Split (3)

train · 18.2k rows

pageid int64 1.39k 74.6M	title stringlengths 2 102	revid int64 962M 1.17B	description stringlengths 4 100 ⌀	categories listlengths 0 61	markdown stringlengths 1.23k 15.9k	sections listlengths 0 33	token int64 258 3k	__index_level_0__ int64 0 44.8k
46,872,410	World Series of Darts Festival	1,159,275,926	Series of darts tournaments held in June 2010	[ "2010 disestablishments in Nevada", "2010 establishments in Nevada", "2010 in darts", "2010 in sports in Nevada", "21st century in Las Vegas", "Darts tournaments", "Events in Las Vegas", "Sports competitions in Nevada", "Tropicana Las Vegas" ]	The World Series of Darts Festival (officially the Tropicana World Series of Darts Festival) was a series of five professional darts competitions organised by the Professional Darts Corporation (PDC) in the Tropicana Ballroom of the Tropicana Hotel, in Las Vegas, Nevada, from 26 to 30 June 2010. It was established to replace the Las Vegas Desert Classic, and featured the 501-point and cricket formats. There was a £200,000 prize fund divided between all five events. The World Cricket Championship (WCC) was won by Phil Taylor, the world number one, who defeated Mark Walsh in the final. Taylor went on to beat Denis Ovens for the PDC US Open Players Championship (USOPC). The Las Vegas Players Championship 1 (LVPC1) was won by Gary Anderson over Simon Whitlock, with Co Stompé taking the Las Vegas Players Championship 2 (LVPC2) from James Wade. John Part defeated Darin Young to win the North American Darts Championship (NADC). ## Overview The World Series of Darts Festival was a series of five professional darts tournaments organised by the Professional Darts Corporation (PDC) and took place in the Tropicana Ballroom of the Tropicana Hotel, in Las Vegas, Nevada, between 26 and 30 June 2010, in lieu of the Las Vegas Desert Classic. The five events were the World Cricket Championship (WCC), the PDC US Open Players Championship (USOPC), the Las Vegas Players Championship 1 (LVPC1), the Las Vegas Players Championship 2 (LVPC2) and the North American Darts Championship (NADC). All five competitions were part of the 2010 North American Order of Merit from which the first and second ranked players were invited to the 2011 PDC World Darts Championship. The three Players Championship events were counted towards both the PDC Order of Merit and the Players Championship Order of Merit and were the last such competitions prior to the qualifiers cut-off date for the World Matchplay. A total of 155 entrants composed of 82 from the Professional Dart Players Association and 73 from North America played in the World Series of Darts Festival. Each of the five tournaments began at 12:00 local time and were contested to a different length. WCC games were best-of-five legs with the remaining four competitions being best-of-eleven legs. The NADC saw 80 participants from Canada and the United States with eight seeds from the top-ranked eight players on the PDC Order of Merit. Seeds were not used for the WCC but were for the three Players Championship events. ### Prize money The prize money for each of the five competitions is shown below. A total of £200,000 was divided between the five tournaments with a rolling nine-dart finish prize of £400 per PDC Pro Tour competition. World Cricket Championship - Champion: £4,000 - Runner-up: £2,000 - Semi-final: (×2): £900 - Quarter-finals (×4): £450 - Last 16 (×8): £225 - Last 32 (×16): £125 - Last 64 (×32): £50 - Total: £15,000 Players Championship events - Champion: £6,000 - Runner-up: £3,000 - Semi-final (×2): £1,500 - Quarter-final (×4): £1,000 - Last 16 (×8): £500 - Last 32 (×16): £300 - Last 64 (×32): £200 - Total: £31,600 North American Darts Championship - Champion: £5,000 - Runner-up: £2,500 - Semi-final (×2): £1,250 - Quarter-final (×4): £700 - Last 16 (×8): £300 - Last 32 (×16): £200 - Last 64 (×32): £100 - Total: £22,000 ## Tournament summary The event began with the WCC on 26 June, which was the second of the ten non-ranking events on the 2010 calendar. Phil Taylor, the world number one, defeated Howard Meyers, Andy Fordham, Kirk Shepherd, Richie Burnett and Steve Beaton to reach the semi-finals, while Mark Walsh lost five only legs en route to beating Scott Kirchner, Adrian Lewis, Vincent van der Voort, Andy Hamilton and Ronnie Baxter to reach the same stage. Walsh beat Darin Young 3–1 for the first final spot and Taylor took the second with a 3–0 whitewash of Mark Dudbridge. Walsh won the first two legs before Taylor took the next two to equalise at 2–2. In the final leg, Taylor secured the 20 bed before Walsh took the 19, 18, 17 and 15 beds. Taylor subsequently won the match 3–2 on two bullseye rings. Taylor said he was "really happy" to win due to the difficulty of playing the cricket format but commented it "really makes you think and it's a great leveller." The second tournament was the USOPC on 27 June, which was the 27th of the 45 events in the 2010 PDC Pro Tour. Taylor defeated Kevin McDine, Paul Lim, Joe Cullen, Nigel Heydon, Walsh and James Wade, as Denis Ovens beat Dieter Schutsch, Shintaro Hirai, Ken MacNeil, Steve Hine, Terry Jenkins and Jelle Klaasen to setup the final; Ovens played his fourth final of the season. Taylor won the first two legs and Ovens the third on the double 19 ring. Finishes on the double 18 and 20 rings put Taylor three legs ahead before Ovens used Taylor's miss on the double 16 ring in leg six to complete an 108 checkout on the double 20 ring to be 4–2 behind. Taylor took two of the next three legs with finishes on the double 8 and 20 rings to claim a 6–3 victory and a second successive tournament win. Colin Lloyd won £2,000 prize money for achieving a nine-dart finish in his 6–3-second round victory over Dave Switzer, the third of his professional career. The third competition was the LVPC1 contested on 28 June, which was the 28th of the 45 competitions in the 2010 PDC Pro Tour. Gary Anderson qualified for the final with victories over Mark Hylton, Chris Loudon, Mark Webster, Steve Maish, Lim and Lloyd, while Simon Whitlock defeated Sean Smyth, Donny Joe, Colin Monk, Ovens, MacNeil and Chris Thompson. After Whitlock won the opening leg on the double 10 ring, Anderson took three legs in a row to lead 3–1. Both players shared the next two legs before Whitlock won legs seven and eight to tie at 4–4. Finishes on the double 20 and 8 rings gave Anderson a 6–4 victory. It was Anderson's third tournament win of the season, earning a provisional top 16 spot in the PDC Order of Merit, with Paul Nicholson at risk of failing to qualify for the Players Championship Finals with Heydon ahead of him in its Order of Merit. The LVPC2 played on 29 June was the fourth event and the 29th of the 45 tournaments in the 2010 PDC Pro Tour. Co Stompé reached the final with wins over Edwin Martin, Wayne Mardle, Lewis, Beaton, Klaasen and Matt Clark, joined by Wade who beat MacNeil, Tony Randell, Robert Thornton, Van der Voort, Whitlock and Lloyd. Wade won the first leg before Stompe took the following four with two maximum scores for a 4–1 lead. He took the next two legs to go one leg behind before Stompe secured two more legs to win 6–3. It was Stompe's first PDC Pro Tour event win since he made his PDC debut in 2008, and his second of three titles following the 2008 German Darts Championship and preceding the 2010 PDC World Cup of Darts alongside Raymond van Barneveld. Nicholson reached the third round to reclaim 16th place in the PDC Order of Merit and automatically qualified for the World Matchplay. The last tournament was the NADC on 30 June, the third of the ten non-ranking competitions in the 2010 season. Wins over Alvin Martin, Greg Lewis, Shawn Brenneman, Chris White and Gary Mawson earned John Part a place in the final opposite Young, who defeated Eddie Lawrence, Dan Lauby, Joe, Nico Depaynos and Larry Butler. Part took three of the first four legs on checkouts of 68, 111 and 84. Young took legs five and six to equalise before Part took two more legs. Part missed the double 20 ring to complete an 108 checkout for victory and Young struck the double 5 ring to win leg nine. Part made a maximum score and hit the double 4 ring to win the tournament by 6–4. Part called it "an emotional day and not easy to play" but felt he had played better than in previous tournaments. ## Results ## Brackets Numbers given to the left of players' names show the seedings for four of the five tournaments. N/A indicates the competitor was not seeded for their competition. Players in bold denote match winners from the quarter-finals to the final of each event. ### World Cricket Championship The WCC featured no seeds and best-of-five leg meetings. ### US Open Players Championship The USOPC featured 32 seeds and best-of-11 leg games. ### Las Vegas Players Championship 1 The first LVPC had 32 seeds and best-of-11 legs matches. ### Las Vegas Players Championship 2 The second LVPC featured 32 seeds and best-of-11 games. ### North American Darts Championship The NADC featured 8 seeds and best-of-11 leg matches.	[ "## Overview", "### Prize money", "## Tournament summary", "## Results", "## Brackets", "### World Cricket Championship", "### US Open Players Championship", "### Las Vegas Players Championship 1", "### Las Vegas Players Championship 2", "### North American Darts Championship" ]	2,131	26,228
40,759,104	I Luv This Shit	1,162,712,830	null	[ "2013 debut singles", "2013 songs", "August Alsina songs", "Def Jam Recordings singles" ]	"I Luv This Shit" (clean version titled "I Luv This") is the debut single by American singer August Alsina featuring American rapper Trinidad James. released on February 19, 2013 by Def Jam Recordings. It is from Alsina's debut EP Downtown: Life Under the Gun (2013), and was also included on his debut studio album, Testimony (2014). "I Luv This Shit" is an R&B song about partying with alcohol and drugs. Two remixes—one featuring Birdman and another featuring Trey Songz and Chris Brown—were released. The song was well received by music critics, and peaked at number forty-eight on the US Billboard Hot 100 and number thirteen on the Hot R&B/Hip-Hop Songs chart. It was promoted by a Motion Family-directed music video and performances on The Wendy Williams Show, 106 & Park and The Arsenio Hall Show. ## Background and composition "I Luv This Shit" was written by August Alsina, The Exclusives (Sean McMillion and Ralph Jeanty), Samuel Irving III, Christine Massa, and Trinidad James and was produced by Knucklehead. It was recorded by McMillion and Cody Sciara at Goldie's Playhouse and Zac Recording Studios in Atlanta, Georgia, and mixed by Jaycen Joshua with assistance from Trehy Harris at Larrabee Sound Studios, North Hollywood. Vocals were produced by The Exclusives. Knucklehead told Vibe in 2014 that he created the song's beat and knew it would be successful, stating: "I just knew what [Alsina's] voice was gonna do over my beat. And that beat didn't sound like [any]thing else at the time that was out ... When I made the beat, I called him immediately after I finished it." After playing the beat to Alsina and The Exclusives, they recorded the song in one hour. It is an R&B song instrumented by guitar, synthesizer, synth-horns and a heavy bassline. The production was compared by Spin's Brandon Soderberg to the work of Alsina's mentor, The-Dream. It revolves around about partying with alcohol and drugs with the central hook "I love this shit", and references the vodka Ciroc, yet there is an element of sorrow to Alsina's vocals. James' verse contemplates human nature, according to Gregory Adams of Exclaim!. "I Luv This Shit" was originally recorded for Alsina's mixtape The Product 2 (2013), and was included on his debut EP Downtown: Life Under the Gun (2013). It was also a bonus track on his first studio album, Testimony (2014). ## Release "I Luv This Shit" was released as a digital download by Def Jam Recordings on February 19, 2013 in Canada and the United States. A remix of the song, titled "I Luv This Shit (G-Mix)", was made available for streaming in May 2013 and features Birdman. The single impacted rhythmic contemporary radio in the United States on September 3, 2013. Trey Songz and Chris Brown appeared on another remix of "I Luv This Shit"; it was released for digital download by Def Jam on October 4, 2013 in the US. Songz and Brown wrote their verses of the remix. Alsina's vocals for the remix were recorded by Macmillion at Upper Class Studios, Atlanta. Songz' vocals were recorded by Anthony Daniels at Premier Studios in New York City and Brown's were recorded by Brian Springer at Glenwood Studios in Burbank, California. ## Reception AllMusic's Andy Kellman picked "I Luv This Shit" as one of the best tracks from both Downtown and Testimony. Gregory Adams of Exclaim! praised Alsina's "velvety" vocal delivery on the song. Brandon Soderberg from Spin called it "one of the more mazy and rewarding radio R&B songs in quite some time", but was unimpressed with the Songz and Brown remix's shift from partying to sexual intercourse, particularly the rewriting of the hook as "She loves this shit" or "You love this shit". A panel of writers for Complex placed "I Luv This Shit" at number thirty-three on its list of the 50 Best Songs of 2013; Claire Lobenfeld disapproved of James' verse but lauded the "quivering beauty" of Alsina's voice. At the 2014 BET Awards, "I Luv This Shit" won the award for Viewer's Choice and was nominated for the award of Best Collaboration, losing to "Drunk in Love" by Beyoncé and Jay-Z. "I Luv This Shit" topped the Mainstream R&B/Hip-Hop chart for two weeks in October 2013, becoming the first R&B artist to reach number one with a debut single since Jeremih with "Birthday Sex" in 2009. On the main Hot R&B/Hip-Hop Songs, it reached number thirteen, and peaked at number eighteen on the Rhythmic chart. It spent three weeks atop the US Heatseekers Songs in October and November 2013, then peaked at number forty-eight on the Billboard Hot 100. On March 6, 2014 the Recording Industry Association of America (RIAA) certified "I Luv This Shit" gold for shipping 500,000 copies. The certification was updated to platinum (1,000,000) on October 2, 2014. ## Music video and live performances The music video for "I Luv This Shit" was filmed in Atlanta in January 2013 and directed by Motion Family. Alsina sleeps with two women, then James delivers his verse while a woman dances next to him. At the end of the song Alsina and James go to a strip club, where the two women see each other and engage in an argument while Alsina laughs. Alsina performed "I Luv This Shit" on The Wendy Williams Show on October 28, 2013. For the New Year's Eve 2013 special of 106 & Park, titled 106 & Party, he performed the remix of the song with Songz and the remix of "Numb". On April 1, 2014 Alsina was interviewed and performed a medley of "Make It Home" and "I Luv This Shit" on late-night talk show The Arsenio Hall Show. At the 2014 BET Awards, Alsina performed "Kissin' on My Tattoos" before transitioning into "I Luv This Shit". Songz and Brown joined him and sang their verses of the remix. Songz finished the performance with "Na Na". ## Charts ### Weekly charts ### Year-end charts ## Certifications	[ "## Background and composition", "## Release", "## Reception", "## Music video and live performances", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications" ]	1,425	30,922
47,039,714	Maputeoa	1,172,133,461	Monarch of Mangareva and the other Gambier Islands	[ "1814 births", "1857 deaths", "19th-century monarchs in Oceania", "Converts to Roman Catholicism", "Deaths from respiratory disease", "French Polynesian Roman Catholics", "French Polynesian royalty", "Gambier Islands", "History of French Polynesia", "People from the Gambier Islands", "Roman Catholic monarchs" ]	Te Maputeoa (baptized Gregorio Stanislas; reigned as Gregorio I; born c. 1814 – 20 June 1857) was a monarch of the Polynesian island of Mangareva and the other Gambier Islands. He was the King or ʻAkariki (paramount chief), as well as the penultimate king of the island of Mangareva, and other Gambier Islands including Akamaru, Aukena, Taravai and Temoe. He reigned from 1830 until his death in 1857. During Maputeoa's reign, the country, which was deeply rooted in native beliefs and even cannibalism, became a Roman Catholic community. This was accomplished by removing all vestiges of native beliefs, such as destroying the traditional wooden images of their indigenous faith deified in maraes and replacing them with churches. The king was baptized into Catholicism on 25 August 1836. He learned about Christianity from the island's missionaries, headed by the French Picpus priests, Honoré Laval and François Caret. His uncle Matua, the High Priest of the local temple, also played a pivotal role in this activity. ## Biography Maputeoa was the grandson of Mapurure (also known as Te Mateoa), who was known to be alive in 1825 and said to have died in 1830 or 1832. As Mapurure's son Te Ikatohara was killed by sharks in about 1824, Maputeoa, the grandson, became king after Mapurure's death. Because he was a minor, Maputeoa's uncle, Matua, the High Priest (taura tupua), became the regent; Matua enjoyed the full trust of his people and may have had intentions of usurping power. Maputeoa had complete authority over the kingdom, excepting his four uncles, who jointly owned the land with the king; the uncles' allegiance to the king was only formal. Mangareva also had nominal control over the other Gambier Islands including Akamaru, Aukena, and Taravai, which had their own kings who were vassals to the monarch at Rikitea. Christian missionaries headed by Father Honoré Laval and Father François Caret from Chile of the order of the Congregation of the Sacred Hearts of Jesus and Mary, landed in August 1834, at Mangareva, which was then an independent kingdom under King Maputeoa. The king refused them access to the main island of Mangareva. However, the missionaries managed to land on a small island where the local chief gave them support to learn the Mangareva language and the islanders learned about Christianity. Within one of year of their arrival, the missionaries converted the islanders at Taravai, Aukena and Akamuru to Christianity, established churches, and even convinced the islanders to wear tunics. Initially, Matua accepted the Catholic religious practices. He donated the maraes to the missionaries to build churches and advised them on how to overthrow the king. As Maputeoa recognized what Matua was trying to do, the king began appearing in churches during mass. Two years after the missionaries' arrival in Gambier, Maputeoa consented to dismantle the Te Keika marae, which was the largest of its kind on Rikitea, and in its place, St. Michael's Cathedral, Rikitea was built, which became the largest church in the South Pacific islands. Maputeoa was baptized at Church of Saint-Joseph-de-Taku on Mangareva along with 160 other people of the kingdom. He took the name Gregorio after baptism in honor of Pope Gregory XVI who had deputed the missionaries to eastern Oceania, and solemnly placed his islands under the protection of the Blessed Virgin Mary. Maputeoa died on 20 June 1857 of acute pleurisy or "the disease of the chest." He was succeeded as King of Mangareva by his young son, Joseph Gregorio II, with his widow Queen Maria Eutokia Toaputeitou as regent. King Joseph died childless after an eleven-year reign. After 1868, the island kingdom was ruled by regents until it was annexed by France in 1881. In 1977, French Polynesia issued a stamp with an image of Maputeoa. Maputeoa's crypt is located in the Chapelle St-Pierre behind St. Michael's Cathedral.	[ "## Biography" ]	936	2,286
4,996,928	Japanese destroyer Teruzuki (1941)	1,155,141,211	Akizuki-class destroyer	[ "1941 ships", "Akizuki-class destroyers (1942)", "Maritime incidents in December 1942", "Ships built by Mitsubishi Heavy Industries", "Shipwrecks in the Solomon Sea", "World War II destroyers of Japan" ]	Teruzuki (照月, "Shining Moon" or "Illuminated Moon") was the second of 13 Akizuki-class destroyers built for the Imperial Japanese Navy (IJN) during the 1940s. The Akizuki-class ships were given a heavy armament of eight dual-purpose guns to fulfill their designed role as aircraft carrier escorts, although the design was modified with additional weapons to improve their flexibility. Completed in mid-1942, Teruzuki played a minor role in the Battle of the Santa Cruz Islands in October. The following month she participated in the Naval Battle of Guadalcanal, crippling several American warships, without taking any damage herself. The ship was sunk in December by American patrol torpedo boats as she escorted a convoy delivering supplies to the Japanese troops on Guadalcanal. ## Design and description The Akizuki-class ships were originally designed as anti-aircraft escorts for carrier battle groups, but were modified with torpedo tubes and depth charges to meet the need for more general-purpose destroyers. The ships measured 134.2 meters (440 ft 3 in) overall, with beams of 11.6 meters (38 ft 1 in) and drafts of 4.15 meters (13 ft 7 in). They displaced 2,701 long tons (2,744 t) at standard load and 3,420 long tons (3,470 t) at deep load. Their crews numbered 300 officers and enlisted men. Each ship had two Kampon geared steam turbines, each driving one propeller shaft using steam provided by three Kampon water-tube boilers. The turbines were rated at a total of 52,000 shaft horsepower (38,776 kW) for a designed speed of 33 knots (61 km/h; 38 mph). The ships carried enough fuel oil to give them ranges of 8,300 nautical miles (15,400 km; 9,600 mi) at speeds of 18 knots (33 km/h; 21 mph). The main armament of the Akizuki class consisted of eight 100-millimeter (3.9 in) Type 98 dual-purpose guns in four twin-gun turrets, two superfiring pairs fore and aft of the superstructure. They each carried four 25-millimeter (1 in) Type 96 anti-aircraft (AA) guns in two twin-gun mounts. The ships were also each armed with four 610-millimeter (24 in) torpedo tubes in a single quadruple rotating mount amidships; one reload was carried for each tube. The first batch of ships were each equipped with four depth charge throwers for which 54 depth charges were carried. ## Construction and career One of the first batch of Akizuki-class destroyers authorized in the 1939 4th Naval Armaments Supplement Program, Teruzuki was laid down on 13 November 1940 at the Mitsubishi shipyard in Nagasaki and launched on 21 November 1941. Completed on 31 August 1942, the ship spent the next month working up and was assigned to Destroyer Squadron 10 of the Third Fleet on 7 October. Later that month, she steamed to Truk and then joined her squadron, escorting the three aircraft carriers of the Third Fleet as they maneuvered in support of the Imperial Japanese Army's offensive on Guadalcanal Island. During the Battle of the Santa Cruz Islands on 26–27 October, Teruzuki was near-missed by one Douglas SBD Dauntless dive bomber on the first day of the battle. That night, the destroyer was attacked by a Consolidated PBY Catalina maritime patrol aircraft. Although the 500-pound (230 kg) bomb missed, it detonated close enough to slightly damage the ship and kill seven crewmen. She returned to Truk for repairs. Destroyer Squadron 10 departed Truk on 9 November to rendezvous with Vice Admiral Hiroaki Abe's Vanguard Force. Abe was tasked with bombarding Henderson Field on Guadalcanal on the night of 12-13 November as part of an effort to neutralize the American aircraft that disrupted Japanese attempts to reinforce and resupply their troops on Guadalcanal. Admiral Isoroku Yamamoto, commander in chief of the Combined Fleet, believed that Abe's ships would lure the American ships into a night battle in the waters off Guadalcanal, something which the IJN was far more experienced in than the United States Navy. ### Naval Battle of Guadalcanal As the Vanguard Force approached Guadalcanal, its formation was badly disrupted by a heavy rainstorm that severely limited visibility, which caused the ships to lose track of one another and negated a floatplane's attempt to scout for American ships near Lunga Point on Guadalcanal. American radar spotted the advancing Japanese ships at a range of 27,100 yards (24,800 m), but communication difficulties impeded the American response until Rear Admiral Daniel Callaghan ordered a course change directly for the Japanese ships. Other course changes followed in rapid succession and caused confusion among the American commanders as the two formations began to intermingle. While the Americans were in a line-ahead formation, the Japanese were scattered in small groups. Teruzuki was the trailing ship of the northern column of destroyers and played no role in the initial stages of the battle as the battleships Hiei and Kirishima blocked her view of the American ships. As the American ships got deeper into the Japanese formation, Teruzuki engaged the light cruiser USS Atlanta and the destroyers Cushing and Sterett, with unknown effects before losing track of them. About half an hour later, she spotted Sterett again and crippled her with hits that disabled her fire-control director and two aft five-inch (127 mm) mounts, while starting leaks in the forward fire room. Shortly afterwards Teruzuki was part of a group of ships that sank the destroyers Laffey and Monssen; a torpedo from either Teruzuki or the destroyer Asagumo blew off Laffey's stern. The following morning Teruzuki arrived with three other destroyers to escort the crippled Hiei to safety. Abe rejected a proposal by the Combined Fleet staff to use the ship to counter the battleship's jammed rudder because he wanted Teruzuki free to maneuver to counter the aerial attacks that had already begun. After repeated failures to further damage the Hiei, American torpedo bombers were finally able to hit her twice more that afternoon and forced her crew to abandon ship and scuttle her. On 14 November, she was assigned to the Emergency Bombardment Force, commanded by Vice Admiral Kondō Nobutake, which was tasked to finish the job that Abe's ships had not been able to complete two days earlier. That night, as the Japanese ships approached Guadalcanal, Kondō divided his forces into three sections, with most of his lighter forces deployed to sweep east of Savo Island in search of American ships, under the command of rear admirals Kimura Susumu and Hashimoto Shintarō, while he retained control of the Bombardment Force that consisted of Kirishima, the heavy cruisers Atago, Takao, and their escorts, Asagumo and Teruzuki. Hashimoto's ships were in the lead and spotted the Americans (erroneously identified as four destroyers and two cruisers) north of Savo Island at 23:10. When he reported that the American ships were southeast of Savo and had turned west, Kondō ordered Kimura, trailing behind Hashimoto's ships, to sweep west of Savo and attempt to pincer the Americans between his ships and Hashimoto's. Kondō also turned his own ships away to buy time for his other ships to deal with the Americans before he began his bombardment of Henderson Field. The Americans had spotted Kondō's approaching ships earlier in the day and Rear Admiral Willis Lee's force of two battleships, Washington and South Dakota and four destroyers, was dispatched to prevent any bombardment of Henderson Field. Washington's radar picked up a Japanese ship shortly after midnight and a lookout confirmed the spotting shortly afterwards. The battleships opened fire at 00:17 on Hashimoto's lead ship, but failed to make any hits before the Japanese ships laid a smoke screen and the American radars lost contact. Shortly afterwards Kimura's ships attacked the American destroyers, sinking two and crippling the others, but the battleships, trailing behind their destroyers, played no part in this part of the battle as Washington could not distinguish between American and Japanese ships and South Dakota's radar was only working intermittently. Kimura's ships withdrew to reload their torpedoes and Kondō turned the Bombardment Force towards Lunga Point with his pair of destroyers in the lead at 00:54, believing that Kimura's and Hashimoto's ships had sunk or crippled all of the American ships. Shortly afterwards, Japanese lookouts aboard Kimura's ships identified the American battleships sailing north of Cape Esperance. Atago spotted South Dakota's superstructure and fired eight torpedoes at 00:59. The battleship's radar began working again and located Kondō's ships only 5,800 yards (5,300 m) away a minute later. South Dakota's main gunnery director was still malfunctioning and her main armament was ineffective. Kirishima and Washington dueled, with dire effects on the former, while the rest of the Bombardment Force, including Teruzuki, focused on South Dakota. None of the torpedoes fired at the American battleships hit, but the hail of gunfire that riddled South Dakota's superstructure knocked out most of the battleship's secondary gunnery directors, radars, and radio antennas while starting multiple small fires. Rendered combat ineffective, the battleship withdrew at 01:10. About 20 minutes later, Washington turned south to avoid torpedo attacks. Kondō ordered Teruzuki and Asagumo to pursue the battleship, but they were unable to catch up. At 02:04 Kondō ordered a general withdrawal, but the pursuing destroyers were tasked with finding Kirishima. They found the crippled battleship at 02:43, but she was beyond saving, listing to starboard with her rudders jammed out of position, and the steering-control room flooded. They attempted to tow the battleship, but they could not overcome the resistance of the rudders. Kirishima's crew counter-flooded empty compartments on the port side in an unsuccessful attempt to alleviate the list. After the order to abandon ships was given, Teruzuki tied up on the port side of the ship to take off the crew while Asagumo did the same on the starboard side. With some 300 men still on board, the battleship lurched over to her port side and started to sink by the stern. Teruzuki was barely able to back away in time to avoid being crushed when Kirishima capsized at 03:23. Teruzuki and Asagumo, joined by the destroyer Samidare, were able to rescue 1,128 sailors before departing the area at 04:30. ### Subsequent activities Teruzuki returned to Truk on 18 November and briefly became the flagship of Kimura's Destroyer Squadron 10. She was slightly damaged when she struck a reef at Truk on 3 December. This was quickly repaired as the ship departed for the naval base in the Shortland Islands two days later. Upon her arrival on 7 December, Teruzuki became the flagship of Rear Admiral Raizō Tanaka, commander of Destroyer Squadron 2. By this time the Japanese were forced to deliver supplies to its troops on Guadalcanal via water-tight drums that depended on the currents to take them to their destination. On 11 December Tanaka assembled a convoy of five destroyers carrying drums that was escorted by five additional destroyers as well as Teruzuki. Enroute the convoy survived an attack by 14 Dauntless dive bombers without damage and dropped off their drums without further incident. The convoy turned for home at 01:15 with Teruzuki covering their withdrawal, moving at a speed of 12 knots (22 km/h; 14 mph) near Savo Island. Shortly afterwards, the destroyer was attacked by two or three PT boats; Teruzuki was hit by a single torpedo in the stern. The detonation broke the rudder and one propeller shaft, disabling the ship, while rupturing an oil tank that caught on fire. Tanaka was knocked unconscious by the detonation and was transferred to another destroyer at 01:33, as were some of the crew. The fire could not be controlled and caused the aft depth charge magazine to explode at 04:40, sinking the ship. Nine men were killed, but the destroyers Naganami and Arashi rescued 197 crewmen between them. An additional 156 men were able to swim to Guadalcanal. Teruzuki was stricken from the navy list on 15 January 1943.	[ "## Design and description", "## Construction and career", "### Naval Battle of Guadalcanal", "### Subsequent activities" ]	2,710	33,688
71,549,981	Ali-Qoli Khan Qajar	1,147,838,872	19th-century governor in Iran	[ "1750s births", "1824 deaths", "18th-century Iranian people", "19th-century Iranian people", "Iranian blind people", "People from Gorgan", "Qajar dynasty", "Qajar governors of Isfahan", "Qajar tribe" ]	Ali-Qoli Khan Qajar (c. 1756–1824) was a son of Mohammad Hasan Khan Qajar () and half-brother of Agha Mohammad Khan Qajar (r. 1789–1797), the founder of the Qajar dynasty of Iran. Unlike Agha Mohammad Khan's full brothers, Ali-Qoli Khan served loyally from the outset and supported, for around twenty years (with brief intervals), Agha Mohammad Khan's conquest for control over all of Iran. Following Agha Mohammad Khan's assassination in 1797, he unsuccessfully tried to claim himself as his brother's rightful successor. Ali-Qoli Khan was eventually blinded and exiled by his nephew Baba Khan, who would ascend the Iranian throne as Fath-Ali Shah Qajar (r. 1797–1834). ## Biography ### Early life Ali-Qoli Khan Qajar was born c. 1756 in Astarabad (present-day Gorgan). According to the later court historian Mohammad-Taqi "Lesan ol-Molk" Sepehr, he was Mohammad Hasan Khan's ninth and last son, a rank possibly inherited because his mother was of non-Qajar origin, rather than being connected to his actual age. After the defeat and death of his father in 1759, Ali-Qoli Khan was brought to Qazvin as a captive of Karim Khan of the Zand dynasty. Ali-Qoli Khan was then moved to the Zand capital of Shiraz where he was raised, together with his brothers, under the surveillance of the Zand rulers. Following Karim Khan's death in 1779, confusion erupted which enabled Ali-Qoli Khan to accompany his eldest brother Agha Mohammad Khan to Astarabad. This event marked the beginning for Ali-Qoli Khan of what would become roughly twenty years of service (with brief intervals) under his eldest brother, taking part in Agha Mohammad Khan's endeavours to establish control over all of Iran. In contrast to Agha Mohammad Khan's full brothers, Ali-Qoli Khan was his steadfast associate from the start. Ali-Qoli Khan rarely matched the military prowess of his older brothers and was never able to obtain an independent position in the Qajar tribe. He was reportedly nicknamed Agha Baji by Agha Mohammad Khan, a derogatory term meaning "effeminate master", which, as the modern historian Abbas Amanat explains, may refer to certain feminine traits in his behavior or his lack of cruelty. Nevertheless, Ali-Qoli Khan's support of Agha Mohammad Khan did help the latter in 1779–1782 during early conflicts with his brothers over power. ### Campaigns In 1781, Ali-Qoli Khan and Agha Mohammad Khan were successful in ousting the Kurdish and Arab tribal chiefs of northern Khorasan out of the town of Semnan, in the historical region of Qumis. For his assistance in the conquest of this area, Ali-Qoli Khan was subsequently given Semnan as a fiefdom (soyurgal). Subsequently, Ali-Qoli Khan would play a pivotal role in subduing Khvar and Varamin, near Tehran, putting them under Agha Mohammad Khan's control. This region was the seat of the rival Develu clan of the Qajar tribe, whose loyalty and support were deemed essential for tribal unity. This factor may have added to Agha Mohammad Khan's decision to designate nearby Tehran as his capital several years later, in 1795. In 1783, as a result of the continued struggle between the Zands and the Qajars, Ali-Qoli Khan decided to make a bid for power. Having abandoned Agha Mohammad Khan, he made peace with the Zand chiefs, which, as the modern historian Abbas Amanat explains, was perhaps intended to gain authority over central Iran. Agha Mohammad Khan Qajar was forced to retreat to Astarabad. However, this retreat was short lived, for the reduction of Zand power allowed him to regain his former position. Ali-Qoli Khan repented before Agha Mohammad Khan, now engaging in the cycle of betrayal and reconciliation that characterized Agha Mohammad Khan's relationships with his other brothers. As Agha Mohammad Khan was able to tighten his position in the north of the country, Ali-Qoli Khan, carrying the banner of Agha Mohammad Khan yet again, was ordered to fight in a series of six campaigns which resulted in the elimination of the Zands and other minor states in southern Iran. Ali-Qoli Khan conquered the remainder of the Fayli Lors in the southwestern-most part of the country. Two years later, in 1787–1788, he partnered again with Agha Mohammad Khan during an unsuccessful campaign against Fars. Returning from Fars, Ali-Qoli Khan was appointed governor of Isfahan by Agha Mohammad Khan, replacing their brother Jafar-Qoli Khan Qajar, and was assigned 2,000 troops stationed in the city to command. With Agha Mohammad Khan on his way to Tehran, however, Jafar Khan Zand (r. 1785–1789) began preparing yet another invasion of Isfahan. Ali-Qoli Khan, learning of this plan, sent a force of Qaraguzlu tribesmen to hold Qumishah, but the advancing Zand army led by Jafar Khan Zand were superior in number and overwhelmed them. Ali-Qoli Khan then retreated to Kashan, leaving Isfahan open to Jafar Khan Zand. Not long after, however, together with his older brother, Ali-Qoli Khan returned and retook the city. In 1789–1790, Ali-Qoli Khan, during Agha Mohammad Khan's second Fars campaign, commanded a contingent of 7,000 soldiers and bested the Lor tribes that roamed in Kohgiluyeh. Much of his success in Kohgiluyeh was not necessarily due to his military tactics or prowess, but because the tribes were willing to repudiate their allegiance to the unstable Zands and submit themselves to the Qajars. Ali-Qoli Khan took part in Agha Mohammad Khan's attack on Kerman in 1794 and was responsible for taking Shahr-e Babak and Sirjan. He was later ordered to assert control over Lar. Ali-Qoli Khan also took part in the campaigns in Azerbaijan and the Caucasus in 1795. During the latter campaign, he was first sent to Shirvan followed by Erivan (Erevan). Ali-Qoli Khan intended to replace Mostafa Khan-e Davalu with Mostafa Khan-e Talesh following the former's death as a result of a local uprising by the population of Shirvan. However, after taking tribute (kharaj), Ali-Qoli Khan left Mostafa Khan-e Talesh in his post and moved back to Tehran. ### Succession claim and downfall In 1797, during Agha Mohammad Khan's final campaign in the Caucasus, Ali-Qoli Khan was ordered to hold Erivan. At this point, Ali-Qoli Khan had become the only surviving brother of Agha Mohammad Khan who had not been exiled or physically disabled. Following Agha Mohammad Khan's assassination in June 1797 in Shusha and the ensuing turmoil, Ali-Qoli Khan would proclaim himself the rightful successor to his older brother. According to the French naturalist Guillaume Antoine Olivier, who was travelling through Iran at the time, Ali-Qoli Khan had first proclaimed himself Shah in Mazandaran. Other sources, however, suggest that Ali-Qoli Khan left Erivan and marched down via Khoy, Tabriz and Maragheh towards Tehran, with the intention of seizing the newly established capital. The gates of the city had been closed by its governor (beglarbeg) Mirza Mohammad Khan Develu since 1795, however, and thus Ali-Qoli Khan was forced to encamp at a village some fifty kilometres west of Tehran, known as Alishah Avaz (now the city of Shahriar). His stay at the village was probably intended to recruit more troops in order to storm Tehran by force. Simultaneously, however, his young nephew, Baba Khan, soon to be Fath-Ali Shah (r. 1797–1834), the second shah of the Qajar dynasty, entered Tehran through the acquiescence of Mirza Mohammad Khan. On the advice of Hajji Ebrahim Shirazi, Baba Khan sent his brother Hosayn-Qoli Khan II to invite Ali-Qoli Khan to the palace in Tehran, under the feigned pretext of discussing succession. When Ali-Qoli Khan arrived, he was not allowed to enter the palace accompanied by his armed attendants. Ali-Qoli Khan was physically obliged to bow to Baba Khan and, cursing him all the while, was led to a room where he was blinded. Ali-Qoli Khan was then sent to Barforush (now Babol) in Mazandaran, where he remained until his death in 1824. Ali-Qoli Khan based his claim to succession on his loyalty to Agha Mohammad Khan, having accompanied him throughout the conquest of Iran, and as the sole surviving son of Mohammad Hasan Khan. Based on these arguments, he considered it his right to ascend the throne. The claim, however, was void from the start because, in the contemporaneous Qajar system of power, concepts of kinship and "purity" of blood were major focal points in the transmission of right and dignity. As Ali-Qoli Khan had been born to a non-Qajar mother, he was ineligible for such right. In addition, under the earlier Qajars, a "legitimate" claim to the Iranian throne had to be imposed by military and political power—qualities that Ali-Qoli Khan did not possess. Furthermore, Baba Khan had long been prepared by Agha Mohammad Khan for succession.	[ "## Biography", "### Early life", "### Campaigns", "### Succession claim and downfall" ]	2,054	3,482
67,920,331	Loti (song)	1,172,084,295	2021 single by Elvana Gjata	[ "2021 singles", "2021 songs", "Albanian-language songs", "Elvana Gjata songs", "Music videos shot in Albania", "Pop songs", "Song recordings produced by Jumpa", "Songs written by Elvana Gjata" ]	"Loti" (; transl. Tear) is a song by Albanian singer and songwriter Elvana Gjata. The song was composed and written by Gjata, while produced and arranged by German producers Jumpa and Lex Barkey, respectively. Loudcom Media under exclusive license from East Music Matters released it as a single for digital download and streaming on 10 June 2021. Musically, it is an Albanian-language pop, R&B and urban song fusing folk, trap and rock elements, with the lyrics telling a tale of a woman, who loses the intimacy of her loved one. Music critics applauded "Loti", with praise concentrated on its appeal, music video as well as Gjata's musical versatility. Commercially, the song peaked atop the ranking in Albania and reached the top 60 in Switzerland. An accompanying music video was uploaded to Gjata's YouTube channel on 10 June 2021 and was filmed at the Divjakë-Karavasta National Park, Albania. ## Background and composition Gjata teased the premiere of "Loti" by uploading a preview on her social media accounts and announcing that it would be released on 10 June 2021. Lasting two minutes and 55 seconds, Loudcom Media under exclusive license from East Music Matters made the single available on the announced date for digital download and streaming in various countries. "Loti" was composed and written by Gjata herself. German producers Jumpa and Lex Barkey produced and arranged the song, respectively. Musically, "Loti" is an Albanian pop, R&B urban song incorporating folk, trap and rock elements. The Albanian-language song lyrically tells a tale about a woman, who loses the intimacy of her significant other. Lyrics from the song translated into English include: "The price for loving you with my tears, I am washing it out / Could you stop the world for me? If you could love me more than yourself, would you?" ## Reception Upon release, "Loti" was met with widespread acclaim from selected music critics. Albanian music website Illyrian Pirates gave a positive review, applauding its "fresh" appeal and Gjata's "magnetic" vocal performance as well. Zangba Thomson from Bong Mines Entertainment noticed a "heartfelt" narrative and complimented the singer's "ear-pleasing" vocal delivery. In a review for Eurovistan and Eurovision Union, both writers came to a collective conclusion and went on to laud the song's nature as well as the singer's musical versatility, with the latter stating that its melodies give a "traditional, ethnic" feel. Fans of "Loti" include Albanian politician Erion Braçe and Romanian musician Inna. Inna further incorporated the song on her exclusive Apple Music playlist. Commercially, "Loti" reached number two in Albania for the week ending 19 June 2021, and topped the ranking a week later on 26 June. After having trended on the Swiss Spotify and Streaming charts, the single reached number 55 in Switzerland, as the singer's second charting record in the country. ## Promotion An accompanying music video for "Loti" was uploaded at 23:59 (CET) to Gjata's official YouTube channel on 10 June 2021, preceded by a teaser released on 9 June. Upon its premiere, the video trended on the YouTube Top 100 chart in Austria, Germany, Norway, Sweden and Switzerland. Filmed at the Divjakë-Karavasta National Park in Albania, it was directed by Albanian content creator Flicka Elisa and visual designer Vasjen Katro. Katro is also credited as the video's editor alongside producer Borin Leka. The reviewer from Illyrian Pirates was enthusiastic towards the clip and called it "stunning", while stating that the visual suited the singer's both appearance and vocal abilities. Labinot Nimani from the publication Albanian Post applauded Gjata's styling and noted "fancy" and "unique" visuals. In December 2022, Gjata performed "Loti" at the eighth season of the Albanian reality show Dancing with the Stars. ## Credits and personnel Credits adapted from Tidal and YouTube. - Elvana Gjata – composing, songwriting, vocals - Borin Leka – music video editing - Flicka Elisa – visual directing - Jumpa – producing - Lex Barkey – arranging - Vasjen Katro – visual directing, editing ## Track listing - Digital download and streaming 1. "Loti" – 2:55 ## Weekly charts ## Release history	[ "## Background and composition", "## Reception", "## Promotion", "## Credits and personnel", "## Track listing", "## Weekly charts", "## Release history" ]	967	21,446
