distaste toward the Empire. He willingly steps down from his confrontation with Din Djarin when the tribe's leader, the Armorer, reminds them of the moral code and way of the Mandalorian people. Despite their differences, Vizsla and Djarin display a mutual respect for each other. This is demonstrated when Vizsla places his own safety and that of his tribe at risk to help Djarin at the end of "Chapter 3: The Sin". When Djarin notes that this would place the sanctuary of the tribe's enclave at risk, Vizsla responds with the clan's credo, "This is the Way". Snowden called this "a genuine lump-in-the-throat moment as the Mandalorian's comrades have sacrificed everything to help the bounty hunter do the right thing". Din Djarin later returns the favor in "Chapter 20: The Foundling", in which he helps Vizsla rescue his son from a flying creature. ## Portrayal For The Mandalorian's first and third seasons and in The Book of Boba Fett, Paz Vizsla was voiced by Jon Favreau, the show's creator and showrunner. Favreau previously voiced another member of House Vizsla, the Mandalorian warlord Pre Vizsla, in the computer-animated television series Star Wars: The Clone Wars. In-universe, Vizsla is the name of one of the largest Mandalorian clans. Paz Vizsla is physically portrayed by Tait Fletcher, a stunt performer and former mixed martial artist, whose face remains concealed by Vizsla's helmet. Fletcher also appeared in the series premiere "Chapter 1: The Mandalorian", in which he played an unnamed man who gets into a bar fight with the Mandalorian. That was the role that Fletcher initially accepted when he joined The Mandalorian, and was not aware he would also be playing Paz Vizsla until later. He described Vizsla as "a galvanizing character that really exposes the ferocity and dignity with which we hold the Code of the Mandalorians." Despite never being referred to by name in "Chapter 3: The Sin", the character was identified as "Paz Vizla" in the closing credits. He was subsequently renamed "Paz Vizsla" (the previous surname confirmed as a typo) in merchandise and for his reappearance in The Book of Boba Fett. ## Critical reception Paz Vizsla has received a positive response from fans and reviewers. Inverse writer Jake Kleinman called him a "fan-favorite character" who "made a big splash" despite his relatively brief screen time, particularly describing his salute to the Mandalorian as an "iconic" moment. Bayani Miguel Acebedo of Epicstream described him as "undoubtedly one of the more memorable Mandos in the show". James Whitbrook of Gizmodo called him a "badass character" and "unsung hero" of the series who "looks cool as hell". Niner Times writer Noah Howell called the character "just the best", and particularly praised the scene in which Vizsla and the other Mandalorians rescue the protagonist at the end of "Chapter 3: The Sin". A headline for a /Film story by Ethan Anderton described him as an "awesome new The Mandalorian character that isn't Baby Yoda". Christopher Marc of HN Entertainment called Vizsla an "interesting new character" who he hopes to see again. Scott Snowden of Space.com said he "looks like the product of a marriage twixt Boba Fett and War Machine". ## Merchandise An action figure of Paz Vizsla has been released by Hot Toys, though it is identified only as "Heavy Infantry Mandalorian". The figure is 12.5 in (32 cm) in height, taller than most Star Wars Hot Toys figurines due to the character's larger size, and includes such accessories as a minigun blaster, alternate hands, a knife, a themed base to pose him upon, and special effects pieces for his jetpack to simulate rocket blasts. Additionally, a Funko Pop figurine of Paz Vizsla was announced on December 31, 2019. Hasbro also released a 6 in (15 cm) action figure of Paz Vizsla as part of the company's Star Wars: The Black Series toy line.	[ "## Appearances", "## Characterization", "## Portrayal", "## Critical reception", "## Merchandise" ]	2,235	17,029
5,396,353	Our Man Bashir	1,146,102,332	null	[ "1995 American television episodes", "Holography in television", "Star Trek: Deep Space Nine (season 4) episodes", "Television episodes written by Ronald D. Moore" ]	"Our Man Bashir" is the 82nd episode of the American science fiction television series Star Trek: Deep Space Nine, the tenth of the fourth season. It originally aired on November 27, 1995, in broadcast syndication. Directed by Winrich Kolbe, the story originated from a pitch by Assistant Script Coordinator Robert Gillan and was turned into a script by producer Ronald D. Moore. Both hairdressing in the episode and the score by Jay Chattaway were later nominated for Emmy Awards. The episode's plot involves the combination of two much-used Star Trek plot devices: a transporter accident and a holodeck malfunction. Set in the 24th century, the series follows the adventures on Deep Space Nine, a space station located near a stable wormhole between the Alpha and Gamma quadrants of the Milky Way Galaxy. In this episode, Dr. Julian Bashir (Alexander Siddig) plays a 1960s secret agent in a holosuite game, accompanied by his friend Garak (Andrew Robinson), who is himself a former spy. After a transporter accident, the physical likenesses of several crew members are temporarily stored as characters in the holosuite memory; Bashir and Garak must prevent any of them from dying in the game or else they will be lost to the real world. The production team had deliberately avoided episodes centering on holodeck malfunctions as they felt they had been overused on Star Trek: The Next Generation. However, Gillan pitched the circumstances that caused the issue seen in the episode and Moore came up with the 1960s setting. Although the episode takes its title from Our Man Flint, a major inspiration for the story was the James Bond films. This obvious influence resulted in Metro-Goldwyn-Mayer complaining to the studio, and later references to Bashir's holosuite game in the episode "A Simple Investigation" were toned down. "Our Man Bashir" received Nielsen ratings of 6.8 percent, and while the episode was mostly praised by reviewers, with particular attention paid to the performance of Avery Brooks, there was some criticism levelled at the depiction of women. ## Plot Dr. Julian Bashir is playing a holosuite game in which he portrays a glamorous secret agent in 1964. His friend Elim Garak, a former spy, tags along. Meanwhile, the other officers of Deep Space Nine are rescued from the explosion of a runabout by Cmdr. Eddington, who beams them out in the nick of time. The transporter is damaged by the explosion, and Eddington must store their patterns in the station's computer memory. Their physical patterns end up in the computer controlling the holosuite, appearing as characters in Bashir's simulation. Eddington informs Bashir that he can't shut down the program or let the characters die, or else the patterns of the crew members may be deleted. Making matters worse, the holosuite safeties are disabled, meaning Bashir and Garak could be hurt or killed by the game. In the game, a Russian spy, Anastasia Komananov, appears with Major Kira's likeness. Komananov explains that a mad scientist, Dr. Noah, is kidnapping elite scientists; Bashir's orders are to rescue Professor Honey Bare (Jadzia Dax). After escaping the assassin Falcon (Miles O'Brien), Bashir, Garak and Komananov go to a casino to speak to Noah's associate Duchamps (Worf). After a game of baccarat, Duchamps drugs the trio, knocking them out. They awaken in Dr. Noah's lair on Mount Everest. Noah (Captain Sisko) explains his plan to flood the rest of the world, wiping out the human race except for his kidnapped scientists. He has Bashir and Garak handcuffed to an underground laser that will flood the chamber with lava in five minutes. As the time ticks down, Bashir flirts with Prof. Bare, and she slips him a key. Bashir frees himself and Garak, who protests that continuing the simulation is too dangerous. Garak is about to close the program, potentially killing the other crew members, when Bashir shoots him, grazing him with a bullet. Garak is shocked, but impressed, and agrees to continue. They burst into Noah's study, and Eddington tells them he will attempt to rescue Sisko and the others in two minutes. To gain time, Bashir hits the button to activate Noah's plan, flooding the Earth. As he had not expected to actually win, the shocked Dr. Noah is still about to shoot Bashir, but before he can pull the trigger, Eddington beams the crew's patterns out of the holosuite. Bashir and Garak end the program with relief, Garak commenting that Bashir "saved the day by destroying the world". ## Production Story editor René Echevarria was keen not to have a damaged holodeck story appear, as he felt it had been overdone in Star Trek: The Next Generation. It was specified in the information sheet sent to freelance writers that Deep Space Nine was not accepting stories involving malfunctioning holodecks. Producer Ira Steven Behr explained that the show had been looking for a unique holodeck story that would be specifically for Deep Space Nine rather than Sherlock Holmes and Dixon Hill detective stories seen in The Next Generation. Whilst Bashir and O'Brien's adventures in the holosuites in the Battle of Britain and the Battle of Clontarf have been mentioned in episodes, they were simply too expensive to be shown on screen effectively. But Behr felt that the story for "Our Man Bashir" was within the budget of the show. The story was initially pitched to Echevarria by Robert Gillan, who was on the staff of Deep Space Nine as Assistant Script Coordinator. Echevarria was immediately convinced, and told Behr about the story who was equally as enthusiastic. In Gillan's original pitch, there wasn't a specific setting clearly set out, but Behr and Echevarria were sold on the idea that nothing went wrong with the holosuites — it was simply where the computer decided to store the information following a transporter accident. Producer Ronald D. Moore came up with the 1960s setting, as he felt it was appropriate since Garak was a spy for the Cardassian Obsidian Order. He wrote the teleplay, and based it on a variety of sources including James Bond, Our Man Flint, The Man from U.N.C.L.E., and The Wild Wild West. He later explained that he "loved all of them as a kid. They had a certain panache. I loved writing that episode." Some of the elements were suggested by other staff members, with Robert Wolfe naming Colonel Anastasia Komananov and Behr changing Suzie Luvsitt to Mona Luvsitt. Metro-Goldwyn-Mayer was later not pleased with the James Bond-style approach, and when Bashir's spy program appeared in the later episode "A Simple Investigation", the references were more generic. Dennis Madalone managed to save some time during the production as one of the shots involved Bashir seeing Falcon approach him from behind by seeing his reflection in a bottle of champagne. After time was already scheduled to attempt the shot, Madalone explained to the director that he could take the filmed sequence and digitally manipulate it onto the bottle. Madalone was also responsible for firing a cork from a bottle at Colm Meaney's head from off screen to make it appear as if Bashir did it, and managed to do it on the first take. "Our Man Bashir" was the longest shoot of any single episode of Deep Space Nine, taking nine days to film instead of the normal seven. The episode required a great deal of stunt work and special equipment, such as stuntmen going through tempered glass instead of sugar glass because of the better glass breaking effect. There was a great deal of new sets used as well, which each took longer to set up camera and lighting for as the crew were not as familiar with them as the standing sets. The backdrop used for Mount Everest was rented, but the crew realised it lacked snow so they had to modify it and then return it to the original condition afterwards. The majority of the 1960s style technologies such as Dr. Noah's base, were all custom built in house and where parts moved they were generally manually operated off screen. Art director Herman Zimmerman said that "Everything that could be manually operated was, because the brain is still smarter than most computers and you can still do some things faster by hand." ## Reception "Our Man Bashir" was first broadcast on November 27, 1995, in broadcast syndication. It received Nielsen ratings of 6.8 percent, placing it in eighth place in its timeslot and lower than the episode that aired the previous week, "The Sword of Kahless", which gained a rating of 6.9 percent. "Our Man Bashir" was the final new episode of Deep Space Nine to air in 1995, with repeats running until "Homefront" aired on January 1, 1996, with ratings of 6.8 percent. Zack Handlen of The A.V. Club compared "Our Man Bashir" to "Little Green Men" from earlier in the season, saying that this episode was "better paced". Another comparison made was to The Next Generation's "Hollow Pursuits", saying that "instead of [Reginald] Barclay using the holodeck to enact his fantasies with people he can't bear to deal with in real life, Bashir is forced to keep his made up world going if he wants to save the lives of his friends". Handlen also praised the relationship between Bashir and Garak in the episode, and said "Our Man Bashir" demonstrates their characterisation. In Michelle Erica Green's review for TrekNation, she criticised the role of women in the episode, saying that they fared better in the James Bond movies. She also thought that taking the out-of-character element of the episode repeated elements seen in several episodes during the previous season, but praised the acting on the part of Avery Brooks and that Garak was "born to play a Bond sidekick". Keith DeCandido, writing for Tor.com, said that it was obvious that the actors enjoyed their new parts in this episode and said of the episode, "holy crap is it fun". In particular, he praised both Avery Brooks and Nana Visitor in their Bond-esque roles, saying that Brooks made a villain on par with those played by Donald Pleasence, Christopher Lee, and Javier Bardem. DeCandido gave "Our Man Bashir" a rating of nine out of ten. In a list of the top 100 episodes of the Star Trek franchise, "Our Man Bashir" was placed in 77th place by Charlie Jane Anders at io9. She noted it as being one of goofiest Deep Space Nine episodes. In 2012, Den of Geek ranked this the seventh best episode of Star Trek: Deep Space Nine. A 2015 binge-watching guide for Star Trek: Deep Space Nine by WIRED recommended not skipping this essential episode. In 2016, Empire ranked this the 23rd best out of the top 50 episodes of all the 700 plus Star Trek television episodes. In 2020, Io9 said this was one of the "must watch" episodes from the series. ### Awards The episode was nominated for two Emmy Awards, in the categories "Outstanding Music Composition for a Series" (for the score by Jay Chattaway) and "Outstanding Hairstyling for a Series". ## Home media release The first home media release of "Our Man Bashir" was as a two-episode VHS cassette alongside "The Sword of Kahless" in the United Kingdom on June 13, 1996, followed in the United States and Canada by a single-episode release on October 3, 2000. It was later released on DVD as part of the season four box set on August 5, 2003.	[ "## Plot", "## Production", "## Reception", "### Awards", "## Home media release" ]	2,494	21,637
8,522,234	The Essential Barbra Streisand	1,151,315,769	null	[ "2002 greatest hits albums", "Barbra Streisand compilation albums", "Columbia Records compilation albums" ]	The Essential Barbra Streisand (retitled The Ultimate Collection in some European countries) is the fifth greatest hits album by American singer Barbra Streisand, released on January 29, 2002, by Columbia Records. The compilation features 38 songs from Streisand's catalog, in addition to two previously unreleased tracks (covers of "Someday My Prince Will Come" and "You'll Never Walk Alone"). It includes material from 26 of the singer's albums and was described as a collection of, mainly, her pop songs. A reissued version of the compilation was distributed by Columbia and Legacy Recordings in 2008 and includes a bonus disk featuring nine additional songs from Streisand's discography. Critically, the album was noted for being a comprehensive and complete view of her discography, unlike her previous greatest hits releases. It topped the charts in Ireland, Scotland, and the United Kingdom, and peaked at number 15 on the Billboard 200 in the United States. The Essential Barbra Streisand also reached the top ten in several countries and was included on four year-end lists. The album has since been certified Platinum in Australia, Europe, New Zealand, Spain, and the United States, and multi-platinum in the United Kingdom. ## Background and development The Essential Barbra Streisand was released on January 29, 2002, by Columbia Records. A compilation of Streisand's "pop-oriented performances", the collection contains two discs featuring 38 songs from Streisand's discography. Representing 26 albums from her career, the first-recorded song included on The Essential Barbra Streisand is "A Sleepin' Bee" from The Barbra Streisand Album (1963), while the most recent track featured is "I've Dreamed of You" from A Love Like Ours (1999). In addition, Streisand included two previously unreleased tracks on the second disc, covers of "Someday My Prince Will Come" and "You'll Never Walk Alone". William Ruhlmann from AllMusic suggested that the former song was recorded during sessions for A Love Like Ours while the latter was meant for her twenty-seventh studio album, Higher Ground (1997). In some European countries, the album was released under the title The Ultimate Collection with an identical track listing. The Essential Barbra Streisand was reissued on September 30, 2008, through a co-partnership between Columbia Records and Legacy Recordings. The new version featured a bonus third disk with seven more songs from Streisand's back-catalog and two live renditions. ## Critical reception The Essential Barbra Streisand was given a perfect five star rating by AllMusic's William Ruhlmann. He felt that Streisand's discography had not been detailed well on her previous compilations and considered The Essential Barbra Streisand to be the best choice for fans not willing to purchase the expensive box set Just for the Record... (1992). Considering its comprehensiveness, Ruhlmann praised the album's inclusion of her eleven top ten hits and nearly all of her top 40 hits. Tom Santopietro, author of The Importance of Being Barbra: The Brilliant, Tumultuous Career of Barbra Streisand, was disappointed by Streisand's decision to release two greatest hits albums in the same year (the other being Duets). Describing her action as "cynical", he wrote: "At this point, even the most die-hard Streisand fan could be forgiven for expressing frustration at yet another release of 'People' and 'The Way We Were'." However, he praised the inclusion of "Someday My Prince Will Come" and "You'll Never Walk Alone", calling them both "extraordinary" cover tracks. In addition to The Barbra Streisand Album and Stoney End (1971), Phyllis Fulford and Michael Miller, authors of the 2003 book The Complete Idiot's Guide to Singing, listed The Essential Barbra Streisand as one of the singer's "CDs that best represent [her] more pop-oriented performances". ## Commercial performance The Essential Barbra Streisand entered the Billboard 200 at number 15, its peak position, during the week of February 16, 2002. It was the chart's second highest entry of the week, just behind the soundtrack to the 2002 film State Property, which debuted at number 14. It spent a total of nine weeks on the Billboard 200. On March 15, 2002, it was certified Gold as a multi-disk package by Recording Industry Association of America (RIAA) for physical shipments of 250,000 copies; its certification was then upgraded to Platinum, signifying shipments of 500,000 copies, on October 17, 2003. As of June 22, 2007, The Essential Barbra Streisand has sold 506,000 copies in the United States. Elsewhere in North America, it debuted in Canada at number 73 according to the chart published by Nielsen SoundScan. In Europe, The Essential Barbra Streisand topped the charts in several countries and has been certified Platinum by the International Federation of the Phonographic Industry for sales upwards of one million. According to the Official Charts Company, it topped the charts in both Scotland and the United Kingdom. In the latter country, the compilation spent 49 weeks charting and was ranked on the year-end sales charts for both 2002 and 2003 at positions 36 and 192, respectively. It was later certified double-platinum by the British Phonographic Industry for shipments of 600,000 copies. In the same continent, The Essential Barbra Streisand (or The Ultimate Collection in some European territories) topped the Irish Albums Chart, and reached the top ten in Belgium, Denmark, Finland, Germany, Greece, the Netherlands, Norway, and Sweden. In Oceania, the album peaked in Australia and New Zealand at numbers 5 and 3, respectively. Both countries issued the compilation double Platinum and platinum respectively. When the album was reissued in 2007 and 2008 in several European countries, it debuted on the album charts in Austria, Italy, and Spain. In the first country, it reached the top twenty and peaked at number 11, and in Italy it peaked at number 75. In Spain, the album originally peaked at number 14 but reentered in 2013 at number 85. ## Track listing ## Personnel Personnel adapted from AllMusic. - Barbra Streisand – arranger, composer, executive producer, primary artist, producer - Walter Afanasieff – arranger, composer, producer - Milton Ager – composer - Harold Arlen – composer - Billy Barnes – composer - Richard Baskin – producer - Alan Bergman – composer, producer - Marilyn Bergman – composer, producer - Michael Berniker – producer - Leonard Bernstein – composer - Don Black – composer - David Caddick – conductor - Charles Calello – arranger, producer - Ann Hampton Callaway – composer - John Cameron – orchestration - Truman Capote – composer - Jacques Charles – composer - Frank Churchill – composer - Grant Clarke – composer - Don Costa – arranger, conductor - David Cullen – orchestration - Nick DeCaro – arranger - Neil Diamond – composer, guest artist, performer - Céline Dion – guest artist, performer - Bob Esty – arranger, composer, conductor, producer - Peter Fletcher – project manager - David Foster – arranger, composer, producer - Ian Freebairn-Smith – arranger - Albhy Galuten – producer - Bob Gaudio – producer - Barry Gibb – composer, guest artist, performer, producer - Maurice Gibb – composer - Robin Gibb – composer - Jack Gold – producer - Wally Gold – producer - Alan Gordon – composer - Arthur Hamilton – composer - Marvin Hamlisch – composer - Oscar Hammerstein II – composer - Christopher Hampton – composer - James F. Hanley – composer - Charles Hart – composer - Jack Hayes – string arrangements - Rupert Holmes – arranger, conductor, producer - Paul Jabara – composer, vocal arrangements - Buddy Johnson – composer - Gary Klein – producer - Charles Koppelman – executive producer - Jay Landers – executive producer - Burton Lane – composer - Robert John "Mutt" Lange – arranger, composer - Michel Legrand – arranger, composer, conductor, producer - Alan Jay Lerner – composer - Jeffrey Lesser – producer - Ira Levin – composer - Alan Lindgren – arranger, conductor - Mort Lindsey – arranger, conductor - Tommy LiPuma – producer - Andrew Lloyd Webber – composer, orchestration, producer - Rolf Løvland – composer - Jeremy Lubbock – conductor, orchestration - Stephen Marcussen – mastering - Greg Mathieson – arranger, conductor - Peter Matz – arranger, conductor, executive producer, orchestration, producer - Bob Merrill – composer - Robert Mersey – producer - Larry Morey – composer - Jürg Morgenthaler – composer - Jerome Moross – composer - Trevor Nunn – composer - Laura Nyro – composer - Gene Page – arranger - Marty Paich – arranger, producer - Richard Parker – composer - Richard Perry – producer - Channing Pollack – composer - Phil Ramone – producer - Gabrielle Raumberger – art direction - Karl Richardson – producer - Nelson Riddle – arranger, conductor - Bruce Roberts – composer, vocal arrangements - Richard Rodgers – composer - Sigmund Romberg – composer - William Ross – arranger, conductor, orchestral arrangements, producer - Milton Schafer – composer - Walter Scharf – arranger, conductor - Cliff Singontiko – design - Stephen Sondheim – composer - Alan Stein – A&R - Richard Stilgoe – composer - Jule Styne – composer - Donna Summer – guest artist, performer - Linda Thompson-Jenner – composer - Jonathan Tunick – arranger, conductor - Luther Waters – vocal arrangements - Bobby Whiteside – composer - Stewart Whitmore – digital editing - Albert Willemetz – composer - Patrick Williams – arranger, conductor - Paul Williams – composer - Stevie Wonder – composer - Nigel Wright – producer - Jack Yellen – composer - Maurice Yvain – composer ## Charts ### Weekly charts ### Year-end charts ## Certifications and sales ## Release history ## See also - List of UK Albums Chart number ones of the 2000s	[ "## Background and development", "## Critical reception", "## Commercial performance", "## Track listing", "## Personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications and sales", "## Release history", "## See also" ]	2,389	6,643
40,771,727	Zdenko Blažeković	1,163,760,236	Croatian fascist (1915–1947)	[ "1915 births", "1947 deaths", "Croat politicians from Bosnia and Herzegovina", "Croatian Peasant Party politicians", "Croatian collaborators with Fascist Italy", "Croatian men's footballers", "Croatian nationalists", "Croatian people convicted of war crimes", "Executed Croatian collaborators with Nazi Germany", "Executed mass murderers", "Genocide of Serbs in the Independent State of Croatia perpetrators", "HAŠK players", "Men's association football goalkeepers", "People extradited to Yugoslavia", "People from the Condominium of Bosnia and Herzegovina", "Politicians from Bihać", "Ustaše", "World War II prisoners of war held by the United States" ]	Zdenko Blažeković (23 September 1915 – 12 January 1947) was a Croatian fascist official who held several posts in the World War II Ustaše regime in the Independent State of Croatia (NDH). He was the student commissar at the Ustaše University Centre (USS), leader of the male Ustaše Youth organisation and a sports commissioner in the NDH. Born in the town of Bihać, he graduated from high school in Osijek before applying to join a polytechnic college in Zagreb with the intention of becoming a builder. He was a member of various Croatian cultural and athletic organizations during his youth, and even played as goalkeeper for Hajduk Osijek and HAŠK football clubs. Briefly a member of the conservative Croatian Peasant Party (HSS), Blažeković was imprisoned several times by the Yugoslav authorities because of his involvement with various Croatian youth organizations which saw him often involved in clashes with left-wing students. He joined the far-right Ustaše in 1939, and following the Axis invasion of Yugoslavia and the establishment of the Ustaše-led NDH in April 1941, went on to be appointed to the newly formed Ustaše supervisory committee by Slavko Kvaternik. That same month he also became the leader of the Ustaše University Headquarters and the Ustaše Youth, charged with organizing student bodies at the University of Zagreb and promoting Ustaše's policy of preventing all non-Croats from attending universities in the country. In 1942 he was involved in the formation of the 13th Ustaše Assault Company and by 1943 had attained a seat in the Croatian Parliament. Between 1942 and 1943 he was involved in recruiting students to join Ante Pavelić's personal bodyguard and was promoted to the rank of major. He held the position of head of the Ustaše University Headquarters and Ustaše Youth until January 1945, when he was appointed Commissioner for Physical Education and Sport. Blažeković fled Zagreb from the advancing Yugoslav Partisans in May 1945 and ended up in a refugee camp in Salzburg, Austria. In August, he was arrested by American forces who extradited him to Yugoslavia on 12 February 1946. He was tried in Zagreb on 12 January 1947, sentenced to death, and executed the same day. ## Early life and family Zdenko Blažeković was born on 23 September 1915 in the town of Bihać, the son of local politician Emilijan "Milan" Blažeković. Ethnically Croat, the Blažeković family was descended from 15th century tribesmen in the town of Livno. Blažeković finished high school in Osijek and later applied to join a polytechnic college in Zagreb with the intention of becoming a builder. In 1935, he became a member of the "Croatian Academic Society August Šenoa" (Croatian: Hrvatsko akademsko društvo August Šenoa, HADAŠ) and by 1936 he became its vice-president. A versatile athlete, he played as goalkeeper for the football clubs Hajduk in Osijek and HAŠK in Zagreb. He also played tennis and was one of the founders of the Drava rowing club in Osijek. For a short period of time, Blažeković was a member of the Croatian Peasant Party (Croatian: Hrvatska seljačka stranka, HSS). After leaving the party, he became involved in various Croatian youth organizations and was imprisoned several times in Zagreb and Osijek as a result. During this time, he was also involved in numerous violent confrontations with Communist students. After attending a public celebration of HSS leader Vladko Maček's birthday on 20 June 1935, Blažeković was imprisoned by Yugoslav authorities and tortured for twelve days in prison on the island of Korčula. He was subsequently taken to Dubrovnik and charged with conspiring against the Yugoslav state but was not convicted. In 1939, he joined the Ustaše, a Croatian fascist organization which advocated armed struggle in achieving Croatia's independence from the Kingdom of Yugoslavia. During this period, he came into contact with the fascist leader Slavko Kvaternik. From late 1940 to early 1941, Blažeković was pursued by Yugoslav authorities because of his association with the Ustaše and hid in Zagreb to avoid capture. ## World War II ### Invasion of Yugoslavia On 6 April 1941 Axis forces invaded Yugoslavia. Poorly equipped and poorly trained, the Royal Yugoslav Army was quickly defeated. The country was then dismembered by the occupying forces and the extreme nationalist and fascist Croat leader of the Ustaše Ante Pavelić – who had been in exile in Benito Mussolini's Italy – was appointed Poglavnik (leader) of a newly established Ustaše-led Croatian state, the Independent State of Croatia (Croatian: Nezavisna Država Hrvatska or NDH). The NDH combined almost all of present-day countries of Croatia and Bosnia and Herzegovina, as well as parts of Serbia, into what was described as an "Italian-German quasi-protectorate". Under the Ustaše regime, genocidal policies were implemented and directed against the Serb, Jewish and Romani populations living within the country. ### Command of the Ustaše University Centre and Ustaše Youth On 11 April, Kvaternik named Blažeković to the newly formed Ustaše supervisory committee. On 23 April, Blažeković led a crowd of more than 1,100 Croatian students as they gathered in the courtyard of the University of Zagreb before going to St. Mark's Square in central Zagreb to watch Pavelić give a speech. Here, Blažeković and the students swore loyalty to the Poglavnik and the NDH. In a speech of his own, Blažeković told Pavelić that he and the students were ready to follow him "in life and death". When the Ustaše supervisory committee was disbanded on 9 May, Blažeković was named a commissioner in the main headquarters of the NDH. That same month, he was named the commander of the Ustaše University Headquarters (Croatian: Ustaški sveučilišni stožer, USS). Although this organization technically required all students in the NDH to become members, most kept away from membership. Increasingly, the USS became a wing of the NDH's student elite with strict rules of membership and privileges, with members attending rallies at which Pavelić spoke and wearing Ustaše uniform. In an interview with Novi list, Blažeković stated that all work at the University of Zagreb would be "in harmony with the new Ustaša spirit ... with which youth had been imbued for years in the decades when the university was the "battleground" of the Croatian struggle for liberation." He went on to say that the first priority of the USS was to be the social welfare of students and the expansion of student dining rooms and residential halls. He declared that the structure of the university would change to conform with Ustaše principles – each faculty would have its own camp, consisting of a camp leader and seven adjutants responsible for military training, socio-economic welfare, contacts, sports, professional training, education and journals. Blažeković explained that for the first year of academic study, the university would employ "veteran warriors" as teachers who were to be replaced by fully trained "younger forces" who had spent the previous year preparing for their new roles. Furthermore, he stated that student volunteers would collaborate in the creation and popularization of the USS and other Ustaše organizations, which, once they had established themselves in university life, were to establish a professional, non-ideological student organization meant to incorporate all Croatian students. When asked if Serbs and Jews were to be permitted to attend universities in the NDH, Blažeković replied: "In the coming academic year, the university will be swept clean of foreigners hostile to Croatians and the Ustaše movement, and in this way our endeavours at the university will be made easier." Later, while dining with the wife of a Swedish diplomat, Blažeković boasted of the large number of Serbs he had killed, claiming that he placed the ears of murdered Serbs on a necklace worn over his smoking jacket. At the same time that he was appointed the leader of the USS, Blažeković was also named commander of the male Ustaše Youth organisation. In its first months, many young Croats joined the movement, with recruitment being fuelled mostly by extreme Croatian nationalism. In addition, many were motivated to join because the Youth provided athletic, intellectual and artistic training for "the next generation of Ustaše leaders." For others, membership gave "a sense of meaning to their lives" and was appealing because it represented "a youthful rebellion against the Yugoslav state." By May, some Ustaše Youth camps publicly announced their refusal to accept new members as they lacked the capacity to do so. Although it is unclear how many young Croats joined the movement, Blažeković claimed a figure of half a million members. He defined the Ustaše Youth as a "secular movement" meant to promote "brotherly cooperation and mutual life" of peasant, working-class and intellectual youths in the NDH. In late 1941 Blažeković's father was appointed mayor of Osijek, holding this position until 1942. That year, the younger Blažeković became involved in the formation of the 13th Ustaše Assault Company, using his position as commander of the Ustaše Youth to convince many young Croats to join. In February 1942, he became a member of the Croatian Parliament. Between 1942 and 1943 he participated in recruiting many students for Ante Pavelić's personal bodyguards (Poglavnikov Tjelesni Zdrug, PTZ) He was later promoted to the rank of army major. In 1944, he wrote a book titled The Youth and the State (Croatian: Mladež i država). ### Commissioner for Physical Education and Sport Blažeković held the post of commander of the USS and commander of the Ustaše Youth until January 1945, when he was named Commissioner at the State Directorate for Physical Education and Sports (Croatian: Državno vodstvo za tjelesni odgoj i šport, DVTOŠ) in the NDH. Upon taking this position, he introduced strict new sports laws that emphasized discipline during football matches and criminalised monetary and material rewards for athletes. Blažeković justified the new laws by saying: "Croatian sport is an amateur sport, and as such it will remain". Attempting to tackle the problem of unruly crowds, he introduced new laws banning disorderly spectators from ever entering football stadiums. Warnings by Blažeković and the DVTOŠ were regularly printed in daily party newspapers, calling for citizens and athletes to abide by the new laws. ### Capture and execution As Allied forces descended on Zagreb, Blažeković left the city on 6 May 1945 and fled from Slovenia into Austria. He was subsequently placed in a refugee camp in Salzburg. On 28 August, American forces arrested him and sent him to a detainment camp before having him extradited to Yugoslavia on 12 February 1946. Blažeković was tried in Zagreb on 12 January 1947, sentenced to death, and executed the same day.	[ "## Early life and family", "## World War II", "### Invasion of Yugoslavia", "### Command of the Ustaše University Centre and Ustaše Youth", "### Commissioner for Physical Education and Sport", "### Capture and execution" ]	2,535	10,247
49,193,467	No Man's Land (Koda Kumi song)	1,041,397,336	null	[ "2012 songs", "Koda Kumi songs", "Songs written by Koda Kumi", "Songs written by Pete Kirtley" ]	"No Man's Land" is a song recorded by Japanese recording artist Kumi Koda, taken from her tenth studio album, Japonesque (2012). It was written by Koda, Mr. Blistah, Pete Kirtley, Jorge Mhondera, Samiya Berrabah, with production being done by long-time collaborator Max Matsuura. The song premiered on January 18, 2012 as the album's fifth promotional digital single, which was served through online retailers Dwanga, Mora, Mu-Mo, music.jp and Recochoku. It was re-released as a promotional radio airplay single on January 25, the same release date as Japonesque. The single artwork uses the CD and double DVD cover of Japonesque, which was used exclusively through Recochoku stores. Musically, "No Man's Land" has been described as a rock song that borrows numerous musical elements such as heavy metal. It lyrically portrays an angry and violent woman trying to escape her lover's life. Self-described as "barren", the song includes several instruments including electric guitars, acoustic guitars, and drums. The song received mixed to positive reviews from most music critics. While critics singled it out as an album highlight and one of the better tracks from Japonesque, it was criticized for Koda's rap and overuse of instrumentation. Due to "No Man's Land" being released digitally, it was ineligible to chart on the Japanese Oricon Singles Chart due to their policy of restricting digital sales and releases. To promote the single, it has featured on one concert tour conducted by Koda, this being her 2013 Japonesque Tour. An accompanying music video for "No Man's Land" (and every other track from the parent album) was directed by long-time collaborator Ryuji Seki; it featured Koda wandering through a wasteland, with distant views of decayed cityscapes and merry go rounds. ## Background and release While working on her then-upcoming album Japonesque (2012), Koda and her main record labels Avex Trax and Rhythm Zone enlisted Japanese rapper Mr. Blistah to work with her again; Mr. Blistah worked and performed with Koda in some of her albums, including the single "Candy, and Japonesque promotional single "So Nice", among others. "No Man's Land" was written by Koda, Mr. Blistah, Pete Kirtley, Jorge Mhondera, Samiya Berrabah, and produced by long-time collaborator Max Matsuura. Mr. Blistah, Kirtley, Mhondera, and Berrabah served as the song's composers, with Japanese arrangers Kenichi Asami, Toshiyuki Takao, Satoshi Yamada, and Daisuke Sakurai hired to arrange the instrumentation. Both Kirtley and Mhondera were credited as the song's co-arrangers. The song's instrumentation includes guitars, drums, bass guitars, keyboards, and subtle synthesizers. The song was recorded in early-2011 by Takeshi Takizawa, Makoto Yamadoi, and Masahiro Kawata at Prime Sound Studios and Avex Studios, in Tokyo, Japan. In December 2011, Rhythm Zone confirmed that "No Man's Land" would be included on Japonesque, and it appeared as the thirteenth track on all formats from Japonesque. "No Man's Land", alongside Japonesque tracks: "So Nice", "Slow" featuring American recording artist Omarion, "Brave", and "Escalate", served as the album's lead promotional digital singles on January 18, 2012, which was served through online retailers including Mora, Mu-Mo, music.jp and Recochoku. That same year, "No Man's Land", "So Nice", "Slow", "Brave", and "Escalate" were then re-released on January 25 through Japanese airplay stations. This was the same release date as the album Japonesque A special application code was uploaded onto Koda's official website, which allowed users to access the song from Recochoku and download a full ringtone for free. At the end of January 2012, British production team StarRock promoted the single on Star Rock television; the song was circulated throughout UK radio airplay shows. The single artwork uses the CD and double DVD cover of Japonesque, which was used exclusively through Recochoku stores. ## Composition `"No Man's Land" is a "hard" mid-tempo rock song. Koda stated on her website that the song was a "violently", "painful", and "destructive" mix of rock and heavy metal music. Koda recognized the musical composition as a "turning point" for her future musical elements and influences. The original arrangement of "No Man's Land" was different from the current version; according to Koda, the original arrangement omitted the rapping verses and didn't include heavy rock instrumentation or synthesizers. Zero from JpopJRock.com commented that "No Man's Land" was the only song on the album that didn't suffer from a "sparse" arrangement.` Lyrically, "No Man's Land" portrays an angry and violent woman trying to escape her lovers life. In an exclusive interview with Recochoku about the song, Koda stated that "No Man's Land" is a "nuance" of a "girl screaming that she wants to go to a world with no other men." Koda identified that the themes cheating and betrayal are present throughout the song's lyrics. However, Koda stated that "No Man's Land" had a similarity to her single "Futari de...", where she believed had also grown strength after moving on. Koda performs the song in both the English and Japanese languages, one of nine tracks from Japonesque that is performed bilingually. According to the lyric sheet provided by Avex Trax, English is used in the song's hook; "No man's, no man's, no man's land". The onomatopoeia lyric "Ding Dong Ding Dong" is spoken during the first verse, whilst the rest is rapped in Japanese. The chorus opens with the English lyrics; "I've been running in circles, round and around", carries on with Japanese, and ends with "Welcome to no man's land". The second verse includes the phrases "Zero zero" and "so look at deep", whilst performed in Japanese. The bridge section has Koda singing in English; "No matter where I go, this is still my home" and "my home", whilst performing in Japanese. The song's final English phrase is the interlude break; "Everybody put hands right this", and finishes with the chorus and hook. ## Critical reception After its release, "No Man's Land" received mixed to positive reviews from most music critics. Zero, Jaylee, and Loki from JpopJRock.com highlighted "No Man's Land" as the best track on the album; they agreed that the single had a better arrangement than most tracks on Japonesque, and enjoyed the song's composition. A member from StarRock highlighted "No Man's Land" as the best track on the album, praising its commercial appeal. A staff member from CD Journal enjoyed the song's composition, labelling the verses and second half of the song "impressive". ## Music video ### Background and synopsis The accompanying music video for "No Man's Land" was directed by long-time collaborator Ryuji Seki. The music video was shot with Koda in front of a green screen to immolate the chroma key functions. Koda, who was present at post-production for the music video, suggested the use of black and white colouring, which Seki then added. This is Koda's first music video to be in full black and white. The video opens with a distance shot of a wasteland, with decaying trees, floating black leaves, and hills. Koda is seen dragging herself through the valley, and an inter cut scene features a body shot of Koda in front of an abandoned city and abandoned merry-go-round; the merry-go-round references the lyric in the song. As the first hook stars in the song, it features two scenes; Koda singing the track in a distance, and close-ups of Koda wearing a shackle. The verse has Koda wandering through a valley and singing the song. The first chorus has Koda walking through the land, and scenes of her singing. She grabs a compass, but it does not function properly. She grabs a drinking bottle, but only filled with little droplets; she tries to drink it, but falls all on her face instead. As she sings the song; by the end of the second chorus, black projectile smoke is scene falling from the sky in the distance and hits parts of the abandoned city. As more smoke falls and black leaves con-stellate, Koda collapses and sings the bridge on the ground. When the bridge section ends, rocks start levitating and the smoke rises, forming a black Dust devil in the distance. As more dust devil's form, they become large and closely devour Koda. By the last chorus, a close-up of Koda's eyes closes and zooms out, showing Koda in lighter clothes and long hair. A long field of dark green grass with the sun and blue sky beaming above it, still showing the abandoned city and merry-go-round in the distance. The field is then shown to be the distance of a cliff, with Koda standing on the edge and observing a forest at the bottom; these scenes are shot in colour instead of black and white. The final vocal interlude break of the song has inter cut scenes of Koda on the cliff, and Koda walking through the valley from earlier scenes. The final scene has a repeating scene of the first scene; Koda walking through the valley in the distance of a wasteland. After completing the video and watching it, Koda commented that the overall appearance had given her a "personal connection" to the video and song. She stated that the visual effects were "very cool", and declared it as one of her "best" videos. ### Release The music video premiered on Japanese music television channels on January 18, 2012. Alongside with its radio airplay release, StarRock Productions had premiered the music video on UK music television channels on January 25. The music video for "No Man's Land" appeared on the CD and DVD format, and the CD and double DVD formats for Japonesque. Koda uploaded the video on her website, in order to promote the music videos from the album. On January 26, Koda hosted a special television show for Nico Nico Live and premiered the music video to "No Man's Land", alongside the music videos from Japonesque. Tetsuo Hiraga from Hot Express complimented the music video's erotic nature, Koda's sexy image, and the video's graphics. ## Live performances and other inclusions "No Man's Land" has appeared on one of Koda's concert tours, this being her 2013 Japonesque tour. The performance was included on part two of the concert tour, where Koda is wearing a soldier's uniform and singing the song in front of her backing band. Koda plays the drums to the ending interlude of the track. The performance was recorded live and included on the subsequent live DVD release, Koda Kumi Live Tour 2013: Japonesque (2013). Released as a triple-DVD and double-Blu-ray set, "No Man's Land" appeared on the second disc and first disc respectively. The 4 Skips D'n'B remix for "No Man's Land" was included on her Koda Kumi Driving Hit's 5 remix compilation (2013). ## Track listing - Digital download 1. "No Man's Land" – 4:26 - Digital music video download 1. "No Man's Land" (music video) – 4:34 - 2013 Japonesque Tour live download 1. "No Man's Land" (2013 Japonesque Tour live audio) – 4:11 - 4 Skips D'n'B remix digital download 1. "No Man's Land" – 4:26 ## Credits and personnel Credits adapted from the liner notes of Japonesque. - Kumi Koda – vocals, background vocals, songwriting - Mr. Blistah – songwriting, composing - Pete Kirtley – songwriting, composing, arrangement - Jorge Mhondera – songwriting, composing, arrangement - Samiya Berrabah – songwriting, composing - Kenichi Asami – arrangement, programming, acoustic guitar - Toshiyuki Takao – arrangement, drums - Satoshi Yamada – arrangement, bass guitar - Daisuke Sakurai – arrangement, keyboards, synthesizers - Takeshi Takizawa – engineer, recording - Makoto Yamadoi – engineer, recording - Masahiro Kawata – engineer, recording - Ryuji Seki – music video director - Rhythm Zone - management, label - Avex Taiwan – distribution label - Avex Trax - parent label, management - Recorded at Prime Sound Studios and Avex Studios, in Tokyo, Japan. ## Release history ## See also - Kumi Koda discography	[ "## Background and release", "## Composition", "## Critical reception", "## Music video", "### Background and synopsis", "### Release", "## Live performances and other inclusions", "## Track listing", "## Credits and personnel", "## Release history", "## See also" ]	2,830	987
1,822,359	Mom and Pop Art	1,170,857,266	null	[ "1999 American television episodes", "Creative works in popular culture", "Parodies of paintings", "Television episodes about floods", "Television episodes written by Al Jean", "The Simpsons (season 10) episodes" ]	"Mom and Pop Art" is the nineteenth episode of the tenth season of the American animated television series The Simpsons. It was first aired on the Fox network in the United States on April 11, 1999. In this episode, Homer inadvertently becomes a well-praised outsider artist after his failed attempts to build a barbecue pit. His exhibit goes to the Louvre, and after Mr. Burns buys his artwork, Homer becomes a success. However, after his new art appears in the "Art in America" show, Homer's artwork is criticized for being too repetitive of his first piece. After his recent failure, Homer tries to devise something groundbreaking, after hearing of Christo's art. "Mom and Pop Art" was directed by Steven Dean Moore and was the first episode Al Jean wrote after his return to The Simpsons writing staff. The plot was conceived by Jean, who was inspired by a segment about found artists on the television news magazine 60 Minutes. The episode features contemporary artist Jasper Johns as himself, and also features Italian actress Isabella Rossellini as Astrid Weller. It references several famous artworks, such as those of Leonardo da Vinci and Henri Rousseau. In its original broadcast, the episode was seen by approximately 8.5 million viewers, finishing in 23rd place in the ratings the week it aired. Following the home video release of The Simpsons – The Complete Tenth Season, "Mom and Pop Art" received mixed reviews from critics. ## Plot While trying to install a DIY barbecue pit, Homer bungles the job by accidentally dropping parts of the barbecue into wet cement. He frantically tries to assemble the barbecue pit before the cement hardens, but only makes things worse. In the end, Homer is left with a mismatched collection of parts stuck in hardened cement, and mangles it further in a rage. He takes the results of his work back to the store he bought the kit from for a refund, which he does not receive. On the way home, Homer loses control of the wagon containing the jumbled mess of concrete and bricks, which rolls down the highway and crashes into a woman's car, wrecking it. Homer flees the scene of the accident, but the woman, artist Astrid Weller, tracks him down because she sees his handiwork as being a masterpiece of outsider art. Homer's exhibit goes to the Louvre, and when Mr. Burns buys his work, he becomes recognized as an artist. Homer channels his rage to continue his work and befriends other pop art artists, like Jasper Johns. All the while, his easily achieved fame makes Marge jealous, due to her lack of success at becoming a successful artist despite years of effort. Homer later gets a notice from Astrid Weller that his work will be in the "Art in America" show, but his new masterpieces are rejected by Springfield's residents and his new "friends" for being repetitive of his first piece. Down on his luck and starved for inspiration, Lisa recommends Homer visit the Springfield Art Museum. But none of the art Homer sees serves to inspire him; he feels inadequate when he sees what other artists have done, and it only worsens the situation when he takes a nap and has a nightmare of various paintings attacking him. He goes back home, discouraged, but is soon given another suggestion by Lisa. She tells him about the artist Christo, causing Homer to try doing something similarly groundbreaking. He and Bart flood Springfield by opening all the fire hydrants (having covered the sewer drains with the city's doormats, including their own) and putting snorkels in the animals of the zoo (so that they do not drown). Surprisingly, Astrid Weller and even the whole town of Springfield is impressed with Homer's work, and enjoy the newly made "Grand Canals of Springfield" along with the swimming zoo animals. As Marge and Homer kiss each other on the roof of their house, Jasper Johns comes on a boat and steals the painting Marge was working