20,633	Macrinus	1,169,571,827	Roman emperor from 217 to 218	[ "165 births", "218 deaths", "2nd-century Berber people", "2nd-century Romans", "3rd-century Berber people", "3rd-century Roman emperors", "3rd-century executions", "3rd-century murdered monarchs", "3rd-century praetorian prefects", "Damnatio memoriae", "Executed Roman emperors", "Imperial Roman consuls", "Opellii", "People executed by the Roman Empire", "People from Cherchell", "People of the Roman–Parthian Wars", "Roman emperors to suffer posthumous denigration or damnatio memoriae", "Roman pharaohs" ]	Marcus Opellius Macrinus (/məˈkraɪnəs/, mə-CRY-əs; c. 165 – June 218) was Roman emperor from April 217 to June 218, reigning jointly with his young son Diadumenianus. As a member of the equestrian class, he became the first emperor who did not hail from the senatorial class and also the first emperor who never visited Rome during his reign. Before becoming emperor, Macrinus served under Emperor Caracalla as a praetorian prefect and dealt with Rome's civil affairs. He later conspired against Caracalla and had him murdered in a bid to protect his own life, succeeding him as emperor. Macrinus was proclaimed emperor of Rome by 11 April 217 while in the eastern provinces of the empire and was subsequently confirmed as such by the Senate; however, for the duration of his reign, he never had the opportunity to return to Rome. His predecessor's policies had left Rome's coffers empty and the empire at war with several kingdoms, including Parthia, Armenia and Dacia. As emperor, Macrinus first attempted to enact reform to bring economic and diplomatic stability to Rome. While Macrinus' diplomatic actions brought about peace with each of the individual kingdoms, the additional monetary costs and subsequent fiscal reforms generated unrest in the Roman military. Caracalla's aunt Julia Maesa took advantage of the unrest and instigated a rebellion to have her fourteen-year-old grandson, Elagabalus, recognized as emperor. Macrinus was overthrown at the Battle of Antioch on 8 June 218 and Elagabalus proclaimed himself emperor with support from the rebelling Roman legions. Macrinus fled the battlefield and tried to reach Rome, but was captured in Chalcedon and later executed in Cappadocia. He sent his son to the care of Artabanus IV of Parthia, but Diadumenian was also captured before he could reach his destination and executed. After Macrinus' death, the Senate declared him and his son enemies of Rome and had their names struck from the records and their images destroyed; the phrase for such a drastic social/historical erasure came to be damnatio memoriae: damnation (of the) memory (of someone). ## Background and career Macrinus was born in Caesarea (modern Cherchell, Algeria) in the Roman province of Mauretania Caesariensis to an equestrian family of Berber origins. According to David Potter, his family traced its origins to the Berber tribes of the region and his pierced ear was an indication of his Berber heritage. He received an education which allowed him to ascend to the Roman political class. Over the years, he earned a reputation as a skilled lawyer; and, under Emperor Septimius Severus, he became an important bureaucrat. Severus' successor Caracalla later appointed him a prefect of the Praetorian Guard. While Macrinus probably enjoyed the trust of Emperor Caracalla, this may have changed when, according to tradition, it was prophesied that he would depose and succeed the emperor. Macrinus, fearing for his safety, resolved to have Caracalla murdered before he was condemned. In the spring of 217, Caracalla was in the eastern provinces preparing a campaign against the Parthian Empire. Macrinus was among his staff, as were other members of the Praetorian Guard. In April, Caracalla went to visit a temple of Luna near the site of the battle of Carrhae and was accompanied only by his personal guard, which included Macrinus. On 8 April, while travelling to the temple, Caracalla was stabbed to death by Justin Martialis, a soldier whom Macrinus had recruited to commit the murder. In the aftermath, Martialis was killed by one of Caracalla's men. For two or three days, Rome remained without an emperor. On 11 April, Macrinus proclaimed himself emperor and assumed all of the imperial titles and powers, without waiting for the Senate. The army backed his claim as emperor and the Senate, so far away, was powerless to intervene. Macrinus never returned to Rome as emperor and remained based in Antioch for the duration of his reign. Macrinus was the first emperor to hail from the equestrian class, rather than the senatorial, and also the first emperor of Mauretanian descent. He adopted the name of Severus, in honour of the Severan dynasty, and conferred the imperial title of Augusta to his wife Nonia Celsa and the title of Caesar and name of Antoninus to his son Diadumenianus in honour of the Antonine dynasty, thus making him second in command. At the time of Diadumenian's accession he was eight years old. ## Reign Despite his equestrian background, Macrinus was accepted by the Senate for two reasons: for the removal of Caracalla, and for having received the loyalty of the army. The senators were less concerned by Macrinus' Mauretanian ancestry than by his equestrian social background and scrutinized his actions as emperor. Their opinion of him was reduced by his decisions to appoint to high offices men who were of similarly undistinguished background. Macrinus, not being a senator and having become emperor through force rather than through traditional means, was looked down upon. Macrinus had several issues that he needed to deal with at the time of his accession, which had been left behind by his predecessor. As Caracalla had a tendency towards military belligerence, rather than diplomacy, this left several conflicts for Macrinus to resolve. Additionally, Caracalla had been a profligate spender of Rome's income. Most of the money was spent on the army; he had greatly increased their pay from 2,000 sesterces to 3,000 sesterces per year. The increased expenditures forced Caracalla to strip bare whatever sources of income he had to supply the difference. This shortfall left Rome in a dire fiscal situation that Macrinus needed to address. Macrinus was at first occupied by the threat of the Parthians, with whom Rome had been at war since the reign of Caracalla. Macrinus settled a peace deal with the Parthians after fighting an indecisive battle at Nisibis in 217. In return for peace, Macrinus was forced to pay a large indemnity to the Parthian ruler Artabanus IV. Rome was at the time also under threat from Dacia and Armenia, so any deal with Parthia would likely have been beneficial to Rome. Next, Macrinus turned his attention to Armenia. In 216, Caracalla had imprisoned Khosrov I of Armenia and his family after Khosrov had agreed to meet with Caracalla at a conference to discuss some issue between himself and his sons. Caracalla instead installed a new Roman governor to rule over Armenia. These actions angered the Armenian people and they soon rebelled against Rome. Macrinus settled a peace treaty with them by returning the crown and loot to Khosrov's son and successor Tiridates II and releasing his mother from prison, and by restoring Armenia to its status as a client kingdom of Rome. Macrinus made peace with the Dacians by releasing hostages, though this was likely not handled by himself but by Marcius Agrippa. In matters of foreign policy, Macrinus showed a tendency towards settling disputes through diplomacy and a reluctance to engage in military conflict, though this may have been due more to the lack of resources and manpower than to his own personal preference. Macrinus began to overturn Caracalla's fiscal policies and moved closer towards those that had been set forth by Septimius Severus. One such policy change involved the pay of Roman legionaries. The soldiers that were already enlisted during Caracalla's reign enjoyed exorbitant payments which were impossible for Macrinus to reduce without risking a potential rebellion. Instead, Macrinus allowed the enlisted soldiers to retain their higher payments, but he reduced the pay of new recruits to the level which had been set by Severus. Macrinus revalued the Roman currency, increasing the silver purity and weight of the denarius from 50.78 percent and 1.66 grams at the end of Caracalla's reign to 57.85 percent and 1.82 grams from Autumn 217 to the end of his reign, so that it mirrored Severus' fiscal policy for the period 197 to 209. Macrinus' goal with these policies might have been to return Rome to the relative economic stability that had been enjoyed under Severus' reign, though it came with a cost. The fiscal changes that Macrinus enacted might have been tenable had it not been for the military. By this time, the strength of the military was too great and by enacting his reforms he angered the veteran soldiers, who viewed his actions in reducing the pay of new recruits as a foreshadowing of eventual reductions in their own privileges and pay. This significantly reduced Macrinus' popularity with the legions that had declared him emperor. Caracalla's mother Julia Domna was initially left in peace when Macrinus became emperor. This changed when Macrinus discovered that she was conspiring against him and had her placed under house arrest in Antioch. By this time Julia Domna was suffering from an advanced stage of breast cancer and soon died in Antioch. Afterwards, Macrinus sent Domna's sister Julia Maesa and her children back to Emesa in Syria, from where Maesa set in motion her plans to have Macrinus overthrown. Macrinus remained in Antioch instead of going to Rome upon being declared emperor, a step which furthered his unpopularity in Rome and contributed to his eventual downfall. ## Downfall Julia Maesa had retired to her home town of Emesa with an immense fortune, which she had accrued over the course of twenty years. She took her children, Julia Soaemias and Julia Mamaea, and grandchildren, including Elagabalus, with her to Emesa. Elagabalus, aged 14, was the chief priest of the Phoenician sun-deity Elagabalus (or El-Gabal) in Emesa. Soldiers from Legio III Gallica (Gallic Third Legion), that had been stationed at the nearby camp of Raphanea, often visited Emesa and went to see Elagabalus perform his priestly rituals and duties while there. Julia Maesa took advantage of this, to suggest to the soldiers that Elagabalus was indeed the illegitimate son of Caracalla. On 16 May, Elagabalus was proclaimed emperor by the Legio III Gallica at its camp at Raphanea. Upon Elagabalus' revolt, Macrinus travelled to Apamea and conferred the title of Augustus onto his son, Diadumenianus, and made him co-emperor. ### Execution Macrinus realised that his life was in danger but struggled to decide upon a course of action and remained at Antioch. He sent a force of cavalry commanded by Ulpius Julianus to regain control of the rebels, but they failed and Ulpius died in the attempt. This failure further strengthened Elagabalus' army. Soon after, a force under Elagabalus' tutor Gannys marched on Antioch and engaged Macrinus' army on 8 June 218 near the village of Immae, located approximately 24 miles from Antioch. At some point during the ensuing Battle of Antioch, Macrinus deserted the field and returned to Antioch. He was then forced to flee from Antioch as fighting erupted in the city as well. Elagabalus himself subsequently entered Antioch as the new ruler of the Roman Empire. Macrinus fled for Rome; he travelled as far as Chalcedon before being recognized and captured. His son and co-emperor Diadumenianus, sent to the care of Artabanus IV of Parthia, was himself captured in transit at Zeugma and killed in June 218. Diadumenianus' reign lasted a total of 14 months, and he was about 10 years old when he died. Macrinus, upon learning of his son's death, tried to escape captivity, but he injured himself in the unsuccessful attempt and was afterward executed in Cappadocia; his head was sent to Elagabalus. Much like Macrinus, Diadumenianus' head was also cut off and sent to Elagabalus as a trophy. ### Damnatio memoriae Macrinus and his son Diadumenian were declared hostes, enemies of the state, by the Senate immediately after news had arrived of their deaths and as part of an official declaration of support for the usurper Elagabalus, who was recognized in the Senate as the new Emperor. The declaration of hostes led to two actions being taken against the images of the former Emperors. First, their portraits were destroyed and their names were stricken from inscriptions and papyri. The second action, taken by the Roman soldiers who had rebelled against Macrinus in favour of Elagabalus, was to destroy all of the works and possessions of Macrinus. The damnatio memoriae against Macrinus is among the earliest of such sanctions enacted by the Senate. Many of the marble busts of Macrinus that exist were defaced and mutilated as a response to the damnatio memoriae and many of the coins depicting Macrinus and Diadumenianus were also destroyed. These actions against Macrinus are evidence of his unpopularity in Rome.	[ "## Background and career", "## Reign", "## Downfall", "### Execution", "### Damnatio memoriae" ]	2,885	35,111
5,125,319	New York State Route 120A	1,159,357,261	Highway in New York and Connecticut	[ "Greenwich, Connecticut", "Port Chester, New York", "State highways in New York (state)", "Transportation in Fairfield County, Connecticut", "Transportation in Westchester County, New York" ]	New York State Route 120A (NY 120A) is a state highway in southern Westchester County, New York, in the United States. It serves as an alternate route to the southern half of NY 120 running along the New York–Connecticut state line. The southern terminus of the route is at NY 120 in Harrison. Its northern terminus is at NY 120 in North Castle. Most of the 8.55-mile (13.76 km) route straddles the New York–Connecticut state line, and part of the route is physically located in Connecticut. However, this part of the highway is not recognized by Connecticut as "Route 120A", and is considered to be part of NY 120A by the New York State Department of Transportation (NYSDOT). ## Route description NY 120A begins at an intersection with NY 120 next to I-287 (the Cross-Westchester Expressway) in the village of Harrison. Although the route is signed north–south, it initially heads east along Westchester Avenue. East of the freeway overpass, NY 120 leaves to the northwest while NY 120A continues eastward on the four-lane Westchester Avenue. It serves residential areas until it crosses into Rye Brook, where the street makes a turn to the southeast and soon enters more commercialized neighborhoods. In the center of Rye Brook, the route meets Ridge Street (unsigned County Route 54 or CR 54). The businesses give way to homes east of the junction, and NY 120A passes into the village of Port Chester just three blocks from Ridge Street near an intersection with Bowman Avenue (CR 104). Inside the village limits, maintenance of NY 120A shifts from the state to Westchester County, which inventories the route as CR 112. Continuing on, the road narrows to two lanes ahead of Port Chester's central business district, where NY 120A passes the Port Chester Public Library and the village's post office ahead of a junction with Pearl Street three blocks west of U.S. Route 1 and two blocks west of the Metro-North Railroad. Here, NY 120A turns off Westchester Avenue and onto North Pearl Street, becoming a village-maintained route in the process. The route's northeastward run on North Pearl Street is brief, however, as NY 120A turns northwest onto King Street after just two blocks. As the route heads away from Pearl Street and Port Chester's commercial center, the blocks of businesses are gradually replaced with the residential neighborhoods that comprise most of northern Port Chester. About 0.8 miles (1.3 km) north of Pearl Street, NY 120A passes Lyon Park and reverts to a state-maintained road at an intersection with Putnam Avenue (unsigned NY 982C). Continuing on, the highway serves King Street School before crossing from Port Chester to Rye Brook several blocks later. In the latter village, the route slowly bends northward toward the Connecticut state line. It eventually reaches the boundary, at which point NY 120A begins to run northwestward along the state line, with the southbound lane in New York and the northbound lane in Connecticut. A short distance later, the route connects to the Hutchinson River Parkway and its Connecticut continuation, the Merritt Parkway (Route 15), by way of a modified cloverleaf interchange. Not far from the interchange, the highway bends northward to fully enter Connecticut. Although the road is located outside of New York, it is maintained by NYSDOT and considered by the DOT to be part of NY 120A. In Connecticut, NY 120A travels generally northwestward through the town of Greenwich, intersecting several streets of local importance, including Greenwich's locally maintained continuation of Anderson Hill Road (CR 18). The foray into Connecticut ends soon afterward, and the route proceeds to straddle the state line for another 0.7 miles (1.1 km). Along this stretch, the route passes a series of commercial buildings in an otherwise residential area. Another New York-maintained stretch in Greenwich, Connecticut, soon follows as the route veers north to bypass the grounds of Westchester County Airport. As the route heads past the airport, it meets Rye Lake Road, Greenwich's connection to both the airport and Airport Road (CR 135). Past Rye Lake Road, NY 120A serves the Griffith E. Harris Golf Club and several mansions on its way back to the New York–Connecticut state line. Just north of the airport, NY 120A turns westward onto Gateway Lane, a small east–west street leading back into New York and the town of North Castle. Gateway Lane and NY 120A both end just inside the state line at an intersection with NY 120. Here, NY 120 changes names from Purchase Street to King Street as the route continues NY 120A's course along the state line. ## History The portion of Westchester Avenue from Purchase Street in Harrison to North Pearl Street in Port Chester was originally designated as part of NY 119 in the 1930 renumbering of state highways in New York. By the following year, a spur route connecting NY 119 to NY 120 in North Castle was assigned the NY 120A designation. It began at Westchester Avenue and went north to the Connecticut state line via Ridge Street, where it turned northwest to follow King Street to NY 120. The section of King Street between Ridge Street and Port Chester was designated as NY 120B by 1932. NY 120A was truncated c. 1938 to consist only of the Ridge Street portion of its alignment while NY 120B was extended northwest along King Street to NY 120 in North Castle and southward along NY 119 and Ridge Street to a terminus at NY 120 in Rye. The NY 120B designation was eliminated by the following year, at which time NY 120A was reextended along King Street to North Castle and realigned east of Ridge Street to follow old NY 120B into Port Chester. NY 119 was truncated on its east end to NY 22 in White Plains in October 1960 while NY 120 was rerouted to follow what had been NY 119A south to Rye along Purchase Street. The former routing of NY 119 and NY 120 from Purchase Street to downtown Port Chester became an extension of NY 120A. On September 1, 1980, ownership and maintenance of the 0.5-mile (0.80 km) section of NY 120A leading southeast from the northwestern crossing into Connecticut was transferred from Westchester County to the state of New York as part of a highway maintenance swap between the two levels of government. The road was one of 10 highways exchanged during the swap. That same day, the routing of NY 120A in Port Chester was modified slightly to follow North Pearl Street between Westchester Avenue and King Street. ## Major intersections ## See also - List of county routes in Westchester County, New York	[ "## Route description", "## History", "## Major intersections", "## See also" ]	1,446	2,214
28,901,322	Tropical Storm Georgette (2010)	1,171,830,462	Pacific tropical storm in 2010	[ "2010 Pacific hurricane season", "2010 in Mexico", "Eastern Pacific tropical storms", "Tropical cyclones in 2010" ]	Tropical Storm Georgette was a short-lived tropical storm that struck Baja California Sur in September 2010. Georgette originated from an area of disturbed weather over the eastern Pacific ocean on September 20. The next day, the system was upgraded into a tropical storm a short distance south of Baja California Sur. As the storm moved over the peninsula, it weakened to a tropical depression. It continued north and as such made landfall on mainland Mexico on September 22. Georgette dissipated early the next day while located inland over Sonora. Although officials noted the threat for heavy rainfall across northwest Mexico and Baja California, damage was minimal and no deaths were reported in the country. However, remnant moisture moved into New Mexico, producing flooding that killed one person. ## Meteorological history The origins of Tropical Storm Georgette were from a tropical wave that moved off the west coast of Africa on September 1. Lacking organization, the wave was difficult to track as it moved across the Atlantic basin. Convection eventually increased on September 7, as the system approached the Lesser Antilles. On September 14, Hurricane Karl developed from the northern portion of the system over the western Caribbean Sea; however, the southern portion of the wave crossed northern Central America and entered the Pacific Ocean on September 17. The area of disturbed weather was first mentioned on the National Hurricane Center (NHC) around that time, but signification development was initially not anticipated. Wind shear was forecast to decrease slightly; however, and based on this the NHC gave the system a medium chance of undergoing tropical cyclogenesis during the next two days. Gradual development took place as convection consolidated around the center of circulation while located west of Sonora. During the afternoon of September 20, an area of low pressure developed within the system, prompting the NHC to classify it as a tropical depression. At this time, the depression was situated roughly 240 mi (390 km) south-southeast of Cabo San Lucas. Situated along the western edge of a subtropical ridge, the system was steered towards the north-northwest throughout its existence. Within hours of becoming a depression on September 20, strong wind shear caused convection to diminish. However, data from an ASCAT scatterometer pass revealed that the system attained gale-force winds, resulting in the depression being upgraded to a tropical storm on 0000 UTC September 21. Operationally, the first advisory on storm was not issued until 1200 UTC, where it was named Georgette. Meanwhile, thunderstorm activity increased near the center of the storm. Little change took place throughout the day as the storm approached Baja California Sur. Around 1800 UTC, Georgette made landfall near San Jose del Cabo with winds of 40 mph (65 km/h). Additionally, a barometric pressure of 999 mbar (hPa; 29.5 inHg) was measured. Shortly before entering the Gulf of California, Georgette weakened to a tropical depression. Maintaining winds of 35 mph (55 km/h), the storm later made a second landfall near San Carlos in Sonora. Shortly after moving inland, the low-level circulation dissipated over the mountains of western Mexico. ## Preparations and impact Prior to the arrival of Georgette, the Mexican government issued a tropical storm warning for extreme southern Baja California Sur., but was dropped when Georgette moved inland. Officials warned rural areas in Baja California Sur of heavy rain and high wind. Forecasters at the NHC noted the potential for up to 10 in (25 mm) of rainfall, especially over the higher terrain. The forecasters also noted potential for deadly flooding and mudslides. Officials evacuated over 1,000 families from floodplains and opened four shelters in Los Cabos. In Sonora, the state's civil protection committee placed the south portion of the state under an "orange" alert, and a "red" alert soon after; the alert was lifted that same evening, after Georgette moved inland. A total of 52 shelters were opened in the Cajeme municipality. In Guaymas, 300 people from the city and surrounding areas were placed in shelters; 250 more people sought shelter from Georgette in Empalme. Schools in Bahía Kino and coastal areas of the Hermosillo Municipality suspended classes as a precaution. Classes resumed statewide on September 23. Georgette caused the heaviest rains on Baja California Sur in the last 15 years, leaving many people homeless. Georgette also produced high waves. The tropical cyclone worsened Mexico's flooding problem which started when Hurricane Karl made landfall several days earlier. A peak rainfall total of 5.9 in (150 mm) fell in Todos Santos. Throughout Sonora, rainfall up to 4.7 in (120 mm) triggered flooding that damaged 220 homes. Georgette caused 2.61 in (66 mm) of rainfall in Guaymas Flooding was reported in several places (Empalme, Etchojoa, Navojoa, Guaymas, Los Mochis), causing 500,000 people to be evacuated. Heavy runoff caused inflows of 18,000 cu ft/s (510 m<sup>3</sup>/s) into El Novillo Dam, forcing the Comisión Nacional del Agua, the local water authorities, to release water from the dam. Moisture from the system combined with an approaching trough to produce heavy rainfall and thunderstorms across New Mexico. A total of 6.42 in (163 mm) was reported in Gladstone. The rains caused flooding that killed a person along the Rio Grande near Carnuel. ## See also - Other storms of the same name - 2010 Pacific hurricane season - List of tropical cyclone names	[ "## Meteorological history", "## Preparations and impact", "## See also" ]	1,207	14,453
22,476,055	Lavochkin La-152	1,143,276,437	Soviet jet fighter prototype	[ "1940s Soviet fighter aircraft", "Aircraft first flown in 1946", "Lavochkin aircraft", "Mid-wing aircraft", "Single-engined jet aircraft" ]	The Lavochkin La-152, (USAF reporting name - Type 4), and its variants, was a jet fighter prototype designed and manufactured by the Lavochkin Design Bureau (OKB) shortly after the end of World War II. Derived from the Lavochkin La-150, the 152 used several different engines, but the program was canceled as other fighters with more powerful engines and swept wings showed more promise. ## Design and development ### Izdeliye 152 Following the limited success of the 150, drastic changes were introduced to improve performance and ease of maintenance. The RD-10 engine, rated at 8.8 kN (2,000 lb<sub>f</sub>) of thrust, was moved to the front of the nose and its cowling formed the bottom of the forward fuselage. This position minimized thrust losses due to the length of the intake duct and allowed the engine to be changed much more easily than its predecessor. The cockpit was widened and moved to a position over the mid-set wings, even with the engine's exhaust nozzle. The pilot's seat back was armored and he was protected by an armor plate to his front and a bulletproof windscreen. Three fuel tanks were positioned ahead of the cockpit and one behind it with a total capacity of 620 kilograms (1,370 lb) of fuel. The removable, mid-mounted wings used several different laminar flow airfoils over their span. Each wing had a single spar, slotted flaps and ailerons. The tricycle undercarriage retracted into the fuselage, which meant that the aircraft had a very narrow ground track. The aircraft was armed with three 23-millimeter (0.91 in) Nudelman-Suranov NS-23 autocannon, two on the starboard side of the aircraft's nose and the other on the port side. Each gun had 50 rounds of ammunition. The 152 made its first flight on 5 December 1946 and the manufacturer's trials completed on 23 June 1947. State acceptance trials commenced on 12 July, but the prototype crashed on the eighth flight when the engine failed on approach. The maximum speed attained by the 152 before its crash was only 840 kilometers per hour (520 mph). ### Izdeliye 154 The Lavochkin OKB decided to improve the performance of the 152 in late 1946 by replacing the RD-10 engine with a more powerful Lyulka TR-1 turbojet of 12.3 kN (2,800 lb<sub>f</sub>) thrust. The design work was completed in September 1947, and construction began of a prototype shortly afterward, but the engine was not yet ready for testing and the project was canceled. The only other significant difference from the 152 was that each cannon was furnished with 75 rounds of ammunition. ### Izdeliye 156 Meanwhile, the OKB had been developing two afterburning versions of the RD-10 to increase the engine's power. The more successful model was only 100 millimeters (3.9 in) longer and weighed an additional 31 kilograms (68 lb) more than the original engine. Its power, however, was increased by an additional 3.3 kN (740 lb<sub>f</sub>), over 30% more thrust. This engine was designated the izdeliye YuF by the bureau and was fitted into an aircraft 152 prototype in November 1946, initially designated as the 150D (Dooblyor - Second). This was changed to Aircraft 156 the following month. In addition to the more powerful engine, the aircraft now had an ejection seat, additional cockpit armor, and a revised canopy. More importantly, it was fitted with new wings with a greater span and more surface area; they also had a new airfoil designed to delay Mach tuck. The area of the tailplane and the vertical stabilizer was also increased. Two prototypes were built and the first one was completed in February 1947 and made its first flight on 1 March. The second prototype joined the manufacturer's trials later that month. One of these aircraft participated in the Tushino flypast on 3 August 1947, where it was given the USAF reporting name of Type 5. The additional power increased the aircraft's top speed by 40–70 km/h (25–43 mph) over the 152. The second prototype began state acceptance trials on 9 September and demonstrated a maximum speed of 905 km/h (562 mph) at an altitude of 2,000 meters (6,560 ft). It could reach 5,000 meters (16,400 ft) in four minutes using afterburner. The aircraft was rejected by the Soviet Air Forces when the trials were concluded on 28 January 1948. The report said that the YuF engine was required more work before it was ready for production, the aircraft had problems with longitudinal stability, excessive stick forces from the ailerons and elevators, and the undercarriage was troublesome. Lavochkin consequently canceled the program. ### Izdeliye 174TK An experimental version of Izdeliye 156 was built in 1947 under the name of Izdeliye 174TK (Tonkoye Krylo - thin wing). It had a very thin, straight wing of 6% thickness, believed to be the thinnest yet flown in the world, and an imported Rolls-Royce Derwent V engine, rated at 15.6 kN (3,500 lb<sub>f</sub>), mounted in the nose. The three NS-23 cannon had to be repositioned on the bottom of the nose to accommodate the engine. It was first flown in January 1948 and had a top speed of 970 km/h (600 mph) at sea level. It reached an altitude of 5,000 meters in only 2.5 minutes, but even these impressive gains over the 156 were inferior to the swept-wing Lavochkin La-160 that had flown nine months earlier and the program was canceled. ## Variants - Izdeliye 154 - A second 152 airframe with a Lyulka TR-1 turbojet. Canceled due to delays with the engine. - ''Izdeliye 156 - Originally known as Aircraft 152D. A modified 152 with a YuF engine, an afterburning version of the RD-10. - Izdeliye'' 174TK - A thin-wing version of the 156 with a Rolls-Royce Derwent engine, but performance was already overshadowed by the lower-powered Aircraft 160 so further development abandoned. ## Specifications (Izdeliye 156) ## See also	[ "## Design and development", "### Izdeliye 152", "### Izdeliye 154", "### Izdeliye 156", "### Izdeliye 174TK", "## Variants", "## Specifications (Izdeliye 156)", "## See also" ]	1,405	3,121
12,486,304	Orange-headed tanager	1,166,585,729	Species of bird from South America	[ "Birds described in 1837", "Birds of Brazil", "Birds of South America", "Taxonomy articles created by Polbot", "Thlypopsis" ]	The orange-headed tanager (Thlypopsis sordida) is a species of bird in the family Thraupidae. Native to South America, it is found in Argentina, Bolivia, Brazil, Colombia, Ecuador, Paraguay, Peru, and Venezuela, where it inhabits successional vegetation, cerrado, riparian forest, shrub, brush, and open woodland. Males of the species have sandy-gray , cinnamon to buff , white on the center of the lower breast, belly, and tail, and rufous-orange and yellow heads. Females are similar but duller. The orange-headed tanager is omnivorous, feeding on insects, spiders, fruit, and seeds. It forages in an active manner, gleaning prey while hopping or, more infrequently, catching it in flight. Nesting has been recorded in December, and clutches contain two bluish-white eggs with brown markings. The species is listed as being of least concern by the International Union for Conservation of Nature (IUCN) on the IUCN Red List due to its large range and stable population. ## Taxonomy and systematics The orange-headed tanager was originally described in 1837 as Nemosia sordida by the French ornithologists Frédéric de Lafresnaye and Alcide d'Orbigny on the basis of specimens from Bolivia. It was then moved to the genus Thlypopsis, of which it is the type species, by the German ornithologist Jean Cabanis in 1851. The name of the genus, Thlypopsis, is from the Ancient Greek thlupis, a word for an unknown species of small bird, and opsis, meaning appearance. The specific name sordida is from the Latin sordidus, meaning dirty or shabby. Orange-headed tanager is the official common name designated by the International Ornithologists' Union. ### Subspecies There are three recognized subspecies of the orange-headed tanager: - T. s. sordida (Lafresnaye and d'Orbigny, 1837): The nominate subspecies, it is found from eastern Bolivia to Brazil, south to Paraguay and northern Argentina. - T. s. chrysopis (Sclater and Salvin, 1880): Originally described as a separate species, it is found in southern Colombia, eastern Ecuador and Peru, and western Brazil. It differs from the nominate in having pure gray and light grayish-brown sides and breasts. - T. s. orinocensis Friedmann, 1942: It is found in central Venezuela. It has pale gray upperparts tinged grayish-cinnamon. ## Description The orange-headed tanager is a small, thin-billed tanager that has an average length of 13 cm (5.1 in) and a weight of 14–19 g (0.49–0.67 oz). Its proportions are similar to those of a New World warbler. Males of the nominate subspecies have rufous-orange and sides of the head, becoming bright yellow on the lores, ocular region (area surrounding eye), and throat. The upperparts are sandy-gray, with dusky and flight feathers, the latter of which are edged with gray. The underparts are buff to cinnamon and turn whitish on the center of the lower breast, belly, and . The bill is dark, the iris is dark brown, and the legs are gray. Females have duller upperparts than males, less extensive yellow on the head, and duller yellow on the face and throat. Immatures are similar to females, but are even duller, with grayish-olive upperparts and paler underparts. ### Vocalizations The orange-headed tanager's calls include a high-pitched tseet, seet, or sit, often given rapidly multiple times, a quick high-pitched chittering sit-it-t-t-t-t-t-t, and a slower seet-a. The solo song varies geographically: in northern Peru and Ecuador, it is a high-pitched, rising and falling, and spasmodic pits’a, see-a, pits’a, see-ee, while it is a seet, sit, a see-fits-za in northwestern Argentina. In Bolivia and northern Peru, a high-pitched seet seet t-t-t-t-t-t-t-t-t-t-d-dit has been recorded in flight or while perched, which may be either a duet or chatter. In eastern Brazil, the year-round song has several song types, with the most common one being a thin, high-pitched tsap-tsip, tsip, tsip-tsop-tswit. A high-pitched, trilled tsi . . . . tsrrrri has also been recorded from Brazil. ## Distribution and habitat The orange-headed tanager is native to South America, where it is found in Argentina, Bolivia, Brazil, Colombia, Ecuador, Paraguay, Peru, and Venezuela. It is the only member of its genus that is found in the lowlands of the Amazon rainforest. In Venezuela and the western Amazon, it inhabits successional vegetation like tall Gynerium grasses, willows, Tessaria and Cecropia shrubbery, and young secondary growth near rivers and on river islands. In the southern Amazon, it inhabits dry to semi-humid cerrado, open woodland canopies, shrub, parks, and thinner riparian forest (forest next to waterbodies). In northwestern Argentina, it inhabits scrub, brush, and the edges of drier open woodland, and is seldom observed in uninterrupted forest. The orange-headed tanager generally inhabits elevations up to 800 m (2,600 ft), but is only found up to 100 m (330 ft) in Venezuela and 400 m (1,300 ft) in Colombia. Local populations in Bolivia can inhabit elevations as high as 1,500 m (4,900 ft). In Brazil and Argentina, the species has been recorded seasonally migrating from the Andes to lowlands during the austral winter. ## Behavior and ecology The orange-headed tanager is found in pairs or groups of 3–4 individuals, occasionally in mixed-species foraging flocks. ### Diet The orange-headed tanager is an omnivorous species, having been recorded feeding on orthopterans (grasshoppers, crickets, and locusts), beetles, flies, spiders, fruit, and seeds. It forages in an active, New World warbler-like manner, gleaning insects from foliage with rapid hops, or less commonly hovering or sallying to catch prey in the air. ### Breeding The orange-headed tanager has been recorded nesting in December, building a cup-shaped nest about 2 m (6.6 ft) above the ground. Eggs are laid in clutches of two, and are bluish-white with brown markings. The shiny cowbird has been recorded as a brood parasite of the orange-headed tanager. ## Status The orange-headed tanager is listed as being of least concern by the International Union for Conservation of Nature (IUCN) on the IUCN Red List due to its large range and stable population. It is threatened in parts of its range due to land conversion, but occurs in a number of protected areas and is locally common on river islands and in river floodplains.	[ "## Taxonomy and systematics", "### Subspecies", "## Description", "### Vocalizations", "## Distribution and habitat", "## Behavior and ecology", "### Diet", "### Breeding", "## Status" ]	1,551	1,907
28,414,072	José María Caro Martínez	1,155,541,455	Chilean politician	[ "1830 births", "1916 deaths", "Caro family", "Chilean people of Basque descent", "Conservative Party (Chile) politicians", "Date of birth unknown", "Mayors of Pichilemu" ]	José María Caro Martínez (; 1830 – 11 November 1916) was a Chilean politician and civil servant. In May 1894, he was unanimously elected as the first mayor of the commune of Pichilemu, with Pedro Nolasco de Mira and Francisco Reyes made second and third magistrate respectively. Caro Martínez had previously served for several years as administrator or llavero of the San Antonio de Petrel hacienda and, between 1891 and 1892, was the Subdelegate of the 13th Subdelegation of San Fernando Department which comprised the district of Cáhuil. The eleven-year mayorship of Caro Martínez, which lasted from 1894 and 1905, was described by journalist and local historian José Arraño Acevedo as "the most fruitful" in the history of the commune. In his four terms, Caro Martínez built roads connecting Pichilemu and San Fernando, capital of the department of the same name, and founded several schools in Pichilemu and parts of current Marchigüe. He resigned in May 1905 and completed his fourth mayoral term as a segundo alcalde. As a mayor, he was succeeded by Francisco Javier Asalgado who held the office for two non-consecutive terms. Caro Martínez was the father of the following progeny: José María Caro Rodríguez, who became the first Chilean Cardinal of the Roman Catholic Church; Francisco Adriano Caro Rodríguez, who became first the regidor for multiple terms intermittently since 1906 and then the eighth mayor of Pichilemu on the resignation of Luis Barahona Fornés in December 1925; as well as Pedro Pablo Caro Rodríguez, a lawyer from the University of Chile who became an active judge in several Chilean cities. ## Early life José María Caro Martínez was born in San Antonio de Petrel, in current Pichilemu, Region of O'Higgins, to Pedro Pascual Caro Gaete and Cayetana Martínez Ríos, in 1830. The exact birth date is unknown, since all the books of the parish of Ciruelos with baptism records between 1830 and 1834 were burnt in a fire. The Caro Martínez family, of "devout Catholics", is described as having a "profound Christian faith," with their members "complying with unblemished devotion their Christian duties." Since he was a child, Caro shaped his personality on the "fulfillment of his duties"; according to a 1944 article from the Pichilemu newspaper, "his personality became even more robust in his youth as he faced an accident whose consequences stood by him until his death." Like his father, he dedicated his life to agricultural activities, and "managed to raise a small fortune." Caro served for several years as administrator (llavero) of the hacienda of San Antonio de Petrel, property of José Vicente Ortúzar Formas. During his administration of San Antonio de Petrel, the hacienda was "rich", as it "possessed 1,500 cows, [...] and produced yearly 15 thousand sacks of wheat, each of 100 kilograms." Caro Martínez and his family lived in the Petrel area until the 1880s, when they moved to nearby village Quebrada del Nuevo Reino; he lived there until his death. Caro Martínez became an active member of the parish of Ciruelos. According to journalist José Arraño Acevedo, the archives of the Archiepiscopate of Santiago —which are published yearly— show he was elected as a steward of the Confraternity of the Blessed Sacrament for the years of 1888, 1890, 1892, and 1900. ## Political career Caro Martínez was a member of the Conservative Party of Chile, and was appointed by the party's leaders as the perpetual president of the party's seat in the commune of Pichilemu. In 1891, he was appointed by President Jorge Montt Álvarez as subdelegate of the 13th Subdelegation of San Fernando Department, which comprised the district of Cáhuil, territory of the current commune of Pichilemu. He held the position until 1892, and was succeeded by José Domingo Fuenzalida. Also in 1891, on 21 December, the commune of Pichilemu was created by the Autonomous Commune Law (Spanish: Ley de Comuna Autónoma), written by Ministry of the Interior Manuel José Irarrázabal Larraín. The new commune comprised the districts of Cáhuil, Peñablanca, and Cocauquén. It was one of the most extensive communes of the department of San Fernando. However, the local government was yet to be established. On 21 March 1894, a preparatory meeting was held to create a Junta Calificadora de Poderes —an organisation that would be in charge of the elections. Caro Martínez was elected president of the Junta Calificadora in the meeting. Later that year, on 6 May, the first municipal meeting (sesión municipal) was held. During the meeting, Caro Martínez, aged 64, was unanimously elected as the first Mayor of Pichilemu since its creation as a commune. Pedro Nolasco de Mira, and Francisco Reyes were elected as segundo, and tercer alcalde, respectively, and Francisco Cerón, José Leonardo Lizana, Ceferino Rosales, Benjamín Calderón, and Francisco León as regidores. Immediately after his election, Caro Martínez created the local police force (Cuerpo de Policía Local). He also constructed roads all over the commune of Pichilemu, with special attention to those that would connect Pichilemu with the central area of the department of San Fernando, specifically the commune of San Fernando, and Santiago, the capital of Chile. As part of this project, he constructed a bridge over the Petrel Lake, known as the Puente Negro (Black Bridge), and another in Cáhuil, connecting that town with its saltworks. He also founded several schools in the Pichilemu area, which only had one, located in Ciruelos. Those include the schools of Yerbas Buenas, Las Garzas, Trinidad, Molineros, Peñablanca, all in the current territory of the commune of Marchigüe, and one in central Pichilemu. Other works during Caro Martínez's mayorship include the grant of 1,300 Chilean pesos for the design of plans for the construction of the railway from Alcones to Pichilemu, and the installation of a water tank, located in the house of municipal secretary Albino Pulgar. Additionally, the government of Caro Martínez determined the urban limits of the commune of Pichilemu, gave help to victims of heavy rainstorms that hit the area in the time, brought Carabineros forces to "scare away" bandits from the local farms, and made repairs to the roads of Marchigüe, Trinidad, Molineros, and Peñablanca. Caro Martínez was re-elected mayor (primer alcalde) of Pichilemu in 1897, 1900, and 1903. On 7 May 1905, just one year before his fourth term expired, he decided to resign to the primer alcalde office, and took a position as segundo alcalde of Pichilemu until 1906. Following his resignation, Francisco Javier Asalgado became the mayor, and held the office between that year and 1909, and again in 1912, but only for less than a month. His mayorship was described by historian José Arraño Acevedo as "the most fruitful [...] in the municipal life of Pichilemu." Caro Martínez was described by Virgilio Figueroa, biographer of his son José María Caro Rodríguez, as "an individual with public spirit and leadership skills." According to Washington Saldías in an article published in Pichilemu News, Caro Martínez's mayorship has been the longest in the history of Pichilemu. ## Later life, death, and legacy According to José Arraño Acevedo's 1980 article "José María Caro Martínez, Primer Alcalde de Pichilemu", following his retirement from politics in 1906, Caro Martínez "stayed watchful to everything that was being done in favour of the commune he led so aptly." He appears as a subscriber of El Puerto, the first newspaper published in Pichilemu, which only printed three editions. In the first edition of the newspaper, dated 16 January 1908, an article states that José María Caro Martínez and Exequiel Fernández were awarded 200 pesos in a raffle held on the previous day in the headquarters of the La Unión newspaper, in Santiago. In late September–early October 1916, he became ill with an unspecified disease, which forty days later, in the night of that 11 November, "won against his strong physique" and provoked his death at age 86. Caro was subsequently cremated and is buried with his wife Rita, who died at age 97 on 7 August 1931, in a mausoleum constructed by their son José María, located at the churchyard of Ciruelos. Almost eighty years after his death, in December 1991, the government of Mayor René Maturana Maldonado decreed, as part of the celebrations of the centennial of the commune's creation, the renaming of several streets of the commune whose original names "caused confusion because they were repeated in other streets", to new names of "relevant people of the [local] history." As a result, J. M. Caro street (Calle J. M. Caro) in the Pavez Polanco neighborhood was renamed to Alcalde Caro Martínez street (Calle Alcalde Caro Martínez) in honour of the commune's first mayor. ## Family Caro Martínez married Rita Rodríguez Cornejo (1833–1931) on 20 February 1860 at the chapel of San Antonio de Petrel. The couple had nine children, all born in San Antonio de Petrel: Rita, Cristina, Petronila, José María, Pedro Pascual, Francisco Adriano, Pedro Pablo, Cayetana, and Rosa. José María (1866–1958) became a Catholic priest; he served as Archbishop of Santiago from 1939 until his death, and in 1946 he became the first Chilean Cardinal of the Church. Francisco Adriano became, like his father, involved in politics, serving for several terms as regidor of the commune of Pichilemu between 1906 and 24 December 1925, when he became the 8th Mayor of Pichilemu, following the resignation of Luis Antonio Barahona Fornés to run for a deputy seat. Francisco held the office until 22 May 1927, when President Carlos Ibáñez del Campo appointed Evaristo Merino as mayor of Pichilemu. Pedro Pablo (1875–1959) was a University of Chile lawyer, who served as acting judge in Castro, Cachapoal (Peumo), amid others; Pedro Pablo also served as secretary and treasurer of the commune of Buin.	[ "## Early life", "## Political career", "## Later life, death, and legacy", "## Family" ]	2,463	25,942
31,089,414	Steins;Gate (TV series)	1,171,970,859	Japanese anime television series	[ "2011 anime television series debuts", "2014 anime ONAs", "Anime and manga about parallel universes", "Anime and manga about time travel", "Anime television series based on video games", "Conspiracy theories in popular culture", "Crunchyroll anime", "Funimation", "Japanese time travel television series", "Madman Entertainment anime", "Science Adventure", "Science fiction anime and manga", "Television shows set in Tokyo", "Time loop anime and manga", "White Fox" ]	Steins;Gate is a Japanese anime television series created by the animation studio White Fox based on 5pb. and Nitroplus's 2009 visual novel of the same name. The series aired for 24 episodes, from April to September 2011. It is set in 2010 and follows Rintaro Okabe, who together with his friends accidentally discovers a method of time travel through which they can send text messages to the past, thereby changing the present. It is part of the Science Adventure franchise along with Chaos;Head and Robotics;Notes. The series was directed by Hiroshi Hamasaki and Takuya Satō, and written by Jukki Hanada, with animation direction and character design by Kyuuta Sakai, and music by Takeshi Abo. It was simulcast in North and South America, Africa, the Middle East, and parts of Europe by Crunchyroll and the United Kingdom by Anime on Demand. A 25th episode was later included with the DVD and Blu-ray releases; these releases were handled by Funimation in North America and by Manga Entertainment in the United Kingdom. Critics praised its character development and its themes of time travel, human nature, gender identity and its perspective on PTSD. It is considered one of the best anime series of the 2010s. The series has spawned four original net animation episodes and a spinoff film. An anime adaptation of Steins;Gate 0, the sequel to the original Steins;Gate game, premiered in 2018. ## Plot Steins;Gate is an adaptation of the visual novel of the same name. It is set in 2010 in Akihabara, Tokyo, and follows Rintaro Okabe, a self-proclaimed "mad scientist", who runs the "Future Gadget Laboratory" in an apartment together with his friends Mayuri Shiina and Itaru "Daru" Hashida. While attending a conference about time travel, Okabe finds the dead body of Kurisu Makise, a neuroscience researcher; he sends a text message about it to Daru and later discovers that Kurisu is alive and that the message arrived before he sent it. The laboratory members learn that the cell phone-operated microwave oven they are developing can send text messages back in time; they are joined by Kurisu, and investigate it, sending text messages – referred to as "D-mails" – to the past to change the present. Kurisu eventually creates a device that can send memories through the microwave oven, effectively allowing the user to time travel. SERN, a fictional organization based on CERN, learns of the time machine and sends people to the laboratory to retrieve it, killing Mayuri in the process. Okabe goes back in time multiple times to prevent Mayuri's death but fails each time. He learns that he needs to undo all the changes their D-mails have caused and does so until he realizes that undoing the first D-mail would return him to the timeline where Kurisu was found dead. Okabe and Kurisu tell each other about their romantic feelings for one another, after which Kurisu tells Okabe to save Mayuri. Daru hacks into SERN's database, and they delete the record of the D-mail, returning them to the original timeline. Later, Suzuha Amane, Daru's future daughter, arrives in a time machine to tell Okabe that the only way to prevent a time-travel arms race leading to World War III is to prevent Kurisu's father Nakabachi from killing her and stealing her time travel theories. Suzuha and Okabe travel back in time, but Okabe accidentally kills Kurisu himself. Returning to the present, Okabe receives a message from his future self telling him that to escape the current timeline, he needs to save Kurisu while recreating the vision of the dead Kurisu that his past self saw. Traveling back in time again, he provokes Nakabachi into stabbing him, knocks Kurisu unconscious, and puts her in his pool of blood for his past self to see, causing the timeline to diverge into one where Kurisu lives and World War III does not occur. ## Cast ## Production The anime adaptation was announced in July 2010 by Chiyomaru Shikura, the head of 5pb. Steins;Gate was created at the animation studio White Fox, and was produced by Mika Nomura and Yoshinao Doi, directed by Hiroshi Hamasaki and Takuya Satō, and written by Jukki Hanada, with Kyuuta Sakai serving as character designer and chief animation director. While Takeshi Abo, the composer for the Science Adventure games, only had a small role in the previous anime adaptation of the series, he was appointed to compose for the Steins;Gate anime together with his coworker Jun Murakami. Abo composed new music, and made use of the same atmosphere and musical worldview as when he composed for the Steins;Gate game, but also had to consider that the music had to be synchronized with the motions of the anime; this was a very different way of working than the one he uses when composing for games. The anime series has also received an animated film sequel, Steins;Gate: The Movie − Load Region of Déjà Vu, which premiered on April 20, 2013, and an anime adaptation of Steins;Gate 0 premiered in 2018. Footage from the Steins;Gate anime is used in the 2018 game Steins;Gate Elite – a fully animated, updated version of the original Steins;Gate game – along with new animation by White Fox. ## Release The series aired for 24 episodes from April 6 to September 14, 2011; and was released on DVD and Blu-ray in nine volumes from June 22, 2011, to February 22, 2012, in Japan; the ninth and final volume included a 25th "special episode" not included in the broadcast. For the series' rebroadcast in 2015, an alternate version of episode 23 where Okabe does not save Kurisu was aired to promote the Steins;Gate game's sequel Steins;Gate 0. Steins;Gate: Sōmei Eichi no Cognitive Computing, a series of four original net animation shorts based on the series focusing on how computers could improve people's lives in the future, was made in a collaboration with IBM following a talk between Shikura and representatives from IBM Japan. The episodes were released from October to November 2014 on IBM's Mugendai website in Japanese, and on IBM Japan's YouTube channel in Japanese with English subtitles. Outside Japan, the series was distributed by different companies. Crunchyroll simulcast the series in North and South America, Scandinavia, the Netherlands, the Middle East, and Africa; Anime on Demand did the same in the United Kingdom. Funimation later acquired the license for the North American rights, produced an English dub, and released the series on DVD and Blu-ray in two volumes in 2012. Madman Entertainment acquired the license for the Australian rights, and streamed the series on their website. Manga Entertainment waited to acquire the license for the United Kingdom rights until Funimation had completed the English dub, and released it in two volumes on DVD and Blu-ray in 2013. ## Reception ### Accolades The series was amongst the Best Animes of the 2010s and Rintaro Okabe was awarded Man of the Decade at Anime Trending Awards. In 2011, Steins;Gate was part of the Jury Selections at the 15th Japan Media Arts Festival in the Animation category. It won a Newtype Anime Awards for the Best Male anime character of the year, for Rintaro Okabe. Steins;Gate was nominated for the 43rd Seiun Award in the Best Media category in 2012, but lost to Puella Magi Madoka Magica. Steins;Gate is considered as one of the best anime series of the 2010s. IGN listed the series among the best anime series of the 2010s. Crunchyroll also listed it in their "Top 100 best anime of the 2010s". ### Critical response The Steins;Gate anime series holds a 100% on Rotten Tomatoes, based on 5 reviews. The series has been well received by critics, with Carlo Santos at Anime News Network calling it "one of the most addictive sci-fi thrillers in recent anime history", Richard Eisenbeis at Kotaku calling it one of the best anime he had seen, and Chris Beveridge at The Fandom Post calling it his favorite simulcast title of 2011. Critics have enjoyed the series' story and writing. Santos enjoyed how Steins;Gate misleads the viewer by spending the first half of the series on comedy before turning into a thriller for the second half, and how the finale revisits the events of the first episode, making for a "rock-solid climax". Rebecca Silverman at Anime News Network, reviewing the first half of the series, described the series as an interesting concept with nice visual flair when needed; and that the 12th episode was a great hook for the rest of the series. She found the second half of the show to be a step up, compare to the first half; she enjoyed the added urgency, and how the characters were given development and how the viewer was given insight into their motivations from the first half of the series. Aiden Foote from THEM Anime Reviews gave the series a 5 out of 5 stars and described it as "The build up of characterisation is effective, the show is very entertaining and the complexity is handled with insight and maturity". Eisenbeis noted the rules for how time travel works as well defined, which he called among the hardest things to do when writing time travel fiction. Pierce Drew at The Fandom Post enjoyed the story and characters. Patrick of Cedar Mill & Bethany Community Libraries called it a "brilliant mash-up of hard science fiction, comedy, romance and drama". Santos called the character designs memorable and found it refreshing that the anime featured an overweight person as one of its main characters. He noted that the backgrounds, while making use of muted and grayish tones, still had enough color to be visually appealing. Silverman thought that the series' visuals were uneven for the first half, having some "nice visual flair" at some points, such as a black-and-white scene in episode 11, and some fan-service shots that she found ill-fitting. For the second half, she found the visuals and audio design to have improved, with a focus on visual themes such as clasped hands, and the use of highly detailed and more realistic art during stressful moments in the story. Foote enjoyed the visual presentation of Akihabara, which he described as "lifeless but ever moving, like sand in the desert wind"; he called it evocative of morning street scenes in the directors' earlier work Serial Experiments Lain (1998), and proof that they had not lost their touch since then. Drew thought the visuals were of high quality throughout the series, and that they were a good, albeit less detailed, representation of the art style used in the Steins;Gate game. ### Sales The first Japanese Blu-ray volume of the series opened as the week's fourth best selling animation Blu-ray and the seventh best selling Blu-ray overall, with 11,802 copies sold according to Oricon; and remained on the sales charts for an additional three weeks, selling 14,921 copies in total. At the end of 2012, volume 9, 8, and 7 were the 44th, 46th, and 49th best selling animation Blu-rays of the year in Japan. The Japanese DVD and Blu-ray boxes that collect the whole series also charted: the DVD box, which was released in March 2013, was the 26th best selling animation DVD of the week; and the Blu-ray box, which was released in February 2016, premiered on fourth place and charted for two weeks.	[ "## Plot", "## Cast", "## Production", "## Release", "## Reception", "### Accolades", "### Critical response", "### Sales" ]	2,508	34,985