on. ## Production "Mom and Pop Art" was written by current showrunner Al Jean and directed by Steven Dean Moore. It was first broadcast on the Fox network in the United States on April 11, 1999. It was the first episode Jean wrote after returning to The Simpsons writing staff. For three years, Jean had worked with Mike Reiss on the fantasy sitcom Teen Angel, a job that he despised. "Every other day [that I worked on Teen Angel] I said 'I wish I was back at The Simpsons'''," Jean said in the DVD commentary for the episode. The idea for the episode came from a segment of the television news magazine 60 Minutes. The segment was about found artists, who, Jean said, "take basically garbage and assemble it[...] and turn it into artwork that would sell for tens of thousands of dollars." Jean thought that this profession would fit Homer. In the episode, "Start here tomorrow 7/17/95" is written in blue paint on the Simpsons' garage door. The date refers to Scully and Julie Thacker's anniversary, which was on July 17, 1995. In the episode's setpiece, the Simpsons visit a hardware store. The segment was inspired by Jean's father, who owned a hardware store that Al Jean used to work in as a child. Later in the setpiece, Homer tries to construct a barbecue that he bought from the hardware store. The scene was also conceived by Jean, and is executive producer and former showrunner Mike Scully's favorite setpiece. While the designs of Homer's new art friends were not based on anybody in particular, the "German guy" was drawn to hold his cigarette in a "European way" by animation director Jim Reardon. When visiting the Springfield museum, Homer and Marge see a painting showing Akbar and Jeff, two characters from The Simpsons creator Matt Groening's comic strip Life in Hell. The painting's frame was also signed by Groening himself in real life. The painting next to Groening's was drawn by Scully's friend Tom Gagnon, who is an artist. Some of the paintings in the episode's second act were also drawn by friends of Dean Moore. At one point in Homer's dream, the Vitruvian Man appears and attacks him. According to Groening, there were "some controversy" over whether or not the Vitruvian Man would be in nude or not, as he is in the original painting. In the episode, he is wearing a jockstrap. At the end of the episode, Springfield is flooded with water, and Marge is seen painting a picture on the Simpsons' roof. Her painting was drawn by staff animator Amy Clese, who drew it as a recreation of a painting by J. M. W. Turner, an English Romantic painter. According to Dean Moore, the painting was "pretty difficult" to animate, as it was drawn with a lot of washes and gradients. He added, however, that he was "very happy" with it. "Mom and Pop Art" features American contemporary artist Jasper Johns as himself. His lines were recorded over the telephone, and Jean stated that it was "extremely exciting" to have him appear in the episode. The episode also features Italian actress Isabella Rossellini as Astrid. Jean stated that her performance was "terrific" and that she was "wonderful to work with", although there was one line in particular that she had difficulty performing. In a scene in the episode, Astrid introduces the audience in an art club to Homer's art. Originally, she would have said "you snorted my father's ashes", but because of Rossellini's accent, it sounded like she said "you snorted my father's ass", according to Jean. Because none of the recorded takes sounded good, the line was ultimately scrapped from the episode. ## Cultural references "Mom and Pop Art" features several references to famous works of art. In Homer's dream, Homer is lying in a similar way to the woman in French Naïve artist Henri Rousseau's painting The Sleeping Gypsy, as is the lion that licks him. After he is waken up by the lion, Homer is attacked by the Vitruvian Man, a drawing by Italian polymath Leonardo da Vinci. Then Homer gets attacked by Three Musicians by Pablo Picasso in which their instruments turn into machine guns and shoot at Homer. At one point in his dream, Homer sees a clock that drips water. The scene is a reference to The Persistence of Memory, a painting by Spanish Catalan surrealist artist Salvador Dalí. Near the end of his dream, Homer meets American painter Andy Warhol, who throws soup cans at him. It is a reference to Campbell's Soup Cans, a painting by Warhol. Also, Johns is portrayed as a kleptomaniac, a person who compulsively steals objects of little to no value. It is a reference to Johns's art style, as he usually uses objects from everyday life for his artwork. In a scene in the episode, Homer channels his anger into his art. The scene is a reference to the 1959 comedy horror film A Bucket of Blood, in which an artist is screaming at a piece of clay to be a nose. After having flooded Springfield, Homer tells Marge that the city is "like Venice, without the black plague". The line refers to the outbreak of the bubonic plague that swept through Europe in the 14th century. In the scene, a lion can be seen swimming in the water. The notion that lions can swim is a reference to the season 2 episode "Bart the Daredevil", in which the famous daredevil Lance Murdock performs a stunt that involves swimming lions. ## Reception In its original American broadcast on April 11, 1999, "Mom and Pop Art" received an 8.5 rating, according to Nielsen Media Research, translating to approximately 8.5 million viewers. The episode finished in 23rd place in the ratings for the week of April 5–11, 1999, making it the fourth-most watched program on Fox that night, after a new episode of The X-Files, Ally McBeal, and Family Guy. On August 7, 2007, the episode was released as part of The Simpsons – The Complete Tenth Season DVD box set. Matt Groening, Mike Scully, Al Jean, George Meyer and Steven Dean Moore participated in the DVD's audio commentary of the episode. Following its home video release, "Mom and Pop Art" received mixed reviews from critics. Giving it a positive review, Chris Barsanti of Filmcritic.com described it as "one of the show's most gratifying ep[isode]s". He wrote "Amidst Homer's accidental acceptance as a producer of rage-filled outsider art, the episode concocts a knowing satire—but also warm appreciation—of modern art," and added that it "includes one of the show's best cameos of all time: a kleptomaniacal Jasper Johns." Both James Plath of DVD Town and Jake MacNeill of Digital Entertainment News considered it to be one of the season's best episodes. The A.V. Club named Milhouse's line "Everything's coming up Milhouse!" as one of the quotes from The Simpsons that can be used in everyday situations. The line was pitched by writer Dan Greaney. Giving the episode a mixed review, DVD Movie Guide's Colin Jacobson described it as "pretty average." He wrote that "Mom and Pop Art" "offer[s] more than a few elements that echo bits from earlier years". He concluded by writing that the episode "isn’t a bad program, but it lacks much inspiration". Warren Martyn and Adrian Wood of I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide'' wrote, "Well, Marge is justifiably upset when, as an artist herself, it is Homer who is suddenly getting the kudos for producing rubbish. It's a good gag but probably not enough to stretch out for an entire episode." However, they added that the last scenes, along with Johns's cameo, were "pure joy", even though the episode "drag[s] in the middle".	[ "## Plot", "## Production", "## Cultural references", "## Reception" ]	2,513	13,587
20,614,080	What's Cooking? with Jamie Oliver	1,171,267,861	2008 cooking video game	[ "2008 video games", "Atari games", "Cookbooks", "Cooking video games", "Cultural depictions of British men", "Cultural depictions of cooks", "Keen Games games", "Multiplayer and single-player video games", "Nintendo DS games", "Nintendo DS-only games", "Video games based on real people", "Video games developed in Germany" ]	What's Cooking? with Jamie Oliver, sometimes known as What's Cooking? Jamie Oliver, is a cooking video game for the Nintendo DS narrated by celebrity chef Jamie Oliver. It was developed by German studio keen games GmbH & Co. KG and published by Atari Europe. The game features several recipes, each listing preparation times, ingredients and courses. In addition, What's Cooking? can be used as a shopping list to remind players what items to purchase, and it can act as a timer to count down from a specified time and make an audible sound when it is done. The game was first revealed by Atari at the Games Convention 2008. The game was poorly received after its release. Reviewers generally agreed that presenting a cooking guide as a video game was a good idea, but they found that the game was poorly executed and mediocre as a result. ## Gameplay What's Cooking? is an interactive cookbook and food preparation video game with recipes that each list preparation times, ingredients and courses. Recipes can be sorted by criteria such as dishes that take less than 20 minutes to prepare, or vegetarian-only meals. After opening a recipe, an ingredient list is presented. Items on the list can be earmarked and added to a shopping list as a reminder to purchase in the future. A timer option is also available, which counts down from a specified time and makes an audible sound when it is done. Before doing any real cooking, a virtual representation of each step in the recipe is given on the screen that must be performed by the player. The Nintendo DS touchscreen and stylus are used to perform tasks such as whisking eggs, pouring sauces and cutting vegetables. Tutorials are also available to teach the player how to perform simple cooking preparation tasks. While cooking, the Nintendo DS responds to audible commands; saying "next" into the device's microphone will move the recipe on to the next step. One hundred recipes are included in the game, and players can create their own dishes in the game. Afterward, they can share them with others via Wi-Fi. In addition to the game's cooking aspects, What's Cooking? features challenges in which the player uses the stylus to chop, stir, and serve as quickly as possible. ## Development What's Cooking? was first revealed by Atari at the Games Convention 2008. The game is narrated by Jamie Oliver. In an interview with Official Nintendo Magazine, Oliver noted that he tries to make his games as "three dimensional as possible", and he wanted to "make it relevant" to the player. The developers also wanted to make the game as interactive as possible. ## Reception What's Cooking? received "unfavorable" reviews according to the review aggregation website Metacritic. IGN's Daemon Hatfield called disguising a cooking tutorial as a video game a "pretty brilliant idea", but only as long as it was done well. He stated that both the cookbook and food preparation halves of the game were not strong enough to make the game worth purchasing. Hatfield commented that the game's controls are "terribly unintuitive, and the cookbook doesn't offer anything its physical counterpart can't for cheaper". He was also disappointed that there were no pictures to illustrate each step, and not every cooking process is explained. Eurogamer's Ellie Gibson was satisfied with the number of recipes available, most of which were "pretty easy to follow". Gibson, however, preferred to see instructional videos to observe how a recipe was made before making it. In their review of the game, Official Nintendo Magazine commented that the stylus-controlled cooking tutorials are not user-friendly, and the recipe sharing is as good as it could be since players can only use ingredients and methods from recipes that they have unlocked through playing the game. They felt that the game attempts to appeal to gamers rather than aspiring chefs, concluding, "[The game has] some great recipes but the experience is marred by some fiddly cooking games." ## See also - Cooking Guide: Can't Decide What to Eat? - Cooking Mama	[ "## Gameplay", "## Development", "## Reception", "## See also" ]	814	32,838
26,151,053	1867 Manhattan, Kansas earthquake	1,167,855,965	Earthquake in Riley County, Kansas, USA	[ "1867 earthquakes", "1867 in Kansas", "1867 natural disasters in the United States", "April 1867 events", "Earthquakes in the United States", "Manhattan, Kansas", "Natural disasters in Kansas", "Natural disasters in Missouri", "Riley County, Kansas" ]	The 1867 Manhattan earthquake struck Riley County, Kansas, in the United States on April 24, 1867, at 20:22 UTC, or about 14:30 local time. The strongest earthquake to originate in the state, it measured 5.1 on a seismic scale that is based on an isoseismal map or the event's felt area. The earthquake's epicenter was near the town of Manhattan. The earthquake had a maximum perceived intensity of VII (Very strong) on the Mercalli intensity scale. It caused minor damage, reports of which were confined to Kansas, Iowa, and Missouri, according to the United States Geological Survey. Felt over an area of 200,000 square miles (520,000 km<sup>2</sup>), the earthquake reached the states of Indiana, Illinois, and possibly Ohio, though the latter reports have been questioned. Manhattan is near the Nemaha Ridge, a long anticline structure that is bounded by several faults. The nearby Humboldt Fault Zone in particular poses a threat to the city. Kansas is not known for earthquake activity, but an earthquake could occur at any time. A 2016 hazard map from the United States Geological Survey estimated a 1% or lower risk for a major earthquake in Kansas for the following year, though scientists from the agency think an earthquake of magnitude 7.0 remains possible. ## Background and geography The earthquake's epicenter was near Manhattan, Kansas, a town just off the confluence of the Kansas River and the Big Blue River. Manhattan lies near the Nemaha Ridge, an anticline and 300‐million-year-old Precambrian granite range bounded by faults, which likely produced the earthquake. It hosts the Humboldt Fault Zone, which, in addition to serving as the range's easternmost boundary, has produced a large portion of the state's earthquakes. A normal, or dip-slip fault, it is responsible for at least several small tremors smaller than magnitude 2.7 each year. The fault cuts through Permian rock. Despite being previously thought to be a simple, Precambrian structure, according to the Geological Society of America, it may be a complex fault. The Nemaha Range lies roughly 50 miles (80 km) east of the Midcontinent rift, which forms a layer of basaltic rock about 1.1 billion years old. This rift extends northward to Lake Superior and the surrounding area and southward to Kansas, then terminates abruptly. Also present in the state is the Central Kansas Uplift, the faults of which produced several small earthquakes during the late 1980s. According to United States Geological Survey geophysicist Don Steeples, earthquakes at the Humboldt Zone have decreased, and activity at the Uplift was increasing as of the 1980s. Felt over an area of 193,000 square miles (500,000 km<sup>2</sup>), with other sources listing the felt area as 300,000 square miles (780,000 km<sup>2</sup>) or 95,000 square miles (250,000 km<sup>2</sup>), the 1867 earthquake followed the Midcontinent seismic trend: unlike coastal earthquakes in the United States, events in the central and east-central sectors of the country are spread out over extensive areas. This occurs as a result of the region's stiff soil, and because earthquakes in Kansas tend to occur at a shallow depth. The 1867 Manhattan earthquake remains the largest earthquake to originate in the state, though at least 25 have taken place since, including another powerful earthquake 10 miles (16 km) north of Manhattan in Pottawatomie County. In 2016, a magnitude 5.1 earthquake with an epicenter in Oklahoma shook the Manhattan area. According to a report in the Bulletin of the Seismological Society of America, the frequency of moderately strong earthquakes within the state is between 40 and 45 years. One study found that between December 1977 and June 1989, more than 100 earthquakes were recognized by a seismograph network. All were between 4.0 and 0.8 on the Richter magnitude scale. ## Damage and casualties Originating at 20:22 UTC, or around 2:30 local time, the earthquake was assigned a maximum Mercalli intensity scale of VII, considered "very strong". Minor damage occurred throughout the geographical region, including 22 counties in Kansas, and injuries were reported as well. The earthquake fractured walls, downed chimneys, and otherwise damaged structures, even loosening stones. Within the epicentral area near Manhattan, clocks stopped, people felt electrical shocks and inhabitants were frightened. The following day, an aftershock occurred between 3 and 4 a.m. Damage within Manhattan and a number of other communities may have been exacerbated by their location within alluvial valleys. At a farm 3 miles (4.8 km) south of the city of Wamego, the earthquake caused liquefaction of the ground. To the north of Wamego, in the city of Louisville, the earthquake knocked over horses. In both Louisville and the city of Leavenworth, chimneys fell; in Paola, the earthquake destroyed one wall of a large Republican newspaper office building. Waves were observed on the Kansas River, reaching 2.0 feet (0.6 m) in height. The city of Atchison felt two shocks, which felled lamps and bottles at a drug store, rocked buildings, and disrupted water flow in rivers and creeks. Though no buildings in the city sustained damage, people fled into the streets. In Emporia, the earthquake was accompanied by a low rumbling sound, windows rattled, and small boxes were thrown off of shelves as people fled buildings. The city's brick and stone houses sustained more damage than framed homes. The city of Fort Scott only experienced trembling, whereas Iola had houses and tableware shake. In Holton, items were knocked off shelves, and buildings shook. Residents of Irving also heard rumbling prior to the earthquake, experiencing severe tremors that lasted 30 seconds, while buildings in Junction City shook violently, moving several inches. In Kansas City, tables moved, walls cracked, water spilled from glasses, plaster cracked, and the shaking caused general panic. The city of Lawrence felt three earthquakes within 30 seconds, with violent shaking of doors and windows, broken plaster, a rumbling noise, stones knocked off a local church, rattling of silverware and glassware, and the overturning of a stove in one home. Similarly, in the city of Leavenworth, three shocks were felt over 30 seconds. In Leavenworth, a man was knocked off a hayload, a rumbling noise was heard, and clocks stopped. Moreover, saws leaning against walls were moved 6 inches (15 cm), plaster at one home cracked for the entire length of the house's ceiling, and one woman experienced an electrical shock from spring water. In the city of Lecompton, one of the buildings at Lane University shook, and a high school in the city of Marysville also shook violently. Within Montgomery County, people in moving vehicles did not feel the earthquake. Houses shook in Mound City, Ottawa, and Olathe, as well as in the city of Oskaloosa, where the cupola (a relatively small, most often dome-like, tall structure) of a new school wobbled. In Paola, people standing were nearly knocked over during the earthquake. A train on the Pacific Railroad in Solomon shook violently, and was stopped and evacuated out of fear that its boiler would explode. In Topeka, the capital city of Kansas, the ceiling of a Methodist church was bent, and nearly all of the windows in one schoolhouse were destroyed. Two shocks were felt in the city of White Cloud, and sleeping people were awakened in Wyandotte County. Reports from the states of Iowa and Missouri, including descriptions of fallen plaster in Dubuque, shaking of buildings and people in rocking chairs in Des Moines, and fallen and cracked plaster in Chillicothe, complement additional reports of fallen plaster and roof shingles, damaged wells, and cracked walls. Other events reported in Dubuque included three shocks, which caused vibration of gas burners; general panic among residents; rattling of windows; shaking of chairs, cases holding newspapers, and windows; and holes in brick walls. In the city of St. Joseph in Missouri, the windows broke, women fainted, and a rumbling noise could be heard. Within the city, a new school building's brick walls cracked several feet above the ground as people fled into the streets. In Warrensburg, Missouri, the walls of a church shook, but there was no damage. The earthquake also extended into the states of Indiana and Illinois, according to the United States Geological Survey, and a questionable report came from Carthage in Ohio that a segment of the ground, 1 acre (0.40 ha) in area, sunk by 10 feet (3.0 m), forming a perpendicular wall 10-foot (3.0 m) deep on each of its sides. A series of articles published by the Chicago Tribune describes the extent of the damage throughout the state of Kansas. The article "At Kansas City" details that the earthquake jolted homes with a sudden burst, giving off a resonating roar like thunder. The Tribune observed in its article "At Leavenworth, Kansas" that the earthquake was completely unexpected, describing the event as "[...] sudden in its coming and departure." It confirmed that earthquakes were not common in earlier times and stated that "all were more or less startled, and, indeed, frightened." ## Future threats Although Kansas is not seismically active, a strong earthquake could pose significant threats to the state. If an earthquake were to occur, it would likely be along the Nemaha Ridge, which is still active. The Humboldt Fault Zone, just off the Ridge, lies just 12 miles (19 km) east of the Tuttle Creek Reservoir near Manhattan. An earthquake there would likely destroy the dam, releasing 300,000 feet (91,440 m) of water per second and flooding the nearby area, which would threaten roughly 13,000 people and 5,900 homes. The United States Army Corps of Engineers concluded that a moderate earthquake "between 5.7 and 6.6 would cause sand underneath the dam to liquefy into quicksand, causing the dam to spread out and the top to drop up to three feet." A large earthquake would spawn gaps, forcing water to leak and eventually cause the dam to collapse. Earthquakes that could pose a threat to the dam occur on a cycle of roughly 1,800 years. To counter this threat, the Corps of Engineers has galvanized an effort to strengthen the dam. Replacing the sand (which could shift during an earthquake) with more than 350 walls, the group has equipped the dam with sensors, which are connected to alarms that would alert nearby citizens to the earthquake. More than 500 earthquakes have been measured in the state since 2013, contributing to the reactivation of ancient fault lines. In 2016, the United States Geological Survey made hazard maps for the state, determining a 1% or lower risk of a major earthquake within the next year. Because Sedgwick County and Wichita could both potentially experience shaking from earthquakes that could not be withstood according to existing building codes, officials in the area proposed changing building codes to meet perceived hazards. Scientists at the United States Geological Survey think an earthquake with a magnitude of 7.0 remains possible, possibly originating from the Nemaha Ridge where the Manhattan quake was produced. ## See also - List of earthquakes in the United States - List of historical earthquakes	[ "## Background and geography", "## Damage and casualties", "## Future threats", "## See also" ]	2,429	40,983