6,126,113	Eve (The X-Files)	1,158,704,653	null	[ "1993 American television episodes", "Television episodes about cloning", "Television episodes about eugenics", "Television episodes set in California", "Television episodes set in Connecticut", "The X-Files (season 1) episodes", "Twins in fiction" ]	"Eve" is the eleventh episode of the American science fiction television series The X-Files, premiering on the Fox network on December 10, 1993. It was written by Kenneth Biller and Chris Brancato, directed by Fred Gerber, and featured guest appearances by Harriet Sansom Harris and Jerry Hardin in his role as Deep Throat. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. "Eve" earned a Nielsen household rating of 6.8, being watched by 6.4 million households in its initial broadcast; and received positive reviews from critics. The show centers on FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. When Mulder and Scully investigate two seemingly identical murders that occurred simultaneously thousands of miles apart, they find that both victims' daughters may be the product of a secret human cloning project created by the government. The episode was pitched to series creator Chris Carter by freelance writers Biller and Brancato under the title of "The Girls from Greenwich", with the focus being on genetic experiments conducted on sets of twins. The producers initially looked for twins to play the roles of Teena and Cindy in Los Angeles, but child labor laws made using children from there so difficult that they instead searched locally in Vancouver, finding Erika and Sabrina Krievins. ## Plot In Greenwich, Connecticut, a couple out jogging find their neighbor, a young girl named Teena Simmons, standing alone in her driveway. After she explains her father is in the yard and wanted "some time to himself", the couple find her father sitting dead on a swing set with two incisions in his neck. When FBI agents Fox Mulder and Dana Scully take the case, Mulder explains that he believes the death is an example of extraterrestrial cattle mutilation on a human being. The agents meet Teena, who claims to have seen "red lightning" when her father died and that "men from the clouds" had wanted to "exsanguinate him." Leaving Teena in the state's care, the agents travel to Marin County, California, where a similar death has occurred at the Reardon residence. Mulder and Scully realize that, despite thousands of miles lying between the two crime scenes, the killings were committed on the same day and at the same moment. Meanwhile, back in Connecticut, Teena is kidnapped by a dark-clothed figure. When Mulder and Scully meet Mrs. Reardon and her daughter, Cindy, they discover that Cindy appears to be completely identical to Teena. Cindy's mother tells the agents that her daughter was conceived via in vitro fertilization at a fertility clinic in San Francisco. There, Scully learns that both the Simmons and the Reardons were treated by Dr. Sally Kendrick, who was eventually fired after being suspected of conducting eugenics experiments with ova from the clinic's lab. Meanwhile, Mulder is contacted by Deep Throat, who details a Cold War-era supersoldier program that produced genetically modified clones who were identified as "Adam" or "Eve" based on their genders. Deep Throat tells Mulder of a woman connected with the project who is currently kept in a mental hospital. Mulder and Scully travel to the hospital and meet "Eve 6", who bears an identical resemblance to Sally Kendrick. Eve 6 tells them that the Adam and Eve clones created for the program had extra chromosomes which led them to display superhuman intelligence and strength, as well as extreme homicidal psychoses. The last three Eve clones—Eves 6, 7, and 8—were institutionalized after the project was cancelled. However, Eve 7 escaped and later joined the fertility clinic as "Sally Kendrick", modifying the ova of the clinic's patients to create new Eve clones. Eve 8, who also escaped, is still at large. Though Mulder and Scully place Cindy's house under surveillance, they're unable to prevent one of the escaped Eves from abducting Cindy. The Eve takes Cindy to a motel where Teena is already being held captive and introduces the two girls to each other. The woman reveals herself to be Eve 7/Sally Kendrick and explains that she cloned the girls using her own genetic material to improve upon the original program's flaws, only to learn about the girls' "accelerated development" after they murdered their fathers. She asks the girls how they learned of each other's existence and how they planned to murder their fathers, to which they reply in unison that they "just knew." The girls poison Eve 7's drink with a fatal dose of foxglove. Mulder and Scully arrive at the motel, only to find the Eve dead. The girls claim that both Eve 7 and Eve 8 were trying to goad them into a mass suicide. The agents decide to take the girls with them as they leave the scene. That night, the group arrives at a roadside truck stop and order drinks at the diner. One of the girls, however, discreetly poisons the sodas the agents ordered with foxglove. After finding odd stains on the diner counter, Mulder realizes the girls' plan and manages to keep Scully from drinking more of her soda. The agents then pursue the girls through the truck stop, with Mulder eventually capturing them. Teena and Cindy, now known as "Eve 9" and "Eve 10," end up in the same psychiatric ward with Eve 6 at the mental hospital. Eventually, a woman wearing a lab coat—and immediately recognized by Cindy and Teena as Eve 8—comes to the ward. When Eve 8 asks the girls how they knew she would come for them, the girls again respond in unison: "We just knew." ## Production Freelance writers Kenneth Biller and Chris Brancato pitched the idea for this episode to series creator Chris Carter under the title of "The Girls from Greenwich", with the focus being on genetic experiments conducted on sets of twins. Brancato said the duo decided to do "an X-File with a genetics experiment gone awry" inspired by the film The Boys from Brazil (1978), where Nazi scientists create clones of Adolf Hitler, while finding "our own themes and characterizations to explore", such as commenting on the human condition similarly to The Twilight Zone. The characters of Teena and Cindy were named after the wives of Glen Morgan and James Wong, who rewrote the original script prior to filming. "Eve" was the only episode of The X-Files to be directed by Fred Gerber, who Carter felt "brought some interesting stuff to it". The producers initially looked for twins to play the roles of Teena and Cindy in Los Angeles, but child labor laws made using children from there so difficult that they instead searched locally in Vancouver, finding Erika and Sabrina Krievins. The difficulty in finding suitable actors for the roles had led producer R. W. Goodwin to consider casting one actor in both roles and using special effects and body doubles to create the impression of twins; however, this idea was rejected as it would have proved too impractical and expensive. The scenes in the episode set in the roadside diner were filmed in a café in White Rock, British Columbia, whose large gravel car park helped it appear "very rural in its setting". A large awning was used to complement the exterior shots of the building. ## Reception ### Ratings "Eve" premiered on the Fox network on December 10, 1993, and was first broadcast in the United Kingdom on BBC Two on December 1, 1994. This episode earned a Nielsen rating of 6.8, with a 12 share, meaning that roughly 6.8 percent of all television-equipped households, and 12 percent of households watching television, were tuned in to the episode. It was viewed by 6.4 million households. ### Reviews The episode received mostly positive reviews from critics. In a retrospective of the first season in Entertainment Weekly, "Eve" was rated a B+, with the episode being called "tidy, satisfying, and suspenseful". The episode's premise and the casting of Harris were both cited as highlights. Keith Phipps, writing for The A.V. Club, also rated the episode a B+, calling it "a nicely realized episode" that "does a nice job building slowly and offering some shocks along the way". The acting and tone were also praised, especially the "dead-eyed performances" of the Krievins twins. Matt Haigh, writing for Den of Geek, felt that the episode had "a good, original story" that proved "you can't go wrong when it comes to twins and horror"; with the girls' acting being called "suitably menacing". Jessica Morgan of Television Without Pity gave the episode an A grade. Series creator Chris Carter stated he liked the casting of the episode, calling Harriet Harris' performance excellent. He also praised the performance of Erika and Sabrina Krievins, stating "those two little girls were so wonderfully understated and creepy". The band Eve 6 took its name from this episode, as the band's member Tony Fagenson was a fan. The plot for "Eve" was also adapted as a novel for young adults in 1997 by Ellen Steiber.	[ "## Plot", "## Production", "## Reception", "### Ratings", "### Reviews" ]	1,949	30,414
63,640,669	Enchanted (Taylor Swift song)	1,171,643,760	2010 song by Taylor Swift	[ "2010 songs", "2010s ballads", "Country ballads", "Pop ballads", "Rock ballads", "Song recordings produced by Chris Rowe", "Song recordings produced by Nathan Chapman (record producer)", "Song recordings produced by Taylor Swift", "Songs written by Taylor Swift", "Taylor Swift songs" ]	"Enchanted" is a song written and recorded by American singer-songwriter Taylor Swift for her third studio album, Speak Now (2010). Produced by Swift and Nathan Chapman, the song is a power ballad combining pop, rock, and country. The production begins with gentle acoustic guitars and crescendos after each refrain, leading to dynamic electric guitars, a steady drum beat, and a vocal harmony-layered coda. In the lyrics, a narrator is infatuated with someone after meeting them for the first time, and she worries about whether the initial feeling will be reciprocated. Critics generally praised Swift's songwriting on "Enchanted" for creating what they deemed a soaring production and captivating lyrics. Upon Speak Now's release in 2010, "Enchanted" charted on the Canadian Hot 100 and the US Billboard Hot 100. After going viral on the TikTok video sharing app in October–November 2021, it reached a new peak in Canada and charted in Australia, Malaysia, the Philippines, Singapore, and Vietnam. It was certified gold by the Australian Recording Industry Association (ARIA) and the Recording Industry Association of America (RIAA). Swift included "Enchanted" on the set lists of three of her world tours, the Speak Now World Tour (2011–2012), the 1989 World Tour (2015), and the Eras Tour (2023–2024). After a controversy over the ownership of Swift's back catalog, she re-recorded the song as "Enchanted (Taylor's Version)" and released it as part of her third re-recorded album Speak Now (Taylor's Version) on July 7, 2023. ## Background and release Taylor Swift released her third studio album, Speak Now, on October 25, 2010. She wrote all 14 album tracks on the standard edition by herself. Swift wrote "Enchanted" about a man whom she was infatuated with after meeting him in person in New York City, and how she hoped to continue the relationship. She deliberately used the word "wonderstruck" in the lyrics because the subject used it in one of his emails to Swift after they met. In the album booklet, Swift includes the hidden message for the song as "A-D-A-M". "Enchanted" was originally the title track for Speak Now, but Swift changed the album title after consulting with Big Machine Records president Scott Borchetta, who deemed Enchanted unfit for the album's grown-up perspectives. Upon the album's release, the media speculated that the subject of the song was singer-songwriter Adam Young, the founder of music project Owl City. Young responded on Owl City's website on February 13, 2011, that he too was infatuated by Swift after they met for the first time. He uploaded his cover of "Enchanted", in which he changed some of the lyrics to directly address Swift. He sings, "I was never in love with someone else / I never had somebody waiting on me / 'Cause you were all of my dreams come true / And I just wish you knew / Taylor I was so in love with you;" responding to the original's lyrics, "Please don't be in love with someone else / Please don't have somebody waiting on you." Despite the media's speculation, Swift never confirmed or denied that Young was the song's subject, and she never responded to Young's cover. In October 2011, Swift partnered with Elizabeth Arden, Inc. to release her fragrance brand "Wonderstruck", whose name references the lyrics of "Enchanted". After the success of "Wonderstruck", she released a second fragrance brand called "Wonderstruck Enchanted" in July 2012; both perfumes stem from the fairy tale-inspired theme of "Enchanted" about being enamored by someone after meeting for the first time. ## Music and lyrics Musically, "Enchanted" is a power ballad. The song begins with gentle acoustic guitar, which crescendos after each lyric "I was enchanted to meet you". Towards the song's conclusion is a harmony-layered coda featuring multitracked Swift's vocals over synthesizers. BBC Music critic Matthew Horton described it as a pop song. According to Rob Sheffield of Rolling Stone, "Enchanted" includes rock influences. The Daily Telegraph described it as an old-school country song, but Brittany McKenna from Billboard considered the track "outside of the boundaries of country music". Cathalena E. Burch from the Arizona Daily Star deemed it an "arena-rock-worthy ballad". "Enchanted" describes the aftermath of an encounter with a special person without knowing whether the infatuation would be reciprocated. The lyrics feature a fairy tale undertone to describe romance. The song opens with a scene where Swift first encounters her love interest, "Your eyes whispered 'have we met?'/ Across the room your silhouette starts to make its way to me," over repeated guitar chords. As the song progresses, she wonders about the possibility of a new romance over electric guitar riffs and a steady drum beat. Swift said the bridge was her favorite part because it represents her stream of consciousness when she was writing the song: "Please don't be in love with someone else / Please don't have somebody waiting on you." She said, "it feels good to write exactly what your thoughts were in a certain moment." ## Live performances Swift's first live performance of "Enchanted" was for an NBC Speak Now Thanksgiving Special, which broadcast on November 25, 2010. The TV special showcased the making of the album along with live performances on a rooftop in New York City. Swift included "Enchanted" on the set list for her Speak Now World Tour (2011–2012). During the concerts, she performed in a night gown atop a winding staircase, with ballerinas dancing in the backdrop. Swift performed "Enchanted" at select shows of the Red Tour (2013–2014), at gigs in Denver and Portland. For her shows on the 1989 World Tour, Swift included a stripped-down mashup of "Enchanted" and "Wildest Dreams", performed on a grand piano. She performed "Enchanted" as a surprise song at the Reputation Stadium Tour show at MetLife Stadium on July 22, 2018. It was the only song from Speak Now performed on the Eras Tour (2023–2024) until the addition of "Long Live" on July 7, 2023. During the performance, she wore in a voluminous ballgown and surrounded by dancers in sparkling, flowing dresses. ## Critical reception "Enchanted" was acclaimed by critics. In a Rolling Stone review of Speak Now, Sheffield commented that Swift's "voice is unaffected enough to mask how masterful she has become as a singer". He included "Enchanted" among the best songs released by Swift, highlighting the harmony-layered coda as a "coup de grace". Alex Macpherson from The Guardian praised the song for showcasing "Swift's instinct for capturing emotion with astonishing exactitude – right down to the dread sneaking in at the song's close". Matthew Horton of BBC Music praised its radio-friendly production, and Slant Magazine critic Jonathan Keefe lauded the production for exhibiting Swift's songwriting craftsmanship, selecting "Enchanted" as one of the album's highlights. Erin Strecker of Billboard ranked it as the fourth most underrated Taylor Swift song in a 2014 list. The Daily Telegraph included it in their 2014 list of Swift's top ten songs. In another ranking of Swift's discography, Jane Song from Paste placed "Enchanted" among the top ten best songs released by Swift, lauding the track for Swift's songwriting resulting in a captivating narrative. Hannah Mylrea of NME specifically highlighted the track's "huge swooning instrumentals and [...] heartfelt chorus". Nate Jones from Vulture praised the production, but thought that the song's six minute duration was unnecessary. ## Commercial performance After Speak Now was released, on November 13, 2010, "Enchanted" entered the US Billboard Hot 100 at number 75, the Digital Song Sales chart at number 44, and the Country Digital Song Sales chart at number 11. It entered at number 95 on the Canadian Hot 100 chart. In 2014, the Recording Industry Association of America (RIAA) certified "Enchanted" gold for surpassing 500,000 track-equivalent units, based on sales and on-demand streaming. Between October and November 2021, "Enchanted" experienced a popularity resurgence after it went viral on the video sharing app TikTok. In the United States, for the week of October 27, 2021, it amassed over one million streams; the following week, it gained over three million streams. The song's unexpected popularity was part of "SwiftTok", a hashtag for the collection of TikTok videos using Swift's songs. "Enchanted" peaked at number 55 on the Billboard Global 200. It reached a new peak on the Canadian Hot 100, at number 47. The song charted on the singles charts of Australia (number 43) and Singapore (number 14). In December 2021, the Australian Recording Industry Association (ARIA) certified the song gold. It reached the top ten on Billboard's Country Streaming Songs, and entered two other Billboard's component charts: Digital Song Sales and Streaming Songs. ## Charts ## Certifications ## "Enchanted (Taylor's Version)" After signing a new contract with Republic Records, Swift began re-recording her first six studio albums in November 2020. The decision came after a 2019 public dispute between Swift and talent manager Scooter Braun, who acquired Big Machine Records, including the masters of Swift's albums the label had released. By re-recording her catalog, Swift had full ownership of the new masters, including the copyright licensing of her songs, devaluing the Big Machine-owned masters. A re-recorded version of "Enchanted", titled "Enchanted (Taylor's Version)", was released on July 7, 2023, via Republic Records, as part of Speak Now (Taylor's Version), Swift's third re-recorded album. ### Personnel Adapted from Speak Now (Taylor's Version) digital album inline notes Production - Taylor Swift – producer - Christopher Rowe – producer, vocal engineer - David Payne – recording engineer - Lowell Reynolds – assistant recording engineer, editor - Derek Garten – engineer, editor, programming - Serban Ghenea – mixing - Bryce Bordone – mix engineer - Randy Merrill – mastering Musicians - Taylor Swift – vocals, background vocals, songwriter - Matt Billingslea – drums, percussion - Amos Heller – bass guitar - Paul Sidoti – electric guitar - Mike Meadows – acoustic guitar, keyboards - Max Bernstein – lap steel guitar - Caitlin Evanson – background vocals - Christopher Rowe – background vocals - Jeremy Murphy – string recording - London Contemporary Orchestra – strings - Galya Bisengalieva, Zahra Benyounes, Natalie Kloudak, Charlotte Reid, Anna Ovsyanikova, Antonia Kesel, Eloisa-Fleur Thom, Anna de Bruin, Charis Jenson, Guy Button, Nicole Crespo O'Donoghue, Nicole Stokes – violin - Zoe Matthews, Clifton Harrison, Matthew Kettle, Stephanie Edmundson – viola - Oliver Coates, Jonny Byers, Max Ruisi – cello - Dave Brown – double bass ### Charts	[ "## Background and release", "## Music and lyrics", "## Live performances", "## Critical reception", "## Commercial performance", "## Charts", "## Certifications", "## \"Enchanted (Taylor's Version)\"", "### Personnel", "### Charts" ]	2,433	7,814
60,309	The World Needs a Hero	1,166,129,357	null	[ "2001 albums", "Albums recorded at Henson Recording Studios", "Megadeth albums", "Sanctuary Records albums" ]	The World Needs a Hero is the ninth studio album by American thrash metal band Megadeth, released on May 15, 2001 by Sanctuary Records. After the critical and commercial failure of the previous album Risk (1999), The World Needs a Hero represented a change back to a heavier musical direction. Subsequently, the album charted at number 16 on the Billboard 200 upon release. After parting with former label Capitol Records, the album was the first of two Megadeth studio albums to be released by Sanctuary. It was the last of two studio albums to feature drummer Jimmy DeGrasso and the only one to feature Al Pitrelli on lead guitar. Furthermore, The World Needs a Hero was the last album with original bassist David Ellefson until his return to Megadeth in 2010. It is also the first album to feature the band's mascot Vic Rattlehead on the cover since 1990's Rust in Peace. At 57 minutes and 49 seconds, The World Needs a Hero was Megadeth's longest album until the release of The Sick, the Dying... and the Dead! in 2022. It also contains Megadeth's longest song, "When", clocking in at 9 minutes and 14 seconds. ## Background and production In 1999, Megadeth released their eighth studio album, Risk. The album was noteworthy for being a drastic musical departure for the band, and the culmination of the band's increasing attempts for mainstream success throughout the 1990s, a trend starting with Countdown to Extinction (1992). The World Needs a Hero marks a stylistic transition towards the band's thrash metal roots. Furthermore, the album had been touted by the band as an "antidote" to Risk in a press release. However, the album has been noted by several music critics as still retaining some commercial feel from previous albums. According to frontman Dave Mustaine, the album title refers to stereotypical rock stars. When asked about the matter, and an earlier comment about Axl Rose having killed the traditional rock star image, Mustaine explained that "People want heroes. Most bands look like average Joes, wearing gas-station shirts, have funky hair-dos and I think people wanna be able to go 'they may not be popular, but they're MY band.'" Mustaine went on to say that many of contemporary rock music groups looked and sounded the same, and that the music industry needed a hero. He then proceeded to contrast a perceived lack of image of then current music scenes with the image of 1980s metal bands like Iron Maiden and Judas Priest. In another interview, Mustaine offered a more straightforward interpretation of the album title. Commenting on negative stories in the news, such as wars and natural disasters, Mustaine inferred that the world at that time was in need of a hero to solve various problems around the planet. The album cover by Hugh Syme shows Megadeth's mascot Vic Rattlehead bursting out of Mustaine's chest, reminiscent of the 1979 film Alien. ## Songs The album's lead single was "Moto Psycho", and a video was also made for this song. The song is about people who commute every day to work, spending a lot of time on the road. "Dread and the Fugitive Mind" was released on the Capitol Punishment compilation a year earlier, at the insistence of Megadeth's former label, Capitol Records. The album's opener, "Disconnect", is explained by Mustaine as being about living a double life and "the person I want you to think that I am and the person inside that I really know I am." "Coming Home" was only available on the Japanese pressing as a bonus track, but has since been released on the Warchest box set and the 2019 reissue of the album. Mustaine has stated that concept for "Promises" is "prejudiced relationships," such as those between a Catholic and a Protestant in Ireland, interracial and same-sex relationships, "it could be about a guy and a sheep for all I care. It just means that if we can't be together in this life, maybe we'll make it in the next." When asked if "Recipe for Hate... Warhorse" was written about any particular person, Mustaine said that there were "a whole bunch of people that'd probably deserve that song," but didn't single out anyone in particular. "Silent Scorn" is an instrumental song which is often played over the sound system at concerts; this can be heard on the band's live album Rude Awakening (2002) right after the final song in the set, "Holy Wars... The Punishment Due". "Return to Hangar" is a sequel to "Hangar 18" from Rust in Peace; the captive aliens from the first song escape and kill their captors. On the live albums Rude Awakening and That One Night: Live in Buenos Aires (2007) it is played back-to-back with "Hangar 18". The main riff and structure of "When", the album's closing number, is reminiscent of "Am I Evil?" by Diamond Head, which Mustaine said was intentional. "When" is also Megadeth's longest song to date, clocking in at 9 minutes and 14 seconds. ## Release and promotion The album was released on May 15, 2001 in the United States and sold 61,000 copies in its first week of release, entering the Billboard 200 at number 16. The album sold another 25,000 copies in its second week, falling to number 59. The album also charted in Poland (#17), Germany (#36), Sweden (#38), and Switzerland (#55) as well. By December 2005, The World Needs a Hero had sold about 219,000 copies in the United States. Megadeth commenced a tour to promote the album on June 8, 2001 at Milton Keynes National Bowl in England, where they were featured alongside acts such as AC/DC, The Offspring, and Queens of the Stone Age. After Mustaine suffered an arm injury that prevented him from playing guitar, Megadeth temporarily disbanded in 2002. Six of the album's songs appeared on Still Alive... and Well?, a 2002 compilation combining studio tracks from The World Needs a Hero, with six live tracks. A remastered version of this album, along with The System Has Failed, was re-issued on CD, vinyl and digital download on February 15, 2019. The remastered edition includes an additional bonus track "Coming Home" and revised album artwork. ## Critical reception The World Needs a Hero received mixed to positive reviews and was regarded as a "return to roots" by critics. Writing for AllMusic, reviewer Steve Huey opined that Mustaine "tries to conjure memories" of Rust in Peace and Countdown to Extinction, but while comparing "Dread and the Fugitive Mind" to "Sweating Bullets" (from Countdown to Extinction) said that much of the material "feels like rehashed Megadeth". Huey critiqued the production as still being "radio-friendly" and said because of that, the group "never quite kicks up the fury or flash of past glories". Neil Arnold of Metal Forces wrote that even though the album was "lacking the menace of the band’s earlier work", it was still a more accomplished effort than the previous record. He concluded that Megadeth were "clearly opting for melody over aggression", albeit rarely breaking into "thrash mode". Meanwhile, reviewer Greg Pratt of Brave Words & Bloody Knuckles was more sympathetic towards the album. Pratt, after briefly critiquing the lack of a thrashy sound, positively compared the record to Youthanasia (1994) and Countdown to Extinction (1992). Additionally, he commented that even in the absence of longtime members Nick Menza and Marty Friedman, that the band still sounded good. Pratt reacted positively to a number of the album's songs, but cited "Recipe for Hate... Warhorse" as being the album's "most intense moment". Mike Stagno of Sputnikmusic had mixed feelings about the music on the record. While Stagno noted that the album was advertised as a return towards the band's roots, he explained that those who were hoping for an album in the style of the band's first four records would be disappointed. Stagno ultimately defined the album as "more of an all-out metal record". The Rolling Stone Album Guide described the album as "sluggish" and "retrograde" and called it a "step back for the band". Orlando Weekly's John Engels felt that the void left by former guitarist Marty Friedman was successfully filled by Al Pitrelli. However, he noted that the album occasionally sounds repetitive, and criticized a number of songs for their "childish" lyrics. Friedman stated he was "a little disappoint[ed]" by the album. Friedman specifically singled out the album's cover for criticism, though he also commented that he thought that the music was "very well done". ## Track listing - The track listing of the Japanese edition features the bonus track, "Coming Home", as track 3; "Moto Psycho" becomes track 4 and all subsequent songs are moved one track back. ## Personnel Production and performance credits are adapted from the album liner notes, except where otherwise noted. ## Chart performance ## Release history	[ "## Background and production", "## Songs", "## Release and promotion", "## Critical reception", "## Track listing", "## Personnel", "## Chart performance", "## Release history" ]	1,963	21,172
61,874,469	Wave (Meghan Trainor song)	1,123,233,907	null	[ "2019 singles", "2019 songs", "Epic Records singles", "Meghan Trainor songs", "Songs written by Meghan Trainor", "Songs written by Mike Sabath" ]	"Wave" is a song by American singer-songwriter Meghan Trainor, featuring producer Mike Sabath, from her third major-label studio album Treat Myself (2020). The track, which was written by the duo and produced by Sabath, was released on September 27, 2019, as the second single from the album. Backed by panoramic piano and ostentatious background vocals, the electropop and house song lyrically tells the story of the emotional fallout of a failed relationship. The song received mixed reviews from critics, with some of them praising the lyrics as mature and anthemic, while others were critical of its production. Commercially, it charted at number 35 on the New Zealand Hot Singles chart. Mathew Cullen directed the music video for "Wave", which features an earthy color palette and Trainor dancing atop a group of people that rock around her like waves. Trainor has performed the song on The Ellen DeGeneres Show and The Voice. ## Background and release Meghan Trainor delayed her August 2018-scheduled third major-label studio album, Treat Myself, to January 25, 2019, because she wanted to add more songs to it, and removed it from iTunes that month. Trainor had written "Wave" in 2016, and held onto it until 2019. She approached Mike Sabath to produce the song. As the two became close while working on it in the studio, Trainor asked him to record a verse for the song. Sabath stated that he was "super inspired" by her voice and the energy of the people in the studio, and finished his verse in one take and filled in the lyrics, concluding the recording of the song on March 5, 2019. Sabath went on to produce five of the fifteen tracks from the album, co-writing four of them. About the inspiration for "Wave", Trainor said that "there was this guy that was -- this poor dude, I'm probably talkin' 'bout him everywhere. But he was like, 'We can't ever be together 'cause it won't last!' But he'd be like, 'I love you' and I was like 'Ok, why are you calling then? Like why is this a thing?' So I don't know how to express myself with words, so I wrote this song and I sent it to him". She has stated that she has "never worked harder on a song" and that Sabath took it to a whole new level. Trainor announced the release date along with the single artwork for "Wave" on September 25, 2019. The song was digitally released two days later, as the second single from Treat Myself. On October 7, 2019, a solo version of it was serviced to hot adult contemporary radio stations in the United States. A Remix EP to promote "Wave" was released on November 22, 2019, featuring remixes of the song by R3hab, Justin Caruso and Arkadi. ## Composition An electropop and house song, According to Dani Blum of Pitchfork, "Wave" begins with Trainor delivering "titanic vocals over a panoramic piano" instrumentation, which transitions into an electronic dance music pulse that was compared to the work of Cascada. The song features "ostentatious" background vocals with gospel-inflected harmonies that she stated were inspired by her visits to Kanye West's Sunday Service Choir shows. Described as a "frothy electro-bop", its lyrics detail the highs and lows of a dramatic love story. "Wave" talks about the emotional fallout of a relationship that has failed, with lyrics like "And I shouldn't beg for more/But I don't want it to end". It has been called a drastic departure from Trainor's traditional doo-wop sound by PopMatters' Jessica Brant. ## Critical reception The song received mixed reviews from music critics. Idolator's Mike Nied wrote that "Wave" finds "the duo [riding] the waves of their love story", adding that "the end result feels more mature and graceful than some of Meghan's more saccharine bops" and that he loved the creative direction. Nied stated that it may very well be Trainor's best song yet, and is the "sort of mature anthem that could very easily take her career to another level". Heran Mamo of Billboard opined that "the backing choir adds an ethereal layer over the electronic impressions" on "Wave", and that "the chorus is a powerfully sweeping recital that emphasizes just how overwhelming her desire to get this love back is". Writing for Entertainment Tonight Canada, Corey Atad described it as "anthemic and danceable". In a negative review, Hannah Mylrea of NME stated that the song "starts slow before erupting into a tacky house mess that would sound at home soundtracking Love Island. Pitchfork's Dani Blum called it "a Cascada remix for a middle school dance in a sweaty gym". ## Promotion ### Music video Directed by Mathew Cullen and choreographed by Charm La'Donna, the music video for "Wave" was released on October 7, 2019. It features an earthy color palette and depicts Trainor in an abstract dance party where she glides above the hands of several people. Trainor, who is dressed in a nude-colored leotard, dances atop a group of people that rock back and forth. They catch and release her body in rhythm with quivering synths, so as to simulate a human wave. The dancers are dressed in neutral tones and form a giant pyramid shape. The dancers crash like waves around Trainor, as if she were a rock in the water. Sabath joins in later, donning a leopard print headband. The music video received positive reviews from critics. Rolling Stone's Claire Shaffer wrote that the abstract dance party in the video "transform[s] into an almost spiritual experience for Trainor". Writing for MTV News, Madeline Roth described the choreography as "pristine", adding that the singer looked "absolutely ethereal in a tulle gown". Jessica Brant of PopMatters was positive of the video, stating that the dance moves were executed with "short, military precision" and elaborated that the visuals see Trainor "evocatively stage a physical representation of the enduring power of a shipwrecked romance shared between two partners". ### Live performances Trainor and Sabath performed "Wave" for the first time, on The Ellen DeGeneres Show, on November 6, 2019. They also performed the song at The Voice on December 3, 2019. Trainor performed a stripped-back version of it during her Billboard Live At-Home concert on April 10, 2020, which aimed to raise money for Feeding America. ## Track listing - Digital download 1. "Wave" (featuring Mike Sabath) – 2:56 - Remix EP 1. "Wave" (featuring Mike Sabath) (R3hab Remix) – 3:13 2. "Wave" (featuring Mike Sabath) (Justin Caruso Remix) – 4:04 3. "Wave" (featuring Mike Sabath) (Arkadi Remix) – 3:35 ## Personnel Credits adapted from the album liner notes, Treat Myself (2020). - Mike Sabath – producer, featured vocals, bass, drums, recording engineer, synthesizer, songwriter - Meghan Trainor – lead vocals, background vocals, synthesizer, songwriter - Camila Viola – background vocals - Daryl Sabara – background vocals - Jordan Federman – background vocals - Ryan Trainor – background vocals - Serban Ghenea – mixing engineer - Randy Merrill – mastering engineer ## Charts ## Release history	[ "## Background and release", "## Composition", "## Critical reception", "## Promotion", "### Music video", "### Live performances", "## Track listing", "## Personnel", "## Charts", "## Release history" ]	1,634	6,695
252,495	Leontius	1,173,424,542	Byzantine emperor from 695 to 698	[ "660s births", "690s in the Byzantine Empire", "700s in the Byzantine Empire", "706 deaths", "7th-century Byzantine emperors", "8th-century Byzantine people", "8th-century executions by the Byzantine Empire", "Byzantine governors of Hellas", "Byzantine prisoners and detainees", "Executed Byzantine people", "Executed monarchs", "Governors of the Anatolic Theme", "Patricii", "People executed by decapitation", "Twenty Years' Anarchy" ]	Leontius (Greek: Λεόντιος, romanized: Leóntios; died c. 15 February 706) was Byzantine emperor from 695 to 698. Little is known of his early life, other than that he was born in Isauria in Asia Minor. He was given the title of patrikios, and made strategos of the Anatolic Theme under Emperor Constantine IV. He led forces against the Umayyads during the early years of Justinian II's reign, securing victory and forcing the Umayyad caliph, Abd al-Malik ibn Marwan, to sue for peace. In 692, Justinian declared war upon the Umayyads again, and sent Leontius to campaign against them. However, he was defeated decisively at the Battle of Sebastopolis, and imprisoned by Justinian for his failure. He was released in 695, and given the title of strategos of the Theme of Hellas in Southern Greece. After being released, he led a rebellion against Justinian, and seized power, becoming emperor in the same year. He ruled until 698, when he was overthrown by Apsimarus, a droungarios who had taken part in a failed expedition that had been launched by Leontius to recover Carthage. After seizing Constantinople, Apsimar took the name Tiberius (III), and had Leontius' nose and tongue cut off. He was sent to the Monastery of Dalmatou, where he remained until some time between August 705 and February 706. By this time Justinian had retaken the throne. Both Leontius and Tiberius were executed. ## Origin and early life Little of Leontius' early life is known, other than that he was from Isauria, and possibly of Armenian descent. Christian Settipani speculates that Leontius was the son of certain Lazarus, who was the direct descendant of emperor Phocas and general Priscus. Furthermore, Settipani identifies patrikios Tarasius as Leontius' son. Leontius was appointed as strategos of the Anatolic Theme, at the time the most senior military command of the Byzantine Empire, and patrikios by Emperor Constantine IV, possibly c. 682 AD. Starting in 680, the Islamic Umayyad Caliphate erupted into a civil war, known as the Second Fitna. Umayyad authority was challenged even in their metropolitan province of Syria, while most of the Caliphate recognized Abdallah ibn al-Zubayr instead. Under Marwan I and his son Abd al-Malik, however, the Umayyads gained the upper hand, although the Zubayrids were not finally defeated until 692. The civil war in the Umayyad Caliphate provided an opportunity for the Byzantine Empire to attack its weakened rival, and, in 686, Emperor Justinian II sent Leontius to invade Umayyad territory in Armenia and Iberia, where he campaigned successfully, before leading troops into Media and Caucasian Albania; during these campaigns he gathered loot. Leontius' successful campaigns compelled the Umayyad Caliph, Abd al-Malik ibn Marwan, to sue for peace in 688, agreeing to tender part of the taxes from Umayyad territory in Armenia, Iberia, and Cyprus, and to renew a treaty signed originally under Constantine IV, providing for a weekly tribute of 1,000 pieces of gold, one horse, and one slave. Justinian invaded the Caliphate again in 692, feeling that the Umayyads were in a weak position, but was repulsed at the Battle of Sebastopolis, where a large number of Slavs defected to the Umayyads, ensuring the Byzantine defeat. After this, the Umayyads renewed their invasion of North Africa, aimed at taking the city of Carthage in the Exarchate of Africa, and also invaded Anatolia. Around this time, Justinian imprisoned Leontius. Some Byzantine sources, such as Nikephoros and Theophanes, suggest that Justinian did so because he believed that Leontius was seeking to take the throne, but it is possible that the crushing defeat at Sebastopolis played a part in his imprisonment; as strategos of the Anatolic Theme, he likely served in the battle, and may have even been the main Byzantine commander in it. After further setbacks in the war, Justinian released Leontius in 695 because he feared losing control of Carthage, and appointed him strategos of the Theme of Hellas in Southern Greece. During his captivity, Leontius was cared for by two monks, Gregorios and Paulos, who prophesied his rise to the throne, and encouraged him to rise against Justinian after his release. Leontius, once free, quickly raised a rebellion against Justinian. Leontius had wide support from the aristocracy, who opposed Justinian's land policies, which restricted the aristocracy's ability to acquire land from peasant freeholders, and the peasantry, who opposed Justinian's tax policies, as well as the Blue faction (one of the Hippodrome factions), and the Patriarch of Constantinople Callinicus. Leontius and his supporters seized Justinian and brought him to the Hippodrome, where Justinian's nose was cut off, a common practice in Byzantine culture, done in order to remove threats to the throne, as mutilated people were traditionally barred from becoming emperor; however, Leontius did not kill Justinian, out of reverence for Constantine IV. After Justinian's nose was cut off, Leontius exiled him to Cherson, a Byzantine exclave in the Crimea. ## Reign and downfall Upon his coronation, Leontius, now known as "Leo", adopted a moderate political stance. He restricted the activity of the Byzantine army, allowing small raids against the border of the Byzantine empire to proceed without reprisal, and instead focused upon consolidation. Very little is known of his domestic policy, except that he had the port of Neorion in Constantinople cleared, which allegedly led to a four-month outbreak of plague. The Umayyads, emboldened by Leontius' perceived weakness, invaded the Exarchate of Africa in 696, capturing Carthage in 697. Leontius sent the patrikios John to retake the city. John was able to seize Carthage after a surprise attack on its harbor. However, Umayyad reinforcements soon retook the city, forcing John to retreat to Crete and regroup. A group of officers, fearing the Emperor's punishment for their failure, revolted and proclaimed Apsimar, a droungarios (mid-level commander) of the Cibyrrhaeots, emperor. Apsimar took the regnal name Tiberius, gathered a fleet and allied himself with the Green faction, before sailing for Constantinople, which was enduring the bubonic plague. After several months of siege, the city surrendered to Tiberius, in 698. Tiberius captured Leontius, and had his nose slit before imprisoning him in the Monastery of Dalmatou. Leontius stayed in the monastery under guard until Justinian retook the throne with the assistance of the Bulgar king Tervel in 705. Justinian then had both Leontius and Tiberius dragged to the Hippodrome and publicly humiliated, before being taken away and beheaded. The execution took place on 15 February 706 according to the 13th-century Chronicon Altinate. The body of Leontius was thrown into the sea alongside Tiberius, but was later recovered and buried in a church on the island of Prote. ## See also - List of Byzantine emperors	[ "## Origin and early life", "## Reign and downfall", "## See also" ]	1,659	33,440
6,775,950	Tom Reece	1,123,959,303	English billiards player	[ "1873 births", "1953 deaths", "English players of English billiards", "Sportspeople from Oldham" ]	Tom Reece (12 August 1873 – 16 October 1953) was an English professional player of English billiards. He was six times runner-up in the professional billiards championship, now regarded as the world championship, losing three times to Melbourne Inman in finals from 1912 to 1914, and three times to Tom Newman in the 1921, 1924 and 1925 finals. He made the unofficial world's highest billiards of 499,135 in 1907 using a technique shortly before it was banned from the sport. In 1927, his prowess with the pendulum stroke led to that also being banned from use in competition. His highest officially-recognised break was 901, which he compiled in 1916. He authored two books, Dainty Billiards: How to play the close cannon game (1925), and his autobiography Cannons and Big Guns (1928). Reece died on 16 October 1953, a week after suffering a stroke. ## Early life Reece was born in Oldham on 12 August 1873. In his teenage years he worked in a cotton mill. He used to visit a gymnasium to train for swimming and at the age of 16 started playing billiards on the gymnasium's table. After becoming a professional player, he had taken part in around forty money matches for stakes by March 1902, losing only about six. Reece accompanied Annette Kellermann on a section of her unsuccessful attempt to swim across the English Channel in 1905, being the only one of several supporters who was able to keep pace with her, and had ambitions to swim the channel himself. ## Early billiards career and record break In January 1907, Walter Lovejoy introduced the (also known as an anchor cannon) to the British game, in a match against Cecil Harverson, making a of 603 , which included 284 consecutive cradle cannons. In a cradle cannon sequence, the two are played into a position near a where the can be successively played for a off them so that they remain in the same position at the conclusion for the next shot. This technique was quickly taken up by a number of other professional players, including Reece, who made a break of 1,825 in February, and another of 4,593 in March. A match of 150,000 up was arranged between Reece and Joe Chapman, with the intention of allowing a record break to be made. Reece compiled an unfinished break of 40,001, with the match being abandoned. An official record for a cradle cannon break was set at 42,746, by William Cook on 4 June 1907. Meanwhile, the Billiard Association had signalled that the cradle cannon would no longer be permitted in the game after the end of the playing season. In a match held from 3 June to 6 July 1907, Reece scored a record break of 499,135 points using a cradle cannon system, although it was not an officially recognised record, as the public and press were not in attendance throughout. His opponent was Chapman, who received a start of 50,000 and scored 926 before Reece commenced his break. Reece managed to get the balls in position for cradle cannons after scoring 825 points, and was in play for 85 hours and 49 minutes for his break, averaging 97 points a minute. As billiards is a turn-based sport, Chapman did not get to play any shots during this time. During the match, at Burroughes Hall, Reece made 249,552 cradle cannons during his break. The Billiards Association decided at a meeting on 2 September 1907 to ban the cradle cannon, although as no consensus on the definition of a cradle cannon was reached, the responsibility to determine whether a player was playing cradle cannons was passed to match referees. The president of the Association, Sydenham Dixon, said during the meeting that "the stroke had been mastered by certain professionals and persisted in to an extent that made it farcical". The world record break under the current rules is 1,346 by Peter Gilchrist. The following year, Reece won the billiards competition of the 1908 American Tournament at Burroughes Hall. The Billiards Control Club was established in 1908 as a rival to the Billiards Association and using a different set of rules, the main differences from the Association version being a simpler explanation of penalties and the stipulation that a player could not legally make more than two miss shots successively. Melbourne Inman, the Association champion, and Reece, each entered the Control Club Championship in 1910, along with H. W. Stevenson, who had been declared the Control Club champion in February 1909. Inman defeated Reece 9,000–5,103 in the preliminary round. In 1912, with Stevenson not participating, Inman and Reece played for the professional billiards title. Inman recorded a decisive 18,000–9,675 win over Reece in a match that The Sporting Life described as "the most spiritless affair ever witnessed on a billiard table" because it was so one-sided. Inman defeated Reece for the title again in 1913, 18,000–16,627; and in 1914, 18,000–12,826. Reece next played in a match to decide the professional title in 1921. There were six participants in the tournament, with Inman and Willie Smith deciding not to play because of a disagreement with the organisers over the venue. Tom Newman defeated Reece 16,000–10,744 in the final. In 1922, Reece lost by 711 to Claude Falkiner in the semi-final after having led by 1,441. There were three entries for the 1924 tournament, which Newman won with a 16,000–14,845 victory over Reece in the final. Reece entered the 1925 tournament because he expected Inman to, but Newman was the only other entrant, and he recorded a 16,000–10,092 win over Reece. ## Later professional career In the 1927 championship, against Inman, Reece played a series of pendulum cannons, where the object balls are trapped at the of the pocket for successive cannons. One difference between this and the cradle method is that the player must walk around the corner of the table for each successive shot. The rules at the time specified that a maximum of 25 consecutive cannons could be made without the cue ball striking a . Reece scored 568 consecutive cannons which prompted the Billiards Association and Control Club to prohibit the pendulum cannon in the rules. He played in one professional snooker tournament, the 1946 World Snooker Championship, retiring from the match when 2–8 behind to Kingsley Kennerley. He said that snooker was "a splendid game for navvies in their lunch hour, the sort of game you play in corduroys and clogs". In conversation with George Nelson of the Yorkshire Evening Post, reported in the paper in 1941, Reece spoke about his record break. He recounted that here had been a tradition that the company that manufactured the billiard table on which a record break was compiled on would pay £100 to the player making the break. Following a rise in the use of the cradle cannon following Lovejoy's employment of the method in 1907, the record was frequently increasing, which meant more expense for table manufacturers. He says that the manufacturing firm Burroughes and Watts told him that they would only pay out for a break "the size of which will stop all further attempts at records", to which he replied that he would need an opponent and a venue for a month. The company then arranged for the match of 500,000 up between Reece and Chapman at their Burroughes Hall. He also said that as the balls were not moved, he was careful about not overusing , as the table could not have been cleaned, and made the last 400,000 points without chalking his . Sidney Felsted wrote in The Badminton Magazine of Sports and Pastimes in 1913 that "there is no more player in the world to watch more attractive than Reece making a run of nurseries" but added that "it would be idle to compare him with some of the great all-round players." Snooker historian Clive Everton described Reece's playing style as "temperamental, artistic with a taste for close, delicate control", and the opposite of Inman's "open" style. An editorial in The Billiard Player soon after Reece's death said that "his name is associated with the highest artistry ... and nobody can ever mention great billiards without mentioning Tom Reece." Reece's book Dainty Billiards: How to play the close cannon game was published by C. Arthur Pearson in 1925. His memoir, Cannons and Big Guns, was published by Hutchinson & Co. in 1928. Reese claimed in the latter book to have sometimes played billiards with the Guglielmo Marconi, before the latter became well known. Reece's highest officially recognised break was 901, which he compiled in 1916. Joyce Gardner, winner of multiple Women's Professional Billiards Championships, wrote that it was "entirely due" to Reece's support and encouragement that she decided to become a professional player. Reece married Laura Lydia Williams on the morning of 6 June 1908, before continuing a match against John Roberts Jr that afternoon. During World War II he toured the United Kingdom playing exhibition matches to raise funds for the British Red Cross. He died on 16 October 1953, a week after suffering a stroke, and was cremated at Golders Green Crematorium on 20 October. ## Professional Championship Finals These professional tournaments are now recognised as equivalent to World Billiards Championships events. ### Billiard Control Club Championship finals The Billiard Control Club was established in 1908 as a rival to the Billiard Association and organised a separate championship. ### Billiards Association and Control Club Championship finals After the 1919 final, the Billiard Association and the Billiard Control Club amalgamated and, as the Billiards Association and Control Club (later renamed as the Billiards Association and Control Council) organised an annual championship tournament.	[ "## Early life", "## Early billiards career and record break", "## Later professional career", "## Professional Championship Finals", "### Billiard Control Club Championship finals", "### Billiards Association and Control Club Championship finals" ]	2,173	35,249
16,353,941	Greece in the Eurovision Song Contest 2003	1,147,544,257	None	[ "2003 in Greek television", "Countries in the Eurovision Song Contest 2003", "Greece in the Eurovision Song Contest" ]	Greece competed in the Eurovision Song Contest 2003, held on 24 May 2003 at the Skonto Hall in Riga, Latvia. The Greek broadcaster Hellenic Broadcasting Corporation (ERT) organised a public selection process entitled Ena tragoudi gia tin Evropi (Ένα τραγούδι για την Ευρώπη; "A song for Europe") to determine its entry for the contest. Held on 26 February 2003 in Athens, the event saw 10 songs compete to be the Greek entry; the results were determined by a combination of jury, SMS and televoting. Singer Mando with the song "Never Let You Go" received the most votes and was selected to represent the nation. The song was written by Mando and Terry Siganos. To promote the entry, a music video and five track CD single for the song were released and Mando made appearances at events in Cyprus, Croatia and Malta, as well as at Mediterranean party in Riga in the lead up to the contest. "Never Let You Go" was performed 17th at the international contest on 24 May 2003 and at the close of the voting process, finished in 17th place, receiving 25 points from six countries. ## Background The Hellenic Broadcasting Corporation (ERT) is the European Broadcasting Union (EBU) member for Greece and is responsible for selection of the nation's entry. Prior to the 2003 contest, Greece had participated in the Eurovision Song Contest 23 times since its first entry in 1974. To this point, its best result was third place which was achieved in with the song "Die for You". Greece's least successful result was in when it placed 20th with the song "Mia krifi evaisthisia" by Thalassa, receiving only twelve points in total, all from Cyprus. ## Before Eurovision ### Ena tragoudi gia tin Evropi Initially titled Psifiste gia to elliniko tragoudi (Ψηφίστε για το ελληνικό τραγούδι; "Vote for the Greek Song"), Ena tragoudi gia tin Evropi (Ενα τραγουδι για την Ευρωπη; "A song for Europe") was the Greek selection process developed by ERT to select the Greek entry for the Eurovision Song Contest 2003. The competition took place on 26 February 2003 at the Ciné Keramikos Nightclub in Athens and was hosted by Dafni Bokota, Rika Vagiani and Popi Tsapanidou; it was televised on ET1 with a radio broadcast on Kosmos 93.6. The event was directed by Christos Fasois, produced by Stefanos Agorastakis and the sets were designed by Vassilis Tsirogiannis. #### Competing entries Artists and composers had until 2 December 2002 to submit their entries. From all 243 entries submitted, 10 entries were selected by a seven-member jury to participate in the national final. The jury consisted of past Eurovision contestants Evridiki (Cyprus and ) and Paschalis Arvanitidis (Greece ), joined by Dafni Bokota, Giorgos Katsaros, Iro Trigoni, Johnny Kalimeris and Antonis Andrikakis. The competing artists were revealed on 10 February 2003 and the songs in their entirety were presented on 23 February 2003. Music videos of each competing entry aired on ET1 as part of the presentation and were rebroadcast over the three day period leading up to the event. #### Final The final took place on 26 February 2003. Ten songs competed and the winner, "Never Let You Go" performed by Mando, was selected by a combination of jury voting (40%), SMS voting (which ran between 23 and 26 February 2003) (30%) and televoting (30%). The jury consisted of Katsaros, Rena Kapitsala, Giorgos Papastefanou, Johnny Kalimeris, Antonis Andrikakis, Munro Forbes and Eurovision Song Contest 2002 winner Marija Naumova. The selected song "Never Let You Go" was written by Mando herself along with Terry Siganos. The singer was well known in Greece, having tried to represent the nation in the past and having penned the song "Where You Are" for Jessica Simpson. Eurovision news website ESCToday noted that the scale of the national final was much larger than had been organised in the past for the Greek entry. The event included a dance routine by Greek choreographer Fokas Evangelinos that was performed following the conclusion of the 10 candidate entries' performances and showcased Greek Eurovision entries of the past dating back to . These included Marinella's "Krasi, thalassa ke t'agori mou" (1974), Paschalis, Marianna, Robert and Bessy's "Mathima solfege" (1977), Tania Tsanaklidou's "Charlie Chaplin" (1978), Elpida's "Sokrati" (1979), Anna Vissi and the Epikouri's "Autostop" (1980), Bang's "Stop" (1987) and Antique's "Die for You" (2001). It also featured performances by Michalis Rakintzis singing Greece's 2002 entry "S.A.G.A.P.O." from the previous year as well as 2003 Cypriot representative Stelios Constantas singing his Eurovision entry "Feeling Alive". ### Promotion To promote the entry, "Never Let You Go" was a released as a CD single with five versions. It was later accompanied by a music video that was released in early May 2003. Directed by Kostas Kapetanidis, the video premiered on Greek music channel MAD TV. Mando also embarked on a promotional tour in the lead up the Eurovision Song Contest, appearing in Cyprus, Croatia and Malta, where she appeared on Maltese television. On 23 May, she attended the Mediterranean Party in Riga along with entrants from Cyprus, Spain, Malta and Israel, performing "Never Let You Go" in two versions. ## At Eurovision The Eurovision Song Contest 2003 took place at the Skonto Hall in Riga, Latvia, on 24 May 2003. According to the Eurovision rules, the participant list for the contest was composed of: the winning country from the previous year's contest; any countries which had not participated in the previous year's contest; and those which had obtained the highest placing in the previous contest, up to the maximum 26 participants in total. The draw for running order had previously been held on 29 November 2002 in Riga, with the results being revealed during a delayed broadcast of the proceedings later that day. The contest was broadcast within Greece on ET1 television and ERA radio with commentary by Dafni Bokota and Nikos Triboulidis, respectively. "Never Let You Go" was performed 17th on the night (following Ukraine's Olexandr with "Hasta la vista" and preceding Norway's Jostein Hasselgård with "I'm Not Afraid to Move On"). For her Eurovision appearance, Mando wore a black gown with a very tight lace-up bodice. Her performance featured four backing vocalists, which included her sister and Alex Panayi. ### Voting Televoting was an obligatory voting method for all participating countries. Point values of 1–8, 10 and 12 were awarded to the 10 most popular songs of the televote, in ascending order. Countries voted in the same order as they had performed. At the close of voting, Greece placed 17th in the field of 26 entries, with the performance having received 25 points. This total included the top 12 points from Cyprus, to which the nation also awarded its 12 points. As the nation failed to reach the top 11 in the final, the country had to compete in the semi-final of the following year's contest.	[ "## Background", "## Before Eurovision", "### Ena tragoudi gia tin Evropi", "#### Competing entries", "#### Final", "### Promotion", "## At Eurovision", "### Voting" ]	1,752	36,575
8,848,391	Aesthetics of Hate	1,126,339,740	null	[ "2007 singles", "2007 songs", "Machine Head (band) songs", "Roadrunner Records singles", "Songs written by Adam Duce", "Songs written by Robb Flynn" ]	"Aesthetics of Hate" is a song by American heavy metal band Machine Head from their sixth studio album, The Blackening. Written by vocalist and guitarist Robb Flynn, the song is a retaliation to an article written by William Grim. Grim wrote that late guitarist Dimebag Darrell was "an ignorant, barbaric, untalented possessor of a guitar", among other comments, which angered Flynn deeply enough to write the song. "Aesthetics of Hate" was nominated for Best Metal Performance at the 50th Grammy Awards. ## Background "Aesthetics of Hate" was written by Robb Flynn as a retaliation to an article by William Grim for the website Iconoclast. Titled "Aesthetics of Hate: R.I.P. Dimebag Abbott, & Good Riddance", Grim wrote the article stating Darrell was "part of a generation that has confused sputum with art and involuntary reflex actions with emotion", "an ignorant, barbaric, untalented possessor of a guitar" who looks "more simian than human". After reading the article, Flynn was furious and wrote "Aesthetics of Hate" as a condemnation of Grim's article and Dimebag detractors. He wrote a message on the band's forum expressing his friendship with Darrell and spoke about Grim: > "What would YOU know about love or values? What would YOU know about giving to the world? All that you know is teaching prejudice, and your heart is as black as the 'ignorant, filthy, and hideously ugly, heavy metal fans' you try and paint in your twisted, fictitious ramblings. It's because of people like YOU, that there are Nathan Gales in this world, NOT the Dimebags and metal musicians who work to unite people through music." ## Recording After "Slanderous" and "Beautiful Mourning", "Aesthetics of Hate" was the third song that was written for Machine Heads album The Blackening. Flynn originally presented it to the band as "The Thrashterpiece" which became the songs working title, because according to Flynn "it owes a huge debt to the band Exodus, [there's] a lot of Bay Area thrash worship going on in this song." In February 2005, Machine Head had penned a rough version of "Aesthetics of Hate". A 13-track November 2005 demo featured the song, although it contained what Flynn described as a "totally fucking lame 'Angel of Death' rip off. I hated it every time we played it so I was glad to see that part go!" The band entered Sharkbite Studios, in Oakland, California on August 21, 2006 to begin recording. Production duties were handled by Flynn with assistance from Mark Keaton, and mixing by Colin Richardson. ## Critical reception "Aesthetics of Hate" received positive reviews from music critics. Blabbermouth.net's Don Kaye described the track as "literally breathtaking" and said that the song "channels its title emotion into a blazing volcano of pure speed and furious guitarwork from Flynn and Phil Demmel." Reviewing for France's Hard 'N Heavy magazine, Anthrax's Scott Ian felt that the song is "a riff-o-rama showing off Robb Flynn and Phil Demmel's killer guitar work." Thom Jurek of AllMusic felt "the intense dual arpeggios between both guitarists — Flynn and Phil Demmel on 'Aesthetics of Hate' (as just one example) are among the tightest ever". However, J.D. Considine of Blender commented that the song "cuts from screaming guitars to an ominously whispered, 'May the hands of God strike them down'. Without oversize hooks, calls for biblical vengeance just sound silly." "Aesthetics of Hate" received a nomination for Best Metal Performance at the 50th Grammy Awards. The ceremony took place on February 12, 2008, with Machine Head being beaten out by Slayer's "Final Six". Flynn commented on the nomination, "We are completely blown away, and honored by this. It's incredible that the anger of this song has connected with so many people. It proves to Dimebag's detractors the positive impact he had on his fans and fellow bands alike." On August 8, 2008, the song was confirmed to be as part of the "Roadrunner Records" pack in Rock Band. ## Personnel - Robb Flynn – lead vocals, rhythm guitar - Adam Duce – bass, backing vocals - Phil Demmel – lead guitar - Dave McClain – drums	[ "## Background", "## Recording", "## Critical reception", "## Personnel" ]	945	19,249
5,441,429	I Wanna Have Your Babies	1,173,525,198	2007 single by Natasha Bedingfield	[ "2007 singles", "2007 songs", "Music videos directed by Dave Meyers (director)", "Natasha Bedingfield songs", "Phonogenic Records singles", "Songs about parenthood", "Songs about pregnancy", "Songs written by Andrew Frampton (songwriter)", "Songs written by Natasha Bedingfield", "Songs written by Steve Kipner", "Songs written by Wayne Wilkins" ]	"I Wanna Have Your Babies" is a song by British recording artist Natasha Bedingfield. It was written by Steve Kipner, Andrew Frampton, Wayne Wilkins and Bedingfield for her second album, N.B. (2007). The song's musical-style and production was inspired by hip hop music, and its lyrics discuss a woman's battle to stop herself from rushing into relationships in an effort to find the right man to be the father of her children. The song was released as the album's first single in the second quarter of 2007. The track received mixed reviews from pop music critics, who generally found it to be less impressive than past singles. It entered the top forty in Germany, Ireland and The Netherlands, and became Bedingfield's fourth United Kingdom top ten single release. ## Background and writing In 2006, Bedingfield began writing and recording material with previous collaborators Steve Kipner, Andrew Frampton and Wayne Wilkins in Los Angeles, California. During one of their sessions, they penned "I Wanna Have Your Babies", which was inspired by a year-and-a-half of touring across the United States. Bedingfield had never been away from her family and friends for an extended period of time and "realised how important relationships are". She wanted to write songs that matched who she was, commenting that her "first album was about independence and opportunism. I’m in a different place now. I've been dating, searching for a partner, looking for Mr Right." In the song, Bedingfield discusses a woman's fight to stop herself from rushing into relationships in an effort to find the right man to father her children. Bedingfield stated that she does not want to have children at this point in time, but that she is thinking about it. According to her, "the song is about pacing yourself and taking everything slowly." ## Critical reception "I Wanna Have Your Babies" had a polarizing effect on music critics. Channel 4 described it as a "well thought out pop record", and Paul Taylor of the Manchester Evening News said it had a "sing-song melody" and "ragged hip-hop beats". Tony Cummings called the song's "R&B pop confection hugely catchy". Online magazine Drowned in Sound ridiculed the track, writing that it is "polluting the airwaves with its beyond-banal lyrics." The song's music video was also described in the review as "unforgivable". The BBC was equally unimpressed with the song, claiming it stole the melody of The Jackson 5 song "I Want You Back". ## Chart performance "I Wanna Have Your Babies" was officially solicited to radio in the United Kingdom on 12 March 2007. The song was released as a download on 2 April 2007, two weeks before its physical release. It debuted on the UK Singles Chart at number 25 on 8 April 2007, on download sales only. A week after its physical release the song reached the top 10, rising from number 15 to number seven. In Ireland the song debuted at number 36 on the singles chart and peaked at number eight. "I Wanna Have Your Babies" proved popular on Irish radio, charting at number 14. The single had moderate success in Europe. After three weeks on the European Hot 100 Singles chart, the track peaked at number 23. The single reached the top 50 in Italy, the Netherlands and Sweden. In Australia, the song debuted on the singles chart at number 50 on 21 May 2007. The track was more successful on the Physical Singles chart, debuting at number 37. ## Music video The music video was directed by Dave Meyers and filmed in Los Angeles, California in January 2007. The video opens with a scene of Bedingfield working out in a gym with a male instructor. Bedingfield and the instructor are then shown running through a park, when a baby stroller suddenly appears. Frightened, the instructor runs away from Bedingfield and the baby. She is next shown playing tennis and flirting with another man. The two are then shown riding on a boat with a toddler, in a race with another couple. The third scene features Bedingfield at a nightclub flirting with yet another man, before they are shown together at his home. In the final scene, she meets a man working at a coffee shop. They are shown in a play room with multiple babies. The video ends with Bedingfield hugging the coffee shop worker, who appears to be undeterred by her thoughts about having babies. Nadine Coyle, member of the pop group Girls Aloud, makes a cameo appearance in the nightclub scene. The complete version of "I Wanna Have Your Babies" featured in the music video has been released commercially through CD singles and digital downloads, and some include remixes by Snowflakers. The video debuted on Bedingfield's official Bebo website on 6 March 2007. On 21 May 2007, the video debuted in North America on Bedingfield's official U.S. website under the title "Babies". The music video for "I Wanna Have Your Babies" was mocked in an article written by Anna Pickard and published in The Guardian. Pickard made fun of Bedingfield's "clean-cut, straight-toothed, good Christian girl" image, writing that the video was an effort by Bedingfield and her management to be provocative to sell more records. ## Formats and track listings UK CD single 1. "I Wanna Have Your Babies" 2. "Unwritten" (live at the Nokia Theater, New York) Australian CD single 1. "I Wanna Have Your Babies" 2. "What If's" 3. "Unwritten" (Live at The Nokia Theatre, New York) 4. "I Wanna Have Your Babies" (Snowflakers remix) 5. "I Wanna Have Your Babies" (video) German CD single 1. "I Wanna Have Your Babies" 2. "Unwritten" (live at the Nokia Theater, New York) Digital single (released 12 March 2007) 1. "I Wanna Have Your Babies" (radio promo mix) – 3:38 Official remixes 1. "I Wanna Have Your Babies" (Kardinal Beats Mix) 2. "I Wanna Have Your Babies" (Soul Avengerz Mix) ## Charts	[ "## Background and writing", "## Critical reception", "## Chart performance", "## Music video", "## Formats and track listings", "## Charts" ]	1,323	14,339
43,377,300	Foil (song)	1,169,128,904	null	[ "\"Weird Al\" Yankovic songs", "2014 songs", "Aluminium", "Moon landing conspiracy theories", "Music videos directed by \"Weird Al\" Yankovic", "Songs with lyrics by \"Weird Al\" Yankovic", "Songs written by Joel Little", "Songs written by Lorde", "Works about conspiracy theories" ]	"Foil" is a song by American satirical singer "Weird Al" Yankovic from his fourteenth studio album, Mandatory Fun (2014). The song is a parody of the 2013 single "Royals" by Lorde. It begins as an ode to the uses of aluminum foil for food storage, but becomes a parody of conspiracy theories, the New World Order, and the Illuminati in its second verse. "Foil" received positive reviews from music critics, and peaked at number three on the Billboard Comedy Digital Tracks. The song's music video stars Yankovic as the host of a cooking show, and features cameo appearances from Patton Oswalt, Tom Lennon, and Robert Benjamin Garant. ## Background and composition "Foil" is a parody of Lorde's 2013 single "Royals". It retains the original song's instrumentation, but is slowed down to match Yankovic's singing voice. He mimics Lorde's "sultry croon". At two minutes and 23 seconds, it is the shortest parody on Mandatory Fun due to its omission of the bridge and final chorus from the original track. In an interview with Billboard, Lorde said Yankovic "asked ages ago if he could do it” and she agreed to his offer. Lorde enjoyed Yankovic's music, specifically his parody of "Confessions" (2004) by Usher. The song opens with Yankovic lamenting that he cannot finish food at restaurants, opting for a doggy bag. The first verse and chorus expand upon the usage of aluminum foil for food storage and preventing food spoilage, which Yankovic deems better than other food storage options such as "Tupperware containers." In a twist, the second verse discusses conspiracy theories; in particular, he mentions the Illuminati, shadow organizations, "black helicopters comin' cross the border," the New World Order and reinforces the belief that the Moon landings were staged. Yankovic planned to incorporate a twist in the song while outlining ideas. To conclude the song, Yankovic supports the benefits of aluminum foil by placing a tin foil hat atop his head to shield himself from "thought control rays" and "psychotronic scanning." ## Reception "Foil" received positive reviews from music critics. Randall Roberts of Los Angeles Times deemed the song a highlight of Mandatory Fun. Consequence of Sound writer Henry Hauser noted that it could have been included in his 1993 record The Food Album. Kenneth Partridge of Billboard wrote that while both "Tacky" (2014) and "Foil" could have been "one-joke affairs," they were both successful. The song received a nomination for Best Individual Performance at the 2015 Webby Awards, but lost to "If Google Was a Guy" by CollegeHumor. Other critics were less positive. Paste considered "Foil" to be less clever than the other parodies on Mandatory Fun. Ben Kaye, writing for Consequence of Sound, praised the first half of the track, but criticized the "weird switch to Illuminati jokes". Commercially, "Foil" peaked at number three on the Billboard Comedy Digital Tracks. ## Music video The music video for "Foil" was released on July 16, 2014, through CollegeHumor's YouTube channel. It was part of an eight video series, released once per day, produced for Mandatory Fun. "Foil" was the most successful video, attracting 11 million views in five days. The video begins with Yankovic singing straight into the camera as a waiter gives him a doggy bag. Throughout the sequence, he spoofs Lorde's "on-camera intensity"; Breanna Ehrlich of MTV News also observed that the video highlights the similarity between Yankovic and Lorde's hair styles. He then walks out of a restaurant and onto the set of a cooking program titled Now We're Cookin'!. L.V. Anderson of Slate described his role in the video as an "infomercial huckster." During the chorus, three women dressed in foil outfits appear as they ad-lib the song's lyrics. The lights then dim as Yankovic sings about conspiracy theories; the camera shows the director (played by Patton Oswalt) watching "in horror". Stock footage of the Eye of Providence, an atomic bomb explosion, a set of military helicopters, troops marching, and police men in riot shields is shown. Yankovic looks into a fisheye lens camera in static filter and twice a man with a blood face quickly appears on screen. The following scene proceeds to show a video of a staged Moon landing and thought control rays. Two men in black suits (played by Tom Lennon and Robert Ben Garant) insert a sleep injection into Yankovic's neck and drag him off set. The video ends with Oswalt taking off his human head to reveal the face of a reptilian humanoid. ## Live performances Yankovic performed "Foil" as part of the Mandatory World Tour (2015–2016). The live version replicates the majority of the music video, with Yankovic behind a Now We're Cookin'! table and accompanied by various props including a roll of aluminum foil, a teapot, and a foil hat. For some international performances, Yankovic changed the pronunciation of "aluminum" to "aluminium" to reflect the different ending being commonplace outside of North America. Orlando Weekly noted that "Foil" was one of two "special moments during a show that was nonstop and insanely memorable mayhem." ## Weekly chart positions	[ "## Background and composition", "## Reception", "## Music video", "## Live performances", "## Weekly chart positions" ]	1,148	18,958
5,791,960	Talon (roller coaster)	1,103,705,238	Inverted roller coaster at Dorney Park	[ "Inverted roller coasters manufactured by Bolliger & Mabillard", "Roller coasters in Pennsylvania", "Roller coasters introduced in 2001", "Roller coasters operated by Cedar Fair" ]	Talon is an inverted roller coaster located at Dorney Park & Wildwater Kingdom in Allentown, Pennsylvania. Manufactured by Bolliger & Mabillard and designed by Werner Stengel at a cost of \$13 million, Talon opened to the public in 2001 and was marketed as the tallest and longest inverted coaster in the Northeast. It stands 135-foot (41 m) tall, reaches a maximum speed of 58 mph (93 km/h), and features four inversions. ## History On April 28, 2000, Dorney Park announced that a 135-foot-tall (41 m) four inversion inverted roller coaster would be built for the 2001 season. No further details were given until August 30, 2000 when Dorney Park announced the full details of the new \$13 million roller coaster and its name, Talon. The ride would be the Northeast's longest inverted roller coaster and would be built on a portion of land set aside for a major attraction by Cedar Fair when they purchased the park in 1992. Construction began on September 5, 2000 and continued through the winter. The first parts of Talon to be put into place were the brake run and transfer track in October 2000. The roller coaster was topped off (the highest piece of the lift hill) on November 21, 2000 and the track was completed in early 2001. After testing was complete, Talon opened on May 5, 2001. ## Experience Having dispatched from the station, the train immediately begins to climb the 135-foot (41 m) lift hill. Once at the top, the train goes through a pre-drop before making a sharp 120-foot (37 m) downward right turn. The train then enters a 98-foot (30 m) tall vertical loop. After exiting the loop, the train goes through a zero-gravity roll before dropping back to the ground and entering an Immelmann loop. The train then makes a full 360-degree upward right turn followed by a left turn leading into another drop. After the drop, the train makes a highly banked right turn into a flat spin. Next, the train makes a left turn (extremely close to the ground) before heading to a moment of airtime, and back up which leads into the brake run. After exiting the brake run, the train makes a right turn into a second, shorter, set of brakes before entering the station. One cycle of the ride lasts about 2 minutes. ## Characteristics ### Trains Talon operates with two steel and fiberglass trains. Each train has eight cars that can seat four riders in a single row for a total of 32 riders per train. The train structure is coloured blue and turquoise, the seats are black, and the over-the-shoulder restraints are yellow. ### Track The steel track of Talon is approximately 3,110 feet (950 m) long, the height of the lift is approximately 135 feet (41 m) high, and the entire track weighs just under 3,000,000 pounds (1,400,000 kg). It was manufactured by Clermont Steel Fabricators located in Batavia, Ohio. Unlike other B&M coasters, the track is filled with sand to reduce the noise produced by the trains. The tracks are painted orange and yellow while the supports are blue. ### Slogan & theme The entrance sign has a mini-slogan as "The Grip Of Fear. The word "Talon" is named after a claw, which is specifically found on birds of prey and mythical creatures. The ride is themed as a bird of prey. ## Awards	[ "## History", "## Experience", "## Characteristics", "### Trains", "### Track", "### Slogan & theme", "## Awards" ]	754	35,746
456,536	The Amazing Jeckel Brothers	1,156,463,660	null	[ "1999 albums", "Albums produced by Mike E. Clark", "Concept albums", "Insane Clown Posse albums", "Island Records albums", "Psychopathic Records albums" ]	The Amazing Jeckel Brothers is the fifth studio album by American hip hop group Insane Clown Posse, released on May 25, 1999, by Island Records, in association with Psychopathic Records. Recording sessions for the album took place from 1998 to 1999. The album is the fifth Joker's Card in the group's Dark Carnival mythology. The album's lyrics focus on the nine circles of hell and the morality of man as he is torn between righteousness and evil. The album's titular Jeckel Brothers are spirits who juggle balls of fire, representing the sins committed during the mortal life of the dead. The Amazing Jeckel Brothers was the second studio album Insane Clown Posse released by Island, and features a rap rock sound. The Amazing Jeckel Brothers features guest appearances by rappers Ol' Dirty Bastard and Snoop Dogg, and additional contributions by The Jerky Boys and Twiztid. It debuted at number four on the Billboard charts and was later certified platinum by the Recording Industry Association of America (RIAA). ## Background After a tumultuous contract with Jive Records sub-label Battery in 1995, Insane Clown Posse (ICP) attempted to find a new record label. Manager Alex Abbiss negotiated a contract with the Walt Disney Company-owned label Hollywood Records, which reportedly paid US\$1 million to purchase the Insane Clown Posse contract from Battery/Jive Records. After recording and releasing The Great Milenko, 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 \#63 on the Billboard 200. It was later revealed that Disney was being criticized by the Southern Baptist Church. The church claimed Disney was turning its back on family values. In due time, labels such as Interscope 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. Thanks to the controversy, and additional promotion by Island, over one million copies of The Great Milenko had been sold by 1998, and Insane Clown Posse was ready for the fifth Joker's Card, The Amazing Jeckel Brothers. ## Recording and production Working with Mike E. Clark and Rich "Legz Diamond" Murrell, Joseph Bruce and Joseph Utsler developed their album with the highest of hopes. Hoping to receive the respect Bruce and Utsler felt they deserved, they planned to feature well-known, respected rappers on their album. Bruce stated outright that he wanted to involve Snoop Dogg, Ol' Dirty Bastard, and Ice-T. Snoop Dogg requested that Insane Clown Posse not pay his then-current record label, No Limit Records, and said that he would appear on the album if Bruce and Utsler gave him "\$40,000 in a briefcase". Insane Clown Posse agreed, and Snoop Dogg appeared on the song "The Shaggy Show", which also featured the ska band Gangster Fun playing music before each of the song's faux commercial breaks. Insane Clown Posse also unsuccessfully attempted to contact Ice Cube to collaborate with them. Snoop Dogg also helped them contact Ol' Dirty Bastard, who was paid \$30,000 for his appearance. Ol' Dirty Bastard recorded his track in a matter of two days; however, his recording consisted of nothing more than him rambling about "bitches." It took Bruce and Utsler a week to assemble just four rhymes out of his rambling, using Pro Tools because his raps were out of synch with Clark's beat. The duo eventually had to re-record their lines and re-title the song "Bitches". Finally, Insane Clown Posse contacted Ice-T. However, he charged them only \$10,000. The group felt that Ice-T's song did not belong on the album, and was instead released on the compilation, Psychopathics from Outer Space (2000). The song "Echo Side" was originally released at an Insane Clown Posse concert in Garden City, Michigan as the first ever single from Dark Lotus. To help increase their positive publicity, Island Records hired the Nasty Little Man publicity team. The team set up a photo shoot for Insane Clown Posse that was to appear on the cover of Alternative Press magazine in Cleveland. On the set of the photo shoot, a member of the publicity team approached Bruce and explained that in the song "Fuck the World", the lyric that stated "Fuck the Beastie Boys and the Dalai Lama" needed to be changed. Insulted, Bruce exclaimed that his music would not be censored again – referring to Disney's previous requirement of censure. Nasty Little Man told Bruce that the Beastie Boys were not only clients of the company but also personal friends, and the Beastie Boys told the company to make Bruce change the lyric. In response, Bruce fired Nasty Little Man and asked its team to leave the photo shoot. ## Musical style The Amazing Jeckel Brothers features a rap rock sound. Stephen Thomas Erlewine of Allmusic wrote, "Where The Great Milenko [...] was targeted at white-boy, adolescent metalheads [...] The Amazing Jeckel Brothers contains cameos from Snoop Dogg and Ol' Dirty Bastard, plus a cover of a Geto Boys song, which brings [Insane Clown Posse] to street level." To produce the album, Insane Clown Posse once again teamed up with renowned Detroit record producer and DJ Mike E. Clark, who utilized standard hip hop techniques such as record scratching and samples ranging from 1970s funk to calliope music. "Another Love Song" was based upon Beck's song "Jack-Ass", which itself was derived from a sample of Bob Dylan's "It's All Over Now, Baby Blue". Bruce loved the song and wanted to rewrite it in his own style. Although the group "lifted the riff from Beck", since Beck's song sampled the Dylan composition, Insane Clown Posse's sample was cleared with Dylan rather than Beck. Rolling Stone writer Barry Walters wrote that Clark's production incorporates elements of "carnival organ riffs, power chords and shotgun blasts ... banjolike plucking and Van Halen-esque guitar squeals." ## Lyrical themes During the two years between The Great Milenko and The Amazing Jeckel Brothers, Insane Clown Posse had become nationally known, but were not taken very seriously. While the controversy over The Great Milenko allowed the duo to attract the attention of Island Records, it also attracted Insane Clown Posse to public criticism for their style and lyrics. Bruce recalls the period as an angry era for the group due to all of the negativity directed toward them. He says that they "used to keep two piles of press at [their] office. One pile was all the positive press [they've] gotten, which was under an inch tall. Then [they] had the negative press pile, which was spilling over the side of a full basket." As a result, The Amazing Jeckel Brothers was recorded as a release for their anger. The Amazing Jeckel Brothers focuses on the 9 circles of hell, and the morality of man as he is torn between righteousness and evil. Jack "the sinister" and Jake "the just" (bad and good) emerge from the flame of a candle to determine the fate of the dead. The Jeckel Brothers juggle fire balls. For every sin committed during the mortal life of the dead, another ball is added. Jack attempts to throw Jake curves in an attempt to see a ball drop. If a soul witnesses Jake drop one of the balls, it will be damned to hell. Souls who see Jake successfully complete the act ascend to heaven. ## Release and reception The Amazing Jeckel Brothers debuted and peaked at \#4 on the Billboard 200. In order to promote the album, Island released multiple collectible versions of The Amazing Jeckel Brothers, emphasizing the faces of Jake or Jack Jeckel. In 2008, it achieved platinum certification. The album received mostly negative reviews from critics. NME wrote that "the slick, dumbed-down Dungeons & Dragons rap-rock schtick [...] is often unbearable". College Music Journal writer Matt Ashare described the album as "Cirque de so-lame". Rolling Stone writer Barry Walters gave the album two out of five stars, writing that "no musical sleight of hand can disguise the fact that Shaggy and J remain the ultimate wack MCs." In The Great Rock Discography, Martin Charles Strong gave the album four out of ten stars. PopMatters reviewer Brendan Maher accused Insane Clown Posse of misogyny and described The Amazing Jeckel Brothers as "music to strangle your ex-girlfriend to". Robert Christgau gave the album a C+, writing "Though they claim clown, they rarely get funnier than 'I'd cut my head off but then I would be dead'." However, Stephen Thomas Erlewine of AllMusic gave the album a four out of five star rating, writing that "[Insane Clown Posse] actually delivered an album that comes close to fulfilling whatever promise their ridiculous, carnivalesque blend of hardcore hip hop and shock-metal had in the first place". ## 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 Other personnel - Snoop Dogg — featured on "The Shaggy Show" - Ol' Dirty Bastard — featured on "Bitches" - The Jerky Boys — featured on "Bitches" and "Assassins" - Twiztid — featured on "Echo Side" - Gangster Fun — featured on "The Shaggy Show" ## Charts and certifications ### Weekly charts ### Year-end charts ### Certifications	[ "## Background", "## Recording and production", "## Musical style", "## Lyrical themes", "## Release and reception", "## Track listing", "## Personnel", "## Charts and certifications", "### Weekly charts", "### Year-end charts", "### Certifications" ]	2,075	21,667
34,081,681	Broder Knudtzon	1,167,661,752	Norwegian merchant, politician and patron	[ "1788 births", "1864 deaths", "19th-century Norwegian businesspeople", "19th-century philanthropists", "Norwegian merchants", "Norwegian philanthropists", "Patrons of literature", "People from Trondheim" ]	Broder Lysholm Knudtzon (5 October 1788 – 20 March 1864) was a Norwegian merchant, politician and benefactor. Born into one of Trondheim's wealthiest mercantile families, he travelled to England where he developed a great admiration of English language and literature. Despite his commercial background he was more drawn towards the fields of politics, culture and art. He nevertheless administrated his father's family firm, acting as foreign correspondent with little interest in the everyday business. In England he befriended Lord Byron and came under the influence of the English national liberal movement. He bequeathed his entire library and several artworks to the Royal Norwegian Society of Sciences and Letters. ## Early years Knudtzon was born in Trondheim in Sør-Trøndelag; he was the sixth and youngest child of Hans Carl Knudtzon (1751–1823), a merchant and burgomaster, and Karen Knudtzon (née Müller, 1752–1818). Knudtzon's father was of German origin and had moved to Norway to further his career as a merchant. His firm was flourishing financially, and the Knudtzon family became a rallying point for Trondheim's artists and authors. Having spent his childhood in Trondheim, Broder Knudtzon moved to Flensburg, Germany in 1796 to live in the house of his father's uncle. Upon his confirmation, Knudtzon travelled back to Trondheim where he was apprenticed to his father. He subsequently travelled around in France in search of a mercantile education; in Paris he met the Danish poet and playwright Adam Oehlenschläger. After a brief visit to his sister in Nantes, he relocated to England, where he came in contact with poet Lord Byron and other leading figures in the national liberal movement. During his stay in England, he acquired a great fondness and knowledge of the English language, literature and culture. In a later trip to Italy he met the Danish-Icelandic sculptor Bertel Thorvaldsen, who made portrait busts of him and other members of his family. ## Mercantile and political engagement In the spring of 1814, Broder and his brother Jørgen assisted Carsten Anker in his endeavour to gain English supporters of an independent Norway. As a member of the Storting's deputation to Sweden, Knudtzon travelled with his father to Stockholm in the autumn of the same year. On his return from Stockholm, he became foreign correspondent of his father's firm Hans Knudtzon & Co, which he owned together with his brother Christian and his brother-in-law Lorentz Johannsen. He maintained that his own duties in the firm's office were a displeasure, and was once quoted as saying: "Business I hate, and for reading there is not leisure". A supplementary member of the Storting, he met in the parliament once, acting as secretary for the constitution committee. During 1839–57, he was a member of the supervisory board of Norges Bank. He became a member of the Royal Norwegian Society of Sciences and Letters in 1821, and was its secretary from 1825 to 1831. Having a profound wish to spread erudition in Norway, he used his acquaintances in England to supply the society with enlightenment books and journals. Knudtzon eventually bequeathed his entire book collection and five of Thorvaldsen's sculptures to the society, with the condition that they not move to Christiania. ## Death and legacy Knudtzon died unmarried on 20 March 1864 in Trondheim. He was buried in Vår Frue Church, where he also had been christened. Prior to his death, he had burned all his letters and notes, including his correspondences with Lord Byron. Little remains therefore of his written production, aside from a few translations and periodical articles. A biographer once wrote of him: > Mr. Knudtzon is a banker of eminence at Trondheim. He resided some years in England; hence, to the hospitable kindness of a native of the north and the acquirements of a literary man he unites the polish and refinement of an English gentleman.	[ "## Early years", "## Mercantile and political engagement", "## Death and legacy" ]	880	14,387
312,987	Joe Camel	1,173,880,920	Cigarette mascot	[ "1997 disestablishments in the United States", "Advertising and marketing controversies", "American mascots", "Camel mascots", "Cartoon controversies", "Cartoon mascots", "Fictional camelids", "Fictional tobacco addicts", "Male characters in advertising", "Mascots introduced in 1987", "R. J. Reynolds Tobacco Company", "Tobacco advertising" ]	Joe Camel (also called Old Joe) was an advertising mascot used by the R. J. Reynolds Tobacco Company (RJR) for their cigarette brand Camel. The character was created in 1974 for a French advertising campaign, and was redesigned for the American market in 1988. He appeared in magazine advertisements, clothing, and billboards among other print media and merchandise. In 1991, the Journal of the American Medical Association (JAMA) published research indicating that the Joe Camel ad campaign was appealing to children. They found that Joe Camel and the Disney Channel logo were recognized equally among six-year-olds, high school students were more familiar with him than adults, and that Camel's market share among youth smokers had sharply risen. The research led RJR to a lawsuit in California, and a formal complaint from the Federal Trade Commission (FTC) for "unfair practices" by exposing children to smoking. RJR denied the accusations that they were marketing towards children, but voluntarily ended the campaign in 1997 after increased litigation and pressure from American federal agencies. ## Description Joe Camel is an anthropomorphic camel who smokes cigarettes. He lacks many typical camelid traits such as a hump, hooves, or tail, appearing as a muscular humanoid with a camel's head. He is often outfitted in masculine wear like tuxedos, T-shirts, and hard hats, and is typically in a "heroic pose", surrounded by women or in a bar. With television advertisements for cigarettes outlawed in the United States before Joe Camel's debut, the character was often seen on billboards, magazines, clothing, and other promotional displays. Early advertisements often depicted Joe alongside the motto "Smooth character." Camel brand owner, R. J. Reynolds (RJR), also ran promotions in which customers could redeem "Camel Cash" vouchers for Joe Camel gear including clothing, watches, mugs, lighters, and shower curtains. Some critics wrote that Joe's nose was drawn in a phallic fashion, as to suggest that smoking is a virile pursuit. This was dismissed by its designer. ## History ### Background The Camel brand is the oldest cigarette brand in the United States. Camel cigarettes were first released by RJR in 1913 featuring a plain camel drawing, known as "Old Joe", on the package. The camel theme was chosen because the cigarettes used Turkish tobacco, and Americans associated the animal with exotic Asian countries. The original drawing was made by Belgian artist Fred Otto Kleesattel, who had based it on a dromedary named Old Joe in the traveling Barnum & Bailey Circus. For the next 60 years, RJR employed a series of marketing campaigns for the Camel brand; one notable campaign launched in 1946 maintained that doctors smoked Camels more than any other cigarette. Camel was the leading brand in the early 1950s, but had dropped to sixth place by 1985. Philip Morris had also eclipsed RJR's market share by 1985 (35.8 to 31.7%), due primarily to the success of Marlboro. ### Character creation The character Joe Camel was created in 1974 by British artist Nicholas Price for a French advertising campaign for Camel cigarettes. The new Joe Camel character was subsequently used in advertising in other countries throughout the 1970s. This European iteration of Joe Camel was first seen in the United States in 1988 when Greensboro, North Carolina company Trone Advertising used the character in promotional materials created for the Camel brand's 75th anniversary. The American version of Joe Camel was created later by art designer Mike Salisbury working on contract for the brand's main agency, McCann-Erickson New York. The intent of the campaign was to compete with Marlboro and its successful Marlboro Man campaign. Salisbury was contacted because of his film advertisements and retro style; McCann wanted his help to depict masculine heroes in old action films, like Humphrey Bogart and Gary Cooper, smoking Camels. Early advertisements were not successful because the audience was not familiar with films of that era, even after giving the characters camel heads. It wasn't until they gave the camel a look inspired by James Bond and James "Sonny" Crockett that they had a positive test response. Salisbury gave Joe expressive eyebrows like Sean Connery (Bond), and hair like Don Johnson (Sonny). The campaign promoted a "hip" lifestyle, which was typical advertising practice for the industry since the 1920s. The success of the campaign made the character a key part of Camel's advertising. The New York Times wrote that Joe Camel was successful in changing the public's perception of a brand quickly, a typically difficult feat. They also wrote that the campaign helped protect Camel from the 5-8% annual decrease that full-price cigarette brand sales were feeling at the time as cheaper brands grew. Furthermore, the campaign had continued despite RJR changing advertisement agencies from McCann, to Young & Rubicam, and finally to Mezzina/Brown Inc.. ### JAMA studies and Mangini lawsuit In December 1991, the Journal of the American Medical Association (JAMA) published a study in which young children were asked to match brand logos with products. The study showed that among children age six, 91.3% matched Joe Camel with cigarettes, nearly the same amount who matched the Disney Channel logo with Mickey Mouse. The researchers concluded that RJR (at the time operating as RJR Nabisco) was just as effective at reaching children as the Disney Channel. In the same JAMA volume, another study was published comparing how well Joe Camel was recognized among high school students versus adults over age 21. The study concluded that high school students were more likely to recognize Joe Camel (97.7% vs 72.2%), understand the product being advertised (97.5% vs. 67%), and identity the Camel brand (93.6% vs 57.7%). The study concluded that the Joe Camel campaign was far more successful at advertising to children than adults. The authors also wrote that Camel's share of smokers under 18 had risen from 0.5% to 32.8% during the campaign's three years at that point. Among those who read the JAMA papers was San Francisco-based family law attorney Janet Mangini. In 1992, she sued RJR as a private citizen, challenging the company for targeting minors with the campaign. In her complaint, Mangini alleged that Camel sales to teenagers increased from \$6 million to \$476 million over the four years since the campaign began. RJR attempted to dismiss the lawsuit, saying that only the federal government could regulate its advertising, but a California state court reviewed the case, and in 1994 permitted Mangini to proceed with the lawsuit. RJR attempted to appeal to the United States Supreme Court to have the case thrown out, but their request was turned away. The JAMA studies did have their critics. The Journal of Advertising published a study in September 1994 in which five university professors, who specialized in marketing and advertising, criticized the ethical standards of the studies. By evaluating the papers against academic research standards, the reviewers identified major flaws with regards to reliability and validity, and accused the DiFranza study of using pre-determined results. The designer of Joe Camel, Mike Salisbury, said there was never any intent to attract children. He explained that RJR rejected some designs on the grounds they would appeal too much to children, and that there was a conscious effort to make him look like a 30-year old. ### Federal Trade Commission complaint In response to the JAMA studies, the American Heart Association, American Lung Association, and American Cancer Society wrote a joint letter in 1991 to the Federal Trade Commission (FTC) asking them to force RJR to end the Joe Camel campaign. The FTC investigated the case for two years, but in 1994 decided not to act after three of five commissioners could not find sufficient evidence that RJR violated federal law. After President Bill Clinton appointed new FTC chairman, Robert Pitofsky, and member Christine Varney, the FTC announced in February 1997 they would re-examine the case. On May 28, 1997, the FTC concluded that the Joe Camel campaign was targeted to youth and requested a court order to end the campaign. In the complaint, the FTC alleged that RJR was exploring ways to appeal to younger smokers and "first usual brand" smokers as early as 1984. They concluded that the health injuries to children from smoking were not "reasonably avoidable" given children's inability to understand the consequences of smoking. They concluded that the campaign violated federal law as an "unfair practice" under Section 5 of the Federal Trade Commission Act, which prohibits ‘‘unfair or deceptive acts or practices in or affecting commerce.’’ ### End of the campaign By March 1997, Joe Camel was already absent from Camel advertisements as a temporary measure by RJR while federal litigation was in progress. RJR officially ended the Joe Camel campaign on July 10, 1997. The move came just weeks after the FTC complaint in May, and shortly after RJR and other tobacco companies agreed to pay a \$368.5 billion settlement to states seeking to recover costs due to tobacco-related illnesses. Additionally, the tobacco industry and 40 state attorneys general had just settled on a ban on the use of cartoon figures in cigarette ads, though the settlement had yet to be ratified by Congress or seen support from President Clinton. Joe Camel was phased out of point-of-purchase advertising, followed soon by billboards and print ads. The campaign closure increased interest in Joe Camel memorabilia. The campaign was replaced with the ''What you're looking for" campaign which used the original plain camel from the pack design. In September, RJR agreed to pay \$10 million to San Francisco and the other California cities and counties who intervened in the Mangini litigation. The money was earmarked primarily to fund anti-smoking efforts targeted at youth. ## Legacy The Joe Camel campaign has been suspected of inspiring similar ad campaigns. In late 1991, Brown & Williamson ran marketing tests for a revival of their penguin mascot, Willie, for their Kool cigarette brand. The character had appeared in Kool advertisements from 1933 to 1960. The New York Times noted that the campaign was likely influenced by Joe Camel. Anti-smoking groups criticized the test campaign. Also, anti-drinking groups accused Anheuser-Busch of similar practices in 2004 for their "Bud-weis-er" frogs, and groups fighting childhood obesity criticized Ronald McDonald and other characters for promoting unhealthy foods. Litigation proceedings used the precedence of the Joe Camel to further their case. In 1996, Adbusters magazine published a subvertisement called "Joe Chemo", featuring a bedridden and dying Joe Camel. The parody was developed in collaboration with psychology professor Scott Plous, who initially proposed the concept. The character was shared in the advertisement trade magazine Adweek. The success and effect of the Joe Camel campaign has been assessed by academics in retrospect. A paper in the International Journal of Advertising in 2010 found that campaign brought consumer attention to the brand and may have helped in the short term, but that the eventual negative publicity may have reinforced negative attitudes towards smoking. They noted that Joe Camel campaign was not as successful as the Marlboro Man, and Newport had no comparable mascot or spokesperson, yet achieved a similar market share and as young a demographic as Camel.	[ "## Description", "## History", "### Background", "### Character creation", "### JAMA studies and Mangini lawsuit", "### Federal Trade Commission complaint", "### End of the campaign", "## Legacy" ]	2,351	11,562