61,528,367	Ben Lugmore	1,173,881,835	Mountain in County Mayo, Ireland	[ "Geography of County Galway", "Hewitts of Ireland", "Marilyns of Ireland", "Mountains and hills of County Galway", "Mountains under 1000 metres" ]	Ben Lugmore () at 803 metres (2,635 ft) is the 29th-highest peak in Ireland on the Arderin scale, and the 37th-highest peak on the Vandeleur-Lynam scale. It is in a horseshoe-shaped massif that includes the slightly higher peak of Mweelrea at 814 metres (2,671 ft), the highest mountain in the Irish province of Connacht. The massif is between Killary Harbour and Doo Lough, in County Mayo. The peak is noted for its long summit ridge that forms a deep cliff-lined headwall around the corrie of Lug More (Irish: Coum Dubh); the corrie includes a feature known as The Ramp that climbers use to access the summit ridge, as well as rock climbs and winter ice climbs. While the peak can be accessed via a 3-hour walk from the corrie below, it is also summited by way of the 6-7 hour Mweelrea Horseshoe, described as a "top three" mountain walk in Ireland. ## Naming Irish academic Paul Tempan lists Ben Lugmore as an anglicisation of the Irish: Binn Log Mhór that translates as "peak of the big hollow", and which describes the deep corrie on Lugmore's northeast face called Lug More (split into two words). Patrick Weston Joyce chronicled that the term Lugmore, which he translated as "Great Hollow", appears in several other Irish placenames; and there are several entries in the Placenames Database of Ireland. ## Geology Ben Lugmore's geology is what is known as the Mweelrea Formation, and is very different from that of the Twelve Bens, on the other side of Killary Harbour. At a summary level, the Mweelrea Formation consists of Ordovician period sandstones originally deposited on large alluvial fans, and distally‐equivalent alluvial plains and delta fans. Interbedded with these sandstones are tufts, being ash deposits from Ordovician period volcanos. ## Geography The peak of Ben Lugmore lies on the northern arm of the horseshoe that forms the massif of the Mweelrea Mountains, which is bounded by Killary Harbour, Ireland's deepest fjord, to the south, and Doo Lough to the north; Mweelrea, the provincial top for Connacht, lies near the apex of this horseshoe. Ben Lugmore is described as having a small sharp "airy" summit which lies on a high narrow southeast to northwest ridge that links with Ben Bury, and then on to Mweelrea. This ridge includes two high subsidiary summits either side of Ben Lugmore, both of which are of equal height: Ben Lugmore West Top at 790 metres (2,590 ft), whose prominence of 47 metres (154 ft) qualifies it as a Vandeleur-Lynam and a Hewitt, and Ben Lugmore East Top at 790 metres (2,590 ft), whose prominence of 37 metres (121 ft) also qualifies it as a Vandeleur-Lynam and a Hewitt. From a distance, Ben Lugmore's profile is that of a long and high sharp ridge, along which its various summits (main and subsidiary) are dotted. Northeast of Ben Lugmore's ridge are the cliffs of the deep corrie of Lug More (also called Irish: Coum Dubh), which itself looks into the small valley of Glencullin at the junction of Doo Lough and Glencullin Lough. To the southwest of the ridge is the valley of Glenconnelly; and where the high southwestern cliffs of Ben Lugmore West Top, Benbury and Mweelrea circle the northern corrie lake at the head of the Glenconnelly valley, known as Lough Bellawaum. Ben Lugmore's own prominence of 158 metres (518 ft) qualifies it as a Marilyn, and it also ranks it as the 18th-highest mountain in Ireland on the MountainViews Online Database 100 Highest Irish Mountains, where the minimum prominence threshold is 100 metres. The peak is listed as the 29th-highest peak in Ireland on the Arderin scale, and the 37th-highest peak on the Vandeleur-Lynam scale. ## Recreation ### Hill walking The most direct route to the summit of Ben Lugmore is the 6 kilometres (3.7 mi) 3-hour round trip via the Lug More (or Irish: Coum Dubh) corrie and the valley of Glen Glencullin. A notable feature known as The Ramp is used, which crosses the headwall of this corrie at mid-way, from east to west in an upward slope; reaching the ridge of Ben Lugmore at a col with Ben Bury. While this route is direct, caution is advised in properly finding The Ramp, as the corrie has extensive cliffs. This route can also be extended into a 13 kilometres (8.1 mi) 6-hour round-trip that takes in the additional summits of Ben Bury and Mweelrea as well. Ben Lugmore is also climbed as part of the 15 kilometres (9.3 mi) 6-7 hour Mweelrea Horseshoe (being the 2nd-highest peak on the route), which is described in Ireland's Best Walks (2014), as being one of the "top three" mountain walks in Ireland. The circuit starts and ends at the Delphi Mountain Resort, and takes in all the peaks of the massif of Mweelrea, including Ben Lugmore (and its subsidiary peaks), Ben Bury, Mweelrea and the Mweelrea SE Spur (marked as point 495-metres in the OS map). ### Rock climbing Ben Lugmore's high northeastern cliffs that form the upper headwall of the Lug More (or Irish: Coum Dubh) corrie (situated above The Ramp), are a noted rock-climbing venue with multi-pitch mountain rock-climbs with grades varying from Diff (D) to Moderate Severe (MS), and length ranging from 35–70 metres (115–230 ft). Some of the first ascents date from the mid 1950s, and they often follow chimneys and gullies between Ben Lugmore's various subsidiary peaks. More serious modern rock climbing routes are located at the edge of the southern entrance to the corrie (marked as Askaneeraun on the OS Maps), at the Doo Lough Crags (marked Teevaree Rocks on the OS Maps). The routes vary from 30 to 70 metres on sandstone and conglomerate rock, with rock climbing grades in the range of VS (Very Severe) to E2 (Extreme, level 2), and well regarded climbs of Bragela's Watch (100 metres (330 ft), E1), Red Dawn (25 metres (82 ft), E2 5c), and Letter to Breshnev (30 metres (98 ft), E3/4 6a); most of the best routes were developed in the late 1980s to early 1990s. ### Winter climbing The Lug More (or Irish: Coum Dubh) corrie also has a number of winter climbs, the most notable of which is Recession Gully (Grade II/III, 400 metres (1,300 ft)). ## Gallery ## See also - List of Hewitt mountains in England, Wales and Ireland - Lists of mountains and hills in the British Isles - Lists of mountains in Ireland - Maumturks, a major range in Connemara	[ "## Naming", "## Geology", "## Geography", "## Recreation", "### Hill walking", "### Rock climbing", "### Winter climbing", "## Gallery", "## See also" ]	1,603	35,568
1,205,242	Edward Colston	1,162,266,614	English merchant, politician, philanthropist and slave trader (1636–1721)	[ "1636 births", "1721 deaths", "17th-century English businesspeople", "17th-century philanthropists", "18th-century British philanthropists", "British MPs 1710–1713", "Businesspeople from Bristol", "English Anglicans", "English philanthropists", "English slave traders", "Members of the Parliament of Great Britain for Bristol", "Members of the Society of Merchant Venturers", "Patrons of schools", "People educated at Christ's Hospital", "Tory MPs (pre-1834)" ]	Edward Colston (2 November 1636 – 11 October 1721) was an English merchant, slave trader, philanthropist, and Tory Member of Parliament. Colston followed his father in the family business becoming a sea merchant, initially trading in wine, fruits and textiles, mainly in Spain, Portugal and other European ports. By 1680, he became involved in the slave trade as a senior executive of the Royal African Company, which held a monopoly on the English trade in African slaves. He was deputy governor of the company in 1689–90. Colston supported and endowed schools and other public institutions in Bristol, London and elsewhere. His name was widely commemorated in Bristol landmarks, and a statue of him was erected in 1895. With growing awareness in the late 20th century of his involvement in Britain's slave trade, there were protests and petitions for name changes, culminating in June 2020, when the statue was toppled and pushed into Bristol Harbour during protests in support of Black Lives Matter. The city's concert venue, Colston Hall was renamed Bristol Beacon along with several other locations that held his name. ## Early life Colston was born on 2 November 1636 in Temple Street, Bristol, and baptised in the Temple Church, Bristol. His parents were William Colston (1608–1681), a prosperous Royalist merchant who was High Sheriff of Bristol in 1643, and his wife Sarah Batten (d. 1701), daughter of Edward Batten; he was the eldest of at least 11 and possibly as many as 15 children. The Colston family had lived in the city since the late 13th century. Colston was brought up in Bristol until the time of the English Civil War, when he probably lived for a while on his father's estate in Winterbourne, just north of the city. The family then moved to London, and Colston was educated at the Christ's Hospital school. The English Civil War shaped Colston's lifelong support for order and stability in the form of monarchy and High Anglicanism. ## Career In 1654, Colston was apprenticed to the Mercers Company for eight years, and in 1673 he was enrolled into it. By 1672, he had become a merchant in London. Like his father, Colston exported in textiles from London while importing oils, wine and sherry from Spain and Portugal. He also traded silk with Virginia and was a regular trader of Newfoundland cod to Naples. He had built up a successful business trading with Spain, Portugal, Italy and Africa. In 1680, Colston became a member of the Royal African Company, which had held the monopoly in England on trading along the west coast of Africa in gold, silver, ivory and slaves from 1662. Colston was deputy governor of the company from 1689 to 1690. His association with the company ended in 1692. The company was established by King Charles II, together with his brother the Duke of York (later King James II) as the governor of the company, City of London merchants and other investors. During Colston's involvement with the Royal African Company from 1680 to 1692, it is estimated that the company transported over 84,000 African men, women and children to the Caribbean and the rest of the Americas, of whom as many as 19,000 may have died on the journey. The slaves were sold for labour on tobacco, and (increasingly) sugar plantations. In 1681 he probably began to take an active interest in the affairs of Bristol, where about this time he embarked in a sugar refinery. In 1682, he made a loan of £1,800 to the Bristol Corporation and the following year, became a member of the Society of Merchant Venturers. By 1685 he appears as the city's creditor for about £2,000. Although a Tory High Churchman and often in conflict with the Whig corporation of Bristol, Colston transferred a large segment of his original shareholding to William III at the beginning of 1689, securing the new regime's favour for the African Company. The value of Colston's shares increased and being without heirs he began to donate large sums to charities (see below). Colston used his money and power to promote order in the form of High Anglicanism in the Church of England and oppose Anglican Latitudinarians, Roman Catholics, and dissenter Protestants. He withdrew from the African Company in 1692, but continued working on his private businesses until he retired in 1708. Colston was then an MP for Bristol from 1710 to 1713. ## Death Colston died on 11 October 1721, aged 84, at his home, (old) Cromwell House (demolished 1857), in Mortlake, south west London, where he had lived since about 1689. His will stated that he wished to be buried simply without pomp, but this instruction was ignored. His body was carried to Bristol and was buried at All Saints' Church. His monument was designed by James Gibbs with an effigy carved by John Michael Rysbrack. Colston never married, and settled a "considerable fortune in land" on his nephew Edward Colston (MP for Wells), when Edward married in 1704. ## Philanthropic works Colston supported and endowed schools, houses for the poor, almshouses, hospitals and Anglican churches in Bristol, London and elsewhere. His name features widely on Bristol buildings and landmarks. In 1681, the date of his father's death, he appears as a governor of Christ's Hospital, to which he afterwards gave frequently. During the remainder of his life he seems to have divided his attention pretty equally between the city of his birth and that of his adoption. In 1691, on St Michael's Hill, Bristol, at a cost of £8,000 (), he founded Colstons Almshouses for the reception of 24 poor men and women, and endowed with accommodation for "Six Saylors", at a cost of £600, the merchant's almshouses in King Street. He also endowed Queen Elizabeth's Hospital school. In 1696, at a cost of £8,000, he endowed a foundation for clothing and teaching 40 boys (the books employed were to have in them "no tincture of Whiggism"); and six years afterwards he expended a further sum of £1,500 in rebuilding the schoolhouse. In 1708, at a cost of £41,200 (), he built and endowed his great foundation on Saint Augustine’s Back, for the instruction, clothing, maintaining and apprenticing of 100 boys; and in time of scarcity, during this and next year, he transmitted some £20,000 () to the London committee, to be managed by the Society of Merchant Venturers for its upkeep. He gave money to schools in Temple (one of which went on to become St Mary Redcliffe and Temple School) and other parts of Bristol, and to several churches and the cathedral. The Colston Society, which had operated for 275 years commemorating Colston, latterly as a charity, decided to disband in 2020. ## Memorials Buildings in Bristol formerly named in memory of Colston included the Colston Tower and Colston Hall (now Beacon Tower and Bristol Beacon, respectively). Colston Avenue and Colston Street are named after him, as is a regional bread bun, the Colston bun. A statue of Colston is on the exterior of Bristol Guildhall, built 1843–46. There was an 1870 stained-glass window of the Good Samaritan by Clayton and Bell dedicated to Colston's memory in the north transept of St Mary Redcliffe, which was removed in June 2020, following the toppling of his outdoor statue. The largest window in Bristol Cathedral is also dedicated to Colston's memory; the Bishop of Bristol announced in June 2020 that the Anglican Diocese of Bristol would remove prominent references to Colston from the window. ### City-centre memorial statue In 1895, 174 years after Colston's death, a statue designed by John Cassidy was erected in the centre of Bristol, to commemorate Colston's philanthropy. Colston's slave-trading activities were subsequently uncovered in a biography of his life and work written by H.J. Wilkins in 1920, and from the 1990s onwards, there were growing calls for the statue to be marked with a plaque stating that he was a slave trader, or taken down. In July 2018, Bristol City Council, which was responsible for the statue, made a planning application to add a second plaque which would "add to the public knowledge about Colston" including his philanthropy and his involvement in slave trading, though the initial wording suggested came in for significant criticism from members of the public and a Bristol Conservative councillor, with the result being that the plaque was reworded. This wording was edited by a former curator at the Bristol Museum and Art Gallery, creating a third proposal which was backed by other members of the public, though it was criticised by the academic behind the first two versions, who claimed it "sanitised" history, minimising Colston's role, omitting the number of child slaves, and focussing on West Africans as the original enslavers. Nevertheless, a wording was subsequently agreed upon and the bronze plaque was cast. After the plaque was physically produced, its installation was vetoed in March 2019 by the Mayor of Bristol, Marvin Rees, who criticised the Society of Merchant Venturers for the rewording. A statement from the mayor's office called it "unacceptable", claimed that Rees had not been consulted, and promised to continue work on a second plaque. On 7 June 2020, the statue was toppled and pushed into Bristol Harbour by demonstrators during the George Floyd protests. The statue was retrieved from the harbour four days later by Bristol City Council, and taken to a secure location. After the statue was toppled, the Merchant Venturers said that it had been "inappropriate" for them to have become involved in the rewording of the plaque in 2018, and that the removal of the statue was "right for Bristol". From 4 June 2021, the statue was put on display in its damaged condition by Bristol's M Shed museum, which stated "this temporary display is the start of a conversation, not a complete exhibition". ## Modern reappraisal In the biography of Colston written by H.J. Wilkins in 1920, the author commented that "we cannot picture him justly except against his historical background". Colston's involvement in the slave trade predated the abolition movement in Britain, and was during the time when "slavery was generally condoned in England—indeed, throughout Europe—by churchmen, intellectuals and the educated classes". Since at least the 1990s, with increasing recognition of Colston's role in the slave trade, there has been growing criticism of his commemoration. The Dolphin Society, which was formed to continue Colston's philanthropy, as of 2015 referred to "the evils of slavery" and recognised that "black citizens in Bristol today can suffer disadvantage in terms of education, employment and housing for reasons that connect back to the days of the trans-Atlantic slave trade". The proportion of Colston's wealth that came from his involvement in the slave trade and slave-produced sugar is unknown, and can only be the subject of conjecture. He also made money from trading in commodities and interest from money lending. In April 2017, the charity that runs the venue known at the time as "Colston Hall", the Bristol Music Trust, announced that it would drop the name of Colston when it reopened after refurbishment in 2020. There had been protests and petitions calling for a name change and some concertgoers and artists had boycotted the venue because of the Colston name. Following the decision, petitions to retain the name of Colston reached almost 10,000 signatures, though the charity confirmed that the name change would go ahead. The hall was renamed as the Bristol Beacon in September 2020, after three years of consultation. In November 2017, the then Colston's Girls' School, funded by the Society of Merchant Venturers, announced that it would not drop the name of Colston, because it was of "no benefit" to the school to do so. Later consultations in 2020 with staff and pupils resulted in the school changing its name to Montpelier High School. In summer 2018, Colston Primary School renamed itself Cotham Gardens Primary School after consultation with pupils and parents. In February 2019, St Mary Redcliffe and Temple School announced that it would rename its former Colston school house after the American mathematician Katherine Johnson. In June 2020, the pub formerly known as the Colston Arms temporarily changed its name to Ye Olde Pubby Mcdrunkface (a reference to the name chosen by the public during a poll to name a new research vessel in 2016), inviting suggestions from the public for a new name. In December 2021, the pub was renamed the Open Arms. In April 2018, the Lord Mayor of Bristol ordered that a portrait of Colston be removed from her office, saying that she would not "be comfortable sharing it with the portrait". She said that it is planned that the portrait will be hung in the proposed Museum of Abolition in the city at a future date. In 2020, at the sight of the toppling of the Edward Colston statue in Bristol, a member of the organisational team for the event "was adamant that Colston’s charitable deeds in no way made up for the transportation of thousands of Africans into slavery. 'The statue was glorifying the acts of a slave trader. He gave some money to schools and good causes but it was blood money', she said". ## See also	[ "## Early life", "## Career", "## Death", "## Philanthropic works", "## Memorials", "### City-centre memorial statue", "## Modern reappraisal", "## See also" ]	2,905	5,211
25,853,312	Symphony in White, No. 3	1,168,220,780	Painting by James McNeill Whistler	[ "1867 paintings", "19th-century portraits", "Paintings by James Abbott McNeill Whistler", "Paintings in the Barber Institute of Fine Arts" ]	Symphony in White, No. 3, is a painting by James McNeill Whistler. The work shows two women, one sitting on a sofa dressed in white, and the other resting on the floor, with a yellowish dress. The model on the sofa is Joanna Heffernan, the artist's mistress. By calling the painting Symphony in White, No. 3, Whistler intended to emphasise his artistic philosophy of corresponding arts, inspired by the poet Charles Baudelaire. The presence of a fan on the floor shows the influence of Japonisme, which was a popular artistic trend in European art at the time. Whistler was also greatly influenced by his colleague and friend Albert Joseph Moore, and their works show considerable similarities. Though Whistler started on the painting in 1865, he was not ready to exhibit it publicly until 1867, when it went on display at the Royal Academy. His colleagues were impressed by the painting, but not all critics fully understood the connection between the painting and its title. One review in particular questioned the presence of other colours in addition to white, a criticism which prompted Whistler to respond with a scathing and sarcastic letter. Years later, Whistler's former student Walter Sickert criticized the painting as "the low-water mark of the old manner, before the birth of the new." ## Background James McNeill Whistler was born in the United States in 1834, the son of George Washington Whistler, a railway engineer. In 1843, his father relocated the family to Saint Petersburg, Russia, where James received training in painting. After a stay in England, he returned to America to attend the US Military Academy at West Point in 1851. In 1855, he made his way back to Europe, determined to dedicate himself to painting. Here he settled in Paris at first, but in 1859 moved to London, where he would spend most of the remainder of his life. There he met Dante Gabriel Rossetti and other members of the Pre-Raphaelite Brotherhood, who would have a profound influence on Whistler. It was also in London that Whistler met Joanna Heffernan, the model who would become his lover. By 1865, Whistler had already used her as a model for other paintings, among these Symphony in White, No. 1 and Symphony in White, No. 2. Heffernan supposedly had a strong influence over Whistler; his brother-in-law Francis Seymour Haden refused a dinner invitation in the winter of 1863–64 due to her dominant presence in the household. In January 1864, Whistler's mother Anna – later depicted in the painting Arrangement in Grey and Black – arrived to stay with her son in London. As a result, Heffernan had to move out of the apartment, and only visited as a model. Still, Heffernan's presence displeased Whistler's mother, and his relationship with both women became strained. ## Creation and reception Whistler started on Symphony in White, No. 3 perhaps as early as July 1865. It was the last of his paintings for which Heffernan was a model. He used Milly Jones, the wife of an actor friend, as the second model for the painting. By the middle of August, he had a complete sketch ready, and he continued work on the painting into September. Whistler kept reworking it, however, and it was not until 1867 that he considered it finished. He painted over the final "5" in the date, and replaced it with a "7", to mark the changes it had undergone. In March 1867, William Michael Rossetti wrote of seeing the painting in Whistler's studio, and mentioned that it was previously called The Two Little White Girls. It then went on display at the Royal Academy. The work was greatly admired by Whistler's colleagues, including Henri Fantin-Latour, Alfred Stevens, James Tissot and Edgar Degas. For Degas, the painting served as an inspiration for his own portrait of Eugénie Fiocre in the ballet La Source. Some critics, however, were confused by the title. Philip Hamerton, writing for the Saturday Review on 1 June 1867, remarked: > In the "Symphony in White No. III." by Mr. Whistler there are many dainty varieties of tint, but it is not precisely a symphony in white. One lady has a yellowish dress and brown hair and a bit of blue ribbon, the other has a red fan, and there are flowers and green leaves. There is a girl in white on a white sofa, but even this girl has reddish hair; and of course there is the flesh colour of the complexions. Whistler was always belligerent in his response to critics. He wrote a letter to the editor that the newspaper would not print, but was later reprinted by Whistler himself in his book The Gentle Art of Making Enemies: > How pleasing that such profound prattle should inevitably find its place in print!...Bon Dieu! did this wise person expect white hair and chalked faces ? And does he then, in his astounding consequence, believe that a symphony in F contains no other note, but shall be a continued repetition of F, F, F ? . . . Fool! The painting was originally bought by the wealthy art collector Louis Huth, who later also commissioned Whistler to paint a portrait of his wife. It is in the ownership of the Barber Institute of Fine Arts, in Birmingham, England. ## Composition and interpretation Symphony in White, No. 3 shows Heffernan reclining on a sofa with her head rested on her hand, while Jones is seated on the floor, leaning against the sofa. There is a fan on the floor, and a plant bearing white flowers on the right. The fan is an oriental element, and an expression of the artistic trend known as Japonisme which was then prevalent in European art. At the time, Whistler was greatly influenced by his friend and colleague Albert Joseph Moore. The painting bears close resemblances to Moore's roughly contemporary painting A Musician, though at the time the two were working so closely together that it is hard to ascertain exactly who influenced whom. The painter Walter Sickert – a student of Whistler – later described the painting in unflattering terms. In December 1908, five years after Whistler's death, he wrote in the Fortnightly Review: > In 'Symphony in White, No. 3,' we get the culbute. A bad picture, lâchons le mot, badly composed, badly drawn, badly painted, the low-water mark of the old manner, before the birth of the new. Folds of drapery are expressed by ribbons of paint in the direction of the folds themselves, with hard edges to them. Only painters can quite understand the depth of technical infamy confessed in this last description. It means that the drapery is no longer painted, but intended. To Whistler himself, however, the painting was not old-fashioned, but rather an expression of something new and innovative. By naming it Symphony in White, No. 3, Whistler highlighted his emphasis on composition, rather than subject matter. The use of a musical title was also an expression of the theory of corresponding arts, which was an idea developed by the French poet Charles Baudelaire. These tendencies became more and more dominant in Whistler's art over time. His two earlier paintings Symphony in White, No. 1 and Symphony in White, No. 2 had originally been titled The White Girl and The Little White Girl respectively, and later been renamed by the artist. Whistler had originally intended to call this work Two Little White Girls, but the development of his artistic philosophy made him change his mind, and from the time of its first exhibition it has been called by its musical title.	[ "## Background", "## Creation and reception", "## Composition and interpretation" ]	1,672	10,825
12,395,941	Ready, Set, Don't Go	1,157,879,982	null	[ "2000s ballads", "2007 singles", "2007 songs", "Billy Ray Cyrus songs", "Country ballads", "Male–female vocal duets", "Miley Cyrus songs", "Pop ballads", "Songs about parenthood", "Songs written by Billy Ray Cyrus", "Songs written by Casey Beathard", "Walt Disney Records singles" ]	"Ready, Set, Don't Go" is a country song performed by American singers Billy Ray Cyrus and Miley Cyrus. It was released as the lead single from Home at Last, Billy Ray Cyrus' tenth studio album on August 13, 2007. The song has received different interpretations, although, in actuality, Cyrus wrote the song several years before its release when his middle daughter, Miley, moved to Los Angeles in order to pursue an acting career with an audition for the Disney Channel Original Series Hannah Montana. "Ready, Set, Don't Go" received critical praise, with reviewers complimenting its lyrical content. It also reached positive commercial responses for Cyrus, compared to his downfall in previous years. Peaking at number 37 on the Billboard Hot 100, it became Cyrus' first entry on the chart since "You Won't Be Lonely Now" (2000). The song's accompanying music video was directed by Elliot Lester and features some of Cyrus's home movies; it received a CMT Music Award nomination at the 2008 CMT Music Awards. The song eventually became re-released as a duet with Miley. At the time of the single's release, she was 14 and enjoying the success of her debut album Hannah Montana 2: Meet Miley Cyrus. The duet version became Miley's debut in country music and received better commercial outcomes. It reached its highest international peak in the Billboard Hot 100 at number 37 and became Cyrus' first international chart entry since "Could've Been Me" (1992). Cyrus, with and without his daughter, performed the song at several venues, most notably Miley's first headlining concert tour, the Best of Both Worlds Tour. ## Background and reception "Ready, Set, Don't Go" is a country pop song which merges some of Home at Last's adult contemporary style. It is set in common time with a ballad tempo of 76 beats per minute. The song is written in a key of D major. Cyrus' and Miley's vocals each span two octaves, from B<sub>2</sub> to B<sub>4</sub>. The verses use a chord progression of D-Bm7-G twice, followed by Em and A, while the chorus uses G-A-D twice followed by G-Bm-Em-A-D. The song's lyrics were written by Cyrus and Casey Beathard. Cyrus discussed Home at Last in an interview with Calvin Gilbert of CMT News in which he said the song was about children growing up and moving on, from his own experience of moving his family to Los Angeles to help Miley with her acting and singing career. Amazon's Tammy La Gorce commented, "Hannah fans will fall for 'Ready, Set, Don't Go,' a dad-to-daughter song that sweetly underscores the love in Cyrus' real-life heart." Jeffrey B. Remz of Country Standard Time wrote that the song "finds Cyrus in good form." ## Chart performance ### Solo version "Ready, Set, Don't Go" debuted at number 67 on Billboard's Hot Digital Songs Chart which led to an appearance on the Billboard Hot 100 for the week ending August 4, 2007. The solo version debuted and peaked at number 85 on the Billboard Hot 100. "Ready, Set, Don't Go" became Cyrus' first appearance on the Hot 100 since "You Won't Be Lonely Now" (2000), which peaked at number 80. It also peaked at number 47 on Hot Country Songs and number 58 on the canceled Pop 100 chart. ### Duet version The duet version of "Ready, Set, Don't Go" enjoyed much more commercial success than the original version due to Miley's popularity. It debuted at number 85 in the Billboard Hot 100 for the week ending October 27, 2007. On the week ending January 26, 2008, the song ascended to number 40 on the Hot 100, becoming Cyrus first top 40 hit since his debut single "Achy Breaky Heart" (1992), which peaked at number four. The song ultimately peaked at number 37 on the Hot 100 for the week ending February 16, 2008. It also peaked at number four on Hot Country Songs, Cyrus' first top 10 on the chart since "Busy Man" (1999) peaked at number three, and number 44 on Pop 100. In the Canadian Hot 100, the song debuted at number 94 for the week ending on November 24, 2006. For the week ending February 2, 2008, the song reached its peak on the chart, at number 47. It became Cyrus' first international chart entry since "Could've Been Me" (1992). The song was released to US country radio on October 10, 2007 ## Music video The music video for "Ready, Set, Don't Go" was directed by Elliot Lester. The video begins with a close-up of Cyrus' hand playing an acoustic guitar. It then transitions into showing him. He is sitting on top of two black trunks in a dark, vacant room, wearing a lavender-colored shirt with a gray tee underneath, jeans, and cowboy boots. As Cyrus continues playing the guitar, images of Miley appear on the background. The images range from Miley's infant to teenage years. As Cyrus sings, nodding his head and flipping his hair intensely, a variety of home movies are played. This continues for the rest of the video. The scene ends with a video of Miley leaving in a yellow taxicab is shown in the background. The final scene has Cyrus with Miley as she takes her first steps and he says, "alright". The video received a nomination for "Tearjerker Video of the Year", but lost to Kellie Pickler's video for "I Wonder" at the 2008 CMT Music Awards. ## Live performances Cyrus premiered "Ready, Set, Don't Go" on June 9, 2007 at the CMA Music Festival. Cyrus introduced the song as a duet on October 9 on Dancing with the Stars. Cyrus joined Miley on The Oprah Winfrey Show on December 20 to perform the song. "Ready, Set, Don't Go" was most notably performed on the Best of Both Worlds Tour. On selected dates, Cyrus and another one of his daughters, Brandi, joined Miley to perform the song as an encore. On April 14, 2008, "Ready, Set, Don't Go" was performed as duet at the CMT Music Awards. The performance begun with Cyrus, wearing an open white shirt with a brown tee underneath and jeans, playing an acoustic guitar that was strapped to him. By the line, "wherever they are", Miley, wearing a multicolored cocktail dress, joined him from the back of the stage. On January 19, 2009, the song was performed at the Kids' Inaugural: "We Are the Future" event in celebration of Barack Obama's inauguration. Dressed in a graphic tee and jeans, Miley finished performing "Fly on the Wall" and asked Cyrus to join her onstage to perform the song. Cyrus was dressed in a black tee shirt, jeans, and a black leather jacket. ## Charts ### Solo version ### Duet version #### Year-end charts	[ "## Background and reception", "## Chart performance", "### Solo version", "### Duet version", "## Music video", "## Live performances", "## Charts", "### Solo version", "### Duet version", "#### Year-end charts" ]	1,540	25,145
38,130,246	Santa María de la Cabeza castle	1,148,633,539	Colonial castle in Cumaná, Venezuela	[ "Castles in Venezuela", "Spanish colonial fortifications in Venezuela" ]	Santa María de la Cabeza castle is a colonial castle built in the seventeenth century by the Spanish monarchy in the center of the city of Cumaná, Venezuela. It was built as a replacement for the San Antonio de la Eminencia castle. Its construction was ordered by Sancho Fernando de Angulo y Sandoval, governor of the Province of Cumaná. The building was designed using the trace italienne style popular during the seventeenth century, with a proportional geometric floor design. Bastions were used as the main defensive elements. The castle housed a garrison of 250 soldiers, and was the seat of government for the Province of Cumaná. Construction began in 1668 when Angulo y Sandoval's predecessor, Juan de Urtarte, wrote a memorandum to the King of Spain stating that the San Antonio de la Eminencia castle was unfit for defense. Several years later (and without proper authorization), Angulo y Sandoval began construction of a fortress that would be more useful for the defense of the city than the two existing fortifications. The castle underwent several renovations to repair damage caused by severe earthquakes. A 1684 quake severely damaged the castle and another in 1929 left the structure in ruins. The castle was declared a cultural and municipal asset in May 2005. ## Description The Santa María de la Cabeza castle is a fortress built c. 1669–73 in the city of Cumaná on the orders of Sancho Fernando de Angulo y Sandoval, governor of the Province of Cumaná, as a replacement for the San Antonio de la Eminencia castle. It is located in the center of the city next to St. Agnes Church, about 400 metres (1,300 ft) from the San Antonio castle, on a small hill. The castle is square with bastions (designed by Angulo y Sandoval) at its corners. It has been described as having minor defensive capability. The castle was built using the trace italienne style popular during the seventeenth century; its floor has a geometric design, and bastions are the main defensive elements. However, unlike other permanent bastioned fortifications, its defensive walls were designed as two sections: the lower part of the wall is vertical (perpendicular to the base) and the upper part, above the string course, is inclined inwards. This design makes the fort unique in Venezuela; in most castles, the lower portion of the walls inclines outwards at the base and the upper parts are vertical (perpendicular to the base). The primary material used to create the bricks for the castle was margosa limestone (a type of sedimentary rock composed of limestone and clay). The front of the castle is oriented to the east, and there was a ditch around the entire perimeter, including between the castle and the Plaza de Armas (Weapons Square). As of 2008 the building had lost its parapets and shelters, but the main defensive structures and walls have been preserved. The fort housed a garrison of 250 soldiers, and was the residence of the governor of the Province of Cumaná. ## Origins On 22 November 1668, Don Juan de Urtarte (governor of the province from 9 June 1668 to 26 July 1669) wrote a memorandum to the King of Spain stating that Fort Santiago was unfit for defense because of its round shape and its mud and stone construction. Several years later, Governor Don Sancho Fernando de Angulo y Sandoval began—without authorization from the war council—construction of a new fortress with the rationale that the San Antonio de la Eminencia castle did not meet the city's defensive requirements, as it is located on a hilltop far from the city and the coast. The governor claimed that the castle also lacked a suitable water supply and accommodation for soldiers, and thus was unable to resist prolonged sieges. Unlike his predecessor Urtarte, who requested financing to supply and improve San Antonio, Angulo y Sandoval decided to build a new castle, one better able to defend the city than the two existing fortifications. The resulting fortress was called Santa María de la Cabeza; the governor then requested that the two older structures be demolished. ## History On 4 May 1684 an earthquake devastated the city, severely damaging the Santa María castle. A road linking the Santa María de la Cabeza and San Antonio de la Eminencia castles was mentioned by Agustín Crame in a 1777 proposal for the defense of the city. Crame opposed the idea, but stated that if a road were built it should be a gravel one. The Santa María de la Cabeza castle was partially destroyed in a powerful earthquake felt throughout the state in 1797. After an earthquake in 1853, the reliquary enclosing an image of Nuestra Señora del Carmen (Our Lady of Mount Carmel), originally situated at the Mount Carmel chapel, was moved to the Santa María de la Cabeza castle, where Santos Berrizbeitia built a new chapel in 1912 to protect the image; it was later moved to St. Agnes Church. The ditch was filled in for construction of the Mount Carmel chapel and the deteriorated parapets were demolished. The original slopes and terraces present on Diaz Fajardo's 1737 map were probably also buried in the process. The chapel in the castle was the final resting place for Berrizbeitia; his remains, originally interred at Holy Trinity Cemetery (which he had built), were exhumed and moved five years after his death. Between the late eighteenth and early nineteenth centuries, Cumaná experienced an increase in population. The areas around the castles and the Manzanares River became densely populated. New buildings were constructed that were attached to the castle walls, completely closing off the perimeter and making direct access impossible. Another earthquake in 1929 left the structure in ruins and rendered it unusable. The offices of the seat of government for the Province of Cumaná were moved elsewhere and the building was abandoned. The castle was declared a Cultural and Municipal Asset in May 2005 by the state Cultural Assets Institute. ## Gallery	[ "## Description", "## Origins", "## History", "## Gallery" ]	1,283	28,261
69,895,792	Milam Residence	1,147,158,496	Sarasota Modern house in Ponte Vedra Beach, Florida	[ "1961 establishments in Florida", "Houses completed in 1961", "Houses in St. Johns County, Florida", "Houses on the National Register of Historic Places in Florida", "Modernist architecture", "National Register of Historic Places in St. Johns County, Florida", "Paul Rudolph buildings" ]	Milam Residence is an oceanfront residence in Ponte Vedra Beach, Florida, United States. It was designed by architect Paul Rudolph in the style of Sarasota Modern. The late modernist home has an unusual facade of large geometrical shapes facing the ocean. Completed in 1961, it was one of Architectural Record's 20 "Record Houses" of 1963. In 2016, it was added to the National Register of Historic Places. ## History The Milam Residence was completed in 1961 and named after Arthur W. Milam, the philanthropist who commissioned the project. It was designed in the style of the Sarasota Modern by architect Paul Rudolph. Rudolph designed almost 60 homes in Florida, and the Milam Residence was the last one. The home appears on the cover of Rudolph's 2002 book, Paul Rudolph: The Florida Houses. In 1963, the home was named one of Architectural Record's 20 "Record Houses". Rudolph returned to design other outbuildings when Milam was married in 1969: the additions included a small guest house, a three-car garage, and a swimming pool. The building was added to the National Register of Historic Places in 2016. The building was put up for sale in 2017 and 2020. Jonathan and Sheila Lee Davies purchased the building for \$3.45 million, approximately \$1 million under the asking price. Sheila Lee Davies, an Atlanta-based architect, planned to repair the building at an estimated cost of \$1.3 million. ## Design The home has 6,858 square feet (637.1 m<sup>2</sup>) and sits on 2 acres (0.81 ha), 60 feet (18 m) above the Atlantic Ocean. It has four bedrooms and two bathrooms. Rudolph designed the home with an orthogonal facade; the geometric shapes are a striking and unusual visual element. The building has been referred to as an example of late modernist and Cubist architecture. The squares and rectangles are not only a striking visual element, they also serve a purpose by providing shade to the interior rooms. The large overhang and side extension of the facade elements provide shade for the building interior. Additionally, the large openings have floor to ceiling glass which deflect sun and wind. The Milam Residence was the first residential property designed by Rudolph which included air conditioning. The air conditioning allowed Rudolph to design the home without worrying about the Florida weather. The Sarasota School of Architecture was known for designing buildings with straight lines, and seamless transitions between indoor-outdoor spaces. The architects of that school attempted to make use of natural elements like wind and outdoor light. In keeping with the Sarasota ideology, Rudolph tried to connect the inside and outside spaces with the design. One example of this method is where he designed the home with terrazzo floors matching the color of the nearby sand. The interior has rooms which are elongated and parallel to the ocean with large windows. The home has been referred to as "The House of Seven Levels". The interior features built-in storage and level changes. There are functional interior floor-level changes: a sunken living room. There are also level changes in ceiling height: a lowered ceiling in some areas and raised ceiling in others. ## See also - High-tech architecture - Modern architecture	[ "## History", "## Design", "## See also" ]	691	33,807
57,740,564	Virgil L. Peterson	1,151,017,126	Inspector General of the US Army (1882–1956)	[ "1882 births", "1956 deaths", "Burials at Arlington National Cemetery", "Centre College alumni", "Inspectors General of the United States Army", "Military personnel from Kentucky", "Recipients of the Distinguished Service Medal (US Army)", "United States Army Command and General Staff College alumni", "United States Army Command and General Staff College faculty", "United States Army Corps of Engineers personnel", "United States Army War College alumni", "United States Army generals", "United States Army generals of World War II", "United States Army personnel of World War I", "United States Military Academy alumni" ]	Virgil Lee Peterson (22 September 1882 – 15 February 1956) was an Inspector General of the United States Army. Peterson graduated third in the United States Military Academy class of 1908, and much of his early career was spent in the United States Army Corps of Engineers, including serving as the district engineer of the Los Angeles District and commander of the 3rd Engineers. During World War I, he was Commanding Officer, Engineer Officers' Training Camp at Camp Lee, Virginia, from April to August 1918; and Director of Training at Camp Humphreys, Virginia, until October 1918. He was awarded the Army Distinguished Service Medal twice, once for his service during World War I, and again for his work as Inspector General during World War II. ## Early life Peterson was born on 22 September 1882 in Raywick, Kentucky, and attended Centre College, where he played football and received a Bachelor of Science in 1902. He then taught until 1904, when he entered the United States Military Academy. He was made a cadet corporal, cadet first sergeant, and eventually cadet captain. Peterson was a skilled rifleman and played for the school's polo team. He graduated third of 108 in the United States Military Academy class of 1908. Upon graduation, Peterson was commissioned as a second lieutenant in the United States Army Corps of Engineers. ## Military service ### Junior officer From February to May 1908, Peterson was stationed at Fort Leavenworth. Until September, he was at Fort Riley, when he was assigned to map work in Fort Benjamin Harrison. From 30 June to 13 July 1909, he was at the military tournament in Toledo, Ohio. Peterson then attended the engineering school at Fort Lesley J. McNair, graduating on 5 November 1910. He was stationed with the 3rd Battalion of Engineers at Fort Leavenworth until 9 March 1911, during which he performed various duties and embarked on several short map-making tours in Ohio and Indiana. Peterson was then stationed in San Antonio with the Maneuver Division until 4 November 1911, when he was sent to the Philippines. First at Camp Stotsenburg, Peterson worked on a topographical survey of Luzon from 5 February to 1 May 1912. He was in charge of construction of a mechanical and electrical plant on Corregidor Island until 1 September 1913. Peterson then served as an aide-de-camp to J. Franklin Bell until 15 September 1914. He also supervised the construction of a hydroelectric plant and officers barracks. He then returned to the United States in late 1914. On February 28, 1915, Peterson was made a captain. From February 1915 to August 1918, Peterson commanded groups; including the 9th Engineer Battalion and the 8th Engineer Mounted Battalion, at various camps; including in Brownsville, Texas, the Washington Barracks, and in El Paso, Texas. He then commanded the Fourth Engineer Officers' Training Camp at Camp Lee until 10 August 1918 and at Camp A. A. Humphreys, he was a director of Military Training until October 1918. At Camp Lee and Camp A. A. Humphreys, he directed the training of 4,500 engineer officers and 20,000 enlisted soldiers. For his service he received the Army Distinguished Service Medal. The citation for the medal reads: > The President of the United States of America, authorized by Act of Congress, July 9, 1918, takes pleasure in presenting the Army Distinguished Service Medal to Colonel (Corps of Engineers) Virgil L. Peterson, United States Army, for exceptionally meritorious and distinguished services to the Government of the United States, in a duty of great responsibility during World War I. As Commanding Officer, Engineer Officers' Training Camp at Camp Lee, Virginia, from April to August 1918; and Director of Training at Camp Humphreys, Virginia, until October 1918, Colonel Peterson displayed marked foresight, rare ability, and sound judgment in the reorganization of the standardization of the instruction for engineer troops. By his organizing and training ability, indefatigable efforts, and high military attainments he successfully directed the training of 4,500 engineer officers and 20,000 enlisted men, thereby rendering services of great value to our Government in positions of great responsibility. ### Rise and infrastructure work Peterson left Camp A. A. Humphreys to attend the United States Army War College to November 1918. Peterson was then the commandment of the engineering school at Camp Humphreys from November 1918 to June 1920, and served as the assistant to the District Engineer in Boston until 31 December 1920. During his tenure he was credited with increasing the quality of education for engineers, while shortening the course length. After 1920, he spent his time in New England, in various engineering districts, with the majority as Providence, Rhode Island district engineer. At the United States Army Command and General Staff College in Fort Leavenworth, Peterson was a student from August 1924 to June 1925. Until 1929, he was an instructor at the school. He then was Assistant Director of Public Buildings and Public Parks of the Capitol in Washington D.C. until 30 March 1930. Peterson next was an assistant to the United States Army Corps of Engineers Chief of Engineers, as chief of the Miscellaneous Civil Section from April 1930 to August 1932, during which he was promoted to Lieutenant-Colonel on 1 November 1931. As chief of the section, he oversaw the study of projects, preparation of correspondence, and recommendations in all matters relating to the establishment of and changes in harbor lines; the removal of wrecks and other obstructions to navigation; the bridging of navigable waters; the supervision of New York Harbor; the lakes survey; the water supply and the public buildings and grounds of Washington, D.C.; the preservation of Niagara Falls; the national parks; and other miscellaneous matters. He spent a year at the United States Army War College, where upon graduating he was appointed district engineer of the Los Angeles Engineering District. From February 1934 to February 1936, Peterson commanded the 3rd Engineers at Schofield Barracks. From May 1936 to March 1938, he served as the district engineer of the Detroit River and Harbor District. From March 1938 to February 1940, Peterson was chief of staff at the headquarters of the Sixth Corps Area in Chicago. ### Inspector General On 27 February 1940, Peterson was appointed to Inspector General of the United States Army. As Inspector General, he was credited with "seeing more men, maneuvers, and facilities than any other officer in the Army." In this role, he helped instill a number of policies that would guide the military through coming cultural shifts. In the spring of 1942, he recommended forming fewer black units due to slow deployment of black units because staff at overseas theaters often refused to accept them. Peterson argued that it was more important to focus on supplying the army with adequate combat forces. The suggestion was not acted upon. He investigated the treatment of Japanese American soldiers at Fort Riley and in Arizona. He was charged by George C. Marshall, the Chief of Staff of the United States Army, to investigate whether training and maneuvers knowledge were adequate among soldiers. Peterson advocated for forecasting the construction of cantonments so that there would be fewer material shortages, which was successfully incorporated. He was hesitant towards the Psychological Warfare Division in its early stages, feeling it provided unclear value to the army; Peterson's recommendations led to changes in the structure of the department. ## Later life The amount of work began to affect his health, and after having a heart attack, was reassigned to the Army Service Corps. Peterson retired from the Army on 28 February 1946. He received the Army Distinguished Service Medal (presented as an oak leaf cluster) for his work as Inspector General. In his column Washington Merry-Go-Round, Drew Pearson claimed that Peterson was "not a brilliant success," and he received his post of Inspector General as a result of his friendship with Edwin Watson. Peterson lived in Washington, D.C. until his death on 15 February 1956, at the age of 73. He was buried at Arlington National Cemetery.	[ "## Early life", "## Military service", "### Junior officer", "### Rise and infrastructure work", "### Inspector General", "## Later life" ]	1,748	7,192