57,358,662	2018 EFL Championship play-off final	1,170,272,344	null	[ "2018 English Football League play-offs", "2018 sports events in London", "Aston Villa F.C. matches", "EFL Championship play-off finals", "Fulham F.C. matches", "May 2018 sports events in the United Kingdom" ]	The 2018 EFL Championship play-off Final was an association football match which was played on 26 May 2018 at Wembley Stadium, London, between Aston Villa and Fulham. The match was to determine the third and final team to gain promotion from the EFL Championship, the second tier of English football, to the Premier League. The top two teams of the 2017–18 EFL Championship season gained automatic promotion to the Premier League, while the teams placed from third to sixth place in the table partook in play-off semi-finals; the winners of these semi-finals competed for the final place for the 2018–19 season in the Premier League; Fulham ended the season in third place while Aston Villa finished fourth. Winning the game was estimated to be worth £160 million to the successful team. The 2018 final, refereed by Anthony Taylor, was watched by a crowd of more than 85,000 people in very warm conditions. Fulham won 1–0, the only goal of the game being scored by the man of the match Tom Cairney in the 23rd minute. It was their first game at Wembley for 43 years since losing the 1975 FA Cup Final and marked their return to the Premier League for the first time since their relegation in the 2013–14 season. Fulham ended the next season in 19th place and were relegated back to the Championship, despite finishing ten points ahead of bottom club Huddersfield Town. Aston Villa finished fifth in the 2018–19 EFL Championship and secured a 2–1 victory in the play-off final which saw them promoted to the Premier League for the 2019–20 season. ## Route to the final Fulham finished the regular 2017–18 season in third place in the EFL Championship, the second tier of the English football league system, one place ahead of Aston Villa. Both therefore missed out on the two automatic places for promotion to the Premier League and instead took part in the play-offs to determine the third promoted team. Fulham finished two points behind Cardiff City (who were promoted in second place) and eleven behind league winners Wolverhampton Wanderers, despite only having lost one game more than the champions. Aston Villa ended the season five points behind Fulham and seven points ahead of fifth-placed Middlesbrough. Despite dominating possession in the first leg of their semi-final against Derby County, Fulham lost the match with Cameron Jerome scoring the only goal. The second leg once again saw Fulham in control, and with second-half goals from Ryan Sessegnon and Denis Odoi, an aggregate 2–1 victory ensured the London club qualify for the playoff final. Aston Villa won the first of their semi-final matches against Middlesbrough at the Riverside Stadium with a score of 1–0. A first-half header from Mile Jedinak secured the victory in a game of few chances. A goalless draw in the return leg at the Villa Park meant Villa won the play-off semi-finals 1–0 on aggregate to qualify for the final. Tony Pulis, the Middlesbrough manager, was disappointed that Villa goalkeeper Sam Johnstone was not sent off for handling the ball outside the box with two minutes of the match remaining. Middlesbrough were also denied a last-minute goal which would have taken the tie into extra time when Stewart Downing's direct free kick struck the bar. ## Match ### Background This was Aston Villa's first play-off final, having been relegated from the Premier League at the end of the 2015–16 season, and finishing the following season in 13th position. Villa's last visit to Wembley ended in defeat a 4–0 defeat to Arsenal in the 2015 FA Cup Final. Fulham had failed to win seven consecutive play-off semi-final matches, most recently losing out to Reading in the 2017 play-offs. Qualification for the final marked Fulham's first visit to Wembley since their defeat against West Ham United in the 1975 FA Cup Final. During the regular season, Fulham had lost to Villa at Villa Park 2–1 in October 2017, despite dominating possession, but won the reverse fixture at Craven Cottage in February 2018. Ryan Sessegnon was ever-present and top scorer for Fulham with 16 goals, while Albert Adomah had scored the most during Aston Villa's regular season, with 14 goals from 41 appearances. The game was considered a "classic clash of styles" by the Bleacher Report, pitching an "experienced and pragmatic" Villa against a Fulham team "featuring ample young talent". Villa's starting line-up had all played in a Wembley final before, and included 37-year-old former England international defender John Terry. Only two of the Fulham team had played at England's national stadium, Matt Targett, for Southampton and Stefan Johansen, for Norway. The Fulham starting line-up was unchanged from their semi-final aggregate win. Ahmed Elmohamady returned to the Aston Villa starting eleven having missed out on the second leg of the semi-finals with a hamstring injury picked up at the end of the first leg, replacing James Bree who sat on the bench. The final was refereed by Anthony Taylor from the Cheshire Football Association, with assistant referees Gary Beswick and Dan Cook, and Kevin Friend acted as the fourth official. It was widely reported that the game was worth at least £160 million over three years to the winners through sponsorship and television deals. Before kick-off, both teams were introduced to former Fulham player Alan Mullery. Prince William, Duke of Cambridge, an Aston Villa fan, was supporting from the stands. Fulham were considered favourites to win the match, which was broadcast live in the UK on Sky Sports Main Event and on ESPN+ in the United States. ### First half Fulham's Aleksandar Mitrović kicked off at 5 p.m. in front of a crowd of 85,243 people, in warm conditions. Neither team dominated the early stages, and in the 8th minute, Villa's James Chester was booked for a foul on Mitrović. After 15 minutes, the pitchside temperature was measured at 90 °F (32 °C). Fulham continued to pass the ball around and on 20 minutes, Aboubakar Kamara's looping shot landed on the roof of the Villa net. Soon after, Chester was forced to make a clearance as Fulham began to take control of the match. In the 23rd minute, they made their superiority count and took the lead through a Tom Cairney strike. Sessegnon evaded a challenge from Hourihane 30 yards (27 m) from the Villa goal, and advanced, playing an accurately weighted pass to Cairney who passed the ball into the net past Sam Johnstone. Half an hour in, Villa claims for a red card were denied by the referee Anthony Taylor for Ryan Fredericks who appeared to deliberately stamp on Grealish. Although Villa briefly dominated the game, Fulham were soon back on top although another foul on Grealish, this time from Denis Odoi, earned the London club their second yellow card of the afternoon. With five minutes of the half remaining, Robert Snodgrass' chipped a pass to Grealish who controlled the ball, only to strike it over the Fulham bar. In the 42nd minute, a mix-up between Chester and Johnstone allowed Mitrović in on an empty goal, only for Chester to redeem himself with a clearance. Two minutes of additional time were played before the half ended 1–0 to Fulham. ### Second half Aston Villa kicked off the second half and quickly both Grealish and Lewis Grabban pressed higher up the pitch, putting pressure on Fulham goalkeeper Marcus Bettinelli. In the 50th minute, a cross from Adomah was met by Snodgrass, but his header was high over the bar. Three minutes later, Grealish's header from another Adomah cross was charged down by Bettinelli. Midway through the second half, a snaking run from Grealish saw him pass three Fulham defenders but his shot was saved. He was then shown a yellow card for a poor challenge on Cairney. Kevin McDonald's shot on 67 minutes was deflected out but the subsequent corner was headed wide. In the 70th minute, Odoi was sent off after receiving a second yellow card for kicking Grealish in the chest, leaving Fulham to defend their lead with ten men for the remaining 20 minutes of the match. Fulham's struggling midfielder Johansen was substituted off in the 72nd minute, to be replaced by Oliver Norwood. Soon after Mitrović missed an opportunity to double Fulham's advantage, shooting high and wide of the Villa goal. Jedinak was then booked for a foul on Mitrović before Kamara also received a yellow card after time-wasting as he was substituted for Tomáš Kalas. A minute later, Steve Bruce made two attacking substitutions for Villa, bringing on Jonathan Kodjia for Elmohamady and Josh Onomah for Jedinak. Scott Hogan was then brought on for Hourihane who was struggling with injury, and Fredericks was replaced by Cyrus Christie for Fulham. With less than five minutes of the match remaining, Alan Hutton was booked for a bad challenge on Mitrović. A late free kick for Snodgrass which he struck wide was followed by the announcement of five minutes of additional time. Hogan missed a chance for Villa before a possible Grealish penalty was waved away by the referee. A Sessegnon free kick was cleared and Villa attacked but with no end product, and the match ended in a 1–0 victory for Fulham. ### Details ## Post-match The Villa manager Steve Bruce was unhappy in particular that Fredericks had escaped any kind of punishment for his challenge on Grealish, stating: "First half we didn't do enough. But a big decision then went against us. The red card was very early and I know we don't want to see a game ruined early, but I was right in front of the incident – he stamps on him." Slaviša Jokanović, the Fulham head coach, said "It was a really important victory for us and we deserved it. It's not easy to play with lots of pressure, with lots of young players, and on the other side lots of experience". Tom Cairney was named the man of the match. Fulham ended the next season, their first in the Premier League since they were relegated in the 2013–14 campaign, in 19th place and were relegated back to the Championship. Despite finishing ten points ahead of bottom club Huddersfield Town, Fulham concluded the season ten points from safety having conceded 81 goals, the most in the league. Aston Villa finished fifth in the 2018–19 EFL Championship and secured a 2–1 victory in the play-off final which saw them promoted to the Premier League for the 2019–20 season.	[ "## Route to the final", "## Match", "### Background", "### First half", "### Second half", "### Details", "## Post-match" ]	2,319	14,689
59,703,190	Azar Bigdeli	1,172,729,852	Iranian poet and anthologist (1722–1781)	[ "1722 births", "1781 deaths", "18th-century Iranian writers", "18th-century Persian-language writers", "18th-century pseudonymous writers", "Anthologists", "Iranian Turkmen people", "People from Afsharid Iran", "People of the Zand dynasty", "Writers from Isfahan" ]	Hajji Lotf-Ali Beg Azar Bigdeli, better known as Azar Bigdeli (Persian: آذر بیگدلی; "Azar" was his pen name; 1722–1781), was an Iranian anthologist and poet. He is principally known for his biographical anthology of some 850 Persian-writing poets, the Atashkadeh-ye Azar (lit. 'Azar's Fire Temple'), which he dedicated to Iranian ruler Karim Khan Zand (r. 1751–1779). Written in Persian, the Persian studies academic J.T.P. de Bruijn considers it "the most important Persian anthology of the eighteenth century". Azar was a leading figure of the bazgasht-e adabi (lit. 'literary return') movement, which sought to return the stylistic standards of early Persian poetry. ## Life Azar was born on 7 February 1722 in Isfahan, the royal capital of Safavid Iran, during a time of chaos and instability. The year he was born, the Safavid state had entered the final stages of collapse and the rebellious Afghans had reached Isfahan. Azar and his family were forced to move from Isfahan to Qom, where they owned property, and he lived there for 14 years. Azar's family descended from the Bigdeli branch of the Turkoman Shamlu tribe. His ancestors and other Shamlu-tribe members moved from Syria to Iran in the 15th century during the last few years of Timur's reign and settled in Isfahan, where they served the rulers of Iran. Many of Azar's relatives were prominent in the late Safavid era and during the subsequent reign of Nader Shah (r. 1736–1747) as diplomats and bureaucrats. Around 1735 or 1736, Azar's father Agha Khan Bigdeli Shamlu was appointed governor of Lar and the coastal areas of Fars Province by Nader Shah and Azar, and his family moved to Shiraz, the provincial capital of Fars. In 1737 or 1738, after the death of his father, Azar made pilgrimages to Mecca and the Shi'ite shrines in Iran and Iraq. His subsequent arrival in Mashhad coincided with Nader Shah's return from his successful Indian campaign. Azar subsequently enlisted in Nader's army and accompanied his troops to Mazandaran, Azerbaijan, and Persian Iraq. After Nader's death in 1747, Azar served his nephews and successors Adel Shah (r. 1747–1748) and Ebrahim Shah (r. 1748), and the Safavid pretenders Ismail III and Suleiman II before retiring to his modest manor in Qom. When Karim Khan Zand (r. 1751–1779) ascended to the throne, Azar decided to devote his time to scholarly pursuits and returned to Isfahan, where he and other poets of the bazgasht-e adabi movement benefitted from the peaceful conditions under Karim Khan's rule and the support of the cities' Zand governor Mirzā ʿAbd ol-Vahhāb (died 1760), who was a patron of the arts. The city was sacked by Ali Mardan Khan Bakhtiari in 1750, and Azar reportedly lost about 7,000 of his early written verses; however, he was still a respected poet during his lifetime. In 1774 or 1775, Azar was forced to leave Isfahan again, due to misrule by Zand governor Hājji Mohammad Ranāni Esfahāni (in office; 1760–1765). He and his friend Hatef Esfahani (died 1783), who was also a native of Isfahan and a member of the bazgasht-e adabi movement, eventually ended up at Kashan, where their mutual friend Sabahi Bidgoli (died 1803) had lived most of his life. The friendship of Azar, Hatef and Sabahi is attested in many of their poems in which they declare their admiration of and devotion to one another. Azar was at Kashan when the 1778 Kashan earthquake struck, in which he lost his brother and his house. Thus he was forced to move once again, most likely to Qom, where he died three years later in 1781. ## Literary career ### Atashkadeh-ye Azar Azar is principally known for his Persian anthology (tazkereh) of some 850 Persian-writing poets, the Atashkadeh-ye Azar ("Azar's Fire Temple"), which he started writing in 1760/1 and which is considered "the most important Persian anthology of the eighteenth century" by the Persian studies academic J.T.P. de Bruijn. Its chapter titles are based metaphorically on "fire". The Persian studies academic Jalal Matini explains that Azar chose such titles to underline his mission to defend Persian poetry as a member of the bazgasht-e adabi movement. The book consists of two sections, both of which Azar called a majmareh (literally, "censer"). The first majmareh is further divided into one sholeh ("flame") on the poetry of kings, princes and amirs; three aḵgars ("embers") on the poets of Iran, Central Asia (Turan) and India (Hindustan); and one forūḡ ("light") consisting of an appendix dealing with female poets. The three aḵgars are divided further by geographical divisions into five, three and three sharārehs ("sparks") respectively, each one beginning with a brief description of the involved region. Azar's main reference for this part of the book was an anthology written by the Safavid-period poet Taqi ol-Din Kashani (died after 1607/8), known as the Kholāṣat ol-ashʿār ("The essence of the poems"). The second majmareh i.e. section consists of two partows ("beams")'. The first partow deals with the contemporaneous poets of Azar's own lifetime (some of whom were his friends), whereas the second partow consists of Azar's biography and a selection of his poetry. All poets in the Atashkadeh-ye Azar are mentioned by their pen names, and the book is arranged in alphabetical order. All verses of each poet, which were incorporated into the book, were ordered according to the rhyme in question. The length of text he wrote about each poet varies; while a few received detailed biographies, for the most part, two or three lines were devoted to each poet, and he is equally sparing in the selections he chose from their oeuvres. Azar dedicated the Atashkadeh-ye Azar, completed shortly before his death, to Iranian ruler Karim Khan Zand. Although the work primarily deals with poets, it also contains information on the history of Iran since the Afghan invasion of 1722, a brief autobiography, and a selection of Azar's poems. The prose of the Atashkadeh-ye Azar, although exhibiting some specific weaknesses frequently seen in 18th-century Persian literature, is mostly straightforward and articulate. The elaborate introduction to the account of contemporaneous poets incorporates several passages of poetic prose, which Matini describes as being well-written. For the passages in which contemporaneous poetic works are written, Azar's principle was apparently to provide first choice to those verses which he had heard himself directly from the poets in question; however, his claims, in his selection from earlier poets, that he had thoroughly studied the divans of those poets, is refuted through careful examination the earlier tazkerehs available to Azar. Azar's Atashkadeh was often copied after it was written. It was lithographed on several occasions in 19th-century British India, starting from 1833/4. An account of the entire work was provided in 1843 by the Anglo-Irish scholar Nathaniel Bland. Bland published the first opening section on royal poets a year later in 1844 in London under the name The Atesh Kedah, or Fire-Temple. An abridgement of the Atashkadeh was written by Azar's brother Esḥāq Beg ʿUdhrī (died 1771/2) under the name Tazkereh-ye Eshaq, which only contains Azar's poems. The 1860/1 lithograph edition from Bombay (now Mumbai) was reprinted in Tehran, Iran's capital, in 1958. Hasan Sadat Nasiri's commentated printed edition of the Ataskadeh (4 vols., Tehran 1957–99) is still underway. ### The bazgasht-e adabi Azar's teacher, Mir Sayyed Ali Moshtaq Esfahani (c. 1689–1757), began a "literary return" movement (bazgasht-e adabi) to the stylistic standards of early Persian poetry. The Atashkadeh, like much other contemporary poetry from Isfahan and Shiraz, was an example of the bazgasht-e adabi, of which Azar was a leading figure. The movement rejected what was considered excessive "Indian style" (sabk-e Hendi) in Persian poetry and sought, according to the Iranologist Ehsan Yarshater, "a return to the simpler and more robust poetry of the old masters as against the effete and artificial verse into which Safavid poetry had degenerated". Due to his links with the basgasht-e adabi, Azar is very praiseworthy of authors who shunned the Indian style and attempted to bring back the locution of the early Persian poets. He is censorious of the Persian Saib Tabrizi (died 1676), one of the majors of "Indian style" Persian poetry, as well as his followers. Azar praises his teacher, Mir Sayyed Ali Moshtaq Esfahani, in the Atashkadeh: > after he [i.e., Moshtāq] had broken the chain of verse that for years had been in the unworthy grip of poets of the past, with great effort and indescribable exertions he repaired it. Having destroyed for contemporary poets the foundation of versifying, he renewed the edifice of poetry built by the eloquent ancients. The poetry that defined Azar was also influenced by his paternal uncle, Wali Mohammad Khan Bigdeli (died 1763). After the disastrous 1778 Kashan earthquake, Azar (as well as Hatef and Sabahi) wrote poetry commemorating the event, in which they not only expressed their personal grief, but also sought to help the audience understand the disaster of the earthquake, as the Persian studies academic Matthew C. Smith explains, "within a meaningful historical and spiritual context, and to show the path forward". These particular poems, which provide insight into the bazgasht-e adabi movement "beyond mere imitation of earlier styles", underline the engagement of the members of the movement within Iran's social sphere at the time, and the relevance of their poetry to the contemporaneous audience. Azar (and Hatef) chose the tarkib-band, which is a stanzaic form often used for elegiac themes. ### Other works The Persian studies academics J.T.P. de Bruijn and Matini explain that, in addition to Azar's divan (collected poems of a particular author) comprising qasidehs (panegyrics), ghazals (short lyric poems of syntactically independent couplets), and qaṭʿehs (lyric poems on a single theme), four extant masnavis (poems in rhyming couplets on any theme) have been attributed to him: Yusof o Zolaykha (fragments appear in the Atashkadeh); Masnavi-e Azar, a short love poem mirroring Suz-u godaz ("Burning and Melting"), a poem by Agha Mohammad Sadeq Tafreshi which was popular in Azar's time; Saqi-nameh ("Book of the Cup-bearer"), and Moghanni-nameh ("Book of the Singer"). Azar may have also written the Ganjinat ol-haqq ("The Treasury of Truth", a work in the style of Saadi Shirazi's Golestan) and the Daftar-e noh aseman ("The Book of the Nine Skies"), an anthology of contemporary poetry.	[ "## Life", "## Literary career", "### Atashkadeh-ye Azar", "### The bazgasht-e adabi", "### Other works" ]	2,687	4,108
892,044	Washington State Route 104	1,167,910,963	Highway in Washington	[ "State highways in Washington (state)", "Transportation in Jefferson County, Washington", "Transportation in King County, Washington", "Transportation in Kitsap County, Washington", "Transportation in Snohomish County, Washington" ]	State Route 104 (SR 104) is a 31.75-mile-long (51.10 km) state highway in the U.S. state of Washington, serving four counties: Jefferson on the Olympic Peninsula, Kitsap on the Kitsap Peninsula, and Snohomish and King in the Puget Sound region. It begins south of Discovery Bay at U.S. Route 101 (US 101) and crosses the Hood Canal Bridge over Hood Canal to the terminus of SR 3 near Port Gamble. SR 104 continues southeast onto the Edmonds–Kingston Ferry to cross the Puget Sound and intersects SR 99 and Interstate 5 (I-5) before ending at SR 522 in Lake Forest Park. SR 104 also has a short spur route that connects the highway to SR 99 at an at-grade signal on the Snohomish–King county line. Established during the 1964 state highway renumbering, SR 104 was formed out of four highways, themselves created in 1937: Secondary State Highway 9E (SSH 9E) from Discovery Bay to Port Gamble, Primary State Highway 21 (PSH 21) from Port Gamble to Kingston, SSH 1W within Edmonds, and SSH 2B from Edmonds to Lake Forest Park. PSH 21 was originally part of State Road 21, added to the state highway system in 1915 to connect the Port Gamble–Shine ferry to the Kingston ferry landing. The Edmonds–Kingston ferry at the end of State Road 21 has been in operation under various companies since 1923 and was served by the 14-car City of Edmonds. SSH 9E extended from Discovery Bay to Port Ludlow initially and was moved south and extended to the South Point ferry landing in the late 1940s. The bridge replaced the South Point–Lofall ferry when it opened in 1961, but the ferry was re-used during the construction of the second Hood Canal Bridge after the first bridge sank in 1979 and before the new bridge opened in 1982. The Edmonds–Kingston ferry was added to the state ferry system in 1951 before it was incorporated into SR 104 in 1994. ## Route description SR 104 begins at an intersection with US 101, located south of Discovery Bay on the Olympic Peninsula. The highway travels south through rural Jefferson County towards Crocker Lake and turns southeast, intersecting SR 19 south of Port Ludlow. SR 104 continues east along the northern shore of Squamish Harbor, part of the Hood Canal, and crosses into Kitsap County on the 7,869-foot-long (2,398 m) Hood Canal Bridge, the third longest floating bridge in the world. The highway serves as the northern terminus of SR 3 east of the bridge and turns northeast towards Port Gamble, located on the Kitsap Peninsula. SR 104 turns south along the western shore of Port Gamble, the bay the community is named after, and turns southeast to intersect SR 307. The highway continues east from the intersection to Kingston, where it splits into a one-way pair before the designation travels onto the Edmonds–Kingston Ferry. The ferry, operated by Washington State Ferries (WSF), takes approximately 30 minutes to cross 5.95 miles (9.58 km) across Puget Sound. It departs from Kingston on Appletree Cove and arrives in Edmonds in Snohomish County. WSF operates thirteen round-trip crossings every day. Westbound passengers must pay a \$7.70 toll or they may alternately pay with a prepaid Wave2Go card. SR 104 resumes in Edmonds on Main Street and crosses a BNSF rail line south of Edmonds Station. The highway turns south at an intersection with SR 524 onto Sunset Avenue towards Woodway. The roadway travels southeast along Edmonds Way towards the Snohomish–King county line, intersecting SR 524 Spur and 5th Street at a grade-separated interchange. Edmonds Way travels through a partial cloverleaf interchange with SR 99 before SR 104 intersects its spur route, which travels west towards an at-grade signal with SR 99. The highway continues east along Ballinger Way to a partial cloverleaf interchange with I-5 southeast of Lake Ballinger. The highway travels southeast into Lake Forest Park, where SR 104 ends at SR 522 on the north shore of Lake Washington. SR 104 is considered, by the Washington State Department of Transportation (WSDOT), an auxiliary route of US 101, part of a numbering system established during the 1964 state highway renumbering. Every year, WSDOT conducts a series of surveys on its highways in the state to measure traffic volume. This is expressed in terms of average annual daily traffic (AADT), which is a measure of traffic volume for any average day of the year. In 2011, WSDOT calculated that between 3,800 and 44,000 vehicles per day used the highway, mostly in the Shoreline area. The Edmonds–Kingston ferry carried 3.808 million passengers and 2.025 million vehicles in 2012, according to WSF statistics. The segments of the highway between Discovery Bay and Kingston and SR 99 and I-5 in Edmonds and Shoreline are designated as part of the National Highway System, while the whole route is designated by WSDOT as a Highway of Statewide Significance because it connects major communities in the state of Washington. ## History SR 104 was established during the 1964 state highway renumbering as the successor to several state highways: SSH 9E between Discovery Bay and Port Gamble, PSH 21 between Port Gamble and Kingston, SSH 1W in Edmonds, and SSH 2B between Edmonds and Lake Forest Park. The highway between Port Gamble and Kingston was established in 1915 as part of State Road 21, which extended south to Bremerton. During the creation of the Primary and secondary state highways in 1937, State Road 21 was re-designated as PSH 21 and extended south to Gorst. SSH 9E was also established, connecting US 101 and PSH 9 in Discovery Bay to Port Ludlow, along with SSH 1W from US 99 and PSH 1 in Lynnwood through Edmonds to US 99 and PSH 1 in Woodway, following the route of an unpaved road built in the 1890s. SSH 2B was created in 1937 to serve as a connector between US 99 and PSH 1 in Shoreline to a branch of PSH 2 in Lake Forest Park. SSH 9E was extended southeast to the South Point ferry over Hood Canal in 1947, as the ferry traveled east to a branch of PSH 21 at Lofall created in 1949. The highway was moved south from Discovery Bay to intersect US 101 near Crocker Lake in 1957 and was extended across the floating Hood Canal Bridge in 1959 to PSH 21 west of Port Gamble prior to the bridge opening on August 12, 1961. The westernmost section of the highway was straightened and redirected to an interchange with US 101 in November 1965. SR 104 was designated over the highways in 1964 and was signed into law in 1970. The highway was widened and relocated onto a limited-access bypass between downtown Edmonds and Aurora Village in 1974, at a cost of \$8 million. That same year, the state government studied a realignment of SR 104 east of I-5 to generally continue along the King–Snohomish county line to a junction with SR 527. The study concluded that an extension would likely be subject to litigation from local residents based on feedback from earlier meetings and would not provide major benefits. The Hood Canal Bridge, officially named after highways director William A. Bugge, sank during the February 13, 1979 windstorm and was replaced by a ferry operating between Lofall and South Point until the west span was re-opened on October 23, 1982. The east span of the bridge was replaced between 1997 and 2010, closing the bridge to traffic in May 2009 and re-opening the South Point–Lofall ferry. The route of the highway has not been revised significantly since the 1994 inclusion of ferry routes. The Edmonds–Kingston ferry, added to SR 104 in 1994, was first served by the 14-car and 76-passenger City of Edmonds in 1923. The ferry ran three crossings on weekdays and six on weekends and a toll of \$1.50 for vehicles and \$0.25 for passengers was later charged. After the establishment of Washington State Ferries in 1951, the 59-car was assigned to the Edmonds–Kingston route. Between 1968 and 2005, the Evergreen State class and were used on the route, while the Steel Electric class and were used on extra summer runs. The Jumbo class and began serving the route in 2005, but sometimes are replaced by other ferries, especially during maintenance. ## Spur route SR 104 Spur begins its short, 0.34-mile-long (550 m) route as 244th Street at SR 104 on the Snohomish–King county line between Edmonds and Shoreline. 244th Street travels west on the 5-lane roadway (including a center turning lane) north of the Aurora Village shopping center to end at an intersection with Aurora Avenue, signed as SR 99. The highway was originally part of SSH 2B from 1937 to 1964 and SR 104 after the 1964 highway renumbering and was created in 2009 after SR 104 was realigned onto a new divided highway. WSDOT estimated that between 18,000 and 19,000 vehicles per day used the spur route, according to AADT data in 2011. ## Major intersections	[ "## Route description", "## History", "## Spur route", "## Major intersections" ]	2,105	13,863
45,204,817	Music of The Last of Us	1,161,976,785	Music of the video game The Last of Us	[ "2013 soundtrack albums", "2014 soundtrack albums", "Albums produced by Gustavo Santaolalla", "The Last of Us", "Video game music discographies", "Video game soundtracks" ]	The music for the 2013 action-adventure survival horror video game The Last of Us, developed by Naughty Dog and published by Sony Computer Entertainment, was composed by musician Gustavo Santaolalla. Supplementary music for the game's downloadable content The Last of Us: Left Behind was composed by Santaolalla, Andrew Buresh, Anthony Caruso and Jonathan Mayer. Both soundtracks were produced by Santaolalla, Mayer, and Aníbal Kerpel, with separate segments recorded in both Los Angeles and Nashville. Santaolalla, known for his minimalist approach to composing, was excited to work on the soundtrack due to the game's focus on the characters and story. He began composing the music early in the game's development, with few instructions from the development team on the tone that they intended. In collaboration with each other, the team and Santaolalla aimed to make the soundtrack emotional, as opposed to scary. Santaolalla used various instruments to compose the score, including some that were unfamiliar to him. The soundtrack album for The Last of Us was released on iTunes in June 2013. Additional compositions, including some composed for Left Behind, were released on a second soundtrack in February 2014. Critical reception to the soundtracks was positive, as reviewers felt that the music connected appropriately with the gameplay. In particular, critics felt that the minimalist approach of the soundtrack's composition matched the gameplay. The game's music was nominated for numerous awards. Several tracks became popular and begot cover versions and live performances. ## Production and composition During the initial development of The Last of Us, creative director Neil Druckmann and game director Bruce Straley compiled musical tracks that they found inspirational. When searching for a composer to work on the game's music, they realised that Gustavo Santaolalla composed many of their compiled tracks. Straley described Santaolalla's music as "organic instrumentation, minimalist, dissonance and resonance with the sounds". The composer agreed to work on the game's soundtrack when contacted by Sony. After hearing the game's pitch, Santaolalla was excited to work on the game; he had previously wanted to compose for video games, but refused to work on those without a focus on story and characters. Santaolalla began work on The Last of Us early in its development. Druckmann did not give him specific directions but offered him the game's stories and themes. Santaolalla appreciated this freedom and felt it assisted his process. He felt the need to "go into some more dark place, more textural and not necessarily melodic", when composing. The composer prefers to compose as he records, as he has little knowledge of reading and writing sheet music. To challenge himself, Santaolalla used a variety of unique instruments that were new to him, giving "an element of danger and innocence". For some tracks, he used a detuned guitar, producing deep noise. To produce unique sounds, Santaolalla recorded in various rooms, including a bathroom and kitchen. The title track was composed on a variety of charango called a ronroco. The team wanted the game's AI to affect the music. They also tried to make the music evoke a reaction from the player, as their familiarization with the sounds would trigger a previous emotion that they felt. Music manager Jonathan Mayer felt that the game's action music was atypical for video game action music, stating that it is "relatively low-key", and that taking it out of context changes the immediate reaction to it. The game's theme, "The Last of Us", was the first piece of music that the team received, and they were very impressed. With the music, the team aimed to "get emotion", as opposed to "horror". Inspired by the sparing use of music in the film No Country for Old Men (2007), the team used music judiciously and tried to find other ways to "make your palms sweaty". The orchestral portions of the score were recorded at Ocean Way Studios in Nashville by the Nashville Scoring Orchestra. Aside from the official soundtracks, licensed tracks also appear in the game. In the main game, during the section titled "Alone and Forsaken", Joel and Ellie listen to the songs "I'll Never Get Out of This World Alive" and "Alone and Forsaken", both by Hank Williams. In the downloadable expansion pack The Last of Us: Left Behind, Ellie and Riley dance to the Etta James cover of the song "I Got You Babe". In addition, "String Quartet No. 3 in E-Flat Minor, Op. 30" by Pyotr Ilyich Tchaikovsky and "String Quartet No. 4 in E-Minor (B.19)" by Antonín Dvořák are also present in Left Behind. ## Albums ### The Last of Us The soundtrack for The Last of Us comprises songs from the game, composed and produced by Gustavo Santaolalla. The soundtrack spans thirty tracks, covering a duration of 56 minutes. Sony Computer Entertainment first published the album digitally via iTunes on June 7, 2013, and physically on June 13, 2013. The soundtrack was also included as pre-order downloadable content in the Sights and Sounds Pack. The orchestral score, performed by the Nashville Scoring Orchestra, was recorded at Ocean Way Studios in Nashville, while the soundtrack's drums and percussion, performed by Santaolalla, M.B. Gordy and Jonathan Mayer, was recorded at EastWest Studios in Hollywood. All recording was done by Mark Senasac and Aníbal Kerpel. The soundtrack was mastered by Tom Baker at Precision Mastering in Los Angeles. In the context of the game, the soundtrack was well received. Andy Kelly of Computer and Video Games felt that the score is "sparse and delicate"; Eurogamer's Oli Welsh echoed these statements, adding that the music complements the game's environments. Jim Sterling of Destructoid also praised the music's ability to complement gameplay. Matt Helgeson of Game Informer praised Santaolalla's work, calling it "understated and haunting". Chris Kerr of Side One felt that the soundtrack was "the perfect companion" to the game, stating that it is "poignant, moving, and overflowing with desolate hope". Similarly, Keri Honea of Game Revolution felt that the album can be "easily enjoy[ed] outside of the game", praising its unusual tracks and sound. GameSpot's Tom Mc Shea named the music as one of the game's standout features, calling it "exceptional" and praising its addition during emotional scenes. Thom Jurek of AllMusic praised the album's variety, stating that Santaolalla manages to "draw in and keep the attention of the listener." ### The Last of Us Volume 2 The Last of Us Volume 2, the soundtrack for the downloadable content The Last of Us: Left Behind, features compositions from the game, composed and produced by Gustavo Santaolalla. It also features works from Andrew Buresh, Anthony Caruso, and Jonathan Mayer, as well as some additional tracks from the main game. The soundtrack spans 25 tracks, covering a duration of 58 minutes. Sony Computer Entertainment first published the album on iTunes and Amazon Music on February 7, 2014, one week prior to the release of Left Behind. The recording and mastering of the soundtrack took place in the same locations as the first album. The orchestral score, performed by the Nashville Scoring Orchestra, was recorded at Ocean Way Studios in Nashville, while the soundtrack's drums and percussion, performed by M.B. Gordy, Santaolalla and Mayer, was recorded at EastWest Studios in Hollywood. All recording and mixing was completed by Aníbal Kerpel, with additional mixing by Mark Senasac, Joel Yarger, Mayer and Caruso. The soundtrack was mastered by Marc Senasac at PlayStation Recording Studios. In the context of the game, the soundtrack was generally well received. Mike Futter of Game Informer felt that the soundtrack improves the game. Adnan Riaz of Nouse echoed similar remarks, stating that the soundtrack accompanies some of the game's "crucial moments", and that it "builds the atmosphere for the exchanges" between the characters. ## Legacy The Last of Us won Excellence in Musical Score at the 2014 SXSW Gaming Awards, and the soundtrack received nominations at the 10th British Academy Video Games Awards and Spike VGX 2013, and from Hardcore Gamer, IGN and GameTrailers. The game's main theme was performed live at the 2012 Spike Video Game Awards in Culver City, California, on December 7, 2012. Music from The Last of Us was also performed live at The Last of Us: One Night Live in Santa Monica, California, on July 28, 2014. The event featured scenes from the game performed live by the actors, accompanied by the game's score, performed by Santaolalla and his band. The popularity of the game has led to numerous cover versions of the music being released by various artists, such as violinist Taylor Davis. Santaolalla adapted his music for the television adaptation of The Last of Us, which premiered in January 2023. In June, he performed music from the game at the Hollywood Bowl as part of The Game Awards 10-Year Concert.	[ "## Production and composition", "## Albums", "### The Last of Us", "### The Last of Us Volume 2", "## Legacy" ]	1,921	34,032
32,605,936	Was willst du dich betrüben, BWV 107	1,106,586,363	Chorale cantate by Johann Sebastian Bach	[ "1724 compositions", "Chorale cantatas", "Church cantatas by Johann Sebastian Bach" ]	Johann Sebastian Bach composed the church cantata Was willst du dich betrüben (Why would you grieve), BWV 107 in Leipzig for the seventh Sunday after Trinity and first performed on 23 July 1724. The chorale cantata is based on the words of Johann Heermann's hymn in seven stanzas "Was willst du dich betrüben" (1630). Bach structured the cantata, the seventh work in his chorale cantata cycle, in seven movements: two framing choral movements, a recitative and an unusual sequence of four bipartite arias. He scored the work for three vocal soloists, a four-part choir, and a Baroque chamber ensemble of a horn to reinforce the hymn tune in the outer movements, two transverse flutes, two oboes d'amore, strings and continuo. It is the only known work from his chorale cantata cycle that kept the original words unchanged. ## History and words Bach composed the chorale cantata in Leipzig for the Seventh Sunday after Trinity. The prescribed readings for the Sunday are from the Epistle to the Romans, "I speak in human terms because of your human limitations ... the wages of sin is death; but the gift of God is eternal life" (), and from the Gospel of Mark, the feeding of the 4000 (). The cantata is based on Johann Heermann's hymn in seven stanzas, "Was willst du dich betrüben" (1630), which is focused on trust in God, even when facing adversaries including the devil. Trust in God is also a theme of the Gospel. Unusually for a chorale cantata of the second cycle, the text is not changed in the middle movements, but kept "per omnes versus" (for all stanzas). The middle movements are, however, composed as a recitative and four arias. The treatment was decidedly old-fashioned in Bach's time. He had used it once much earlier in Christ lag in Todes Banden, BWV 4 (1707), and then again later, as in Gelobet sei der Herr, mein Gott, BWV 129 (1726), though it was not repeated during the second cycle. John Eliot Gardiner assumes that Bach imposed this restriction on himself, as he had done with the restriction to place the cantus firmus in soprano, alto, tenor and bass in the first four cantatas of the cycle. Gardiner comments on the "seventeenth-century design" of composing the unchanged chorale text, compared to settings of Stölzel, Telemann and Graupner: > But only Bach is prepared to make life consistently difficult for himself, as here, for example, by choosing to incorporate verbatim all seven stanzas of a rather obscure chorale by Johann Heermann from 1630. ... Bach rises to the challenge: to overcome the limitations of being confined to a rigidly structured hymn without monotony or repetitiveness. The chorales in Heermann's 1630 publication Devoti musica cordis (Music of a devoted heart), which also included "Herzliebster Jesu, was hast du verbrochen", the first chorale in Bach's St Matthew Passion, have been described as "the first in which the correct and elegant versification of Opitz was applied to religious subjects, ... distinguished by great depth and tenderness of feeling, by an intense love of the Saviour, and earnest but not self-conscious humility". Bach first performed the cantata, the seventh extant cantata of his second annual cycle, on 23 July 1724. ## Music ### Scoring and structure Bach structured the cantata in seven movements, beginning with a chorale fantasia and ending in a closing chorale, as usually in his chorale cantatas, but with an unusual sequence of only one recitative and four arias, setting the poetic hymn stanzas. He scored it for three vocal soloists (soprano (S), tenor (T) and bass) (B), a four-part choir, and a Baroque chamber ensemble of corno da caccia (Co) to support the chorale tune in the outer movements, two flauti traversi (Ft), two oboes d'amore (Oa), two violins (Vl), two violas (Va) and basso continuo (Bc). In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, the keys are given for the Weimar version. The time signature is provided using the symbol for common time (4/4). ### Movements #### 1 The opening chorus, "Was willst du dich betrüben" (Why do you wish to trouble yourself), is a chorale fantasia, with the vocal part embedded in an independent concerto of the instruments. The cantus firmus on the melody of "Von Gott will ich nicht lassen" is in long notes, partly embellished, in the soprano and horn; the lower voices are mostly set in homophony. The lines of the chorale are not rendered separately, but accenting the bar form (Stollen–Stollen–Abgesang) of the text, 1 and 2 are combined, 3 and 4 are combined, 5 is single and 6 to 8 are combined. The scoring is relatively rich in woodwinds. #### 2 The only recitative, "Denn Gott verlässet keinen, der sich auf ihn verläßt" (For God abandons none who entrust themselves to Him), is accompanied by the oboes d'amore, shows an extended melisma on the word "Freuden" (joy) and culminates in an arioso in the final line, with a melisma on retten (rescue). The following four stanzas are composed as arias, not as the typical da capo arias, but mostly in two parts. Bach achieves variation by changing voice type, key and time signature. He also varies the mode, alternating major and minor keys, expresses different affekts, and he successfully "blurs" the bar form of the stanzas. #### 3 The first aria, "Auf ihn magst du es wagen" (In Him you can dare all), depicts a "hunting scene" for bass and strings. Bach plays on the double meaning of the German word erjagen, which in the text has the sense "achieve by great exertion", but he expresses the word's literal meaning ("to hunt") by an "outrageous hunting call trill" of the bass. This aria and those following are not da capo arias, but follow the bar form of the poem as bipartite structures. #### 4 The second aria, "Wenn auch gleich aus der Höllen" (Even if, out of hell), for tenor and continuo begins with strong words on Satan as an enemy: "Wenn auch gleich aus der Höllen / der Satan wollte sich / dir selbst entgegenstellen / und toben wider dich" ("Even if, out of hell, Satan wishes to set himself against you, and vent his rage on you"). Gardiner calls the music "a vivid pen-portrait of Satan and his wiles, delivered with typically Lutheran relish". The rhythm alternates between 6/8 and 3/4 one measure to the next, but the change is irregular and unpredictable. The bass line (marked "organo e continuo") is "extravagantly animated and angular. Albert Schweitzer likens it to the contortions of a huge dragon". #### 5 The third aria, "Er richt's zu seinen Ehren" (He arranges for your honor), for soprano and the two oboes d'amore begins with an embellished version of the chorale tune, and the last line quotes the tune exactly on the words "was Gott will, das geschicht" ("What God wants, that happens"). #### 6 The fourth aria, "Drum ich mich ihm ergebe" (Therefore, I devote myself to Him), is scored for tenor, the flutes in unison and muted violin. The melodic style is significantly different from the chorale melody, being song-like. #### 7 The closing chorale, "Herr, gib, daß ich dein Ehre" (Lord, grant that Your honor), is set in four parts for the voices, but embedded in a rich orchestral Siciliano concerto. The lines of the chorale are grouped as in the first stanza, again highlighting line 5, "O Vater, Sohn und Geist" ("Oh Father, Son and Spirit") as a miniature doxology. ## Recordings The table entries are excerpted from the list of recordings from the selection on the Bach Cantatas Website. Ensemble playing period instruments in historically informed performances are marked by green background.	[ "## History and words", "## Music", "### Scoring and structure", "### Movements", "#### 1", "#### 2", "#### 3", "#### 4", "#### 5", "#### 6", "#### 7", "## Recordings" ]	1,884	32,348