11,764,486	Teddy Riner	1,171,581,766	French judoka	[ "1989 births", "Black French sportspeople", "Competitors at the 2009 Mediterranean Games", "European champions for France", "French male judoka", "French people of Guadeloupean descent", "Guadeloupean male judoka", "Judoka at the 2008 Summer Olympics", "Judoka at the 2012 Summer Olympics", "Judoka at the 2016 Summer Olympics", "Judoka at the 2020 Summer Olympics", "Knights of the Legion of Honour", "Knights of the Ordre national du Mérite", "Living people", "Medalists at the 2008 Summer Olympics", "Medalists at the 2012 Summer Olympics", "Medalists at the 2016 Summer Olympics", "Medalists at the 2020 Summer Olympics", "Mediterranean Games gold medalists for France", "Mediterranean Games medalists in judo", "Officers of the Legion of Honour", "Olympic bronze medalists for France", "Olympic gold medalists for France", "Olympic judoka for France", "Olympic medalists in judo", "People from Les Abymes", "Sportspeople from Paris", "World judo champions" ]	Teddy Pierre-Marie Riner (/ˈriːnər/, ; born 7 April 1989) is a French judoka. He has won eleven World Championships gold medals, the first and only judoka (male or female) to do so, and three Olympic gold medals (two individual, one team). He has also won five gold medals at the European Championships. He was a member of the Levallois Sporting Club before joining Paris Saint-Germain in August 2017. ## Personal life Riner was born on 7 April 1989 in Les Abymes near Pointe-à-Pitre, in Guadeloupe, an insular region of France in the Caribbean. He was raised in Paris. He was enrolled at a local sports club by his parents and played football, tennis and basketball, but says he preferred judo "because it is an individual sport and it's me, only me." He is 2.04 metres (6 ft 8 in) tall and weighs 130 kilograms (290 lb). He is nicknamed "Teddy Bear", or "Big Ted". ## Judo career Riner was a member of the Levallois Sporting Club in Levallois-Perret, France and is coached by Christian Chaumont and Benoît Campargue. He won the World and European junior titles in 2006. In 2007, he won a gold medal at the European Judo Championships in Belgrade, Serbia, on the day after his eighteenth birthday. At the 2007 World Judo Championships in Rio de Janeiro, Brazil, he became the youngest ever senior world champion when he won the heavyweight (+100 kg) event, defeating the 2000 Olympic gold medallist, Kosei Inoue of Japan, in the semi-final. At the 2008 Summer Olympics in Beijing, China, Riner competed in the men's heavyweight event. He received a bye into the second round of the competition before beating Anis Chedli of Tunisia and Kazakhstan's Yeldos Ikhsangaliyev to advance to the semi-finals. In the semis he was beaten by Uzbek judoka Abdullo Tangriev on the golden score, meaning Riner had to enter the repechage rounds. In the repechage he defeated Andreas Tölzer and João Schlittler to reach a bronze medal final against Lasha Gujejiani of Georgia; Riner took the bronze medal by a score of one ippon, one yuko and one koka to nil. In December 2008 he won his second World Championship gold medal at the Open weight Championships held in Levallois-Perret, France, by beating Alexander Mikhaylin of Russia in the final. Riner won his third world title at the 2009 World Championships in Rotterdam, the Netherlands. He won bouts against Daniel McCormick, Vladimirs Osnachs, Ivan Iliev and Martin Padar in the pool stage before beating Marius Paškevičius in the semi-finals and Oscar Bryson in the final to take the gold medal. In 2010, he won two medals, a gold and a silver, at the World Championships in Tokyo. After winning the +100 competition Riner was defeated by Daiki Kamikawa of Japan in the final of open weight class by a 2–1 judge's decision. After the bout, Riner refused to bow or to shake Kamikawa's hand, claiming that he "was robbed". Riner won his second European gold medal at the 2011 Championships in Istanbul, Turkey. He defeated Nodor Metreveli, Emil Tahirov and Zohar Asaf to win Pool A of the +100 kg competition before defeating Estonian Martin Padar in the semi-finals and Barna Bor of Hungary in the final to win the title. At the 2011 World Judo Championships in Paris Riner won the gold medal in men's +100 kg division, beating Germany's Tölzer in the final. The result meant that Riner became the first ever male Judoka to win five world titles. He won his sixth World Championship gold medal as part of the French side that won the team event. Riner was selected to compete for France at the 2012 Summer Olympics in London, England in the men's heavyweight event. The event took place at ExCeL London on 3 August. Riner won the gold medal by defeating Russia's Alexander Mikhaylin in the final. At the 2016 Olympics, he defended his Olympics heavyweight title, defeating Hisayoshi Harasawa in the final. In his career, Riner was only defeated nine times in elite international championships. He lost to Brayson and Tölzer in 2006, to Bianchessi and Rybak in 2007 and to Muneta and Grim Vuijsters in 2008. He lost to Abdullo Tangriev in the third round of the 2008 Summer Olympics, before obtaining the bronze medal, and on 13 September 2010 he lost the openweight title at the 2010 World Judo Championships in Tokyo to Daiki Kamikawa, his last defeat before a series of 154 victories. After almost 10 years, he lost in the third round of the Paris Grand Slam against world number 2 Kokoro Kageura. In 2021, he won the gold medal in his event at the 2021 Judo World Masters held in Doha, Qatar. At the 2020 Tokyo Olympics, Riner achieved a bronze medal in the over 100-kilogram class following a defeat by Russian judoka Tamerlan Bashaev. He also won the gold medal in the mixed team event. ## Awards and honors - 2016 Officier de l'ordre national du Mérite - 2011 RTL Champion of Champions – This annual sports award was inaugurated in 2008 and is awarded by RTL, a French commercial radio network. The previous winners were Alain Bernard (2008), Sébastien Loeb (2009) and Christophe Lemaitre (2010). - 2012 L'Équipe Champion of Champions (France male category) - 2013 Chevalier de la Légion d'honneur	[ "## Personal life", "## Judo career", "## Awards and honors" ]	1,306	12,469
59,525,934	Joseph J. Himmel	1,165,410,922	American Jesuit priest and missionary	[ "1855 births", "1924 deaths", "19th-century American Jesuits", "20th-century American Jesuits", "American Roman Catholic missionaries", "American people of German descent", "Burials at the Jesuit Community Cemetery", "College of the Holy Cross faculty", "Georgetown University faculty", "People from Annapolis, Maryland", "Presidents of Georgetown University", "Presidents of Gonzaga College High School", "Rectors of St. Andrew-on-Hudson", "Roman Catholic missionaries in the United States", "Saint James School (Maryland) alumni", "St. John's College (Annapolis/Santa Fe) alumni", "St. Stanislaus Novitiate (Frederick, Maryland) alumni", "Woodstock College alumni" ]	Joseph J. Himmel SJ (born Joseph J. Himmelheber; January 16, 1855 – November 3, 1924) was an American Catholic priest and Jesuit. For much of his early life, he was a missionary throughout the northeast United States and retreat master. Later in life, he was president of Gonzaga College and Georgetown University in Washington, D.C. Born in Annapolis, Maryland, to German-immigrant parents, Himmel was educated at private schools in Maryland, before entering the Redemptorist Order, of which his father had been especially fond. Early in his training, he was involved in some incident of mischief, and was expelled from the Redemptorist school he was attending, prompting him to immediately pursue admittance to the Society of Jesus, despite having no prior familiarity with the order. Upon being accepted, he began his formation in Frederick, Maryland, eventually being sent to Woodstock College. There, he began experiencing his first illnesses, which would plague him through life. During his studies, he also taught intermittently at Georgetown University and the College of the Holy Cross. Following his ordination in 1885, Himmel became a missionary in New England and Philadelphia. Over the course of his twenty years of missionary work, he was successful in soliciting donations for the Jesuits' work. Eventually becoming superior of the Jesuit home missions, he was simultaneously named superior of the Jesuit retreat center on Keyser Island, a position be held discontinuously for seventeen years. In 1907, he was named president of Gonzaga College, holding the position for only a year, before being appointed president of Georgetown University in 1908. Due to his poor health, his term came to an end in 1912. He spent the remainder of his life at Keyser Island, as superior of the Jesuit novitiate of St. Andrew-on-Hudson in Poughkeepsie, New York, and as a recluse at Georgetown, due to his illness. ## Early life Joseph Himmelheber was born on January 16, 1855, in Annapolis, Maryland, one of eight siblings, to John and Mary Eva Himmelheber. His mother was born in 1819 in Aschaffenburg in Bavaria, Germany, and died in September 1897. His father was also a German immigrant, who became an engineer for the Maryland State House, where he would remain for twenty years, and moved his family to Annapolis, purchasing the historic Brice B. Brewer, Sr. House. His father maintained an especially close connection with the Redemptorist Fathers in the city, and when he died on March 3, 1895, he was interred in the crypt of the Redemptorists. ### Education and formation Himmel's Catholic parents sent him to private school throughout his life. Beginning in 1862, he was educated in a private school for four years, before being privately tutored by a priest for three years. For one year in 1869, he enrolled at St. John's College in Annapolis on a Mason Scholarship, before transferring to Saint James School in Hagerstown, where he remained from 1870 to 1871. In light of his father's strong connection with the Redemptorist Order, Himmel then entered the Redemptorist training school in Ilchester, Maryland, with the intention of pursuing a life in the order. After some incident of mischief, Himmel was expelled from the school; though he had never encountered a Jesuit before, he hastily arranged to meet with the Jesuit provincial superior, Joseph Keller, who was at Loyola College, and applied to be admitted to the order. He sought his family's consent, as ordered by the provincial, only after being accepted. Himmel left for the Jesuit novitiate in Frederick, Maryland, on November 24, 1873, and he made his vows on December 8, 1875. After spending only a year in Frederick to study the classics (because he had previous education in the subject), he was sent to Woodstock College to study philosophy. While there, he suffered poor health and was sent to Georgetown University to recover. He taught and privately studied there, before being transferred to the College of the Holy Cross in Worcester, Massachusetts, a year later; he continued to teach and study there for four years. He finally returned to Woodstock in 1882 for his theological studies. Himmel was ordained a subdeacon, deacon, and priest at Woodstock on August 27, 1885, by Archbishop James Gibbons, who was assisted by Robert Fulton, the provincial superior of the Society of Jesus. He sang his first solemn high mass on September 4. As late as 1889, Himmel continued to use his parents' surname of Himmelheber, rather than the shortened and anglicized Himmel. ## Missionary and retreat master Immediately after his ordination, Himmel was sent for a year as a missionary to the outskirts of Frederick, due to his poor health. Once deemed strong enough, he was sent for three years as a member of the missionary band to New England, where his mission was stationed out of St. Mary's Church in Boston. The Cathedral of Saints Peter and Paul in Philadelphia was in need of priests, and Himmel was sent there at the request of the mission superior, despite the provincial superior's doubts about his health. There, he garnered a reputation as a capable preacher, being especially popular with the children. During his time on the mission band, he was very successful in soliciting donations; over the course of his eventual twenty years as a missionary, he secured more than \$400,000. In 1889, he returned to Frederick, where he completed the tertianship stage of his Jesuit formation the following year. The following year, he was appointed superior of the Jesuit home missions, holding this position until 1907. His health once again weakened in May 1898, prompting him to spend three months at St. Thomas Manor in Port Tobacco, Maryland. ### Keyser Island In Philadelphia, Himmel's superiors recognized his aptitude for administration, and he was appointed the superior of the Manresa Institute at Keyser Island in September 1898, which was a retreat center in South Norwalk, Connecticut. Himmel resumed his post as superior of the missionary band in 1903. During his leadership of the island, the center became a popular place of retreat among the Jesuits and the Catholic clergy of Hartford, and Himmel oversaw construction of a chapel and several large houses. He remained as superior of the island until 1907. ## Gonzaga College On April 26, 1907, Himmel was named the twentieth president and rector of Gonzaga College in Washington, D.C., succeeding Edward X. Fink. During the first summer of his term, he oversaw the refurbishment of the school building, which was falling into disrepair, and involved remodeling its interior. In the spring of 1908, Himmel received Bishop Thomas Augustine Hendrick, the Bishop of Cebu, and Cardinal James Gibbons, the Bishop of Baltimore, who together administered the sacrament of confirmation to 621 people. They were joined by Monsignor Denis J. O'Connell, the rector of the Catholic University of America; William Morgan Shuster, a member of the Philippine Commission, Major Frank McIntyre of the U.S. Army; and Congressmen William Bourke Cockran, Michael E. Driscoll, and Joseph A. Goulden, as honored guests. During the commencement exercises of that year, he also received Diomede Falconio, the Apostolic Delegate to the United States. His short-lived presidency came to an end on August 27, 1908, when he was named president of Georgetown University. He was replaced by Eugene DeL McDonnell, who became vice (acting) rector, until Charles W. Lyons was named the permanent successor. ## Georgetown University Due to the widespread unpopularity of David Hillhouse Buel among the students and faculty, the Jesuit Superior General sought to find a replacement as president of Georgetown University. The provincial sent three recommendations to the general, who selected Himmel in August 1908. On November 13, 1909, the Georgetown Hoyas football team played the University of Virginia Cavaliers in Washington. During the game, one of the Cavaliers, Archer Christian, was severely injured on the field, and fell into a coma on the sidelines, only to die of a brain hemorrhage at the Georgetown University Hospital the next day. Himmel immediately suspended Georgetown's football program for the rest of the season; the president of the University of Virginia, Edwin Alderman, followed suit, as did the University of North Carolina at Chapel Hill. On November 17, the faculty of Georgetown decided to permanently abolish football at the university, and Himmel met with the leaders of other Jesuit universities the following month to discuss the complete elimination of football at their institutions and to reduce the prominence of football at colleges. While his administration of the university was successful, his worsening arterial sclerosis soon prevented him from fulfilling the office, and he wrote to the superior general in summer 1910 that the institution would be better served by a younger president. The Jesuit superiors ordered him to take a leave of absence from the university in 1911, but upon resuming his office, his symptoms worsened. Himmel resigned the presidency, after spending January to May 1912 in the hospital. He was replaced by Alphonsus J. Donlon. ## Later life ### Superior of Jesuit training institutions Following his discharge from the hospital, Himmel was sent to Keyser Island to recuperate. In October 1912, he was again made superior of the island, and held the post until 1918. In 1913, he simultaneously resumed his position as superior of the missionary band, which he held until 1918; in total, he served as superior of the missionaries for seventeen years. Himmel became rector of St. Andrew-on-Hudson in Poughkeepsie, New York, a Jesuit scholasticate on October 31, 1915. He remained in this position until, October 11, 1921, when he was succeeded by Fr. William F. Clark. During this time, the Jesuits sought to relocate their novitiate from Yonkers, New York, to their newly created New England vice-province. Himmel was tasked with investigating the suitability and price of various estates in Connecticut for the construction of the novitiate. On December 24, 1921, Himmel returned to Keyser Island to again focus on his worsened health. ### Return to Georgetown In his later life, Himmel suffered a stroke, which impaired his speech. This caused him to refrain from speaking in public, and he spoke only rarely in private. Given his debilitated state, he was placed in charge of the Georgetown University archives, where he led a largely reclusive life. He died on November 3, 1924, at Georgetown, attending dinner in apparently sound health earlier in the evening. His sole surviving sister, Agnes, was one of the few non-student attendees of the funeral. Himmel was buried in the Jesuit Community Cemetery at Georgetown.	[ "## Early life", "### Education and formation", "## Missionary and retreat master", "### Keyser Island", "## Gonzaga College", "## Georgetown University", "## Later life", "### Superior of Jesuit training institutions", "### Return to Georgetown" ]	2,357	15,210
34,328,500	The Fiery Trial	1,158,873,150	2010 book by Eric Foner	[ "2010 non-fiction books", "21st-century history books", "American biographies", "American history books", "Bancroft Prize-winning works", "Biographies of Abraham Lincoln", "History books about the American Civil War", "Non-fiction books about American slavery", "Pulitzer Prize for History-winning works", "W. W. Norton & Company books" ]	The Fiery Trial: Abraham Lincoln and American Slavery is a historical non-fiction book written by American historian Eric Foner. Published in 2010 by W. W. Norton & Company, the book serves as a biographical portrait of United States President Abraham Lincoln, discussing the evolution of his stance on slavery in the United States over the course of his life. The Fiery Trial, which derives its title from Lincoln's Annual Message to Congress of December 1, 1862, was the 22nd book written by Foner, the DeWitt Clinton Professor of History at Columbia University. It was praised by critics and won the 2011 Pulitzer Prize for History, the Bancroft Prize, and the Lincoln Prize. ## Synopsis In the preface to The Fiery Trial, Eric Foner states his intention to trace "the evolution of Lincoln's ideas and policies about slavery from his early life through his career in the Illinois legislature in the 1830s, his term in Congress in the 1840s, his emergence as a leader of the new Republican party in the 1850s, and his presidency during the Civil War". The book closely examines Lincoln's speeches and writings, and avoids direct engagement with previous Lincoln historians. The Fiery Trial begins with Lincoln's encounters with slavery in his early life, growing up in Kentucky and Indiana. He occasionally dealt with issues of slavery in his law practice in Illinois. The book also discusses Lincoln's position on slavery in the context of his political career. Lincoln was a moderate, attempting to bridge the gap between the abolitionist Radical Republicans and conservative Democrats, including those in the slave-holding states, whom he hoped would choose preserving the Union over steadfastly defending slavery. Lincoln initially supported the idea of voluntary colonization of freed blacks to Africa, a stance supported by some politicians at the time, although considered unethical by many. However, Lincoln eventually abandoned his moderate stance on slavery when he determined that to win the American Civil War, he needed to act to end slavery. In the epilogue, Foner praises Lincoln's "capacity for growth, the essence of [his] greatness", and speculates that had he not been assassinated, he could have helped to prevent the disenfranchisement and segregation of blacks that followed emancipation. Foner concludes with a quotation by abolitionist Lydia Maria Child: > I think we have reason to thank God for Abraham Lincoln ... With all his deficiencies, it must be admitted that he has grown continuously; and considering how slavery had weakened and perverted the moral sense of the whole country, it was great good luck to have the people elect a man who was willing to grow. ## Background Eric Foner, the book's author, is the DeWitt Clinton Professor of History at Columbia University. His specialties include the American Civil War and the subsequent Reconstruction Era. The Fiery Trial was his 22nd book. Foner's 1989 book Reconstruction: America's Unfinished Revolution, 1863-1877 won the Bancroft Prize of Columbia University, an award also given to The Fiery Trial. Before The Fiery Trial, several of Foner's works had discussed Lincoln, but this was the first of his books to study the president directly. Foner began the book because he believed "that it was still possible to say something new, despite the voluminous literature that's out there." The Fiery Trial was published in 2010 by W.W. Norton & Company. The book's title is a quotation from Lincoln's December 1, 1862, Annual Message to Congress (today the State of the Union address), in which he said of the Civil War: "Fellow citizens, we cannot escape history. We of this Congress and this administration, will be remembered in spite of ourselves.... The fiery trial through which we pass, will light us down, in honor or dishonor, to the latest generation." ## Reception The Fiery Trial was generally well received by critics, who praised its insights and lucidity. David S. Reynolds, reviewing for The New York Times, described the book as a "political biography of Lincoln", and concluded that "More cogently than any previous historian, Foner examines the political events that shaped Lincoln and ultimately brought out his true greatness." James M. McPherson, a previous winner of the Pulitzer Prize for History, stated of the book that "No one else has written about [Lincoln's] trajectory of change with such balance, fairness, depth of analysis, and lucid precision of language." Library Journal called it "an essential work for all Americans.... In the vast library on Lincoln, Foner's book stands out as the most sensible and sensitive reading of Lincoln's lifetime involvement with slavery and the most insightful assessment of Lincoln's—and indeed America's—imperative to move toward freedom lest it be lost." David M. Shribman, writing in The Boston Globe, called Foner "perhaps the preeminent historian of the Civil War era" and the book "a masterwork that examines Lincoln's passage to Gettysburg and beyond". In the San Francisco Chronicle, David W. Blight called The Fiery Trial "a distinctive and valuable book, showing persuasively that we should not understand Lincoln from the myth-glazed outcome reading backward, but from the beginning, through one transformative event after another, looking forward." In a review for The Historian, Lawrence Frederick Kohl wrote of the book that "Eric Foner's prodigious research and his deep knowledge of the era allow him to provide perhaps the best account of this subject available today. Even seasoned scholars will find facts in this volume that are new to them and fresh insights that they will want to consider." Patrick Prendergast stated in The Irish Times that "For the interested but non-specialist reader Foner's book is a triumph, and he explains the progression in Lincoln's views of slavery in an accessible and exciting way." Reviewing for The Washington Post, Fred Kaplan was more critical. Though Kaplan stated that the "comprehensive review of mostly familiar material" would make The Fiery Trial "the book of first convenience to go to on the subject", he also argued that in contrast to Foner's thesis of growth, "a stronger argument can be made that Lincoln hardly 'grew' at all on the issue of slavery, that he responded to changing circumstances that he did not create...." The Fiery Trial won the 2011 Pulitzer Prize for History, the Bancroft Prize, and the Lincoln Prize. The New York Times Book Review listed The Fiery Trial as one of its 100 Notable Books of 2010, writing, "Foner tackles what would seem an obvious topic, Lincoln and slavery, and sheds new light on it."	[ "## Synopsis", "## Background", "## Reception" ]	1,380	263
4,366,471	Everybody Hates Hugo	1,166,292,395	null	[ "2005 American television episodes", "Lost (season 2) episodes", "Television episodes directed by Alan Taylor (director)", "Television episodes written by Edward Kitsis and Adam Horowitz" ]	"Everybody Hates Hugo" is the fourth episode of the second season of the American drama television series Lost, and the show's 29th episode overall. The episode was written by Edward Kitsis and Adam Horowitz, and directed by Alan Taylor. It first aired in the United States on October 12, 2005, on ABC. In this episode, flashbacks reveal why Hurley is hesitant at his new job of distributing food found in the newly discovered Swan station. Meanwhile, a few castaways become worried that the raft sent by them for rescue may have not gone as far as they hoped. Jack and Sayid explore the hatch, while Sawyer, Jin, and Michael find out that their captors are from the tail section of the plane. ## Plot ### Flashbacks Following Hugo "Hurley" Reyes's (Jorge Garcia) discovery of his winning lottery numbers. Hurley keeps his win a secret, and quits his job at a fast food restaurant along with his friend Johnny (DJ Qualls). The pair enjoy themselves by pulling a prank on their former boss, and going to a record store where Hurley asks out his crush, Starla (Marguerite Moreau). Hurley asks Johnny to promise that they will never change, and Johnny does so. Johnny pulls into a local gas station to buy some beer, but notices news crews talking to the attendant. When the clerk loudly points out Hurley as the buyer of the winning lottery ticket, Johnny's stunned expression clearly reveals that, despite his promise, everything has changed. ### On the island In the Swan station, Hurley struggles with the task of food rationing. Charlie Pace (Dominic Monaghan) asks Hurley if the bunker contains food, specifically peanut butter for Claire Littleton (Emilie de Ravin), but Hurley will not answer him. Hurley decides to enlist Rose Henderson-Nadler (L. Scott Caldwell) to help him take inventory. At one point, Hurley has a strange dream, in which Jin-Soo Kwon (Daniel Dae Kim) tells Hurley, in English, that "everything is going to change." Hurley becomes less and less certain of his ability to ration the food in a manner that keeps everyone happy. He attempts to quit, but John Locke (Terry O'Quinn) refuses to permit it. Hurley then prepares to blow up the pantry with dynamite, but Rose intervenes. He explains that the food, newfound wealth to the survivors, will change everything and everyone will come to hate him, just as things changed when everyone knew he won the lottery; however Rose talks him out of his plan. Later, Hurley informs Jack Shephard (Matthew Fox) of his decision to give all the food away, arguing that the food stores do not amount to very much when divided among all the survivors. The food is distributed freely and the survivors enjoy a feast. Everyone appreciates Hurley's decision, including Charlie, who gives his benefactor a hug of reconciliation. James "Sawyer" Ford (Josh Holloway), Michael Dawson (Harold Perrineau) and Jin learn that their captors are survivors from the tail section of Oceanic 815 and are taken to a DHARMA Initiative station, which they use for sanctuary. A woman named Libby (Cynthia Watros) says that there were 23 survivors from the tail section of the plane, although very few remain. Meanwhile, the bottle of messages from the raft, on which Michael, Sawyer, Jin and Walt Lloyd were travelling, washes ashore. Claire and Shannon Rutherford (Maggie Grace) give it to Sun-Hwa Kwon (Yunjin Kim), Jin's wife, and she opts to bury the bottle on the beach. In the hatch, Jack and Sayid Jarrah (Naveen Andrews) inspect the mysterious concrete barricade blocking what appears to be a corridor to another section of the bunker. They discover that the barrier is very thick and that the corridor is also blocked on the foundation level. Later, Jack and Kate Austen (Evangeline Lilly) share a moment of sexual tension when she exits the shower wearing only a towel. ## Production "Everybody Hates Hugo" was the only episode of the series directed by Alan Taylor. Taylor had previously directed episodes of The Sopranos and Sex and the City. The episode was written by Edward Kitsis and Adam Horowitz, the pair had previously written the episode "Born to Run". The character of Libby, played by Cynthia Watros, was introduced in this episode. Originally, Libby had been written to be in her late 40s or early 50s. Jennifer Jason Leigh was approached to play the part, but it went to Watros instead. When Watros auditioned for the part of Libby, she did not think that she would end up being cast. Once she was, Watros and her twin daughters immediately moved from Los Angeles to Hawaii. Bernard is also introduced in this episode. As Rose is black, the producers thought the audience would expect Rose's husband to also be black, and made Bernard white to surprise the audience. They expected the audience to assume Mr. Eko (Adewale Akinnuoye-Agbaje), the only black man in the tail-section survivors, was Bernard. L. Scott Caldwell, Rose's portrayer, was unaware of their plans and had been picturing her own husband, a tall black man, when playing the scenes. When she found out Bernard was white she was surprised, but not shocked. This was the first time in which Raj K. Bose, who played the shop clerk, was credited. Bose had been a background actor on the series, playing a crash survivor and a flight attendant. Bose was originally cast to play the role of Sanjay in the first season episode "Born to Run", but was forced to give up the role after he had to teach a marketing class at the University of Phoenix. Casting agent Margaret Doversola later asked Bose to audition for the part of the shop clerk and he got the part. For the flashback scene at the gas station, the crew rented out a 7-11 for a day. When Hurley drove in, the van was actually being pushed instead of driven to eliminate any sound from the vehicle. However, every time the van was pushed it would stall or the timing would be off. Once that problem had been solved, it started to rain, but eventually it stopped and the crew was able to get the shots before ending shooting at midnight. Hurley's dream scene was shot in the Hawaii Film Studio, where the hatch had been constructed. ## Reception According to the Nielsen ratings system, "Everybody Hates Hugo" was viewed by an average of 21.7 million viewers. The episode achieved a 9.4/22 in the key 18–49 demographic, meaning that 9.4% of all 18- to 49-year-olds watched the episode, along with 22% of all 18- to 49-year-olds watching television at the time of the broadcast. "Everybody Hates Hugo" was the most watched episode of the night for the fourth week in a row, and the second most watched episode of the week. It also performed better than the previous episode in the key 18–49 demographic, and earned its second highest ever rating among teens 12-17. Film Fodder's Mac Slocum said that he was glad that the show "downshifted this week into a far more reasonable gear". He felt that an upside to the downshifting was the "return to characters", and thought that there was no better representation of character than Hurley. Keith McDuffee of TV Squad wrote that although he heard "that this episode would be mostly filler", he did not "think that's true". He liked the fact that there was more revelations of Hurley's background, and enjoyed the "awesome reveals from the other half of downed Oceanic 815". TelevisionWithoutPity.com graded the episode with a "B-".	[ "## Plot", "### Flashbacks", "### On the island", "## Production", "## Reception" ]	1,655	3,323