14,924,978	Qwak!	1,160,571,976	1974 video game	[ "1974 video games", "Arcade video games", "Arcade-only video games", "Atari arcade games", "Discrete video arcade games", "Hunting video games", "Light gun games", "Namco arcade games", "Single-player video games", "Video games about birds", "Video games developed in the United States" ]	Qwak! is a single-player duck hunting light gun shooter arcade video game developed by Atari and released in November 1974. In the game, ducks fly one at a time across the screen, and the player shoots at them using a light gun attached to the game cabinet. The player gets three shots per duck; ducks change direction away from missed shots and fall to the bottom of the screen when hit. A screen overlay adds images of reeds and a tree branch, and an image of a duck is added to a row at the top of the screen whenever a duck is hit. Games continue until a time limit, set by the machine operator, is reached. Development of Qwak! began in 1974, finishing in November. It was presented at the November 1974 Music Operators of America (MOA) Music & Amusement Machines Exposition for release that month. The game was not commercially successful; according to Ralph H. Baer, approximately 250 units were sold. A two-player clone game by U.S. Billiards, Duck Shooting, was produced around the same time, and Qwak! has been suspected as a possible inspiration for the 1984 Nintendo Entertainment System light gun game Duck Hunt. ## Gameplay Qwak! is a duck hunting arcade game in which the player uses a rifle-shaped light gun to fire at targets on the screen. One duck at a time flies across the screen, with each duck appearing in a different place on the sides of the screen and flying in different paths. The player is allowed three shots to hit the duck as it flies across the screen. As with other light gun games, a hit is registered if the gun is pointed at the duck or similar light source when the trigger is pulled; no projectile is fired. When a shot is fired, a mark appears on the screen where the player was aiming; if the shot misses the duck, it changes direction away from the bullet. If the player hits a duck, it falls to the ground, and a hunting dog runs over and collects it. Each duck hit adds a small image of a duck to a row at the top of the screen. A screen overlay shows an image of marsh reeds and a tree branch. The gun is attached to the game cabinet by a metal cord, and is holstered in a small circular recess in the cabinet when not in use. Attempting to remove the gun sounds an alarm buzzer. Each game costs a quarter, and runs until the time limit runs out. Machines have adjustable time limits or can be set to run each game indefinitely, starting the score count over when the start button is pressed. ## Development The game was developed by Atari beginning in 1974. The earliest schematics in the service manual are from June 1974, and the last is from November. The schematics bear the logos of both Atari and Kee Games, a subsidiary company established by Atari in 1973 to reach more distributors, and which was merged with Atari in December 1974. The game was announced and shown at the Music Operators of America (MOA) Music & Amusement Machines Exposition on November 1–3, for release that month. It was then advertised in the December 7 issue of Cash Box. Qwak! was released in a standard upright arcade cabinet with a black and white raster television monitor inset, with the rifle holster and start button below as the only controls. The reeds and tree branch overlay is screen printed in color onto a clear panel in front of the monitor, and is backlit by the screen; the screen is lit with a gray background instead of a black one in order to produce this effect. When the gun is triggered, the duck additionally flashes white briefly, so as to be detected by the light gun; the relative brightness of the screen makes this effect less obvious than with other similar light gun games. Qwak! was one of the earliest light gun video games, preceded by Sega's arcade video game Balloon Gun in August 1974 and a game for the Magnavox Odyssey video game console in 1972. In turn, they were preceded by light gun electro-mechanical games in arcades since the Seeberg Ray-O-Lite in 1936. ## Legacy Qwak! did not perform well commercially; according to Ralph H. Baer in his book Videogames: In the Beginning, only approximately 250 units were sold. In the November 16, 1974, issue of Cash Box, U.S. Billiards announced a two-player clone game titled Duck Shooting, featuring a projected seven foot by seven foot screen instead of a monitor, and allowing two players to shoot at multiple ducks simultaneously. In 1982, Atari developed a prototype for a touch-screen duck themed game similarly titled Qwak. With the goal of "help[ing] mama duck and her three ducklings get home safely", the player shifts picture blocks into place to create a safe path for the ducks to get home. The player's score in the 15 levels is determined by how long the ducks are on-screen and by how many get home safely. Critics have noted the similarity between Qwak! and the 1984 Nintendo light gun game for the Nintendo Entertainment System titled Duck Hunt. Nintendo used that similarity in a 1986 court case attempting to invalidate a patent held by Sanders Associates. The patent, filed by Ralph Baer, was for the light gun peripheral used in the Magnavox Odyssey game and was held to be infringed on by Duck Hunt. Nintendo unsuccessfully claimed that Baer had based his patent not only on the Odyssey work but also on Qwak! as seen by him at the 1974 MOA show.	[ "## Gameplay", "## Development", "## Legacy" ]	1,169	29,093
54,044,038	Greece in the Eurovision Song Contest 2018	1,143,717,165	null	[ "2018 in Greek television", "Countries in the Eurovision Song Contest 2018", "Greece in the Eurovision Song Contest" ]	Greece participated in the Eurovision Song Contest 2018 with the song "Oniro mou" written by Aris Kalimeris, Dimitris Stamatiou, Yianna Terzi and Mihalis Papathanasiou and performed by Terzi. A national final was scheduled to be held in order to select the Greek entry for the 2018 contest in Lisbon, Portugal. Five entries were to compete in the final on 22 February 2018 where public voting would exclusively select the winner, however "Oniro mou" performed by Terzi was announced as the Greek entry on 16 February 2018 following the disqualification of four out of the five national final entries. To promote the entry, a music video for the song was released and Terzi performed the song at both the fashion music series MADwalk and the Eurovision Live Lounge series hosted by ESCToday. Greece was drawn to compete in the first semi-final of the Eurovision Song Contest which took place on 8 May 2018. Performing fourteenth in the running order for the night, "Oniro mou" was not announced among the top 10 entries of the first semi-final and therefore did not qualify to compete in the final. It was later revealed that Greece placed fourteenth out of the 19 participating countries in its semi-final with 81 points. ## Background Prior to the 2018 contest, Greece had participated in the Eurovision Song Contest 38 times since their debut in . The nation has won the contest on one occasion in with the song "My Number One" performed by Helena Paparizou. Following the introduction of semi-finals for the 2004 contest, Greece managed to qualify for the final with each of their entries for several years. Between 2004 and 2013, the nation achieved nine top ten placements in the final. To this point, Greece in with Argo's "Utopian Land" failed to qualify from the semi-finals for the first time ever, being absent from the final for the first time since 2000 and marking Greece's worst result at the contest. The Greek national broadcaster, Hellenic Broadcasting Corporation (ERT), broadcasts the event within Greece and organises the selection process for the nation's entry. ERT had been in charge of Greece's participation in the contest since their debut in 1974 until 2013, when the broadcaster was shut down by a government directive and replaced with the interim Dimosia Tileorasi (DT) and later by the New Hellenic Radio, Internet and Television (NERIT) broadcaster. During this time, from 2013 through 2015, the Greek television station MAD TV organised the selection process. On 28 April 2015, a legislative proposal that resulted in the renaming of NERIT to ERT was approved and signed into law by the Hellenic Parliament; ERT began broadcasting once again on 11 June 2015, and shortly after confirmed their intentions to once again participate in the Eurovision Song Contest. The Greek broadcaster has used various methods to select the nation's entry in the past, such as internal selections and televised national finals, to choose the performer, song or both to compete at Eurovision. Despite its desire for a full national final for the previous year's entry, the broadcaster eventually went with an internally selected entrant and a song selected by a national final. For 2018, the broadcaster once again announced a national final to select their entry. ## Before Eurovision ### Cancelled national final plans On 1 October 2017, the ERT announced that they would be selecting their performer and song through a national final. A submission period was opened in early October 2017, where record labels were able to submit their proposed artists and composers until 20 October, a deadline which was later extended by one week to 27 October. Artists were required to be signed to record labels, while songs had to be performed in the Greek language and contain a native sound. If a suitable number of high quality entries were received, the broadcaster then planned to have the ultimate choice determined solely by a public vote. An eight-member artistic committee reviewed the entries and consisted of Anastasios Symeonidis (chairperson), Petros Dourdoubakis (songwriter and radio producer), Dimitris Ktistakis (conductor), Alexis Kostas, Mihalis Messinis (composer), Andreas Pylarinos (conductor), Giannis Spyropoulos (orchestrator) and Tsaras Pantazis (radio producer). Twenty entries were received by the submission deadline and the artistic committee selected five candidate entries to participate in the national final. These participants were announced on 8 November 2017. A week later on 14 November, "Idio tempo" performed by Duo Fina and "Baila jazz" performed by Tony Vlahos were disqualified from the national final as their songs did not contain a native sound. At this point, ERT continued to pursue a national final where the three remaining entries were to compete. The event was scheduled to take place on 22 February 2018 and be hosted by Panagiotis Kountouras and Nikos Pitanios. Each entrant would perform live with the winner selected exclusively by a public vote. As announced, the three record labels would also need to guarantee €90,000 to cover the expenses of the participation if their candidate was chosen. ### Internal selection On 15 February 2018, two of the three remaining selected entries "Min ksehnas ton ilio" performed by Areti Ketime and "Apo tin Thraki eos tin Kriti" performed by Chorostalites were disqualified as the artists' respective record labels did not pay the €20,000 requested by ERT to be used to finance the final itself. Ketime called out the broadcaster following the announcement, noting that her record label was unaware of the money required to participate until the last minute. With only one candidate remaining, ERT confirmed that "Oniro mou" performed by Yianna Terzi, would become the Greek entry for the 2018 contest on 16 February 2018. "Oniro mou" was written by Terzi, Aris Kalimeris, Dimitris Stamatiou and Mihalis Papathanasiou. ### Promotion To promote the entry, a music video of "Oniro mou" was presented on 8 March 2018 during the ERT1 programme Sto dromo gia ti Lisavona (Στο δρόμο για τη Λισαβόνα; "On the road to Lisbon"), hosted by Duo Fina and aired on ERT1, ERT HD, ERT World and through a live webcast. The video, produced by Panik Records in collaboration with ERT, was directed by Sherif Francis and featured a guest appearance by actor Dimitris Vlachos. Following the presentation of the video, Terzi along with the co-writers of the song spoke about their upcoming appearance at the contest. Further promotion of the entry found Terzi performing "Oniro mou" live at the MAD TV annual fashion music series MADwalk on 14 April where she was joined by fellow Eurovision 2018 entrants from Cyprus and Azerbaijan. The following week on 22 April, Terzi was a guest on the ESCToday webcast Eurovision Live Lounge where she was interviewed and sang an exclusive preview of the English version of "Oniro mou", which was titled "Eternity". ## At Eurovision The Eurovision Song Contest 2018 took place at the Altice Arena in Lisbon, Portugal. It consisted of two semi-finals held on 8 and 10 May, respectively, and the final on 12 May 2018. All nations with the exceptions of the host country and the "Big Five", consisting of , , , and the , were required to qualify from one of two semi-finals to compete for the final; the top 10 countries from each semi-final progress to the final. Semi-finalists were allocated into six different pots based on voting patterns from previous contests as determined by the contest's televoting partner Digame, with the aim of reducing the chance of neighbourly voting between countries while also increasing suspense during the voting process. On 29 January 2018, an allocation draw was held at Lisbon City Hall which placed each country into one of the two semi-finals and determined which half of the show they would perform in. Greece was placed into the first semi-final, to be held on 8 May 2018, and was scheduled to perform in the second half of the show. Once all the competing songs for the 2018 contest had been released, the running order for the semi-finals was decided by the shows' producers rather than through another draw, so that similar songs were not placed next to each other. Greece was set to perform fourteenth, following the entry from Austria and preceding the entry from Finland. The two semi-finals and the final were televised in Greece on ERT1, ERT HD and ERT World as well as broadcast via radio on ERA 2 and Voice of Greece with commentary by Alexandros Lizardos and Daphne Skalioni. ### Semi-final Yianna Terzi took part in technical rehearsals on 30 April and 3 May, followed by dress rehearsals on 7 and 8 May. This included the jury show on 7 May where the professional juries of each country watched and voted on the competing entries. The Greek performance was choreographed by Chali Jennings and featured Yianna Terzi dressed in a flowing white gown with wide sleeves and performing on stage with her hand painted blue. In regards to the blue hand, Terzi stated: "The song has a reference 'in the blue'; blue represents the blue sky of Greece, the ocean, what Greece is known for. And because it is a dialogue between Greece and Greeks, and devoted to the country, I wanted to symbolize the Greek blue." The stage lighting transitioned between blue, red and orange colours throughout the performance, which also featured the use of a wind machine. Terzi was joined by four off-stage backing vocalists: Evgenia Balafa, Giannis Lafis, Irini Psyhrami and Victoria Chalkitis. At the end of the show, Greece was not announced among the top 10 entries in the first semi-final and therefore failed to qualify to compete in the final. It was later revealed that Greece placed fourteenth in the semi-final, receiving a total of 81 points: 53 points from the televoting and 28 points from the juries. ### Voting Voting during the three shows involved each country awarding two sets of points from 1–8, 10 and 12: one from their expert jury and the other from televoting. Each nation's jury consisted of five music industry professionals who are citizens of the country they represent. The jury judged each entry based on: vocal capacity; the stage performance; the song's composition and originality; and the overall impression by the act. No member of a national jury was permitted to be connected in any way to any of the competing acts in such a way that they cannot vote impartially and independently. Greece's jury consisted of Nikos Graigos, Yiannis Nikoletopoulos, Ares Anagnostopoulos, Ilenia Williams and Margo Enepekidi. The Greek spokesperson, who announced the top 12-point score awarded by the Greek jury during the final, was Olina Xenopoulou. Below is a breakdown of points awarded to Greece and awarded by Greece in the first semi-final and final of the contest, and the breakdown of the jury voting and televoting conducted during the two shows: #### Points awarded to Greece #### Points awarded by Greece #### Detailed voting results The following members comprised the Greek jury: - Nikos Graigos (jury chairperson) – artist (performer), music producer - Yiannis Nikoletopoulos – artist (percussionist), author of lyrics, composer - Ares Anagnostopoulos – artist manager - Ilenia Williams [el] – music journalist, TV presenter, radio producer - Margo Enepekidi – performer, musician, composer	[ "## Background", "## Before Eurovision", "### Cancelled national final plans", "### Internal selection", "### Promotion", "## At Eurovision", "### Semi-final", "### Voting", "#### Points awarded to Greece", "#### Points awarded by Greece", "#### Detailed voting results" ]	2,533	4,708
24,012,897	Aurelia Henry Reinhardt	1,158,657,786	American educator and social activist	[ "1877 births", "1948 deaths", "20th-century American educators", "20th-century American non-fiction writers", "20th-century American women educators", "20th-century Unitarians", "20th-century translators", "Activists from California", "American Unitarians", "American political activists", "American school administrators", "American social activists", "American translators", "American women's rights activists", "California Republicans", "Educators from California", "Fellows of the American Association of University Women", "People from Escondido, California", "People from San Jacinto, California", "Presidents of Mills College", "Presidents of the American Association of University Women", "Religious leaders from California", "Translators of Dante Alighieri", "University of California, Berkeley alumni", "Women heads of universities and colleges", "Writers from San Francisco", "Yale University alumni" ]	Aurelia Isabel Henry Reinhardt (April 1, 1877 – January 28, 1948) was an American educator, activist, and prominent member and leader of numerous organizations. She completed her undergraduate studies at the University of California, Berkeley, her doctoral dissertation at Yale, and studied as a fellow at Oxford. After teaching at the University of Idaho, the Lewiston State Normal School, and with the Extension Division of the University of California, Reinhardt was elected president of Mills College in 1916, and held the position until 1943, making her the longest serving president in the history of the school. Reinhardt was a peace activist during the First World War, an active member of the Republican Party, and supported the ratification of the Treaty of Versailles as well as the formation of the League of Nations. She wrote and spoke extensively throughout the US and Europe, to a range of social, political and business groups, on topics including the education of women, women's suffrage, world peace, and international cooperation. Reinhardt was president of the American Association of University Women, and a prominent member of the American Unitarian Association, serving for two years as its first female moderator. As the only female member of the Unitarian Commission of Appraisal, she delivered the Ware Lecture in 1932, and was briefly a minister in Oakland, California. She was a director of the Starr King School for the Ministry, and was a delegate at the inaugural meeting of the United Nations in 1945. Aurelia Henry Reinhardt was married to George F. Reinhardt in 1909. They had two sons, who she raised after his unexpected death in 1914. Following her retirement in 1943, she traveled internationally before returning to California, where she died on January 28, 1948, due to heart problems. A lifelong advocate for the marginalized and dispossessed, she was the recipient of honorary degrees from a number of educational institutions, and has been commemorated through the establishment of a society, fellowship, a university building, and a professorship bearing her name. She was named nationally as "one of the ten outstanding women of 1940," and honored as the California State Mother in 1946. ## Early life Aurelia Isabel Henry was born on April 1, 1877, in San Francisco, California. The second of six children, she was the daughter of Mary and William Warner Henry, a wholesale grocer, land owner, and businessman. She spent part of her childhood in San Jacinto and Escondido, California. After graduating from Boys High School in San Francisco in 1888, she studied at the University of California, Berkeley, completing a bachelor's degree with a major in English literature in 1898. While attending the University of California she, along with her sisters, worked with their mother who ran a boardinghouse in Berkeley. Henry then taught elocution and physical culture at the University of Idaho from 1898 to 1901. She completed a Ph.D. in literature at Yale in 1905 with a doctoral dissertation on Epicoene, or the Silent Woman by Ben Jonson. She taught at Lewiston State Normal School in Idaho beginning in 1903, taking one year off to revise her dissertation for publication, and eventually becoming the head of the English Department. She traveled abroad as a recipient of an Association of Collegiate Alumnae Fellowship, studied as a fellow at the University of Oxford, traveled Italy, and published an English language translation of De Monarchia by Dante Alighieri. She then returned to teaching in Idaho for another three years. By 1908 her brother Paul had fallen ill, and she left her teaching position to care for him in Arizona, until his death in 1909. While there, she met and began a relationship with Paul's doctor, George F. Reinhardt, professor of hygiene, founder and director of the student health service at the University of California, Berkeley, and member of the California Board of Medical Examiners. The two were wed in 1909, in a ceremony at the Unitarian Universalist Church of Berkeley. He later died unexpectedly in 1914, following an "operation for a minor affliction" and four days of illness. They had two sons, who Aurelia Henry Reinhardt cared for alone following her husband's death. ## Career In 1914 Reinhardt became a lecturer in English in the Extension Division of the University of California. She was a member of the Town and Gown Club of Berkeley, Prytancan and English Club of the University of California, Phi Beta Kappa, the Dante Society of America, and Concordance Society of America. After two years of teaching she was appointed president of the then-struggling Mills College in Oakland, California, at that time the only women's college on the West Coast and the second oldest women's college in the country. Reinhardt succeeded acting president Hettie Belle Ege, who remained on the Mills faculty until 1930. Arriving with her two young children, Reinhardt is said to have remarked that she was "the first college president who arrived on campus pushing a perambulator". There she served from 1916 to 1943, through a period of substantial growth, making her the longest serving president in the institution's history. During her tenure Mills constructed 17 additional buildings (growing from 11 to 28 total), increased enrollment three-fold in 15 years, and "gained national, even worldwide favor", including admission to the Association of American Colleges and Universities in 1917. Reinhardt was active in local, national, and international organizations, lecturing and writing on topics including international cooperation, suffrage, and women's rights. In 1919 she served the Oakland Chamber of Commerce as chair of the City Planning Committee, and she was regularly invited to speak at a range of organizations, such as the Retail Furniture Association of California, the Western Fruit Jobbers Association, the San Francisco Chamber of Commerce, and the Advertising Club of Los Angeles. Starting in the First World War, Reinhardt worked as an advocate for world peace. She supported Democratic President Woodrow Wilson's proposal to create the League of Nations, despite herself being active in the Republican Party. In 1919 she traveled as a delegate to Tokyo for the meeting of the Institute of Pacific Relations, and in 1920 to Washington, D.C., to deliver a petition of 30,000 signatures from Californians urging the ratification of the Treaty of Versailles to end the war. In total, she was a member of more than a dozen peace organizations over the course of her career. In 1922 Reinhardt traveled again to Oxford and then to France as a representative of the American Association of University Women. She served as vice president, and then in 1923, president of the Association, a position she held until 1927, helping to strengthen that organization significantly. In 1928 she was a Republican elector from California, and opponent of Franklin D. Roosevelt's New Deal. She continued her work with the Association of University Women into the 1930s, as chair of their Committee on International Relations from 1927 to 1933, also held the chair for the General Federation of Women's Clubs in their Department of Education from 1928 to 1930. Then, during the 1936 presidential election, traveled as a delegate to the Republican National Convention. In 1929 she again traveled to Japan in the interest of the Institute of Pacific Relations, this time meeting in Kyoto. Reinhardt was a devoted and active Unitarian throughout her life. In the 1940s she served as the first female moderator of the American Unitarian Association from 1940 to 1942, which according to contemporary news reports was the first time a large church in the nation had been represented by a woman. Reinhardt served briefly as a minister at the First Unitarian Church of Oakland and delivered the Ware Lecture at the May 1932 meeting of the American Unitarian Association. She also served for a decade on the board of directors at the Starr King School for the Ministry. Reinhardt was the only woman member of the Unitarian Commission of Appraisal, commissioned to "study the church and find new directions for its re invigoration". In 1945 Reinhardt was a delegate to the inaugural meeting of the United Nations in San Francisco, and spoke to numerous groups throughout the country, advocating for the value of organizations such as UNESCO. Throughout her life, Reinhardt "invariably took the side of those individuals who had no resources, who lacked adequate support, or who had in some other way been marginalized by society." She has also been described as an "avid nature lover", and advocated variously for environmental preservation efforts, and against unchecked and reckless development. ## Later life and death Following her retirement as president of Mills College in 1943, Reinhardt traveled in Latin America, Europe, and finally Russia before returning to California. She died on January 28, 1948, in Palo Alto, California, from heart problems. Her ashes are interred at the Columbarium in Oakland. Her eldest son, G. Frederick Reinhardt, was a diplomat. His brother Paul Henry Reinhardt, an ophthalmologist in Palo Alto, served with the U.S. Navy in the Pacific Theater of the Second World War and later taught ophthalmology at Stanford University. ## Recognition and commemoration Reinhardt was the recipient of multiple honorary degrees, including from: - The University of California (1919) - The University of Southern California (1924) - Colorado College (1931) - Williams College (1937) - Mount Holyoke College (1937) - Oberlin College (1937) Mills College hosts the namesake Aurelia Henry Reinhardt Society, which recognizes those who financially support the college through a bequest or other charitable gift, as well as the Aurelia Henry Reinhardt Faculty Purse, awarded to seniors to support post-graduate study. The school's campus also includes the Aurelia Henry Reinhardt Alumnae House, designed by architect Clarence W. W. Mayhew and built in 1949. The Aurelia Henry Reinhardt Fellowship was established in 1940 with fundraising from the South Pacific section of the American Association of University Women and is offered annually to distinguished women scholars. In 1981 the Starr King School for the Ministry introduced the Aurelia Henry Reinhardt Professorship, in order to "ensure a feminist perspective on the faculty". The archives at Mills College hosts the Reinhardt Collection, a compilation of texts related to "women, with a strength in women’s suffrage, birth control, and social issues", and the school also includes the student run Aurelia Reinhardt Historical Society, established to "inspire an appreciation of the history of the Mills community". Reinhardt was named "one of the ten outstanding women of 1940" by the publication American Women. She was also selected as the California State Mother in 1946, by the American Mothers Committee of the Golden Rule Foundation. In 2019, the Redwood Regional Park in the San Francisco Bay Area was renamed Dr. Aurelia Reinhardt Redwood Regional Park in honor of her efforts in helping to establish the East Bay Regional Park District. ## Selected publications ## See also - Aurelia Harwood (1865–1928), Reinhardt's first cousin and the first female president of the Sierra Club - List of Mills College honorary degree recipients - List of presidents of Mills College - List of women's firsts - List of women's rights activists - Women's education in the United States - Mary Emma Woolley (1863–1947), president of Mount Holyoke College, who succeeded Reinhardt as president of the American Association of University Women	[ "## Early life", "## Career", "## Later life and death", "## Recognition and commemoration", "## Selected publications", "## See also" ]	2,436	12,819
43,353,588	Tropical Storm Tess	1,171,852,266	Pacific severe tropical storm in 1988	[ "1988 Pacific typhoon season", "1988 disasters in the Philippines", "Tropical cyclones in 1988", "Typhoons in Vietnam", "Typhoons in the Philippines", "Western Pacific severe tropical storms" ]	Severe Tropical Storm Tess known in the Philippines as Tropical Storm Welpring was the second of three tropical cyclones to directly impact the Philippines in a two-week time frame in 1988. An area of disturbed weather near the Philippines was first observed on November 1. Following an increase in organization, the disturbance was designated as a tropical cyclone on November 4. Moving west, Tess steadily strengthened due to favorable conditions aloft. During the evening of November 5, Tess was estimated to have achieved its highest intensity, with winds of 115 km/h (70 mph). Rapid weakening then ensured as Tess neared Vietnam, and after making landfall in the country on November 6, Tess dissipated the next day. Tropical Storm Tess and its precursor disturbance brought extensive flooding to much of the central Philippines. In Cebu, eight people were killed, and many homes and bridges were destroyed. The province of Palawan, a geographically isolated island from the rest of the country, suffered severe damage due to mudslides and flooding. There, 75 people were confirmed to have died, and 600 others were later presumed to have perished. In the suburbs of the capital city of Manila, 3,000 people were forced to flee their homes due to rising floodwaters. In all, there were a total of 686 deaths in the country. Nationwide, 144,136 people were evacuated to shelter, and 86 homes were destroyed, with 430 others receiving damage. Damage in the country totaled \$11.38 million (1988 USD). In addition to the impact on the Philippines, Tess killed 37 people and inflicted \$11 million in damage in Vietnam. ## Meteorological history In what would later become the second of two tropical cyclones to form within the basin during November 1988, an area of disturbed weather was first noted by the Joint Typhoon Warning Center (JTWC) early on November 1. Six hours later, the Japan Meteorological Agency (JMA) started following the system. The same day, the Philippine Atmospheric, Geophysical and Astronomical Services Administration also started to track the storm and assigned it with the local name Welpring. Over the next three days, the disturbance tracked southwest while embedded within the northeasterly flow of the winter monsoon. After passing through the Visayas island group and emerging into the open water of the Sulu Sea, the system began to increase in organization. At 17:30 UTC on November 3, the JTWC issued a Tropical Cyclone Formation Alert. At 00:00 UTC the next day, the JTWC classified the system as a tropical depression, citing satellite intensity estimates of 55 km/h (35 mph), while the JMA upgraded it to tropical storm intensity. At this time, the tropical cyclone was centered 620 km (385 mi) south of Manila. Almost immediately after the upgrades, the storm's track shifted from southwestward to westward in response to a trough weakening to the north; this also weakened the pressure gradient between the trough and a nearby ridge starting on November 4. In turn, wind shear decreased and allowed the storm to intensify. Following an increase in satellite intensity estimates, the JTWC upgraded the depression into a tropical storm, and named it Tess, at 06:00 UTC. As the storm tracked over the South China Sea, strengthening continued. On November 5, the JMA upgraded Tess into a severe tropical storm. At midday, the JTWC estimated that Tess attained typhoon intensity, which was also its maximum intensity of 120 km/h (75 mph). At 18:00 UTC on November 5, the JMA reported that Tess attained winds of 115 km/h (70 mph) and a barometric pressure of 975 mbar (30 inHg), its peak intensities in terms of both winds and pressure. Data from the JTWC suggests the storm weakened rapidly as it approached Vietnam. At 00:00 UTC on November 6, the JTWC stopped tracking the system; however, intensity estimates from the JMA had only decreased slightly during this time, and continued to classify Tess as a severe tropical storm. Tess then moved across the Mekong River delta, moving ashore midday about 240 km (150 mi) east-northeast of Ho Chi Minh City. By early November 7, the JMA stopped tracking the system. ## Impact and aftermath By moving across the central Philippines in its formative phases, Tess became the second tropical cyclone to impact the island group within two weeks; the first was Typhoon Ruby. At least nine people were killed in the provinces of Cebu and Bukidnon, where the storm also rendered 600 people homeless. Eight of those deaths occurred in Cebu. There, the storm brought flash flooding that destroyed numerous bridges and homes. Palawan Island, a rugged, sparsely populated island chain isolated from the rest of the country, sustained widespread destruction from Tess, primarily due to flooding and landslides. On the island, the town of Rizal sustained the worst damage from the storm. There, 23 fatalities occurred. The island's north-south coastal road was covered in 7.5 ft (2.3 m) of water. By November 10, 75 people were confirmed to have been killed throughout Palawan, with 600 others subsequently listed as missing by the Philippine Red Cross. The missing were presumed dead by December 14. In part because the water level was already 5.5 ft (1.7 m) above normal due to Ruby, Laguna Lake, situated on the southeastern side of the capital city of Manila, overflowed its banks. This forced 3,000 people, mainly in the suburbs of Pasig, Taguig and Pateros, to evacuate their homes. Outside Palawan Island, Tess only resulted in 11 fatalities only in the island chain, all due to flooding. Nationwide, the storm was blamed for 686 deaths. Additionally, 144,136 people or 28,824 families were evacuated to shelters as a result of the flooding. A total of 86 homes were destroyed and 430 others were damaged. Furthermore, damage to private property totaled \$7.58 million (1988 USD). In addition, the storm caused \$3.8 million in damage to agriculture. Overall, the nation suffered \$11.38 million damage due to the cyclone. Even though the storm had weakened drastically by this time, Tess killed 37 people in Vietnam, destroyed thousands of homes, and inflicted \$11 million in damage. Following Tess, Philippine President Corazon Aquino visited the provinces of Pangasinan and Pampanga, both situated to the north of Manila to tour damaged areas, distribute relief, aid and inaugurate an infrastructure project. A mere few days after Tess, Typhoon Skip became the third cyclone to hit the archipelago in two weeks. ## See also - Other tropical cyclones named Tess - Tropical Storm Usagi (2018)	[ "## Meteorological history", "## Impact and aftermath", "## See also" ]	1,439	29,011
39,765,729	Sybil (wife of Pain fitzJohn)	1,169,119,619	12th-century Anglo-Norman noblewoman	[ "12th-century English landowners", "12th-century English women", "12th-century women landowners", "Anglo-Norman women", "Anglo-Normans", "De Lacy family" ]	Sybil was an Anglo-Norman noblewoman in 12th-century England. Her parentage is unclear, but her first marriage to Pain fitzJohn is well attested. Through her marriage, Sybil transferred lands in several shires to her husband, including lands around Ludlow Castle and the castle itself. After Pain's death in 1137, Sybil attempted to retain control of Ludlow and her lands but in 1139 King Stephen of England married her to Josce de Dinan, who died in 1166. Sybil had two daughters with Pain, and is probably the mother of Josce's two daughters also. Sybil's marriage to Josce, and his control of Ludlow in right of his wife forms the background to a medieval Welsh romance, Fouke le Fitz Waryn. ## Parentage Historians disagree about Sybil's parentage. One theory, given in the entry for her first husband in the Oxford Dictionary of National Biography states that Sybil was the niece of Hugh de Lacy. Another theory, coming from the Complete Peerage, states that Sybil was the daughter of Geoffrey Talbot and Talbot's wife Agnes, who was probably the daughter of Walter de Lacy, Hugh's father. Yet another theory, put forth by historian Katharine Keats-Rohan, states Sybil was the daughter of Hugh de Lacy. ## Marriage Sybil married, first, Pain fitzJohn, a marriage that took place around 1115. Through Sybil, Pain acquired a number of holdings around Ludlow Castle, as well as control of the castle itself. Ludlow was an important strategic stronghold which controlled part of the Welsh Borders. Sybil also brought her husband lands in Gloucestershire, Herefordshire, and Worcestershire. Both King Henry I and King Stephen recognized Pain's right to his wife's lands. Sybil had inherited lands that originally had been held by her kinsman Roger de Lacy, who had been banished from England in 1095 and his English estates confiscated; he had though retained his properties in Normandy. Roger's English possessions were given to his brother Hugh de Lacy, from whom Sybil had inherited them. On Roger's death his son Gilbert inherited the lands in Normandy, and pressed his claim to the family's former English estates. Coplestone-Crow notes that there was uncertainty hanging over the inheritance, and accounted for one reason why Sybil's husband worked to secure more lands around Ludlow. Sybil was not the only recipient of Hugh de Lacy's largesse; some went to Josce de Dinan and some to Miles of Gloucester. ## Widowhood Pain died on 10 July 1137 and was buried in Gloucester Abbey. Sybil retained control of Ludlow Castle until the middle of 1139, when she was forced to surrender it to King Stephen after a siege. Stephen then married Sybil to Josce de Dinan, probably because he felt that Josce trustworthy enough to control the castle. Dinan thus acquired control of Ludlow Castle in right of his wife, setting up the background to Gilbert de Lacy's attempts to seize Ludlow from Dinan on which the medieval Welsh romance work Fouke le Fitz Waryn is based. Josce, however, rebelled against Stephen and fortified Ludlow against the king. Josce died in 1166. ## Children Sybil had two daughters, Cecily and Agnes, with Pain. The two girls married five times in their lives; Cecily's three marriages failed to produce any direct heirs. Cecily was first married to Roger, the son of Miles of Gloucester. This alliance had been arranged by Cecily's father and the marriage contract specified that Roger would inherit all of Pain's lands, but at Pain's death the marriage had still not been formally contracted. In December 1137, King Stephen confirmed the terms of the settlement. Stephen also settled the bulk of Pain's lands on Cecily, which led to disturbances and a minor war among disappointed claimants. Agnes first married Warin de Munchensy and then Haldenald de Bidun. She died sometime after 1185, when she was noted as a widow. Presumably Sybil is the mother of Josce's two daughters – Sibil, who married Hugh de Pulgenet and died in 1212, and Hawise who married Fulk FitzWarin, who died in 1197. In 1199, Sibil and Hawise petitioned the king regarding the ownership of the town and castle of Ludlow but were turned down.	[ "## Parentage", "## Marriage", "## Widowhood", "## Children" ]	949	12,266
19,800,112	Barnstokkr	1,037,021,768	Mythological tree	[ "Trees in Germanic mythology" ]	In Norse mythology, Barnstokkr (Old Norse, literally "child-trunk") is a tree that stands in the center of King Völsung's hall. Barnstokkr is attested in chapters 2 and 3 of the Völsunga saga, written in the 13th century from earlier tradition, partially based on events from the 5th century and the 6th century, where, during a banquet, a one-eyed, very tall man appears and thrusts a sword into the tree which only Sigmund is able to pull free. Scholarly theories have been put forth about the implications of Barnstokkr and its relation to other trees in Germanic paganism. ## Völsunga saga Barnstokkr is introduced in chapter 2 of Völsunga saga where King Völsung is described as having "had an excellent palace built in this fashion: a huge tree stood with its trunk in the hall and its branches, with fair blossoms, stretched out through the roof. They called the tree Barnstokk[r]". In chapter 3, King Völsung is holding a marriage feast for his daughter Signy and King Siggeir at King Völsung's hall. At the hall, large fires are kindled in long hearths running the length of the hall, while in the middle of the hall stands the great tree Barnstokkr. That evening, while those attending the feast are sitting by the flaming hearths, they are visited by a one-eyed, very tall man whom they do not recognize. The stranger is wearing a hooded, mottled cape, linen breeches tied around his legs, and is barefooted. Sword in hand, the man walks towards Barnstokkr and his hood hangs low over his head, gray with age. The man brandishes the sword and thrusts it into the trunk of the tree, and the blade sinks to its hilt. Words of welcome fail the crowd. The tall stranger says that he who draws the sword from the trunk shall receive it as a gift, and he who is able to pull free the sword shall never carry a better sword than it. The old man leaves the hall, and nobody knows who he was, or where he went. Everyone stands, trying their hand at pulling free the sword from the trunk of Barnstokkr. The noblest attempt to pull free the sword first followed by those ranked after them. Sigmund, son of King Völsung, takes his turn, and—as if the sword had lain loose for him—he draws it from the trunk. The saga then continues. ## Theories Hilda Ellis Davidson draws links to the sword placed in Barnstokkr to marriage oaths performed with a sword in pre-Christian Germanic societies, noting a potential connection between the carrying of the sword by a young man before the bride at a wedding as a phallic symbol, indicating an association with fertility. Davidson cites records of wedding ceremonies and games in rural districts in Sweden involving trees or "stocks" as late as the 17th century, and cites a custom in Norway "surviving into recent times" for "the bridegroom to plunge his sword into the roof beam, to test the 'luck' of the marriage by the depth of the scar he made". Davidson points out a potential connection between the descriptor apaldr (Old Norse "apple tree") and the birth of King Völsung, which is described earlier in the Völsunga saga as having occurred after Völsung's father Rerir sits atop a burial mound and prays for a son, after which the goddess Frigg has an apple sent to Rerir. Rerir shares the apple with his wife, resulting in his wife's long pregnancy. Davidson states that this mound is presumably the family burial mound, and proposes a link between the tree, fruit, mound, and the birth of a child. Davidson opines that Siggeir's anger at his inability to gain the sword that Odin has plunged into Barnstokkr at first sight appears excessive, and states that there may be an underlying reason for Siggeir's passionate desire for the sword. Davidson notes that the gift of the sword was made at a wedding feast, and states that Barnstokkr likely represents the 'guardian tree', "such as those that used to stand beside many a house in Sweden and Denmark, and which was associated with the 'luck' of the family", and that the 'guardian tree' also had a connection with the birth of children. Davidson cites Jan de Vries in that the name barnstokkr "used in this story was the name given to the trunk of such a tree because it used to be invoked and even clasped by the women of the family at the time of childbirth." Providing examples of historical structures built around trees, or with 'guardian trees' around or in the structure in Germanic areas, Davidson states that the "'luck' of a family must largely depend on the successful bearing and rearing of sons, and there is a general belief that when a guardian tree is destroyed, the family will die out." In connection with this, Davidson theorizes that at the bridal feast, it should have been Siggeir, the bridegroom, who drew the sword from the tree, "and that its possession would symbolize the 'luck' which would come to him with his bride, and the successful continuation of his own line in the sons to be born of the marriage". The sword having been refused to him, Davidson theorizes that this may well have been intended as a deadly insult, and that this lends a tragic air to the scene in the hall. Jesse Byock (1990) states that the name Barnstokkr may not conceivably be the original name of the tree, and instead that it is possible that it may have originally been bran(d)stokkr', the first part of the compound potentially having been brandr, (meaning brand or firebrand), a word sometimes synonymous with "hearth", and pointing to a potential connection to the fire burning within the hall. Byock notes that the tree is called an eik (Old Norse "oak"), which has an unclear meaning as the Icelanders often employed the word as a general word for "tree", and the tree is also referred to as apaldr, which is also a general term for trees. Byock theorizes that the latter reference to an apple tree may imply a further symbolic meaning pointing to the apple tree of the goddess Iðunn, and that the Barnstokkr may be further identified with the world tree Yggdrasil. Andy Orchard (1997) states that the role and placement of Barnstokkr as a "mighty tree, supporting and sprouting through the roof of Völsung's hall" has clear parallels in Norse mythology with the world tree Yggdrasil, particularly in relation to Yggdrasil's position to the hall of Valhalla. Orchard further points out parallels between Sigmund's ability to solely remove the sword from the trunk and King Arthur's drawing of the sword Excalibur. ## Modern influence In Richard Wagner's Der Ring des Nibelungen opera cycle, the tree appears as Barnstock, when the hero Siegmund, with a great tug, pulls from it a sword that he names Nothung. The tree however is in the house of Hunding, who takes the place of Siggeir as husband of Sieglinde and enemy of Siegmund. Barnstokkr has been theorized as English author and philologist J. R. R. Tolkien's immediate source for a scene in his 1954 work The Lord of the Rings depicting the fictional character of Frodo Baggins and his acceptance of the weapon Sting after it has been thrust "deep into a wooden beam". Some of the structures described in Tolkien's Lord of the Rings have been described as "recalling" the position and placement of Barnstokkr in Völsunga saga, which Tolkien was well familiar with. ## See also - Glasir, the golden tree that stands before Valhalla. - Læraðr, a tree that sits atop Valhalla, grazed upon by a goat and a hart. - Sacred tree at Uppsala, an ever green tree before the Temple of Uppsala. - Rama breaking Shiva's bow Pinaka at his wedding with Sita	[ "## Völsunga saga", "## Theories", "## Modern influence", "## See also" ]	1,754	5,604