15,958,591	Marmes Rockshelter	1,169,250,287	null	[ "1968 disestablishments in Washington (state)", "Archaeological sites in Washington (state)", "Archaeological sites on the National Register of Historic Places in Washington (state)", "Buildings and structures demolished in 1968", "Caves of Washington (state)", "Human remains (archaeological)", "National Historic Landmarks in Washington (state)", "National Register of Historic Places in Franklin County, Washington", "Native American history of Washington (state)", "Oldest human remains in the Americas", "Pre-statehood history of Washington (state)", "Rock shelters in the United States", "Snake River" ]	The Marmes Rockshelter (also known as (45-FR-50)) is an archaeological site first excavated in 1962, near Lyons Ferry Park and the confluence of the Snake and Palouse Rivers, in Franklin County, southeastern Washington. This rockshelter is remarkable in the level of preservation of organic materials, the depth of stratified deposits, and the apparent age of the associated Native American human remains. The site was discovered on the property of Roland Marmes, and was the site of the oldest human remains in North America at that time. In 1966, the site became, along with Chinook Point and the American and English Camps on San Juan Island, the first National Historic Landmarks listed in Washington. In 1969, the site was submerged in water when a levee protecting it from waters rising behind the then newly constructed Lower Monumental Dam, which was 20 miles (32 km) down the Snake River, failed to hold back water that leaked into the protected area through gravel under the soil, creating Lake Herbert G. West. ## The excavation The existence of the site was first brought to the attention of Professor Richard Daugherty in 1952 by a rancher named John McGregor. Excavations at the site were started by Daugherty and Roald Fryxell, a geologist, under the auspices of Washington State University (WSU) and the National Park Service in 1962, and continued until 1964. In 1965, Fryxell returned to the site along with Professor Carl Gustafson and students from WSU, and had Roland Marmes dig a trench in front of the rockshelter with his bulldozer, which turned up human and elk bones. Radiocarbon dating indicated that the human remains were about 10,000 years old. In 1968, Fryxell returned, this time with several WSU professors (including a visiting professor from Poland) and members of the United States Geological Survey, and found more human and animal remains, along with bone tools. April 29 of that year, Washington Senator Warren Magnuson made a public announcement of the finds. ## Inundation of the site After a bill that would have provided funds to protect the site failed, then-President Lyndon B. Johnson signed an Executive Order that authorized funding for the Army Corps of Engineers to build a levee around the site to protect it from the imminent flooding caused by construction of the Lower Monumental Dam. Late that year, Daugherty left the dig, leaving Fryxell to lead the project. Within three days of the closure of the Lower Monumental Dam in February 1969, the site was completely underwater, due to the seepage of water through thick layers of gravel that had not been accounted for. However, as the site was being flooded, the excavation team laid down plastic sheeting topped with gravel in the hopes of being able to return to the dig in the future. The location of the site is still known today, and has come under some threat of erosion from the wakes of motorized vehicles on the lake. The Army Corps of Engineers considers the site to be in stable condition with a "Satisfactory" threat rating since 2004. ## Findings at the site The excavations at the site revealed evidence of human occupation from a period that lasted 8,000 years, and that the area was home to humans as long ago as 11,230 years ago. The people living at the site hunted game such as elk and deer using atlatls, and also hunted smaller mammals such as beavers, while they gathered mussels from the river. The excavation turned up graves, which included beads carved from shells and spear points. One grave, that of a child, held five matching knives made of stone. The excavation also turned up chalcedony and chert projectile points. Those in the upper layers were made of agate, which is not found in the area. Stone tools were found as well, such as scrapers for use in tanning hides, and mortars and pestles. In layers dated to 7,000 years ago, a large number of shells belonging to a snail of the genus Olivella were found, which would have been imported from the West Coast of the United States, 200 miles (322 km) away. The majority of the shells had holes drilled through them, indicating that they had adorned necklaces. In addition, one of the five known Jefferson Peace Medals was found associated with the most recent human remains at the site, evidently having been given to a local Native American leader (presumably of the Nez Perce) during the Lewis and Clark Expedition. This medal has since been returned to the Nez Perce and reburied, as per Native American Graves Protection and Repatriation Act regulations. Analyzing the pollen sequences at the site showed a steppe ecosystem immediately following the retreat of glaciers 13,000 years ago, which gave way to a mixed forest of pine and spruce, which led into the current sagebrush prairie ecosystem. ## Implications of the findings Unlike many archaeological finds, the human remains at the site were able to be dated with environmental, geological, and archaeological methods. Human remains at the site are the oldest that have been found in Washington, and at the time were the oldest set of remains found in North America. Later radiocarbon work has confirmed the original dating of this site, indicating that these human remains, albeit very fragmentary, are still some of the oldest ever excavated in the New World. This finding was useful in confirming the early chronology of the region and confirming the antiquity of the styles of associated bone tools. ## See also - Archaeology of the Americas - Arlington Springs Man - (Human remains) - Calico Early Man Site - (Archeological site) - Cueva de las Manos - (Cave paintings) - Buhl woman - (Human remains) - Fort Rock Cave - (Archeological site) - Kennewick Man - (Human remains) - Kwäday Dän Ts’ìnchi - (Human remains) - List of National Historic Landmarks in Washington - Paisley Caves - (Archeological site)	[ "## The excavation", "## Inundation of the site", "## Findings at the site", "## Implications of the findings", "## See also" ]	1,287	19,656
23,492,260	George Nicol (baseball)	1,153,724,740	American baseball player (1870–1924)	[ "1870 births", "1924 deaths", "19th-century baseball players", "American people of Scottish descent", "Baseball players from Illinois", "Baseball players from Milwaukee", "Chicago Colts players", "Davenport Pilgrims players", "Detroit Tigers (Western League) players", "Erie Blackbirds players", "Indianapolis Hoosiers (minor league) players", "Indianapolis Indians players", "Los Angeles Angels (minor league) players", "Louisville Colonels players", "Major League Baseball outfielders", "Major League Baseball pitchers", "Marinette (minor league baseball) players", "Milwaukee Brewers (minor league) players", "Milwaukee Creams players", "People from Barry, Illinois", "Pittsburgh Pirates players", "Rockford Hustlers players", "St. Louis Browns (AA) players", "Wilkes-Barre Coal Barons players" ]	George Edward Nicol (October 17, 1870 – August 4, 1924) was an American baseball pitcher and outfielder who played three seasons in Major League Baseball (MLB). He played for the St. Louis Browns, Chicago Colts, Pittsburgh Pirates, and Louisville Colonels from 1890 to 1894. Possessing the rare combination of batting right-handed and throwing left-handed, he served primarily as a right fielder when he did not pitch. Signed by the Browns without having previously played any minor league baseball, Nicol made his debut on September 23, 1890, and pitched—what was then considered to be—a no-hitter. The following season, he joined the Chicago Colts in July after starting in the minor leagues. After a two-year sojourn away from the major leagues, he signed with the Pittsburgh Pirates in 1894. In August of the same season, he was traded to the Louisville Colonels, with whom he played his final major league game on September 29, 1894. ## Personal life Nicol was born on October 17, 1870, in Barry, Illinois. His father, Matthew Nicol, immigrated to the United States from Scotland in 1852, while his mother, Eliza, was born in America. As a youngster, he played baseball for a semi-professional club in nearby Mount Sterling. There, he rose to fame as a left-handed pitcher—probably due to rarity and valuableness of southpaws—and eventually got the opportunity to play in the major leagues before he turned 20. After his professional baseball career ended, Nicol moved to Milwaukee, Wisconsin. In 1896, he married his wife Lilian. Together, they had one son, George Jr., who was born in 1908. In order to support his new family, he became a machinist. During this time, he continued to play baseball—albeit amateur baseball—with the Milwaukee City League. On the night of August 3, 1924, Nicol died in his sleep at the age of 53. His death was treated as suspicious, as a post-mortem examination found him to have four broken ribs that led to his death. He was interred at the Union Cemetery in Milwaukee. ## Professional baseball career ### St. Louis Browns (1890) Nicol was signed by the St. Louis Browns near the end of the 1890 season, even though he had no prior experience in minor league baseball. The team were in desperate need for players; their situation was a microcosm of the American Association (AA) that already had few players with major league experience to begin with. The league's precarious situation was not helped by the fact that they had to compete with both the well-established National League (NL) and the newly formed yet highly popular Players' League. Although the latter league lasted just one season, they were able to outdraw both the AA and NL in terms of attendance. This put a dent in the fortunes of the American Association, whose teams consequently struggled to pay the players' salaries and thus, had to utilize amateur, semi-professional, or minor league players. Nicol made his major league debut for the Browns on September 23, 1890, starting the game against the Philadelphia Athletics that resulted in a 21–2 win. He did not allow a single hit to the Athletics through seven innings, after which the game was called off due to darkness. Although the game was previously considered a no-hitter, a rule change made by the MLB's Committee on Statistical Accuracy in 1991 redefined the definition of a no-hitter; a no-hit game now had to span a minimum of nine innings. As a result, Nicol's debut was one of fifty no-hitters deleted from the official record books. Three days after his debut, Nicol faced the Athletics again in his second major league start. He followed up his dazzling debut with another solid performance, giving up just one hit—a single—in a 7–3 win that ended after five innings. His subsequent starts were disappointing, most notably a 10–3 loss against the Toledo Maumees, where his inability to hold baserunners was first exposed. He finished the season with a win–loss record of 2–1, a 4.76 earned run average (ERA), and had 16 strikeouts but walked 19 in three games started. After his contract expired at the end of the season, no major league team signed Nicol, so he began the 1891 season with the Davenport Pilgrims, a minor league baseball team that competed in the Illinois–Iowa League. ### Chicago Colts (1891) Nicol's tenure with the Pilgrims was successful, albeit brief. He compiled a 15–8 record with a 1.36 ERA in 23 games started and threw five shutouts. He soon demonstrated himself as the best pitcher in the league by holding opposing teams to three hits or less in four separate games. His pitching performances caught the eye of Chicago Colts manager Cap Anson, who offered him a \$225 a month contract. Nicol originally agreed to the deal, but subsequently wanted to renege, citing "a change of heart." However, he was eventually forced to accept the offer when the Colts threatened to blacklist him. The Pilgrims, who were already struggling financially, received just \$300 from the Colts for their ace and folded soon after he left the team. Nicol arrived in Chicago on July 20 and was penciled in to start on consecutive days against Charles Radbourn and Cy Young. Though he performed poorly in both games, the Colts still managed to win. He was shelled in the third inning by the Cincinnati Reds, and on the next day, he gave up seven runs to the Cleveland Spiders in only two innings. Because of these starts, he did not appear in another game until August 14, when he was used in relief to face the Brooklyn Dodgers. His control issues flared up, and he had trouble holding the Dodgers' baserunners. He was released one week later, having walked 10 batters in the 11 innings he pitched for the Colts. He ended the season playing for Marinette of the Wisconsin State League. ### Minor league sojourn After 1891, Nicol went back to the Illinois–Iowa League and joined the Rockford Hustlers. He pitched well throughout the 1892 season—though his record was 16–16, he had a 1.47 ERA, 230 strikeouts in 288 innings pitched, and pitched five shutouts. He limited his opponents to two hits in five different complete games and threw a one-hitter. The league, however, was struggling financially, and after the end of the league's postseason, his request for release was granted. At the start of 1893, Nicol signed with the Los Angeles Angels of the California League. A new rule was introduced stipulating that the pitcher's mound be 60 feet 6 inches (18.44 m) away from home plate. This increase of five feet in distance gave batters a greater advantage. Despite this, Nicol was noted for his ability to adapt to the new rule better than other pitchers in the league. This was evident as he was able to garner a 15–8 record and 0.86 ERA in 1881⁄3 innings pitched. His control suffered, however, as he struck out just 64 batters and walked 125, thus contributing to his 1.66 WHIP that season. In early June, there was speculation that players would have their salaries cut in order to sustain the league, which was allegedly on the verge of collapsing. Several weeks after two of his teammates departed, Nicol himself left the team, joining the two in the Eastern League with the Erie Blackbirds. He continued his stellar pitching performances with a 13–9 record and a 1.80 ERA in 200 innings, while reducing the number of walks issued to 89. ### Pittsburgh Pirates and Louisville Colonels (1894) Nicol signed for the Pittsburgh Pirates at the start of the 1894 season. His stint with the team was dismal, as he posted a 3–4 record with a 6.22 ERA, while his control and strikeout ability continued to diminish, evident with his 39 walks issued against a mere 13 strikeouts in 9 games pitched. On August 13, he was traded to the Louisville Colonels in exchange for Jock Menefee and \$1000. In his first game for the Colonels, Nicol was battered by the opposing team, giving up 19 hits and 15 earned runs in a complete game. He made just one more start for the team and finished with a 13.76 ERA over 17 innings pitched. Because of his pitching struggles, he changed positions and played 26 games in the outfield during his time with the organization, making 43 putouts, 2 assists, and committed 9 errors, resulting in a .791 fielding percentage. His overall statistics for the year were mixed. His pitching record was 3–5 with an 8.24 ERA, 17 strikeouts, and 55 walks issued over 631⁄3 innings pitched. However, his offensive numbers were impressive, as he posted a batting average of .351 and amassed 47 hits, 7 doubles, 4 triples, 22 runs batted in, and a .463 slugging percentage in 141 plate appearances, while striking out just 5 times. At the conclusion of the season, he was released by the Colonels. ### Back to the minors Nicol returned to minor league baseball, joining the Indianapolis Hoosiers of the Western League. After spending just one month with the team, he moved within the league to the Milwaukee Brewers, where he played for five seasons and was utilized exclusively as an outfielder from 1896 onwards. In 1896, he was at the center of controversy when the Philadelphia Phillies drafted him and promised the Brewers that they would return him should they not be in need of his services. However, he was instantly outrighted to the Detroit Tigers, with the Phillies' president acknowledging that they were assisting and collaborating with the Tigers, who had requested the transaction. The case went to an arbitral tribunal, which ruled in favor of the Brewers. In 1900, Nicol joined the Wilkes-Barre Coal Barons of the Atlantic League. The league disbanded in June of that year, whereupon he joined the Detroit Tigers, who were now part of the American League. He was released at the end of the season, having batted .258 in 73 games. He returned to the now-expanded Illinois–Indiana–Iowa League in 1904 and played there for two seasons. His career after 1906 is unclear, although the Society for American Baseball Research writes that he signed with a Wisconsin State League team based in Freeport, Illinois, and played for them for the remainder of the year before retiring from professional baseball.	[ "## Personal life", "## Professional baseball career", "### St. Louis Browns (1890)", "### Chicago Colts (1891)", "### Minor league sojourn", "### Pittsburgh Pirates and Louisville Colonels (1894)", "### Back to the minors" ]	2,271	5,442
10,427,270	Alconétar Bridge	1,168,183,675	Cultural property in Garrovillas de Alconétar, Spain	[ "Bridges in Extremadura", "Bridges over the Tagus", "Deck arch bridges", "Relocated buildings and structures in Spain", "Roman bridges in Spain", "Roman segmental arch bridges", "Stone bridges in Spain" ]	The Alconétar Bridge (Spanish: Puente de Alconétar), also known as Puente de Mantible, was a Roman segmental arch bridge in the Extremadura region, Spain. The ancient structure, which featured flattened arches with a span-to-rise ratio of 4–5:1, is one of the earliest of its kind. Due to its design, it is assumed that the bridge was erected in the early 2nd century AD by the emperors Trajan or Hadrian, possibly under the guidance of Apollodorus of Damascus, the most famous architect of the time. The almost 300 m long Alconétar Bridge served as a crossing point for the Roman Via de la Plata, the most important north–south connection in western Hispania, over the Tagus, the longest river of the Iberian peninsula. It presumably remained in service until the Reconquista, after which numerous early modern reconstruction attempts by Spanish engineers failed. The ruins, which were mainly to be found on the right river bank, were relocated from their original position in 1970 when the Alcántara reservoir was created. ## Location and road access The historic Alconétar Bridge, which should not be confused with the monumental Alcántara Bridge further downstream, spanned the Tagus not far from the mouth of the Almonte, in the heart of the Spanish Cáceres Province in the Extremadura region. A modern motorway and a railway, which cross the Tagus in the immediate vicinity, underline the historical importance of this crossing point between northern and southern Spain. During the building of the Alcántara Dam in 1970, the remains of the bridge were moved from their original site to a meadow six kilometers to the north, close to the municipality of Garrovillas de Alconétar. By contrast, few traces are left of the neighbouring ancient bridge over the river Almonte. In the classical period, the Alconétar Bridge was part of the Roman road Iter ab Emerita Caesaraugustam, that was later called Via de la Plata. This important inner Iberian connection led from the provincial capital Mérida in the south, through the river valleys of Alagón, Tiétar and Tagus to the north, then on to the western part of Meseta Central, passing the major town of Salamanca. Its terminal point was Astorga in north-western Spain. The Via de la Plata was one of the four main routes which were established by Augustus (30 BC–14 AD) and his successors for military control of the peninsula and for facilitating the exploitation of the rich Spanish silver and gold mines. Apart from the junction over the Tagus, the remains of four other ancient bridges can be found along the road: one over the Albarregas, another over the Aljucén, a third close to Caparra and a fourth over the Tormes. In the hills overlooking the Alconétar Bridge, a Roman mansio with the name of Turmulus (Spanish: "Ad Túrmulos") was established, according to the then customary distance intervals. It was the fourth of a total number of sixteen between Mérida and Astorga. ## History The exact construction date of the Puente de Alconétar is unknown because of missing literary and epigraphic sources. Its segmental arches suggest that it was built in the early 2nd century AD, more specifically during the reign of the emperors Trajan (98–117 AD) or Hadrian (117–138 AD), as the use of this arch form was typical of that era. Both rulers were born in the southern Spanish province of Baetica and Trajan is known to have ordered the restoration of the Iter ab Emerita Caesaraugustam when he came to power. Segmental arches were often employed by Trajan's court architect Apollodorus of Damascus, such as in Trajan's Forum and most notably in the greatest civil engineering achievement of its time, Trajan's Bridge, which rested on twenty huge concrete piers and was used during the Dacian Wars for moving troops across the more than 1,000 m (3,300 ft) wide Danube. Moorish geographers make no mention of the Alconétar Bridge, even though they praise the Roman bridge of Alcántara which also leads across the Tagus. There is some evidence that a community called Alconétar, Alconétara or Alcontra (Arabic: "small bridge") existed at least temporarily – probably an indirect reference to the high-rising bridge of Alcántara. It also remains unknown why the bridge of Alconétar is called Puente de Mantible in the local vernacular, an expression which alludes to the legend of Charlemagne and his Twelve Paladins. The bridge was probably in use until the time of the Reconquista, when the Tagus constituted the border between the Christian and the Moorish realm from the 11th to the 13th century, and the frequent clashes might have easily made the ancient bridge unusable. According to another theory, the water could have begun to wash away the ancient foundations at the time. The Alconétar Bridge first appears in records in 1231 and, again, in 1257, when it is explicitly referred to as being in use. It was probably repaired by the Knights Templar who had taken control of the bridge as well as the village in the meantime. The extant arches 1 and 3, both of which are not of Roman fabric, are assumed to date back to this period. Around 1340, however, the bridge was apparently unusable again, so that a ferry service was established to cross the river, which is also recorded at later times. On the site of the ancient way station, a fortress was erected in the Middle Ages; its tower built of Roman spolia emerges from the Alcántara reservoir at low water. Several attempts to reopen the bridge in the early modern era proved unsuccessful. In 1553, the architect Rodrigo Gil de Hontañón calculated a cost of 80,000 Ducats for the reconstruction of the bridge without ever realising his plans. The construction project of Alonso de Covarrubias and Hernán Ruiz of 1560 never went beyond the planning stage, and neither did another project between 1569 and 1580. In the 18th century two further attempts to repair the bridge failed, in 1730 and 1760–70. The latter plan of the military engineer José García Galiano