15,248,193	Ned Manning	1,121,035,843	Australian actor and playwright (born 1950)	[ "1950 births", "Australian dramatists and playwrights", "Australian male stage actors", "Australian male television actors", "Living people" ]	Ned Manning is an Australian playwright, actor and teacher. His film credits include the lead role in Dead End Drive-In (1986), and television credits include The Shiralee and Prisoner, and Brides of Christ. His plays include Us or Them, Milo, Kenny's Coming Home and Close to the Bone. In 2007 Manning played the lead in his own play, Last One Standing, at the Old Fitzroy theatre in Sydney. At one time the husband of Indigenous Australian artist Bronwyn Bancroft, Manning has since remarried, to theatre director Marion Potts. His children include 2010 New South Wales Young Australian of the Year, Jack Manning Bancroft. ## Early life Ned Manning was born in 1950 and grew up on a property in Coonabarabran, New South Wales. ## Playwright and author Manning's first play, Us or Them, was initially produced at the Childers Street Hall in Canberra on 1 November 1977. It was then re-written and performed in 1984 at the Stables Theatre for the Griffin Theatre Company, where it marked a turning point in Griffin's history as the play's success led to the cast and creatives being paid full professional rates. The play then transferred to the Philip St Theatre and on to the Q Theatre in Penrith. Milo premiered at the Sydney Theatre Company's Wharf 2 Theatre in October 1984 before productions at the Q Theatre, Theatre Up North in Townsville, Theatre South in Wollongong and regional performances. Milo has been recorded for Radio National, had numerous other productions, and also been published by Currency Press. However a 2001 production in Sydney was panned by the reviewer, who described it as "formulaic and obvious, complete with clunky and unconvincing pat ending", and thought the play should be "put out to pasture". The same year, The Australian's reviewer was more positive, considering the performance to be "passionate and funny. Seven years after it first appeared, it remains one of the best plays written about the bush-city divide". Manning's next play, Kenny's Coming Home (1991), was performed at the Q Theatre, Penrith and was subsequently recorded for radio on ABC Radio National. The play is centred on a Rugby league footballer, Kenny, who gets caught up in a preselection battle between two of his family members. Kenny's Coming Home included songs by Shane McNamara. Close to the Bone was written in collaboration with the Indigenous students at the Eora Centre, and first produced there in September 1991. Luck of the Draw was produced by the Darwin Theatre Company in May 1999 and was the first play written by a non-Indigenous writer to be produced by Kooemba Jdarra theatre company in Brisbane. Last One Standing was performed at Sydney theatre the Old Fitzroy in 2007. Manning played lead character Joe in the Old Fitzroy production; The Sydney Morning Herald's reviewer Bryce Hallett described his performance as "terrific", providing the play "with an emotional anchor", but considered the play itself to be predictable, lacking in depth and with "nothing revelatory on offer"; The Sun-Herald reviewer was of a similar view. Manning has created many works for young audiences. He has prepared scripts for ten works for The Bell Shakespeare Company's Actors at Work program, a travelling community and schools theatrical education initiative. Other plays for young people have included Alice Dreaming, which is one of the Australian Script Centre's anthology of large cast plays. In 2012 he contributed to a Federation Press anthology of monologues for drama students, No Nudity, Weapons or Naked Flames. His play Romeo and Juliet Intensive was nominated for a 2011 AWGIE Award. In 2012, NewSouth Books published Manning's memoir of a life of school teaching, Playground Duty. Reviewed by the New South Wales Writers' Centre's Amanda Calwell, it was described as showing "the value that one person with drive, ambition and compassion can offer by applying themselves to teaching". ## Television, film and directing Manning's film credits include the lead role in the 1986 Ozploitation film Dead End Drive-In. Based on a Peter Carey short story called "Crabs", Dead End Drive-In is a post-apocalyptic tale about a young man stranded in a small town's drive-in theater when the wheels are stolen off his car. He finds himself amongst a community of misfits trapped at the site, and seeks to break out. The film, directed by Brian Trenchard-Smith, received mixed reviews: Tim Kroenert writing for Eureka Street described it as "Mad Max-lite" and said that the film "is an example of how literality of translation can result in the sacrifice of the story’s essence. The film is fun on its own terms, but much of the nuance and irony that lend 'Crabs' its magic are simply lost". Philippa Hawker writing for The Age said the film was "an energetic, inventively designed, cheerfully satirical and entertaining film", and it is one of American film director Quentin Tarantino's favourites. The film received only a short box-office season; Manning was critical of the distributor Greater Union and worked with the film's other actors to secure separate release in independent cinemas. Manning's other film credits include an appearance in the teen film Looking for Alibrandi. He has also made a short film, Love Bites. Manning's television credits include Bodyline, The Shiralee and Brides of Christ. In 1989 Manning directed the Belvoir St Theatre production of a play, Black Cockatoos, about the relationship between a white woman and an Aboriginal man. The script (not by Manning) was criticised by reviewer Angela Bennie, who nevertheless described Manning's direction as delicate and perceptive in places, if also naive and self-conscious. ## Personal life and family Manning married Bronwyn Bancroft, an Indigenous Australian artist, with whom he had two children, including New South Wales Young Australian of the Year for 2010, Jack Manning Bancroft. Manning remarried to theatre director Marion Potts, with whom he had two children. In 2010, they relocated from Sydney to Melbourne when she was appointed director of the Malthouse Theatre.	[ "## Early life", "## Playwright and author", "## Television, film and directing", "## Personal life and family" ]	1,306	31,028
642,322	Becontree tube station	1,149,875,899	London Underground station	[ "District line stations", "Former London, Midland and Scottish Railway stations", "Railway stations in Great Britain opened in 1926", "Railway stations in Great Britain opened in 1932", "Tube stations in the London Borough of Barking and Dagenham", "William Henry Hamlyn buildings" ]	Becontree is a London Underground station located to the south of Becontree in the London Borough of Barking and Dagenham, east London. It is on the District line between to the west and Dagenham Heathway to the east. It is 9.1 kilometres (5.7 mi) along the line from the eastern terminus at Upminster and 25.1 kilometres (15.6 mi) to in central London where the line divides into numerous branches. It is in Travelcard Zone 5. The station was originally opened as Gale Street Halt in 1926 by the London, Midland and Scottish Railway on the existing route from Fenchurch Street in London toward Southend. The station was renamed and completely rebuilt in 1932 with an additional pair of platforms to serve the electric District Railway (now the District line) local service. Main-line services ceased to call at the station in the 1960s, leaving only two platforms in operation. ## History In 1858 a line through East Ham was constructed to provide a faster connection between Barking and the city of London, which connects to the London and Blackwall Railway route to Fenchurch Street. Between 1885 and 1888, the London, Tilbury and Southend Railway (LT&SR) constructed a line between Barking and Pitsea via Upminster to provide a more direct route between the two cities. The station was not built at the time. The London, Midland and Scottish Railway (LMSR) took ownership of the London, Tilbury and Southend line in 1923 and the station opened as Gale Street Halt on 28 June 1926 to serve the new Becontree Estate and subsequent residential areas. Initially, there were no roads leading to the station. In 1929, the company proposed quadrupling their line between Barking and Upminster and electrifying one pair of tracks for the District line. The station was rebuilt and new platforms were constructed for the new pair of tracks. Gale Street Halt was renamed as Becontree and the new station building to the designs of the architect William Henry Hamlyn opened on 18 July 1932, with electrified District line services starting operation 2 months after on 12 September. In addition to the start of electrified services, two new adjacent stations on the District line named Upney and Heathway (now Dagenham Heathway) opened. By 1935, there were approximately 18,000 homes in this area, and together with developers, Dagenham Council added more than 5000 homes until 1965. By 1940, the population grew to 116,000. This particular section of the line between Barking and Upminster was popular among commuters getting to West and East Ham which reduced the need for bus services. Other reasons were a shortened travel time to Charing Cross of up to 35 minutes and the good availability of trains servicing this part of the line. The slow tracks on the former LT&SR line to Upminster were shared with steam locomotive hauled goods and passenger services, until 1961 when the District line took over exclusive use of the DC electrified lines. LT&SR services ceased to stop at the station on 15 June 1962. ### Becontree Estate Railway The railway here was crossed by Becontree Estate Railway, a temporary railway constructed as part of the building of the Becontree housing estate which operated between 1921 and 1934. Becontree estate was constructed in the 1920s by C. J. Wills and Sons Ltd., with the remainder completed in 1938. The estate was once to be served by high speed tramways, with services starting from Ilford, branching out into the estate and then rejoining the current line to Barking. This was not supported by Ilford and Barking councils, and was abandoned due to problems with Ilford authorities and the need to electrify the Barking to Upminster line. There was also a deferred plan for a Kearney Monorail tube connecting Becontree to the city. ## Design The station has four platforms, of which two are used by the District line and another two are disused since the LT&SR service was withdrawn in 1962. One of the platforms is fenced off from the westbound District line platform. The single-storey brick station buildings are of typical 1930s design which are also constructed at Dagenham East, Hornchurch and Upminster at the time. Station refurbishment works were completed by Metronet in 2006, where heritage features were restored, CCTV equipment replaced and PA system enhanced. New wall tiles and ceilings were clad, and new tactile strips, customer Help Points and better lighting were installed. Whilst these works were done between 2005 and 2006, the station was closed on several weekends whereby replacement buses operated to Dagenham Heathway station. ## Location The station is located on the west side of Gale Street. It serves the residential area of Becontree, which is to the north of the station. There is a commercial area to the south of the station, while Parsloes Park is to the north. Nearby landmarks include a driving school, the Jo Richardson Community School, Roding Primary School and The James Campbell Primary School. London Bus routes 62 and 145 serve the station. ## Services Becontree is on the Upminster part of the line between Upney and Dagenham Heathway. The typical off-peak service in trains per hour (tph) is: - 12 tph eastbound to Upminster - 6 tph westbound to Ealing Broadway - 6 tph westbound to Richmond ## In popular culture The station is said to be haunted by a faceless woman with long blonde hair that several staff members have sighted. A possible connection to this could be that in 1958 there was a collision between two trains near Becontree Station that led to the deaths of 10 people.	[ "## History", "### Becontree Estate Railway", "## Design", "## Location", "## Services", "## In popular culture" ]	1,244	2,084
38,013,620	Christmas Time Is in the Air Again	1,133,768,143	null	[ "2010 singles", "2010 songs", "2012 singles", "American Christmas songs", "Mariah Carey songs", "Songs written by Marc Shaiman", "Songs written by Mariah Carey" ]	"Christmas Time Is in the Air Again" is a song by American singer-songwriter Mariah Carey from her second Christmas album and thirteenth studio album, Merry Christmas II You (2010). It was written and produced by Carey in collaboration with Broadway composer Marc Shaiman. Lyrically, it is about finding love during the Christmas season. The track garnered positive reviews from critics, with one describing it as an outstanding performance and the only song on the album that could compare to one of Carey's previous Christmas singles, "All I Want for Christmas Is You". It was released as a promotional single in December 2012. An accompanying lyric video was released, and Carey has performed "Christmas Time Is in the Air Again" live on NBC's Christmas in Rockefeller Centre event and during her December 2014 Beacon Theatre residency called All I Want For Christmas Is You, A Night of Joy & Festivity. ## Background and composition "Christmas Time is in the Air Again" is an original composition written and produced by Carey with Broadway composer Marc Shaiman for Carey's second Christmas album/thirteenth studio album Merry Christmas II You (2010). It was recorded by Brian Garten at multiple recording studios, including Henson Studios, 20th Century Fox Scoring Stage, Guardian Angel Studios, Germano Studios, Capitol Recording Studios, while it was mixed by Phil Tan and assistant Damien Lewis at The Ninja Beat Club. An extensive list of additional and assistant engineers were enlisted in the production of the track: Brett "Snacky" Pierce, Scott Risett, Kenta Yonesaka, Alex Guapera, Charlie Paakkari, Tim Lauber, Tom Steel, Greg Dennon, Denis St. Amand. Aside from being credited as a songwriter and producer, the song was orchestrated and arranged by Shaiman, who also performed the piano. The ballad begins with Carey singing "Oh, Christmas time is in the air again" in her "whisper register", backed by a string section performed by Mike Valerio on the upright bass and George Doering playing the guitar. Other instrumentalists who performed on the bell and chime embellished track were Victor Indrizzo on the drums and Luis Conte on percussion. The orchestra was recorded and pre-mixed by John Richards and the concertmaster was Ralph Morrison; Shari Sutcliffe was enlisted as the orchestra contractor. Lyrically, the track is about falling in love during the Christmas season. Set in the key of D♭ major, then it key changes to D major, the song has a "slow" feel and a tempo of 50 beats per minute; Carey's voice spans just short of two octaves from F♯<sub>3</sub> to E<sub>5</sub>. On November 26, 2012, Carey announced via her Twitter account that "Christmas Time Is in the Air Again" would be released as a promotional single. ## Critical reception The Village Voice writer Rich Juzwiak felt that "Christmas Time Is in the Air Again" was the only song on Merry Christmas II You that matched "the magic" of her 1994 single "All I Want for Christmas Is You", describing it as "exquisite". He continued to write that it is "a sweeping big-band ballad that you'd swear was a cover from some Judy Garland movie you didn't pay that much attention to once. Not even Santa himself has the power to conjure the spontaneous nostalgia found here." BBC critic Mike Diver was complimentary of the track, writing that, although the effect is "less instant" compared to the first single, "Oh Santa!", it fits in well with the rest of the album and is "perfectly formed". Caryn Ganz of Rolling Stone simply described the orchestration of the original compositions "One Child" and "Christmas Time Is in the Air Again" as overwhelmingly Christmasy". In her 2012 single review of the song, Entertainment Focus writer Pip Ellwood awarded "Christmas Time Is in the Air Again" four out of a possible five stars. She praised the composition for its "classy, soulful and sumptuous" feel and labelled it as "yet another festive classic from the Queen of Christmas". Ellwood concluded her review by writing that the release of the song two years after that of Merry Christmas II You should "get it some more well-deserved attention". ## Promotion It was confirmed on November 15, 2012, that Carey would be performing at the NBC event Christmas in Rockefeller Centre later that month. The singer performed "All I Want for Christmas Is You" and "Christmas Time Is in the Air Again". Idolator writer Sam Lanksy wrote that she performed with "maestro vocals", but felt that her vocals on the latter rendition "eclipsed" that of the former. Carey also performed both songs when she appeared as a special guest on Michael Bublé's 3rd annual televised Christmas Special, which aired on NBC. The song was included on the set-list of her Beacon Theatre residency called All I Want For Christmas Is You, A Night of Joy & Festivity in December 2014. The New York Times critic Jon Caramanica felt as though Carey was "completely undersinging". Carey released a lyric video for "Christmas Time Is in the Air Again" on December 17, 2012. As Carey's vocals play, the lyrics of the song are intercut with Christmas-themed images. ## Charts	[ "## Background and composition", "## Critical reception", "## Promotion", "## Charts" ]	1,119	27,101
1,041,538	Stanisław Staszic	1,150,284,135	Polish philosopher and writer (1755–1826)	[ "1755 births", "1826 deaths", "18th-century Polish–Lithuanian philosophers", "19th-century Polish geologists", "19th-century Polish male writers", "19th-century Polish philosophers", "19th-century philosophers", "19th-century translators", "Enlightenment philosophers", "People from Piła", "Polish Enlightenment", "Polish Roman Catholic priests", "Polish cooperative organizers", "Polish geographers", "Polish male poets", "Polish political writers", "Polish translators", "Translators of Homer" ]	Stanisław Wawrzyniec Staszic (baptised 6 November 1755 – 20 January 1826) was a leading figure in the Polish Enlightenment: a Catholic priest, philosopher, geologist, writer, poet, translator and statesman. A physiocrat, monist, pan-Slavist (after 1815) and laissez-fairist, he supported many reforms in Poland. He is particularly remembered for his political writings during the "Great (Four-Year) Sejm" (1788–92) and for his large support towards the Constitution of 3 May 1791, adopted by that Sejm. He co-founded the Warsaw Society of Friends of Learning (precursor to the Polish Academy of Sciences), of which he became president. He served as a member of the State Council of the Duchy of Warsaw and as minister of trade and industry in Congress Poland. Staszic is seen as the father of Polish geology, statistics, sociology, Tatra Mountains studies and exploration, mining and industry. ## Life ### Early life Stanisław Staszic was born into a burgher family in the town of Piła (he was baptised on 6 November 1755), the youngest of four siblings. His father, Wawrzyniec Staszic, was mayor of Piła and a royal secretary. His brothers were Antoni (1743–1775) and Andrzej (1745–1825), a priest. Staszic attended secondary school at Wałcz. He studied theology and graduated from a Jesuit school at Poznań in 1778 and was ordained a Catholic priest (he took lesser Holy orders in 1774, and higher orders about 1778–79). Between 1779 and 1781 he continued his studies in France at the Collège de France, where he took classes in physics and natural history. On returning to Poland in 1781, he accepted a position as tutor in the house of Grand Crown Chancellor Andrzej Zamoyski. In 1782 he received a doctorate from the Zamojski Academy. He translated several works from French into Polish and briefly worked at the academy as a teacher of French language. ### Reformer His Remarks upon the Life of Jan Zamoyski (Uwagi nad życiem Jana Zamoyskiego, 1787), published anonymously on the eve of the Great Sejm, transformed the little-known tutor into one of the chief political thinkers of the late 18th-century Commonwealth. It became a model for other similar works and began a flood of political books and pamphlets unprecedented in the Commonwealth's history. It was reprinted numerous times, including in unauthorized editions. Within his Remarks, Staszic did not portray the life of Jan Zamoyski (1542–1605, one of the most prominent statesmen in Polish history); rather, he argued that reforms are needed, and that Zamoyski had already proposed or supported many of them two centuries before. Staszic was a strong partisan of reforms and an ardent advocate for the interests of the lower classes. He advocated the abolition of the serfdom and improvements of the peasants' fate (by granting them land and private rights). He criticised the szlachta (Polish nobility) for inefficient governance, and argued that it showed itself too inept to be allowed to govern alone. He argued for a slight increase in taxes, which should allow the Commonwealth to create an army of 100,000 that would at least stand a chance against the still-larger armies of its neighbours. Although he preferred republicanism in theory, in the Commonwealth context he agreed that a strengthening of the central (royal) power was the most practical solution for reforming the country, in line with the similar developments elsewhere in Europe. In Remarks he even supported the introduction of an absolute monarchy in Poland. Staszic was a keen observer of the proceedings of the Great Sejm, spending much time in Warsaw since the Sejm began its deliberations in 1788. He continued publishing new books and pamphlets. His Warnings for Poland, coming from the current European politics and natural laws, by the writer of the remarks upon the life of Jan Zamoyski (Przestrogi dla Polski z teraźniejszych politycznych Europy związków i z praw natury wypadające przez pisarza uwag nad życiem Jana Zamoyskiego, 1790), together with his previous Remarks, are considered among the most influential works of the Polish Enlightenment. In Warnings, he criticised the magnates of Poland and Lithuania, monastic orders and serfdom, and supported the enfranchisement of the townsfolk. Although he was not a participant of the Sejm, he was an influential onlooker, and through his widely read and discussed writings of the time is recognized as one of the founding fathers of the Constitution of May 3, 1791. During 1790–1791 he accompanied Zamoyski's family on a trip abroad, and continued to serve as an adviser to the family, although his relations with the sons (Aleksander August Zamoyski, Stanisław Kostka Zamoyski) had become strained; he would eventually align himself with the daughter of the family, Anna Zamoyska (Anna Jadwiga Sapieżyna). He supported the 1794 Kościuszko Uprising, a failed attempt to liberate Commonwealth from foreign influence following the events of the 1793 Second Partition of Poland, donating money to the insurgents' cause. Upon the defeat of the Uprising, he accompanied the family on their trip to Vienna. He also made some successful financial investments, including in the stock market. He then served as an economic adviser for the Zamoyski and the Sapieha families, invested in their estates, and lent them money. ### Late life After Poland's partitions, in which Russia, Prussia, and Austria seized all of the Commonwealth's territory, Staszic was active in many scientific and scholarly initiatives. He studied the geology of the Carpathian Mountains. In 1800 he co-founded the Warsaw Society of Friends of Learning; from 1802 he was one of its most active members. In 1804 he went to France, where he observed the changes wrought by Napoleon. On return to Poland in 1805, he spent some time in the Tatra Mountains, where he continued his geological studies and conducted ethnographic ones. He worked with Jan Chrystian Hoffmann on a geological map of Poland. In the Duchy of Warsaw he worked with the Ministry of Education (Izba Edukacyjna Księstwa Warszawskiego) and was involved in numerous educational reforms and initiatives. He also briefly worked with the Ministry of Treasury. From 1808 he was president of the Society of Friends of Learning (Towarzystwo Przyjaciół Nauk, or TPN), forerunner to the Polish Academy of Sciences (Polska Akademia Nauk); he would be elected repeatedly as the society's president until his death. In 1808 he also became referendary to the State Council (Rada Stanu) of the Duchy; in 1810 he became a full member. In the council, he was active in regard to questions of education and the economy. As TPN president he was active in many initiatives which supported and popularized science in Poland. He oversaw the construction of a headquarters for the TPN, which came to be known as the "Staszic Palace". From 1814 he supported the Russian Empire, seen as a Pan-Slavist ally of Poland, and favored the idea of a great Slavic monarchy. After the fall of the Duchy of Warsaw in 1815, he became a member of the government of the newly created small state of Congress Poland (in personal union with Russia), initially in the new Ministry of Education and Religion, in 1816 serving as deputy minister. In 1815 he was decorated with the Order of Saint Stanislaus. In 1819 he endorsed a controversial censorship law, damaging his reputation. His 1815 Polish translation of Homer's Iliad met with a negative reception. In 1816–20 he published many of his writings in a 9-volume Works (Dzieła). Volumes 7–9 comprised his Humankind: A Didactic Poem (Ród Ludzki. Poema Dydaktyczne), a gigantic philosophical essay and poem that is regarded as an important contribution to the history of Polish philosophy. However, the work ran afoul of the new censorship law and was not distributed, much of the edition eventually being destroyed. He also carried out studies on education and on human behavior, in a social-science tradition. Some of his views and theories made him a precursor of evolutionism in the natural and social sciences. In his essays on human nature, he declared for the primacy of science and was relatively critical of the influence of religion. These views gained him some critics, as he was seen as a priest who had abandoned religion. From 1816 he was involved in mining research and projects. He also actively supported industrial development in Poland. He was one of the first to see the importance of coal, and supported the development of metallurgy-related projects, from mines to zinc and steel mills. He was also involved in the development of ceramic and textile industries, and improving the transport infrastructure (roads, canals). He discovered coal deposits in Dąbrowa Górnicza, where he initiated the building of a coal mine. Between 1816 and 1824 he was the de facto minister of industry of the Congress Poland (styled officially the "director of the Department of Trade, Crafts and Industry") and initiated construction of the Old Polish Industrial Area (Staropolski Okręg Przemysłowy). As his projects did not result in quick returns, he incurred increasing criticism, and eventually resigned from his position in 1824. In 1816 he founded the Hrubieszowskie Towarzystwo Rolnicze (Hrubieszów Agricultural Society), seen by some as the first Polish cooperative. He died in Warsaw on 20 January 1826, most likely due to a stroke. His funeral gathered 20,000 people, including the viceroy of the Congress Poland, Józef Zajączek. He was buried in the Camaldolese Hermit Monastery in Warsaw. His testament left his property at Hrubieszów to its tenants, and much of his wealth went to various philanthropic initiatives. ## Private life Staszic was remembered by his contemporaries as a loner and not a person who was quick to make friends. He has been described as somewhat miserly; despite acquiring significant wealth, he was said to wear old clothes and use an old carriage. He was nonetheless widely respected by his contemporaries. He was seen as stern but honest, and had a tendency to speak in a fashion that some found amusing. ## Remembrance He is seen as one of the chief representatives of the political activists and writers of the Polish Enlightenment. He is also seen as the father of Polish geology, statistics, sociology, Tatra Mountains studies and exploration, mining and industry. He is one of the figures immortalised in Jan Matejko's 1891 painting "Constitution of May 3, 1791". He was also the protagonist of the Charles Dickens' novella "Judge Not" (1851), and of Hanna Muszyńska-Hoffmanowa's novel "Pucharek ze srebra" (Little chalice of silver). Wacław Berent published a biography of Staszic, but it is now lost. In 1926, on the 100th anniversary of his death, he was celebrated in the Second Polish Republic with several studies, articles and publications. In April 1951, he was honoured on a postage stamp of the People's Republic of Poland as part of the set issued for the First Congress of Polish Science. His figure was popular among the Marxist scholars of the People's Republic, who stressed his materialist, determinist and anti-clerical views. The 150th anniversary of his death in 1976 was also celebrated, with many works dedicated to him, including poems by Jan Czeczot and Jan Lohmann. He has been made a patron of over 200 schools, including the AGH University of Science and Technology in Kraków. There are statues of Stanisław Staszic in Łódź, Kielce, Hrubieszów and Dąbrowa Górnicza. Several geographical landmarks, minerals and a bacterium bear his name as well. In Piła, there is a Museum of Stanisław Staszic, which has gathered various artifacts related to him, and publishes a journal, "Zeszyty Staszicowskie" (Staszic Notebooks). ## Awards - Order of Saint Stanislaus - Knight of the Order of the White Eagle ## Works His best-known works include the following: - "Remarks upon the Life of Jan Zamoyski" (Uwagi nad życiem Jana Zamoyskiego, 1787) - "Warnings for Poland" (or Warnings to Poland, Przestrogi dla Polski, 1790) - "On the Origin of Mountains in Former Sarmatia and Later Poland" (O ziemorództwie gór dawnej Sarmacji, potem Polski, 1815) - "On the Reasons of Jewish Noxiousness" (O przyczynach szkodliwości Żydów, 1818) - "Humankind" (Ród Ludzki, 1820) - A Polish translation of Homer's Iliad (1815). ## See also - History of philosophy in Poland - List of Poles - Hugo Kołłątaj - Piotr Skarga	[ "## Life", "### Early life", "### Reformer", "### Late life", "## Private life", "## Remembrance", "## Awards", "## Works", "## See also" ]	2,939	10,425
51,866,336	Brooklyn Street Circuit	1,153,292,831	FIA Grade 3 Racing Track	[ "2017 establishments in New York City", "Formula E circuits", "Motorsport venues in New York (state)", "New York City ePrix", "Red Hook, Brooklyn", "Sports venues in Brooklyn" ]	The Brooklyn Street Circuit is a street circuit in the Red Hook neighborhood of the New York City borough of Brooklyn, adjacent to the Brooklyn Cruise Terminal along Brooklyn's western coast. It was created for the New York City ePrix of the single-seater, electrically powered Formula E championship. Its first use was during the 2016–17 Formula E season when it hosted the 2017 New York City ePrix. Following the last known CART PPG Cup races in the New York metropolitan area in the 1980s, there have been several failed attempts to establish a race in or near New York City for a major automobile series. In September 2016, New York City and Fédération Internationale de l'Automobile (FIA) officials announced the establishment of a 2017 event in the city for Formula E, with the Red Hook location selected over other potential sites including Central Park. The race was approved due to the absence of air pollution and noise disturbances from the electric-powered race cars, compared to normal gasoline-powered racing automobiles. The inaugural New York City ePrix events were held on July 15−16, 2017, with Sam Bird of DS Virgin Racing winning both races. ## Description The course is situated at the west end of the Red Hook neighborhood in western Brooklyn, adjacent to the Brooklyn Cruise Terminal and the Atlantic Basin, the small body of water within the Upper New York Bay served by the terminal. The site is bound by the east-to-west portion of Bowne Street, the Red Hook Container Terminal, and the Brooklyn–Battery Tunnel to the north, and by Wolcott Street to the south. Imlay Street and Conover Street mark the east end of the site, with Van Brunt Street (the primary thoroughfare of Red Hook) one block east. The original configuration of the circuit measured 1.220 mi (1.963 km) in length and consisted of 13 corners. The course predominantly follows the existing layout of the streets and parking areas of the terminal, separated from the rest of the street plan of Red Hook. The main and second straights utilize the north-south stretch of Bowne Street (which turns south after entering the terminal area), adjacent to Pier 11 of the terminal. Curving west, the track then parallels Clinton Wharf towards the Buttermilk Channel coastline. The track offers views of the Lower Manhattan skyline and the Statue of Liberty. Prior to its inaugural running, driver Felix Rosenqvist described the track as "one of those really technical circuits" comparable to the Circuit des Invalides on the streets of Paris. For the 2018 race, the circuit was lengthened to 1.475 mi (2.374 km), extending the course farther north and west to Summit Street and Hamilton Avenue. As opposed to the original right-hand hairpin at the end of the main straight on Bowne Street, a four-turn complex was added featuring a lefthander and three right-handed turns leading to the second straight. The changes were made to accommodate the second generation Formula E car, introduced in the 2018–19 season to replace the Spark-Renault SRT 01E. The new cars have increased downforce and power. ### Entrances and amenities The Brooklyn Street Circuit features two grandstands. Grandstand 1 is located on the main straight in front of Pier 11 of the ship terminal, just to the west of the start-finish line, providing a view of the starting grid. The smaller Grandstand 2 is just to the west, also adjacent to Pier 11, in front of the turn leading to the main straight. According to Formula E CEO Alejandro Agag, the organizers were "quite cautions" in designing the seating area. Various pedestrian overpass bridges are set up around the circuit to cross the track. Like at other Formula E events, the Brooklyn Street Circuit features an eVillage entertainment area. It features displays of technological innovations and electric- and hybrid-powered production vehicles, racing simulators, and it hosts a driver autograph session prior to the race. Food and drinks are available from stands and local food trucks located within the event. The original 2017 layout featured three entrances to the track. Entrance 1 (e1) is located at Ferris Street and King Street near the paddock and podium areas. Entrance 2 (e2) is located adjacent to the NYC Ferry landing of the cruise terminal, leading to the grandstands. Entrance 3 (e3) was located on Pioneer Street near Van Brunt Street, leading directly to the eVillage. An overpass bridge led from this entrance to the grandstands. For the 2018 event, entrance 3 was moved one block north to Verona Street. Two additional entrances were added. The first (e4) is located at Imlay Street and Bowne Street near the new turn complex. The second (e5) is located at Brooklyn Cruise Terminal Pier 12. The former eVillage area near entrance 3 will instead be used for race suites and an accreditation center. The new eVillage will be located behind grandstand 1 and around the new turn complex near entrance 4. ## History ### Previous races in the New York area One of the earliest known automobile races in New York City was in 1896, when six cars competed in a race between the city and Westchester County, New York. In 1904, William Kissam Vanderbilt II began hosting the Vanderbilt Cup, held on a 25-mile (40 km) circuit of local dirt roads in Nassau County, Long Island. In 1908 Vanderbilt began construction on the Long Island Motor Parkway (also known as the Vanderbilt Parkway), a paved and grade separated limited-access highway between Queens and Nassau County, to host the race beginning that year. The course only used a section of the parkway located in Nassau County between Westbury and Hicksville. Following a crash in the 1910 Vanderbilt Cup, the New York State Legislature banned all automobile racing outside of self-contained circuits. The parkway remained open to normal passenger traffic as a toll road until 1938, and was largely replaced by the free Northern State Parkway and Grand Central Parkway. The Vanderbilt Cup was later held at Roosevelt Raceway (now a horse racing course) in Westbury, Nassau County in 1936 and 1937. A NASCAR Grand National Series race was held at Linden Airport in Linden, New Jersey in 1954. In June 1956 Wall Stadium in Wall Township, New Jersey hosted a race for NASCAR's Convertible Division, with Glen Wood of Wood Brothers Racing participating. In July 1958 the track held a race for the Grand National Series. To this day, Wall Stadium is a popular Modified stop for various Northeastern-based touring series, including the Whelen Modified Tour, NASCAR's popular touring series in the Northeast, and forms the core for their local racing program, which has featured legendary engineer Ray Evernham and premership champion Martin Truex Jr. as drivers who have raced on local cards, which is most notable for Turkey Derby held in late November since 1974. The Vanderbilt Cup was revived as a Formula Junior event in 1960 at Roosevelt Raceway. In 1965, 1967 and 1968 the Bridgehampton Sports Car Races, held at Bridgehampton Race Circuit located in Suffolk County in eastern Long Island, were billed as the Vanderbilt Cup. For many years afterwards, attempts have been made to establish an event for a major auto racing series within the New York metropolitan area, including Formula One, NASCAR, and IndyCar. In 1975 and again in 1983, a racing circuit to host a Formula One Grand Prix event was proposed for the New York City area. Potential sites included Flushing Meadows–Corona Park in the borough of Queens, and the Meadowlands Sports Complex in New Jersey. The Flushing Meadows plans were opposed by the local community and environmental groups, and the race was postponed and ultimately cancelled by 1985. The Meadowlands site would host the Meadowlands Grand Prix Champ Car event in 1984. Beginning in 2003, a NASCAR track called Liberty Speedway was planned, with potential sites at the Meadowlands and Linden in New Jersey, and Bloomfield in western Staten Island. In December 2004, the International Speedway Corporation (owned by NASCAR) and The Related Companies purchased the 675-acre (273 ha) Staten Island site. At the time the planned 80,000-seat track was the largest proposed sports venue in the city, with greater potential seating capacity than the proposed West Side Stadium or the future Barclays Center. After protests from environment groups over pollution and the loss of wetlands in the area, and from local residents over potential traffic congestion and parking issues, in 2006 NASCAR cancelled plans for the track. In July 2012, New York State Assembly candidate Paul Saryian proposed reviving the plans for the Staten Island track as part of a potential bid for the 2024 Summer Olympics. Around 2012, Formula One again planned to hold the Grand Prix of America on the proposed Port Imperial Street Circuit in New Jersey, but by 2014, the plan had fallen through. In 2015, NASCAR was seriously considering buying stock in order to build a track in New York City. Existing NASCAR Cup Series tracks in close proximity to New York City include Watkins Glen International in upstate New York, Pocono Raceway in Pennsylvania, and Dover International Speedway in Dover, Delaware. Watkins Glen also held Formula One events from 1961 to 1980. New Jersey Motorsports Park, which has held races for the ARCA Racing Series and the NASCAR K&N Pro Series East (a developmental NASCAR series), is located in southern New Jersey. The now-defunct Nazareth Speedway, located in eastern Pennsylvania, hosted the IndyCar Firestone Indy 225 event, and NASCAR Busch Series (now Xfinity Series) and Truck Series events until its closure in 2004. The Meadowlands site has also hosted domestic motorcycle racing; the American Flat Track championship runs on the Meadowlands Racetrack, as their series often runs during off-season for horse racing at notable horse tracks. ### New York City ePrix In March 2014, it was announced that Formula E was working with New York City authorities to bring a motor race to the area. On September 21, 2016, Fédération Internationale de l'Automobile (FIA) President Jean Todt, Formula E CEO Alejandro Agag, and New York City government officials announced that the New York City ePrix would be held in July 2017 at the Brooklyn Cruise Terminal in Red Hook, with a track layout presented. Government officials approved the ePrix only because, as an electric race, it would not create noise or air pollution. Originally, planners considered Governors Island, Central Park, and Liberty State Park in Jersey City as possible locations for the track. However, these sites were not chosen since a Governors Island track would have been too costly; a Central Park track would have required demolishing trees; and Liberty State Park was outside the city limits. In June 2017, NYC-based McLaren Engineering Group (unrelated to the racing team) and D’Onofrio General Contractors Corp were contracted to create the circuit within the terminal. Construction of the track began on July 2, thirteen days before the first race. Much of the project involved erecting both temporary and permanent structures for the race, while existing infrastructure such as signs and curbing had to be removed or redesigned to facilitate the race course. The temporary infrastructure of a typical Formula E street circuit includes track barriers and curbs, grandstands, pedestrian overpass bridges, and electronic cables for television broadcasting and race scoring. After the end of the event, this equipment is transported to the next location. In the case of the Brooklyn Street Circuit, most of the materials were locally acquired, with only the fencing for the track provided by Formula E. Permanent structures built for the Brooklyn circuit included the cruise terminal's guardhouse, which was originally situated in the middle of the proposed circuit. It was rebuilt in order to be portable so it could be moved prior to the event, and then reinstalled into its normal location after the event. Much of the area was repaved for the event as well. A ribbon-cutting ceremony was held on July 12, 2017, upon the arrival of the race cars. The first race of the inaugural event was held on July 15, 2017, won by Sam Bird of DS Virgin Racing. Bird won the second race of the weekend on July 16, after which the track was taken apart. For the 2018 event, the track was lengthened and reconfigured. ## Access and transportation The bus route runs one block east of the circuit along Van Brunt Street, between Downtown Brooklyn and Park Slope/Windsor Terrace. The closest New York City Subway stations are the Carroll Street and Smith–Ninth Streets on the IND Culver Line () along Smith Street. The B61 connects with the Smith–Ninth Streets station. On race days, shuttle buses operate to the race track from the Carroll Street station, and from the Atlantic Avenue–Barclays Center station complex in Downtown Brooklyn. The circuit is also close to the NYC Ferry stops at Red Hook and Brooklyn Bridge Park Pier 6. The Red Hook ferry landing is located at entrance 2 adjacent to the track. ## Lap records The official race lap records at the Brooklyn Street Circuit are listed as:	[ "## Description", "### Entrances and amenities", "## History", "### Previous races in the New York area", "### New York City ePrix", "## Access and transportation", "## Lap records" ]	2,784	12,361
64,086,371	Lamont Roach Jr.	1,161,896,787	American boxer	[ "1995 births", "21st-century African-American sportspeople", "African-American boxers", "American male boxers", "Boxers from Maryland", "Boxers from Washington, D.C.", "Living people", "National Golden Gloves champions", "People from Upper Marlboro, Maryland", "Sportspeople from Prince George's County, Maryland", "Super-featherweight boxers", "Winners of the United States Championship for amateur boxers" ]	Lamont Roach Jr. (born August 18, 1995) is an American professional boxer who challenged for the WBO super featherweight title in 2019. Roach was a decorated amateur, winning gold medals at the National Golden Gloves and USA Boxing Youth National Championships in 2013. He made his professional debut the following year, shortly after signing with Golden Boy Promotions, while studying at the University of Maryland. He went undefeated in his first 20 fights (19 wins, 1 draw), collecting three minor belts before he unsuccessfully challenged Jamel Herring for his WBO super featherweight title in 2019. ## Early life Born in Washington, D.C., Roach was raised in Upper Marlboro, Maryland. When he was nine years old, he accompanied his father and his cousin to No “X” Cuse Boxing Club in Capitol Heights, where he got to hit a punching bag for the first time and learn some of the basics of boxing. He enjoyed it so much that he decided to continue training under his father and his cousin Bernard, and by middle school was in the gym five times a week. Although he had also been playing football throughout his youth, he dropped it to focus on boxing once he reached high school. As an amateur, his record was 125–15, with two of those losses coming from Gervonta Davis. He won two Junior National Golden Gloves Championships, a national PAL Championship and five Ringside World Championships. In 2013, he was the USA Boxing Youth National Champion and the National Golden Gloves champion, both at 132 pounds (60 kg). He also claimed a bronze medal at the Klitschko Brothers Tournament in Ukraine and was honored with the USA Boxing Outstanding Boxer award for his performances that year. ## Professional career In March 2014, he signed with Golden Boy Promotions to begin his professional career with his father Lamont Sr. serving as his manager. Roach made his professional debut on April 19, 2014, defeating Victor Galindo by unanimous decision at the D.C. Armory. Just 18 years old at the time, he was still a freshman at the University of Maryland studying mechanical engineering, following in his father's footsteps. Two months later, he defeated Miguel Antonio Rodríguez in Boston when his opponent failed to answer the bell for the second round. In his first televised match he faced Herbert Quartey, cousin of former world champion Ike Quartey, in Philadelphia on January 20, 2015. Roach dominated the more experienced fighter, scoring three knockdowns before the fight was stopped in his favor by the referee in the fourth round, extending his winning streak to six. On January 28, 2017, he stopped Alejandro Valdez inside of two minutes in Indio, California to capture the vacant WBC Youth Silver super featherweight title and move to 13–0. He dedicated the win to his recently-deceased cousin Jermaine, who had accompanied him to his first boxing session more than a decade earlier. He successfully defended the belt against Jesús Valdez five months later, also in Indio. Just days before his next fight, a non-title bout versus Dominican veteran Luis Hinojosa in October, his cousin and life-long trainer Bernard "Boogaloo" Roach died of a heart attack. With his father taking over as his head coach, he went on to beat Hinojosa with a first-round TKO for his third stoppage victory in four fights. A month later Roach headlined his first professional card when he faced Rey Perez at the MGM National Harbor in Maryland, just 20 minutes from his hometown of Upper Marlboro. He defeated the Filipino journeyman by unanimous decision in the 10-round main event of the ESPN Deportes/ESPN2 telecast. By the beginning of 2018 Roach had a record of 16–0. He was rewarded with an opportunity to challenge for the vacant WBO International super featherweight title, traveling to Puerto Rico to face former world title challenger Orlando Cruz. In what was his first fight outside of the continental United States, he fought Cruz to a controversial split draw in the main event of a Golden Boy Boxing on ESPN card. It was a close fight until the ninth round, when Roach hit the 36-year-old with a left hook to the head that made him stagger and fall, seemingly a knockdown. However, it was ruled a slip by Puerto Rican referee Luis Pabon, a crucial point that would have given him the victory. Three months later he defeated Deivis Julio Bassa for the still-vacant WBO International belt in Cancún, after the Colombian contender stayed in his corner at the conclusion of the sixth round. The victory catapulted him to No. 5 in the WBO rankings. On December 15, he defeated Alberto Mercado in his first title defense by unanimous decision on the undercard of the Canelo Álvarez–Rocky Fielding world title bout at Madison Square Garden. This further moved him up the WBO rankings to No. 2 in January 2019. Roach faced veteran Puerto Rican fighter Jonathan Oquendo in a WBO junior lightweight final eliminator during the Álvarez–Daniel Jacobs undercard at T-Mobile Arena in May 2019. He retained his belt while also taking Oquendo's WBO–NABO belt with a unanimous decision victory. On November 9, he faced newly-crowned champion Jamel Herring for his WBO belt, but lost the 12-round bout in Fresno, California by unanimous decision. He was scheduled to face Neil John Tabanao at the Avalon Hollywood on March 19, but the fight was cancelled due to the COVID-19 pandemic. Roach faced Neil John Tabanao on October 30, 2020, on the Jaime Munguia and Tureano Johnson undercard. He won the fight by a third-round knockout. Roach next faced Daniel Rosas on July 9, 2021. He won the fight by a second-round technical knockout. Roach was booked to face the former WBA (Regular) super featherweight champion René Alvarado for the WBA-NABA super-featherweight title. The fight was scheduled for the undercard of the Gilberto Ramirez and Yunieski Gonzalez light-heavyweight bout, which took place on December 18, 2021. He won the fight by unanimous decision. Two judges scored the fight 98–92 for Roach, while the third judge awarded him a 100–90 scorecard. ## Professional boxing record	[ "## Early life", "## Professional career", "## Professional boxing record" ]	1,362	25,571