included a complete reconstruction with three large-span segmental arches. The planning sketch shows that already at that time the remaining arches were limited to the right bank, a finding confirmed by the drawing of Fernando Rodríguez from 1797 and engravings in Alexandre de Labordes' Voyage pittoresque de l'Espagne a few years later. The reconstruction sketch produced by Rodriguez (see diagram below) shows the profile of the bridge, rising evenly and dominated by three central arches in the centre of the river. These arches are flanked by a further nine segmental arches on both sides. The symmetry of the arches suggests that, in lieu of the fortification on the right bank viewed upstream, there might have been another segmental arch in Roman times. The basis for the modern scientific analysis of the bridge was laid out by the civil engineer Antonio Prieto in his 1925 survey, which details the condition of the bridge before its relocation in 1970. Although this was a serious attempt to reconstruct the bridge as close to the original as possible, the Spanish scholar Durán points out that slight changes to the main body can never be avoided in the course of such a difficult undertaking. The Alconétar Bridge has been classified as "historical heritage" since 1931 by the Spanish authorities. ## Construction Main feature of the Alconétar Bridge was the segmental shape of its arches, which were rather uncommon in ancient bridge building: in a survey of Roman bridges in Hispania, only one in ten showed the same characteristics, the vast majority being of semi-circular design. According to Prieto, the bridge had sixteen arches, not including the flood openings on the right approach, with the following spans (estimates are in square brackets): - Meters: 7.30 – 8.20 – 9 – 10.15 – [11 – 12 – 13 – 14 – 15 – 14] – 13 – 12 – 11 – [10] – 9.30 – 9.10 (Feet: 24.0 – 26.9 – 30 – 33.3 – [36 – 39 – 43 – 46 – 49 – 46] – 43 – 39 – 36 – [33] – 30.5 – 29.9.) Other sources however vary from eleven to fifteen arches. The total length of the rectilinear structure was 290 m (950 ft), of which 190 m (620 ft) spanned the riverbed at low water. If one adds the clear span of the arches and assumes, on the basis of the preserved piers, an average pier thickness of 4.4 m (14 ft), then the distance between both bridge ramps was 244 m (801 ft) (= 178 + 15 x 4.4), which corresponded to a river cross section of 73%. By comparison, the corresponding discharge profiles for the Roman bridges of Córdoba, of Mérida and Salamanca were 62%, 64% and 80% respectively. Most of the surviving fabric was concentrated on the right bank of the Tagus where the current was less strong; a number of pier stumps rose just above the water surface in the middle of the river, whilst on the left bank a further two piers remained standing, next to which the left abutment followed. The parts of the bridge moved to a safe place were essentially (see images): the right bridge ramp with its two arch-shaped flood openings, the piers 1, 2, and 3 with the remains of 4 and 6, as well as the vaults 1 and 3. The other scarce remains were submerged by the flooding of the Alcantara reservoir in 1970. The approach to the ramp is 42 m (138 ft) long and 6.55–6.80 m (21.5–22.3 ft) wide. The clear spans of its two segmental arches are 6.95 m (22.8 ft) and 7.40 m (24.3 ft), which corresponds to a span-to-rise ratio of 4.0 and 3.3 to 1 respectively. The accurately fitting inclined contact surface of the springings clearly proves the Roman origin of these arches. With an extraordinary width of 1.20 m (3 ft 11 in), the voussoirs appear oversized in relation to the span (arch slenderness of 1:5.8 and 6.2 respectively). In contrast, the two surviving bridge arches no. 1 and 3 are instable substitutions, made of carelessly laid rubble. The date of these arches is unknown, as with all other repairs; possibly they were built in the period of the Knights Templar. Equally evidently of post-classical origin is the masonry of the first two piers above the lower cornice, which projects from all piers at the same height. The superstructure of these piers could have been reconstructed for a drawbridge or a tower, which, according to an illustration in the Voyage Pittoresque, rested upon pier 2. In contrast, the third pier has still preserved its original Roman character up to the top at 12.50 m (41.0 ft). Its carefully worked ashlar and the second cornice, which ran along all ancient piers, provide us with the most distinct impression of the original shape of the Roman bridge. In particular, it is possible to reconstruct relatively precisely the rise of the Roman segmental arches on the basis of the angles of the inclined stone supports at the springing level. Thus, the third arch originally described a circular sector of 95°, which points to a span-to-rise ratio of about 4–5 to 1 for the other segmental arches. This value is supported by de Labordes' engravings which depict an intact Roman segmental arch spanning the adjoining fourth bay as late as the early 19th century. Along with other early examples, such as Limyra Bridge and the Ponte San Lorenzo, the Alconétar Bridge therefore ranks among the oldest segmental arched bridges in the world. Its existence demonstrates that, in contrast to what had previously been widely believed and taught, Roman bridge builders possessed intimate knowledge of flattened arches. The pier thicknesses, measuring 4.25 m (13.9 ft), 4.45 m (14.6 ft) and 4.55 m (14.9 ft), increase slightly towards the middle of the river, while the distances between the piers increase from 7.30 m (24.0 ft) to 10.20 m (33.5 ft). The fifth and ultimate pier, which carries the distinctive nickname "Bishop's table", takes an advanced position in the riverbed and possesses by far the largest cross-section (8.10 m (26.6 ft)). It may be of medieval origin and could have served as a base for a watchtower, replacing two ancient arches. All five piers are strengthened on the upstream face by pointed cutwaters. The facing of the piers consists of local granite ashlar, set in parallel courses without the use of mortar or iron ties (opus quadratum); their interior, as those of the ramps, was filled with Roman concrete, a common method applied for Roman bridges. Outwardly, the flattened arches must have lent the bridge a rather elongated appearance, with its roadway following a horizontal or slightly convex line. ## Reconstruction and measurements ## Video - Alconetar Bridge - Construction Process: new bridge ## See also - List of Roman bridges - Limyra Bridge ## Annotations	[ "## Location and road access", "## History", "## Construction", "## Reconstruction and measurements", "## Video", "## See also", "## Annotations" ]	2,996	24,346
23,901,669	Limnoperdon	1,133,579,713	Genus of fungi	[ "Agaricales", "Agaricales genera", "Aquatic fungi", "Fungi of Africa", "Fungi of Asia", "Fungi of North America", "Monotypic Basidiomycota genera" ]	Limnoperdon is a fungal genus in the monotypic family Limnoperdaceae. The genus is also monotypic, as it contains a single species, the aquatic fungus Limnoperdon incarnatum. The species, described as new to science in 1976, produces fruit bodies that lack specialized structures such as a stem, cap and gills common in mushrooms. Rather, the fruit bodies—described as aquatic or floating puffballs—are small balls (0.5–1 mm diameter) of loosely interwoven hyphae. The balls float on the surface of the water above submerged twigs. Experimental observations on the development of the fruit body, based on the growth on the fungus in pure culture, suggest that a thin strand of mycelium tethers the ball above water while it matures. Fruit bodies start out as a tuft of hyphae, then become cup-shaped, and eventually enclose around a single chamber that contains reddish spores. Initially discovered in a marsh in the state of Washington, the fungus has since been collected in Japan, South Africa, and Canada. ## Taxonomy, classification and phylogeny The family, genus and species were first described in a 1976 publication by graduate students Gustavo Escobar and Dennis McCabe, and undergraduate Craig Harpel who, in the fall of 1974, found the fungus as part of "a class project to find and isolate phycomycetes". The holotype is located in the University of Washington Mycological Herbarium. An isotype (duplicate of the holotype specimen) is located in the Herbarium of the University of El Salvador in San Salvador. Limnoperdon incarnatum was originally thought to be associated with the Gasteromycetes, an artificial assemblage of species united by the fact that their spores mature inside the fruit bodies and are not forcibly discharged from the basidia. Other morphologically similar genera include the Gasterella of the family Gasterellaceae, and the Protogaster of the family Protogastraceae; however, it was excluded from these genera because of significant differences in spore color and structure, presence of clamp connections, and structure of the basidia. For these reasons the new family Limnoperdaceae was described to contain the new species, and it was classified along the Protogastraceae in the (now defunct) order Protogastrales. More recently, molecular phylogenetics has been used to clarify the relationship Limnoperdon with other fungi. In 2001, David Hibbett and Manfred Binder established the membership of Limnoperdon incarnatum in the euagarics clade, a phylogenetically related group of species traditionally forming the order Agaricales. Additional molecular studies have placed Limnoperdaceae in the pluteoid clade of the Agaricales, a grouping that includes the families Pluteaceae, Amanitaceae, and Pleurotaceae; other studies that used comparisons of ribosomal DNA sequences placed Limnoperdon near the gilled genera Melanoleuca or Resupinatus, of the family Tricholomataceae. A 2007 field study that used molecular techniques to survey aquatic fungal taxa in a small springbrook in Valley Spring, Southern Ontario, Canada discovered many fungal taxa with high genetic affinity to Limnoperdon incarnatum, which suggests that a closely related species may also be common in streams. ## Description The genus description is similar to the family description, but further specifies that the fruit bodies float, are sometimes embedded in a loose subiculum (a woolly or net-like growth of hyphae), and that the spores are reddish. The fungus has been described as an "aquatic puffball", although a later review considered "floating puffball" to be a more apt descriptor. The fruit bodies of L. incarnatum are tiny, oval to roughly spherical, and measure 35–1250 by 200–450 μm. The floating balls are sometimes enclosed in a loose subiculum, with a whitish surface that is byssoid (consisting of fine threads). The peridium (the outer protective tissue layer) is 18–30 μm thick, byssoid, and made of clamped hyphae typically 2.5–4 μm in diameter intertwined with dendrophyses (irregularly branched cystidia) 1 μm in diameter. The surface of the peridium is hydrophobic, a feature that helps keep water off the growing hymenium during its development, and gives the fruit body buoyancy. The gleba is a single chamber, reddish in color, with a cavity that has an oblate spheroid shape. Initially empty, in maturity it is filled with spores that measure 330–1220 by 180–420 μm. The smooth inner surface of the chamber comprises the fertile spore-bearing tissue (the hymenium). The basidia (spore-bearing cells)—conspicuous when viewed under the microscope—are hyaline (translucent), more or less club-shaped, and usually have basal and apical swellings separated by a narrow strip of variable length. The basidia are four-spored, and have inflated sterigmata with a central constriction. The basidia measure 20–90 (typically 25–55) μm long by 8–10 μm thick. Reddish in mass, the spores are obovate (egg-shaped, with the broad extremity located away from the base), smooth, thick-walled, and measure 11–16 (typically 12–15) by 7–10 μm. They have a beaked pedicel that is 2–4 by 2–5 μm, and a basal germ pore. ## Habitat and distribution The species was originally discovered floating in petri dishes that contained submerged hardwood twigs previously collected from a marsh next to a playground on the south shore of Lake Union in Seattle, Washington. After the initial 1976 publication, L. incarnatum was reported the following year when Keisuke Tubaki recovered it from wood blocks submerged in brackish water in Japan; scientists Seiya Ito and T. Yokoyama later reported collecting it in Japanese rice paddy fields. Later surveys uncovered the fungus in several localities in South Africa and in freshwater ponds in Canada. ## Development Escobar grew cultures of the fungus by placing fresh fruit bodies on agar containing growth medium with an extract of horse dung. The tips of the hyphae were used to obtain axenic cultures; the fungus can grow on a variety of media commonly used to grow fungi in the laboratory. Depending on the composition of the growth media, fruit bodies were formed as early as eight days after initiating, when grown at 20 °C (68 °F) and under dim light. When minute agar blocks containing mycelium were submerged in distilled water, mycelial strands grew towards the water surface and eventually gave rise to floating fruit bodies connected to the parent agar block by strands of hyphae. Mycologist Dennis McCabe studied the development of the fruit body using specimens grown in pure culture. Starting out as a hyphal tuft, the fungus grows into a cup shape before eventually closing in completely to create the spherical structure of the mature fruit body. When the fungus is in the cup stage, the exposed hymenium is immature; typically, spores develop after the fruit body is fully closed. In some cases, the fruit body stops developing at the cup stage while the hymenium continues to mature. This results in a cup-shaped fungus with an exposed layer of basidia bearing normal and mature spores. Limnoperdon incarnatum is a structurally simple fungus, and relatively easy to grow in culture, suggesting it may have potential as a model organism for fruit body development in general. Under the experimental conditions used, fruit bodies matured to produce spores about 72 hours after the fungus started growing. The aborted cups resemble the sporocarps of the cyphelloid fungi, but can be distinguished by their orthotrophic spore attachment and the lack of ballistospory (forceful spore discharge). McCabe and Escobar later suggested that the fungus may have evolved the loss of ballistospory by being compensated with the cup-shaped fruit body closing at maturity. Halocyphina villosa is another small cup-shaped Basidiomycete fungus that has adapted to a marine environment; in contrast to L. incarnatum, however, it starts out with a closed fruit body that later opens up to become cup-shaped. Although it is not known with certainty how the spores are dispersed, they may disperse passively in the water, or a mature spore-containing fruit body may float on the water surface for dispersal. L. incarnatum is homothallic, a mode of reproduction commonly employed by marine fungi that may confer a competitive advantage in marine environments. ## See also - List of Agaricales families - List of Agaricales genera	[ "## Taxonomy, classification and phylogeny", "## Description", "## Habitat and distribution", "## Development", "## See also" ]	1,884	3,831
56,202,906	Consumption of Tide Pods	1,170,411,065	Hazardous practice and Internet meme	[ "2010s fads and trends", "2017 in Internet culture", "2018 in Internet culture", "Chemical safety", "Eating behaviors of humans", "Hazardous materials", "Internet memes introduced in 2017", "Laundry detergents", "Self-harm" ]	Like most detergent products, Tide Pods, a laundry detergent pod sold by Procter & Gamble (P&G) since 2012, can be deadly if ingested. Media reports have discussed how children and those with dementia could mistake laundry pods for candy and endanger their health or life by consuming them, and they were named an emerging health risk by the Centers for Disease Control and Prevention in 2012. Between 2012 and 2013, poison control centers reported over 7,000 cases of young children eating laundry pods, and ingestion of laundry pods produced by P&G had resulted in six deaths by 2017. In response to the dangers, P&G changed Tide Pod containers to an opaque design, introduced warning labels, and added a bitter-tasting chemical to the pod contents. In late December 2017, Tide Pods emerged within Internet meme culture. In early 2018, their presence in Internet memes led to the "Tide Pod Challenge", which involved a dare to intentionally consume the pods. Responding to the growing media outcry, Google and Facebook started to remove videos that featured the challenge, and P&G aired numerous advertisements urging people to avoid eating the pods. ## History of health risks and consumption Laundry detergent pods have been in use in the United States since 2010, although their use in Europe occurred a decade prior to 2012. During the Academy Awards telecast in 2012, P&G introduced their Tide Pods "in a sparkling, vibrant commercial." The health risks posed by the ingestion of Tide Pods—particularly by children—have been noted by several media outlets, which have referenced the visual similarity the pods have to candy as a reasoning behind their consumption. Tide's laundry detergent pods follow a trend of "food imitating products", in which makers of consumer products design their cleaners and personal hygiene products to "[exhibit] food or drink attributes." John Allen, an anthropologist at Indiana University described Tide Pods as "sort of like a cross between candy and a chicken nugget," acknowledging them as "bite sized, processed, colorful, with a non-threatening texture." In September 2012, U.S. Senator Chuck Schumer commented on the appeal of pods, "These pods were supposed to make household chores easier, not tempt our children to swallow harmful chemicals. I saw one on my staffer's desk and I wanted to eat it." In October, the Centers for Disease Control and Prevention (CDC) called them a health risk. In 2012 and 2013, an average of one child was admitted to hospital every day as a result of eating Tide Pods. In March 2013, Consumer Reports reported that "since early 2012, poison control centers nationwide have received reports of nearly 7,700 pod-related exposures to children age 5 years and younger."Individuals suffering from dementia have been reported to face health risks related to Tide Pods. Consumer Reports reported that between the Tide Pods' introduction in 2012 through early 2017, eight deaths had been reported due to the ingestion of laundry detergent pods; two of the eight deaths were children, while the other six were adults with dementia. Additionally, pods manufactured by P&G were responsible for six of the deaths. During the popularity of Tide Pods as an Internet meme, in the month of January 2018, the American Association of Poison Control Centers (AAPCC) "recorded 606 exposures in children less than 5 years old," in addition to an increase in teenage exposures. In January 2018, there were more teenagers exposed to pods than in all of 2016 or 2017. ### Changes in packaging and safety standards Due to initial reports of children consuming their laundry detergent pods, Procter & Gamble began distributing Tide Pods in opaque tubs and bags. In 2015, P&G announced it would implement a bitter taste to its Tide Pods as a means to deter people from biting into them. The pods were strengthened to reduce the chance of them bursting when squeezed. Tide would also include child-safety features in its packaging and issue extensive warnings about locking up the pods in households shared with individuals who have Alzheimer's disease. Additionally, Tide's website includes a page discussing how to safely handle its products, and suggesting consumers drink a glass of water or milk if a product is swallowed and call a poison control center for help. Also in 2015, the American Society for Testing and Materials published the F3159-15 voluntary safety standard for liquid laundry packets. ## Internet meme In early 2018, media publications noted that shortly after the product's introduction, the consumption of Tide Pods became a topic of discussion on the Internet. Ultimately, eating Tide Pods became a meme, with its origins being credited to a 2013 thread on the Straight Dope's website and a 2015 article from The Onion. Mashable quoted an instance of a tweet regarding this topic from 2012, "Why does a Tide Pod look so good to eat?" The Straight Dope thread's discussion was more centered on children accidentally eating Tide Pods, rather than the meme's iteration popularized in 2017, which portrays pods as a delicious food. In the following years, eating Tide Pods became a popular joke online. In March 2017, CollegeHumor uploaded a sketch video titled "Don't Eat The Laundry Pods". Posts began to prefer "Tide Pods" to more generic terms such as "laundry pods" with a thread posted on Reddit's "intrusivethoughts" subreddit in July 2017. The thread, titled "Bite into one of those Tide Pods. Do it.", was referenced in another Onion article the following day. Posts on Tumblr contributed to the meme's rise, but in December 2017, the meme's popularity rose significantly due to various viral tweets. Many posts referred to the pods as a "forbidden fruit". Memes involving the Tide Pods included joking about how "delicious" they appear, as well as posting images with the pods on top of food. Vox described the meme as "pok[ing] fun at the idea of consuming the pods, while (usually) stopping short of actually doing so." The publication noted that part of the allure of discussing, wondering, and joking about consuming the pods stems from the product's warning to not eat the pods. In early January 2018, television personality Jimmy Kimmel referenced the meme when discussing a tweet from President Donald Trump: "sounds like somebody's been in the White House laundry room eating Tide Pods again because the President of the United States is starting his own award show for the media." ### Tide Pod Challenge In 2018, following the meme's surge in popularity, media publications started reporting about people participating in the Tide Pod Challenge, an Internet challenge in which an individual consumes Tide Pods. Teenagers were the reported demographic participating in the challenge; they would record themselves chewing and gagging on pods and then daring others to do the same. Some of these videos were posted on YouTube. Some teens cooked the pods before eating them. In response to the meme, a spokesperson from Procter & Gamble (P&G) was quoted in BuzzFeed News emphasizing the purpose of their pods and the health risks associated with children: "Nothing is more important to us than the safety of the people who use our products. Our laundry pacs are a highly concentrated detergent meant to clean clothes and they're used safely in millions of households every day. They should only be used to clean clothes and kept up, closed and away from children. We have been consistently proactive in providing consumers with the right usage guidance and tools to enable them to use the product safely." Tide further stated, "They [pods] should not be played with, whatever the circumstance is, even if it is meant as a joke." Ann Marie Buerkle from the U.S. Consumer Product Safety Commission went on Good Morning America and commented on the meme, saying, "teens trying to be funny are now putting themselves in danger by ingesting this poisonous substance." Buerkle added, "This is what started out as a joke on the internet and now it's just gone too far." Following the growth of the meme, YouTube and Facebook started removing (and age-restricting, for YouTube) videos that depicted people eating Tide Pods or videos about the eating of Tide Pods. Following the meme's popularization on Twitter and Reddit, many media publications wrote articles discussing the phenomenon, while warning against eating Tide Pods. In January 2018, The Washington Post stated that the AAPCC reported 37 cases of pod ingestion among teenagers so far that year, half of them intentional. A related Internet meme, "Tide Pod-Chan", a moe anthropomorphization of a Tide Pod in a Japanese school uniform, was created in order to warn against pod consumption. Tide later partnered with American football player Rob Gronkowski, having him issue the message: "What the heck is going on, people? Use Tide Pods for washing. Not eating. Do not eat." ## Physiological and toxicological impacts The majority of cases involving exposure to laundry detergent pods are due to ingestion. As a result, nausea, vomiting, and diarrhea are the most common effects. "Dysphagia secondary to oropharyngeal and esophageal mucosal burns and ulcers" may also happen as a result of ingestion. Other impacts resulting from pod consumption include seizures, detriments to the respiratory system, and renal and electrolyte abnormalities. In 2012, the Carolinas Poison Center and the Poison Control Center at the Children's Hospital of Philadelphia received reports of children experiencing "vomiting, mental status changes, and respiratory distress after ingesting the contents of laundry detergent pods." The hospital noted that "swallowing conventional detergent might result in mild stomach upset, but with highly concentrated detergent pods the ingestion can cause excessive vomiting, lethargy, and gasping, and in some reported cases, victims stopped breathing and required ventilation support." The Daily Meal cited a 2014 study by the Journal of Medical Toxicology that suggested ingestion of detergent pods may cause a swallowing dysfunction that could require surgery to repair. In 2018, Consumer Reports published a story discussing the contents of laundry detergent pods and the consequences of ingesting them, which can include death. The story detailed that pods contain ethanol, hydrogen peroxide, and soap, that when ingested can result in caustic burns to the lining of one's mouth, as well as the esophagus, stomach, and other parts of the gastrointestinal tract. ## See also - List of Internet phenomena - Benadryl challenge, a 2020 internet challenge revolving around the deliberate use, abuse and overdose of diphenhydramine, commonly referred to under the trade name Benadryl - Milk crate challenge, a 2021 internet challenge encouraging participants to engage in a physically dangerous activity involving climbing unsecured milk crates - Child-resistant packaging - Generation Z	[ "## History of health risks and consumption", "### Changes in packaging and safety standards", "## Internet meme", "### Tide Pod Challenge", "## Physiological and toxicological impacts", "## See also" ]	2,245	13,138

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