1,148,673	HMS Defence (1907)	1,134,779,366	Minotaur-class armoured cruiser	[ "1907 ships", "Maritime incidents in 1916", "Minotaur-class cruisers (1906)", "Naval magazine explosions", "Protected Wrecks of the United Kingdom", "Ships built in Pembroke Dock", "Ships sunk at the Battle of Jutland", "Warships lost in combat with all hands", "World War I cruisers of the United Kingdom" ]	HMS Defence was a Minotaur-class armoured cruiser built for the Royal Navy in the first decade of the 20th century, the last armoured cruiser built for the Royal Navy. She was stationed in the Mediterranean when the First World War began and participated in the pursuit of the German battlecruiser SMS Goeben and light cruiser SMS Breslau. The ship was transferred to the Grand Fleet in January 1915 and remained there for the rest of her career. Defence was sunk on 31 May 1916 during the Battle of Jutland, the largest naval battle of the war. Escorting the main body of the Grand Fleet, the ship was fired upon by one German battlecruiser and four dreadnoughts as she attempted to engage a disabled German light cruiser. She was struck by two salvoes from the German ships that detonated her rear magazine. The fire from that explosion spread to the ship's secondary magazines, which exploded in turn. The entire crew are believed to have been killed, although newspapers of the time made unverified claims of possible survivors. ## Description Defence displaced 14,600 long tons (14,800 t) as built and 16,630 long tons (16,900 t) at deep load. The ship had an overall length of 519 feet (158.2 m), a beam of 74 feet 6 inches (22.7 m) and a mean draught of 26 feet (7.9 m). She was powered by a pair of four-cylinder triple-expansion steam engines, each driving one shaft, which developed a total of 27,000 indicated horsepower (20,000 kW) and gave a maximum speed of 23 knots (43 km/h; 26 mph). The engines were powered by 24 Yarrow water-tube boilers. The ship carried a maximum of 2,060 long tons (2,090 t) of coal and an additional 750 long tons (760 t) of fuel oil that was sprayed on the coal to increase its burn rate. At full capacity, she could steam for 8,150 nautical miles (15,090 km; 9,380 mi) at a speed of 10 knots (19 km/h; 12 mph). Defence was designed to carry 779 officers and men. The ship's main armament consisted of four BL 9.2-inch Mark X guns in two twin-gun turrets, one each fore and aft. Her secondary armament of ten BL 7.5-inch Mark II guns were mounted amidships in single turrets. Anti-torpedo boat defence was provided by sixteen QF 12-pounder (three-inch) 18-cwt guns. Defence also mounted five submerged 17.7-inch torpedo tubes, one of which was mounted in the stern. The waterline belt consisted of 6 inches (152 mm) of Krupp cemented armour roughly between the fore and aft 7.5-inch gun turrets, but was reduced in steps to three inches to the ends of the ship. The gun turrets and barbettes were protected by 6–8 in (152–203 mm) of armour. The thickness of the lower deck was 1.5–2 inches (38–51 mm). The armour of the conning tower was 10 inches (254 mm) thick. ## Construction and career Defence was ordered as part of the 1904–05 naval construction programme as the last of three Minotaur-class armoured cruisers. She was laid down on 22 February 1905 at the Royal Dockyard in Pembroke Dock, Wales. She was christened on 27 April 1907 by Lady Cawdor and commissioned on 3 February 1909 at the cost of £1,362,970. The ship was briefly assigned to the 5th Cruiser Squadron of the Home Fleet until she was transferred to the 2nd Cruiser Squadron when the Home Fleet reorganised on 23 March 1909. Three months later Defence was reassigned to the 1st Cruiser Squadron. She escorted the ocean liner RMS Medina in 1911–1912 while the latter ship served as the royal yacht for the newly crowned King George V's trip to India to attend the Delhi Durbar. After the ship returned to Plymouth in early 1912, Defence was transferred to the China Station, where she remained until December when she was ordered to rejoin the 1st Cruiser Squadron in the Mediterranean as flagship. At the start of the First World War, she was involved in the pursuit of the German warships Goeben and Breslau, but Rear-Admiral Ernest Troubridge decided not to engage Goeben due to the latter's more powerful guns, heavier armour and faster speed. She then blockaded the German ships inside the Dardanelles until the ship was ordered on 10 September to the South Atlantic to take part in the hunt for Admiral Graf von Spee's East Asia Squadron. The order was cancelled on 14 September when it became clear that the German squadron was still in the Eastern Pacific and Defence returned to the Dardanelles. The Admiralty again ordered the ship to the South Atlantic in October to join Rear-Admiral Christopher Cradock's squadron searching for the German ships. Defence, however, had only reached Montevideo, Uruguay by 3 November 1914 when she received word that most of Admiral Cradock's squadron had been destroyed two days previously at the Battle of Coronel. The ship rendezvoused with the battlecruisers HMS Inflexible and HMS Invincible later that month and transferred her long-range radio equipment to Invincible before sailing to South Africa to escort a troop convoy to Great Britain. Defence departed Table Bay, Cape Town on 8 December and rejoined the 1st Cruiser Squadron of the Grand Fleet as its flagship upon her arrival. Defence received a QF 12-pounder (3-inch) 12 cwt anti-aircraft (AA) gun and a QF 3-pounder (47 mm) AA gun in 1915–16. The 12-pounder gun was mounted on the aft superstructure and the 3-pounder on the quarterdeck at the extreme rear. During the Battle of Jutland on 31 May 1916, she was the flagship of Rear-Admiral Sir Robert Arbuthnot, leading the First Cruiser Squadron. The squadron formed the starboard flank of the cruiser screen, ahead of the main body of the Grand Fleet. Defence was just to the right of the centre of the line. At 17:47, Defence and HMS Warrior, the leading two ships of the squadron, spotted the German II Scouting Group and opened fire. Their shells fell short and the two ships turned to port in pursuit, cutting in front of the battlecruiser HMS Lion, which was forced to turn away to avoid a collision. Shortly afterwards, they spotted the disabled German light cruiser SMS Wiesbaden and closed to engage. When the two ships reached a range of 5,500 yards (5,000 m) from Wiesbaden they were spotted in turn at 18:05 by the German battlecruiser SMS Derfflinger and four battleships which were less than 8,000 yards (7,300 m) away. The fire from the German ships was heavy and Defence was hit by two salvoes from the German ships that caused the aft 9.2-inch magazine to explode. The resulting fire spread via the ammunition passages to the adjacent 7.5-inch magazines which detonated in turn. The ship exploded at 18:20 with the loss of all hands; between 893 and 903 men were killed. ## Defence today At the time, it was believed that Defence had been reduced to fragments by the explosion, but the wreck was discovered in mid-1984 by Clive Cussler and a NUMA survey of the North Sea and English Channel at coordinates . It was dived upon in 2001 by a team led by nautical archaeologist Innes McCartney and found to be largely intact, despite the violence of her sinking. Defence, along with the other Jutland wrecks, was belatedly declared a protected place under the Protection of Military Remains Act 1986, to discourage further damage to the resting place of approximately 900 men.	[ "## Description", "## Construction and career", "## Defence today" ]	1,733	32,023
5,971,601	Inon Zur	1,173,253,182	Israeli-American composer	[ "1965 births", "American film score composers", "American male film score composers", "American television composers", "Fallout (series) developers", "Israeli emigrants to the United States", "Living people", "Male television composers", "UCLA School of the Arts and Architecture alumni", "Video game composers" ]	Inon Zur (Hebrew: ינון צור, ; born July 4, 1965) is an Israeli-American composer of soundtracks for film, television, and video games. Throughout his career, he has composed music for dozens of video games, and other projects, including Dragon Age, Everquest, Fallout, Prince of Persia, Star Trek, the Syberia series, and works like Starfield. Well-known film trailer music he's contributed to include Harry Potter and the Order of the Phoenix, The Hobbit, and Avengers: Age of Ultron. He has received numerous nominations—including three BAFTAs—and has won a number of awards, which include: an Emmy Award and two Game Audio Network Guild Awards, the first in 2004 for Best Original Instrumental Track for Men of Valor and another in 2009 for Best Interactive Score for Crysis. Received two Hollywood Music in Media Awards in 2009 for Best Original Song for Dragon Age: Origins and in 2019 for Best Original Score/Song for The Elder Scrolls: Blades. ## Early life Inon Zur was born in Israel. At the age of five, he was trying to compose harmonies with his mother's singing, and became inspired by classical music. He learned to play French horn as a child, studied piano by the age of eight, and was studying composition by the age of ten. He graduated from the Music Academy of Tel Aviv, and spent four years in the Israeli military. He emigrated to the United States in 1990 to study at the Dick Grove School of Music for a year, and then under private tutor Jack Smalley, a television music composer, and others for two years at the University of California, Los Angeles. ## Career Zur began his career in 1994 by working on soundtracks for movies, such as Yellow Lotus, featured at the Sundance Film Festival. He signed on to compose for Fox Family for six years, and made soundtracks for various children's television shows, including Digimon and Power Rangers. By 2002, he estimated that he had composed the soundtrack to over 360 Power Rangers episodes. He won his first award during this period in his career, a Telly Award for his work on Power Rangers: Turbo. While he enjoyed the work, he began to want to go work somewhere "more intriguing, more advanced, and basically a place that people really appreciate music more"; his agent overcame his initial reluctance and convinced him to work in the video games industry. His first video game soundtrack was 2000's Star Trek: Klingon Academy, which he started composing for the game in 1997.Zur moved on to prestigious titles, composing for the award-winning and critically acclaimed Baldur's Gate II: Throne of Bhaal in 2001 and Icewind Dale II in 2002, among many others. Icewind Dale II earned him the first of many nominations for video game music awards, that of the Game Audio Network Guild's Music of the Year award. He continued to work on movies and television programs during these years. Zur has made dozens of cinematic scores for trailers. His last full movie soundtrack to date was that of 2014's Reclaim. He has worked on a few television series since then; his last traditional television soundtrack was for Ghost Whisperer in 2007, though he has composed music for webisode and Animated series since then. He continued to work on numerous video games, including Prince of Persia: The Two Thrones in 2005 and Crysis in 2007. He has garnered several nominations for video game music awards, including his first win, for Men of Valor in the Best Original Instrumental track category of the 2004 Game Audio Network Guild awards. Zur's most notable titles he's composed have been Fallout 3, Crysis Warhead, and Prince of Persia (2008), Dragon Age: Origins (2009), Fallout: New Vegas (2010), Dragon Age II (2011), Fallout 4 (2015), Fallout 76 (2018), the The Elder Scrolls: Blades (2019) and most recent Starfield His work on Dragon Age: Origins has earned Zur his third career award, that of Best Original Song – Video Game for "I Am the One" in the 2009 Hollywood Music In Media Awards. Zur penned the original musical score for Dragon Age, Crysis, Syberia, and Starfield franchises. ## Performances Zur's compositions have been played several times in live concerts. The first of these was a concert held in Seoul, South Korea, on May 30, 2006, dedicated to his music for Lineage II: Chronicle V: Oath of Blood. On August 20, 2008, music from his soundtrack to Crysis was played in Leipzig, Germany, at a Video Games Live concert. His music from Dragon Age: Origins and Prince of Persia was performed at the September 26, 2009 "A Night in Fantasia 2009" concert in Sydney, Australia, by the Eminence Symphony Orchestra. Zur was a special guest at the concert. In an industry first, a dedicated concert of his music from Lord of the Rings: War in the North was performed each evening at the 2011 Electronic Entertainment Expo (E3) in Los Angeles. The one-hour concert series was conducted by Zur and performed by The Hollywood Orchestra and Choir with the participation of The Lyris Quartet and solos from celebrated vocalist Aubrey Ashburn. He originally conducted and recorded the game with the London Philharmonia Orchestra and the Pinewood Singers Choir at the legendary Abbey Road Studios in London. In 2018, at the London venue the Eventim Apollo, Zur composed his different pieces from the Fallout and The Elder Scrolls series during a live concert that Bethesda Game Studios co-hosted with the War Child (charity). The London Symphony Orchestra performed Zur's Starfield score at Bethesda's 10th Anniversary The Elder Scrolls V: Skyrim concert in 2021. The Hollywood Bowl Orchestra gave a 10-year concert on June 25, 2023, at the The Game Awards, which featured well-known video game soundtracks. The concert included a rendition of Zur's Starfield theme. ## Legacy Zur's music has been featured in numerous top-selling game franchises. He has been described as being "internationally recognized as one of the A-list orchestral composers in the video games industry".Variety named him on a short list of top video game composers. In the film industry Zur specializes on cinematic scoring for film trailers. He's worked with the likes of BMG Production Music on films such as the Harry Potter and the Order of the Phoenix, X-Men Origins: Wolverine, The Hobbit, and Avengers: Age of Ultron. Including dozens of other film trailer music. His songs have often been covered by numerous artists. Raney Shockne did a cover Zur's Dragon Age: Orgins "I am the One" song for Dragon Age: Inquisitions. Zur was inducted into the The Recording Academy as a new member in 2023. ## Musical style and influences Zur's compositions frequently are focused on full orchestras, choir and, in some games like Prince of Persia, ethnic instruments like Arabic flutes and the woodwind duduk. He has often collaborated with the Northwest Sinfonia orchestra from Seattle, though he has on occasion used other orchestras. Whenever Zur works with a real orchestra, he always conducts it himself. He has named some of his musical influences as classical artists such as Sergey Prokofiev, Igor Stravinsky, and Beethoven, movie composers like John Williams and Jerry Goldsmith, and jazz artists like George Gershwin and Henry McFeeny. While he would one day like to compose music not intended to be part of a larger piece of media, he finds that the pressure of a deadline and the feedback from the developers are crucial in his development process. He feels that his music sounds best when it is in the context given by the media it was made for, though he feels that performances of the music by itself transforms it "from just a soundtrack to an art form on its own". Zur sometimes collaborates with other musicians while composing his game soundtracks; for example, he worked with Florence and the Machine to create a unique rendition of "I'm Not Calling You A Liar" for the Dragon Age II soundtrack. Zur typically is brought in to compose for a game once it is mostly complete, though he notes that that is earlier than for films and television—where nothing changes after he starts besides post-production effects—making video game music composition a more "flexible" process. He finds that it is "crucial" for him to play a game before he can compose music for it, even if it only a development version. Rather than compose music based around the setting in the game where it will be played, Zur composes music around the emotion that he wants the player to feel at that point in the game. While he feels that music composition technology has come far enough in recent years to no longer be a limiting factor in his music, he does feel that the music budgets for games limit what he can create. Zur feels that he is considered in the industry to be a very fast composer, which he attributes to his tendency to compose music "intuitively", rather than spending a lot of time planning it out. When not composing, Zur likes to play video games, especially those he has composed for, as well as play basketball and spend time with his family. The types of projects that he would like to work on in the future that he has not yet done are children's games and soundtracks incorporating jazz music. ## Works ### Films ### Television ### Video games ## Awards and nominations	[ "## Early life", "## Career", "## Performances", "## Legacy", "## Musical style and influences", "## Works", "### Films", "### Television", "### Video games", "## Awards and nominations" ]	2,017	15,475
30,652,682	St Caffo's Church, Llangaffo	1,081,711,460	null	[ "19th-century Church in Wales church buildings", "Church in Wales church buildings", "Churches completed in 1846", "Grade II listed churches in Anglesey", "Rhosyr" ]	St Caffo's Church, Llangaffo is a 19th-century church, in the south of Anglesey, north Wales, about 5 miles (8.0 km) from the county town, Llangefni. It was constructed in 1846 to replace the previous medieval church in the village of Llangaffo. The new building includes a number of monuments from the old church, and has a spire which is a prominent local landmark. The churchyard has part of a stone cross dating from the 9th or 10th century, and some gravestones from the 9th to 11th centuries. It is dedicated to St Caffo, a 6th-century martyr who was killed in the vicinity. The church is still in use as part of the Church in Wales, one of four churches in a combined parish. It is a Grade II listed building, a designation given to "buildings of special interest, which warrant every effort being made to preserve them", in particular because it is regarded as "a mid 19th-century rural church, consistently articulated and detailed in an Early English style". ## History and location The date of first construction of a church in Llangaffo (a village in Anglesey about 5 miles (8.0 km) south of the county town of Llangefni) is uncertain. The village takes its name from the church: the Welsh word llan originally meant "enclosure" and then "church", and "-gaffo" is a modified form of the saint's name. St Caffo, a 6th-century Christian, was a companion of St Cybi and was martyred by shepherds in the vicinity of what is now Llangaffo, perhaps in revenge for his brother Gildas insulting Maelgwn Gwynedd, the local ruler. It is thought that there may have at one point been a monastery in this location, known as "Merthyr Caffo": merthyr is the Welsh word for "martyr", and in place names means a building erected near a saint's grave. The present building, which is in the north-eastern part of the village on the south-eastern side of the B4419 road, was erected in 1846 alongside the churchyard to a design by the Sheffield-based architects Weightman and Hadfield. It replaced an older church, which had stood on an adjoining outcrop of rock until it was demolished. It was described by the clergyman and antiquarian Harry Longueville Jones (writing in 1846, as the new church was being constructed) as a "very small and unimportant edifice"; he also noted that it was the only medieval building remaining in the parish. The 19th-century church is still in use and belongs to the Church in Wales. It is one of four churches in the combined benefice of Llanfihangel Ysgeifiog (St Michael's Church, Gaerwen) with Llangristiolus (St Cristiolus's Church) with Llanffinan (St Ffinan's Church) with Llangaffo. It is within the deanery of Malltraeth, the archdeaconry of Bangor and the Diocese of Bangor. As of 2012, the vicar of the four churches is Emlyn Williams, assisted by a curate (E. R. Roberts). Williams was appointed in 2007; before that, the position had been vacant for 20 years despite many attempts by the Church in Wales to fill it. Services in Welsh are held every Sunday, either Holy Communion or Morning Prayer; there are no midweek services. Edward Wynn (1618–1669) was rector here from 1658; he later became Chancellor of Bangor Cathedral, and is buried at the church. James Williams (1790–1872) was the son of John Williams, rector of St Caffo's. He succeeded his father when he resigned in 1821, and later became Chancellor of Bangor Cathedral. ## Architecture and fittings St Caffo's is built of rubble masonry dressed with limestone, in an early English style (a style of architecture used between about 1180 and 1275, typically using narrow pointed windows and arches). The roof is made of slate. The tower, at the west end, has buttresses at the corners and is topped with a broach spire, which is a prominent local landmark. Entrance is through an arched doorway in the north side of the tower. The chancel, at the east end of the church, is smaller than the nave in both height and width; there is a transept on the north side of the chancel. The nave has lancet windows, and there is a further lancet window on the south side of the chancel. The church's east window is set in a pointed arch and has three lights (sections of window separated by mullions). Inside the church, the sanctuary at the east end is raised above the chancel by one step; the floor of the sanctuary and the reredos behind the altar are made from encaustic tiles. Fittings include a circular decorated 12th-century font and a 17th-century pulpit with carved decorative panels. A 1937 survey by the Royal Commission on Ancient and Historical Monuments in Wales and Monmouthshire recorded that the church owned a silver cup and a paten dated 1736. The transept has a number of memorials dating from the 17th century (including one to Edward Wynn), and a stone from the early 7th century inscribed with `..VI / RNIN / FILIUS / CUURIS / CINI / ERE / XIT / HUNC / LAPI / DEM`, which likely translates to 'Gwernin, son of Cuurius Cini, set up this stone'. The stone, which is set in the wall, originally came from Newborough, Anglesey. Just across from the main church entrance, five cross-incised grave stones have been placed leaning against the wall, the tallest of which possibly date to the 12th or 13th Century, while the others range between the 9th and 11th Century. These stones suggest the existence of a religious community in the vicinity during this period. The church porch houses part of a cross head in the shape of a wheel, dating from the 9th or 10th century; part of the rest of the cross is in the churchyard, but it has suffered significant weather damage with most of the patterns worn away. The oldest graves are to the north of the church, which is unusual: ordinarily the southern part of the churchyard would be used first for burials, with the northern part remaining unconsecrated unless and until extra space for graves was required. The path between the road and the church has sunken, which may partly be explained by the medieval custom of burying the dead on top of each other. One author has suggested that the mound alongside the path might indicate that the church is located in the site of a Bronze Age settlement. The churchyard has seven gravestones that were discovered in the walls of the previous church. Six of them date from between the 9th and 11th centuries, and the seventh is from the 12th or 13th century. The doorway from the old church, dating from the 15th century, has been reused as an entrance to the churchyard. A carved stone human head, from the 12th century, has been inserted into the north wall of the churchyard. A war memorial in the shape of a Celtic cross remembers those who died during the First and Second World Wars. ## Assessment The church is a Grade II listed building – the lowest of the three grades of listing, designating "buildings of special interest, which warrant every effort being made to preserve them". It was given this status on 30 January 1968 and Cadw (the Welsh Assembly Government body responsible for the built heritage of Wales) states that it has been listed because it is "a mid 19th-century rural church, consistently articulated and detailed in an Early English style." The 19th-century writer Samuel Lewis said that the rebuilt church "forms a very good specimen of the early English style of architecture", adding that it was "effective from its simplicity and the absence of pretension." He added that the interior had been "fitted up in a neat and appropriate manner, and the details throughout appear to have been carefully studied". A 2006 guide to the churches of Anglesey says that the "impressive" tower and steeple" form "a landmark visible for many miles." It also comments that rendering on part of the tower and the south wall makes them less attractive than the north wall. A 2009 guide to the buildings of the region notes the "exceptional number of inscribed fragments", showing it to be a place of early Christian worship, but considers that the church is "unlovely". Similarly, a 2005 guide to Wales describes St Caffo's as "an uninspiring nineteenth-century church from the outside" but says that it has "a remarkable collection" of memorial stones.	[ "## History and location", "## Architecture and fittings", "## Assessment" ]	1,916	24,118
43,652,712	The Boat Race 1968	1,148,428,282	null	[ "1968 in English sport", "1968 in rowing", "1968 sports events in London", "March 1968 sports events in the United Kingdom", "The Boat Race" ]	The 114th Boat Race took place on 30 March 1968. Held annually, the event is a side-by-side rowing race between crews from the Universities of Oxford and Cambridge along the River Thames. The race, umpired by Harold Rickett, was won by Cambridge by 3+1⁄2 lengths. Goldie won the reserve race and Cambridge won the Women's Boat Race. ## Background The Boat Race is a side-by-side rowing competition between the University of Oxford (sometimes referred to as the "Dark Blues") and the University of Cambridge (sometimes referred to as the "Light Blues"). The race was first held in 1829, and since 1845 has taken place on the 4.2-mile (6.8 km) Championship Course on the River Thames in southwest London. The rivalry is a major point of honour between the two universities, followed throughout the United Kingdom and broadcast worldwide. Oxford went into the race as reigning champions, having won the previous year's race by 3+1⁄4 lengths. Cambridge, however, held the overall lead with 61 victories to Oxford's 51 (excluding the "dead heat" of 1877). The first Women's Boat Race took place in 1927, but did not become an annual fixture until the 1960s. Up until 2014, the contest was conducted as part of the Henley Boat Races, but as of the 2015 race, it is held on the River Thames, on the same day as the men's main and reserve races. The reserve race, contested between Oxford's Isis boat and Cambridge's Goldie boat has been held since 1965. It usually takes place on the Tideway, prior to the main Boat Race. Oxford were coached by Hugh "Jumbo" Edwards and Ronnie Howard, while Cambridge were overseen by a team including Lou Barry, Donald Legget, Mike Muir-Smith (who was in the Tideway Scullers School first eight), Derek Drury and Arnold Cooke. As a result of television contracts and to avoid a clash with the Grand National, the scheduled start time for the race was pushed back to 3.40–p.m., some forty minutes after the "best of the tide". The umpire was Harold Rickett who rowed for Cambridge in the 1930, 1931 and 1932 races, and who had represented Great Britain in the 1932 Summer Olympics. ## Crews The Cambridge crew weighed an average of 13 st 7.5 lb (85.7 kg), 6.25 pounds (2.8 kg) per rower more than their opponents. Oxford's crew contained five Blues, including the future Oxford University Boat Club coach Daniel Topolski, and Martin Kennard who was rowing in his third Boat Race. Cambridge saw four Blues return, with their boat club president Patrick Delafield making his third appearance in the event. While Cambridge's crew contained no registered overseas competitors, Oxford's John Bockstoce and Bill Fink were both from the United States. ## Race Cambridge won the toss and elected to start from the Surrey station. The race commenced at 3.40 p.m., in a "slight drizzle". After a fast start, Cambridge took a half-length lead by Fulham. Rounding the Middlesex bend, Oxford drew back into contention and the crews were level at the Mile Post in a time of 4 minutes 4 seconds. On the approach to Harrods Furniture Depository, Painter, the Dark Blue cox, steered his boat so close to the Surrey shore that Douglas Calder, writing in The Times, suggested "if the crews had gone any farther over they would have been practically on the towpath". After being warned twice by the umpire for steering too close to their opponents, and taking a small lead, Oxford were made to concede to the Light Blues, and Cambridge rallied. Despite rough water through Crabtree Reach, Cambridge pushed on at Hammersmith Bridge and opened an eight-second lead by the time the crews reached Chiswick Steps. By Barnes Bridge they had extended their lead to twelve seconds, and passed the finishing post 3+1⁄2 lengths ahead in a time of 18 minutes 22 seconds. It was the Light Blues' first victory in four years. Their cox remarked "I think we could have won on a foul if I had forced a collision at Harrods. However, we did not want to win this way if we could help it. I decided to give Oxford enough rope to hang themselves ..." Cambridge's Goldie won the fourth running of the reserve race, defeating Oxford's Isis by 5+1⁄2 lengths in at time of 18 minutes 44 seconds. In the 23rd Women's Boat Race, Cambridge won, taking their sixth consecutive victory.	[ "## Background", "## Crews", "## Race" ]	1,004	12,551
43,324,614	The Boat Race 1999	1,081,894,608	null	[ "1999 in English sport", "1999 in rowing", "1999 sports events in London", "April 1999 sports events in the United Kingdom", "The Boat Race" ]	The 145th Boat Race took place on 3 April 1999. Held annually, the Boat Race is a side-by-side rowing race between crews from the Universities of Oxford and Cambridge along the River Thames. Featuring the tallest rower in Boat Race history at that time, Cambridge won the race in the second-fastest time ever. It was their seventh consecutive victory in the event. In the reserve race, Cambridge's Goldie defeated Oxford's Isis in the fastest time ever, while Cambridge won the Women's Boat Race. ## Background The Boat Race is a side-by-side rowing competition between the University of Oxford (sometimes referred to as the "Dark Blues") and the University of Cambridge (sometimes referred to as the "Light Blues"). First held in 1829, the race takes place on the 4.2-mile (6.8 km) Championship Course on the River Thames in southwest London. The rivalry is a major point of honour between the two universities and followed throughout the United Kingdom and broadcast worldwide. Cambridge went into the race as reigning champions, having won the 1998 race by three lengths, with Cambridge leading overall with 75 victories to Oxford's 68 (excluding the "dead heat" of 1877). The first Women's Boat Race took place in 1927, but did not become an annual fixture until the 1960s. Up until 2014, the contest was conducted as part of the Henley Boat Races, but as of the 2015 race, it is held on the River Thames, on the same day as the men's main and reserve races. The reserve race, contested between Oxford's Isis boat and Cambridge's Goldie boat has been held since 1965. It usually takes place on the Tideway, prior to the main Boat Race. Andrew Lindsay was confident that the Oxford crew would be more motivated than their opponents: "our advantage over Cambridge is that we are hungry for the victory. Everyone in the Oxford boat is driven to go and win this damn thing". He was making his third and final appearance in the race having lost in both the 1997 and 1998 race. His grandfather represented Cambridge in the 1930s, and his uncle, Alexander Lindsay, rowed for the losing Oxford crew in the 1959 race before triumphing the following year. Cambridge boat club president and Canadian international rower Brad Crombie was also making his third Boat Race appearance, attempting to complete a hat-trick of victories. Sean Bowden was the head coach of Oxford. His Cambridge counterpart, Robin Williams, suggested "it still feels like all or nothing to us. The fear of defeat, the aim of trying to push the limits is motivation itself". Just as he had done in the 1993 race, umpire Mark Evans introduced modifications to the starting procedure, suggesting that he would be content to hold the crews for up to ten seconds between issuing the "set" and "go" commands. Cambridge's Williams remarked: "I'm happy as long as both crews abide by it", Bowden was nonplussed "Go is when you start races. I'm happy." The race was sponsored for the first time by Aberdeen Asset Management, and both crews were competing for the Aberdeen Asset Trophy. It was the fiftieth anniversary of the BBC's coverage of the event and over the preceding five years had secured an average audience in excess of six million. ## Crews The Oxford crew weighed-in at an average of 14 st 10 lb (93.2 kg), 0.5 pounds (0.23 kg) more per rower than Cambridge. Josh West, rowing at number four for Cambridge, became the tallest rower in Boat Race history at . The Oxford crew comprised three Britons, three Americans, a Swede, a Canadian and a German, while Cambridge were represented by five Britons, two Americans, a German and a Canadian. Three former Blues returned for Cambridge in Wallace, Crombie and Smith, while Oxford saw Humphreys and Lindsay return. Vian Sharif, the Cambridge cox, became the tenth female to steer a Boat Race crew, and was the lightest competitor at the event since the 1986 race. ## Race Bookmakers could not initially separate the crews, offering odds on for either boat to win. However, as the start of the race approached, Williams had suggested that he was worried by his crew's "inconsistency" and Oxford were declared favourites. Cambridge won the toss and elected to start from the Surrey station. Despite being warned by the umpire, Cambridge were soon half-a-length ahead, and a second clear by the Mile Post. The lead was extended to a length by Hammersmith Bridge and Sharif had steered her boat into a better angle of attack. Pushing on, Cambridge were seven seconds up by Chiswick Steps and nine seconds at Barnes Railway Bridge. They passed the finishing post 3+1⁄2 lengths ahead, with an eleven-second advantage over the Dark Blues. The Light Blues finished in 16 minutes 41 seconds, a time only bettered once before, in 1998. It was the first time since 1936 that Cambridge had secured seven consecutive victories. In the reserve race, Cambridge's Goldie beat Oxford's Isis by 1+1⁄2 lengths, their ninth victory in ten years, and in a record time of 16 minutes 58 seconds which beat the fastest time recorded in 1996 and repeated in 1998. Cambridge won the 51st Women's Boat Race by one length in a time of 6 minutes 1 second, their eighth consecutive victory. ## Reaction Oxford's Bowden was dumbstruck: "I'm really floored. I just haven't got any answers until I talk to the crew." His number four, Toby Ayer admitted: "my impression is that they were quicker than us and that is a very hard thing to have to say." Cambridge's Williams noted: "I thought it would be a bit more competitive than that." Cambridge boat club president Crombie exclaimed "that's the most fun I've ever had rowing for Cambridge."	[ "## Background", "## Crews", "## Race", "## Reaction" ]	1,262	17,218
990,677	SAS (software)	1,172,701,006	Statistical software	[ "Business intelligence software", "C (programming language) software", "Data mining and machine learning software", "Data warehousing", "Extract, transform, load tools", "Fourth-generation programming languages", "Mathematical optimization software", "Numerical software", "Proprietary commercial software for Linux", "Proprietary cross-platform software", "Science software for Linux" ]	SAS (previously "Statistical Analysis System") is a statistical software suite developed by SAS Institute for data management, advanced analytics, multivariate analysis, business intelligence, criminal investigation, and predictive analytics. SAS was developed at North Carolina State University from 1966 until 1976, when SAS Institute was incorporated. SAS was further developed in the 1980s and 1990s with the addition of new statistical procedures, additional components and the introduction of JMP. A point-and-click interface was added in version 9 in 2004. A social media analytics product was added in 2010. ## Technical overview and terminology SAS is a software suite that can mine, alter, manage and retrieve data from a variety of sources and perform statistical analysis on it. SAS provides a graphical point-and-click user interface for non-technical users and more through the SAS language. SAS programs have DATA steps, which retrieve and manipulate data, PROC (procedures) which analyze the data, and may also have functions. Each step consists of a series of statements. The DATA step has executable statements that result in the software taking an action, and declarative statements that provide instructions to read a data set or alter the data's appearance. The DATA step has two phases: compilation and execution. In the compilation phase, declarative statements are processed and syntax errors are identified. Afterwards, the execution phase processes each executable statement sequentially. Data sets are organized into tables with rows called "observations" and columns called "variables". Additionally, each piece of data has a descriptor and a value. PROC statements call upon named procedures. Procedures perform analysis and reporting on data sets to produce statistics, analyses, and graphics. There are more than 300 named procedures and each one performs a substantial body of statistical work. PROC statements can also display results, sort data or perform other operations. SAS macros are pieces of code or variables that are coded once and referenced to perform repetitive tasks. SAS data can be published in HTML, PDF, Excel, RTF and other formats using the Output Delivery System, which was first introduced in 2007. SAS Enterprise Guide is SAS's point-and-click interface. It generates code to manipulate data or perform analysis without use of the SAS programming language. The SAS software suite has more than 200 add-on packages, sometimes called components Some of these SAS components, i.e. add on packages to Base SAS include: ## History ### Origins The development of SAS began in 1966 after North Carolina State University re-hired Anthony Barr to program his analysis of variance and regression software so that it would run on IBM System/360 computers. The project was funded by the National Institutes of Health. and was originally intended to analyze agricultural data to improve crop yields. Barr was joined by student James Goodnight, who developed the software's statistical routines, and the two became project leaders. In 1968, Barr and Goodnight integrated new multiple regression and analysis of variance routines. In 1972, after issuing the first release of SAS, the project lost its funding. According to Goodnight, this was because NIH only wanted to fund projects with medical applications. Goodnight continued teaching at the university for a salary of \$1 and access to mainframe computers for use with the project, until it was funded by the University Statisticians of the Southern Experiment Stations the following year. John Sall joined the project in 1973 and contributed to the software's econometrics, time series, and matrix algebra. Another early participant, Caroll G. Perkins, contributed to SAS' early programming. Jolayne W. Service and Jane T. Helwig created SAS's first documentation. The first versions of SAS were named after the year in which they were released. In 1971, SAS 71 was published as a limited release. It was used only on IBM mainframes and had the main elements of SAS programming, such as the DATA step and the most common procedures, i.e. PROCs. The following year a full version was released as SAS 72, which introduced the MERGE statement and added features for handling missing data or combining data sets. In 1976, Barr, Goodnight, Sall, and Helwig removed the project from North Carolina State and incorporated it as the SAS Institute, Inc. ### Development SAS was redesigned in SAS 76. The INPUT and INFILE statements were improved so they could read most data formats used by IBM mainframes. Generating reports was also added through the PUT and FILE statements. The ability to analyze general linear models was also added as was the FORMAT procedure, which allowed developers to customize the appearance of data. In 1979, SAS 79 added support for the IBM VM/CMS operating system and introduced the DATASETS procedure. Three years later, SAS 82 introduced an early macro language and the APPEND procedure. SAS version 4 had limited features, but made SAS more accessible. Version 5 introduced a complete macro language, array subscripts, and a full-screen interactive user interface called Display Manager. In 1985, SAS was rewritten in the C programming language. This enabled the SAS' Multivendor Architecture that allows the software to run on UNIX, MS-DOS, and Windows. It was previously written in PL/I, Fortran, and assembly language. In the 1980s and 1990s, SAS released a number of components to complement Base SAS. SAS/GRAPH, which produces graphics, was released in 1980, as well as the SAS/ETS component, which supports econometric and time series analysis. A component intended for pharmaceutical users, SAS/PH-Clinical, was released in the 1990s. The Food and Drug Administration standardized used SAS/PH-Clinical for new drug applications in 2002. Vertical products like SAS Financial Management and SAS Human Capital Management (then called CFO Vision and HR Vision respectively) were also introduced. JMP was developed by SAS co-founder John Sall and a team of developers, in order to take advantage of the graphical user interface introduced in the 1984 Apple Macintosh. JMP was shipped for the first time in 1989. Updated versions of JMP were released continuously after 2002 with the most recent release in 2016. SAS version 6 was used throughout the 1990s and was available on a wider range of operating systems, including Macintosh, OS/2, Silicon Graphics, and PRIMOS. SAS introduced new features through dot-releases. From 6.06 to 6.09, a user interface based on the Windows paradigm was introduced as well as support for SQL was added. Version 7 introduced the Output Delivery System (ODS) and an improved text editor. ODS was improved upon in successive releases. For example, more output options were added in version 8. The number of operating systems that were supported was reduced to UNIX, Windows and z/OS, and Linux was added. SAS version 8 and SAS Enterprise Miner were released in 1999. ### Recent history In 2002, the Text Miner software was introduced. Text Miner analyzes text data like emails for patterns in business intelligence applications. In 2004, SAS Version 9.0 was released, referred to as "Project Mercury" internally, and was designed to make SAS accessible to a broader range of business users. Version 9.0 added custom user interfaces based on the user's role and established the point-and-click user interface of SAS Enterprise Guide as the software's primary graphical user interface (GUI). The Customer Relationship Management (CRM) features were improved in 2004 with SAS Interaction Management. In 2008, SAS announced Project Unity, designed to integrate data quality, data integration, and master data management. SAS Institute Inc v World Programming Ltd was a lawsuit with developers of a competing implementation, World Programming System, alleging that they had infringed SAS's copyright in part by implementing the same functionality. The case was referred by the United Kingdom's High Court of Justice to the European Court of Justice on 11 August 2010. In May 2012, the European Court of Justice ruled in favor of World Programming, finding that "the functionality of a computer program and the programming language cannot be protected by copyright." A free version of SAS was introduced for students in 2010. SAS Social Media Analytics, a tool for social media monitoring, engagement and sentiment analysis, was also released that year. SAS Rapid Predictive Modeler (RPM), which creates basic analytical models using Microsoft Excel, was introduced the same year. In 2010, JMP 9 included a new interface for using the R programming language and an add-in for MS Excel. The following year, a High Performance Computing platform was made available in a partnership with Teradata and EMC Greenplum. In 2011, the company released Enterprise Miner 7.1. The company introduced 27 data management products from October 2013 to October 2014 and updates to 160 others. At the 2015 SAS Global Forum, SAS announced several new products that were specialized for different industries, as well as new training software. ### Releases date SAS had many releases since 1972. Since release 9.3, SAS/STAT has its own release numbering. ## Software products As of 2011, SAS's largest set of products is its line for customer intelligence. Numerous SAS modules for web, social media and marketing analytics may be used to profile customers and prospects, predict their behaviors and manage and optimize communications. SAS also provides the SAS Fraud Framework. The framework's primary functionality is to monitor transactions across different applications, networks and partners and use analytics to identify anomalies that are indicative of fraud. SAS Enterprise GRC (Governance, Risk and Compliance) provides risk modeling, scenario analysis, and other functions in order to manage and visualize risk, compliance and corporate policies. There is also a SAS Enterprise Risk Management product-set designed primarily for banks and financial services organizations. SAS products for monitoring and managing the operations of IT systems are collectively referred to as SAS IT Management Solutions. SAS collects data from various IT assets on performance and utilization, then creates reports and analyses. SAS's Performance Management products consolidate and provide graphical displays for key performance indicators (KPIs) at the employee, department and organizational level. The SAS Supply Chain Intelligence product suite is offered for supply chain needs, such as forecasting product demand, managing distribution and inventory and optimizing pricing. There is also a "SAS for Sustainability Management" set of software to forecast environmental, social and economic effects and identify causal relationships between operations and their impact on the environment or ecosystem. SAS has products for specific industries, such as government, retail, telecommunications, aerospace, marketing optimization, and high-performance computing. ### Free University Edition SAS previously offered a Free University Edition which could be downloaded for non-commercial use. SAS put out a press release announcing the Free University Edition on 28 May 2014. However, in 2022, the SAS Free University Edition was replaced by two entirely web-based versions: SAS OnDemand for Academics and SAS Viya for Learners. ### Comparison to other products In a 2005 article for the Journal of Marriage and Family comparing statistical packages from SAS and its competitors Stata and SPSS, Alan C. Acock wrote that SAS programs provide "extraordinary range of data analysis and data management tasks," but were difficult to learn and use. SPSS and Stata, meanwhile, were both easier to learn but had less capable analytic abilities, though these could be expanded with paid (in SPSS) or free (in Stata) add-ons. Acock concluded that SAS was best for power users, while occasional users would benefit most from SPSS and Stata. A 2014 comparison by the University of California, Los Angeles, gave similar results. Competitors such as Revolution Analytics and Alpine Data Labs advertise their products as considerably cheaper than SAS's. In a 2011 comparison, Doug Henschen of InformationWeek found that start-up fees for the three are similar, though he admitted that the starting fees were not necessarily the best basis for comparison. SAS's business model is not weighted as heavily on initial fees for its programs, instead focusing on revenue from annual subscription fees. ### SAS Viya In 2016, SAS Viya was introduced, with a new architecture optimized for running SAS software in public clouds. Viya also increased interoperability with open source software, allowing models to be built in tools such as R, Python and Jupyter, and then executed on SAS's Cloud Analytics Services (CAS) engine. In 2020, a further architectural revamp in Viya 4 containerized the software. SAS sells Viya alongside SAS 9.4, and has not positioned it as a replacement for SAS 9.4. ## Adoption According to IDC, SAS is the largest market-share holder in "advanced analytics" with 35.4 percent of the market as of 2013. It is the fifth largest market-share holder for business intelligence (BI) software with a 6.9% share and the largest independent vendor. It competes in the BI market against SAP BusinessObjects, IBM Cognos, SPSS Modeler, Oracle Hyperion, and Microsoft Power BI. SAS has been named in the Gartner Leader's Quadrant for Data Integration Tools and for Business Intelligence and Analytical Platforms. A study published in 2011 in BMC Health Services Research found that SAS was used in 42.6 percent of data analyses in health service research, based on a sample of 1,139 articles drawn from three journals. ## See also - Comparison of numerical-analysis software - Comparison of OLAP servers - JMP (statistical software), a subsidiary of SAS Institute Inc. - SAS language - R (programming language)	[ "## Technical overview and terminology", "## History", "### Origins", "### Development", "### Recent history", "### Releases date", "## Software products", "### Free University Edition", "### Comparison to other products", "### SAS Viya", "## Adoption", "## See also" ]	2,833	14,782
25,650,949	Cyclone Cilla	1,142,164,438	Category 1 South Pacific cyclone in 2003	[ "2002–03 South Pacific cyclone season", "Category 1 South Pacific cyclones", "Retired South Pacific cyclones", "Tropical cyclones in 2003", "Tropical cyclones in American Samoa", "Tropical cyclones in Fiji", "Tropical cyclones in Tonga" ]	Tropical Cyclone Cilla was a tropical cyclone that brought minor damage to several islands in the South Pacific in January 2003. The fifth cyclone of the 2002–03 South Pacific cyclone season, Cyclone Cilla developed from a monsoon trough on January 26 northwest of Fiji. Initially, Cilla moved east, and due to decreased wind shear, Cilla was able to intensify. On January 28, Cilla reached its peak intensity of 75 km/h (45 mph). After slightly weakening, Cilla briefly re-intensified the next day. However, Cilla transitioned into an extratropical cyclone on January 30. Along its path, Cilla dropped heavy rainfall over islands it passed. During its formative stages, the low dropped heavy rain over Fiji, which had already been affected by Cyclone Ami two weeks prior. Damage in Tonga was mostly limited to vegetation and fruit trees; infrastructural damage was also relatively minor. Cilla also brought moderate rain to American Samoa. ## Meteorological history On January 25, 2003, a low-pressure area formed within a monsoon trough about 300 mi (485 km) northwest of Fiji and moved to the east-southeast. That morning, the Joint Typhoon Warning Center (JTWC) began to issue warnings on the system, designating it as 12P. Shortly thereafter, Cilla turned southeast hours later in the general direction of Tonga Early on January 26, RSMC Nadi designated the low as Tropical Depression 07F, after attaining 10-minute sustained winds of 35 mph (55 km/h). At the time, the slow moving system had a poorly defined center of circulation that was hard to identify via radar and satellite imagery. In addition, most of the deep thunderstorm activity was displaced to the north and southeast of the center. Later that morning, the JTWC reported winds of 35 mph (55 km/h); however, the depression did not become any better organized throughout the day. Early the next day, RSMC Nadi upgraded the tropical depression to a Category 1 tropical cyclone on the Australian intensity scale and named it Cilla. By 0600 UTC January 27, the JTWC reported that Cilla had attained 1-minute sustained winds of 40 mph (65 km/h), which according to JTWC data, was its peak intensity. Subsequently, Cilla turned east-southeast. Throughout the day, wind shear conditions lessened further; however, shower activity separated from the center, prompting the JTWC to issue its last warning on Tropical Cyclone Cilla later that day. At 2100 UTC January 27, RMSC Nadi remarked that the cyclone had become better organized. Upon attaining peak intensity, the storm passed fairly closed to Tonga. At 0600 UTC January 28, Cilla reached its peak intensity, with 10–minute sustained winds of 45 mph (70 km/h) per RMSC Nadi. At this time, the tropical cyclone was located about 400 mi (645 km) south-southeast of Pago Pago. Rapidly moving, Cilla showed baroclinic characteristics, hinting that the system was a hybrid low, sustaining characteristics of both tropical and nontropical cyclones. According to RMSC Nadi, Cilla weakened slightly as the storm lost organization due to increased wind shear. On January 29, thunderstorm activity once again increased in converge around the center, though at first, the convection was sheared at times. On 0000 UTC, Dvorak satellite intensity estimates yielded a 3.0, suggesting a tropical cyclone with 10–minute winds of 45 mph (70 km/h), Cilla's secondary peak intensity. Satellite images indicated a banding pattern associated with the cyclone. The JTWC briefly watched this system for regeneration, noting it had a "fair" chance. However, continued wind shear began to weaken Cilla, and by 1200 UTC on January 29, Cilla was reduced to a tropical depression just before the system turned south-southeast. With the center exposed from the deep convection, Tropical Depression Cilla transitioned into an extratropical cyclone at 1100 UTC the next day, on January 30. The extratropical cyclone completely dissipated two days later. ## Impact and aftermath As a tropical depression, Cilla passed over Vanua Levu. Even though the region had been severely affected by Cyclone Ami two weeks earlier, flood waters that resulted from rains associated with the cyclone quickly receded due to the storm's rapid motion. When Cilla first posed a threat to Tonga, the Fiji Meteorological Service (FMS) issued a tropical cyclone alert for the entire island chain. Damage in Tonga was mostly limited to vegetation and coconut and banana trees; damage to infrastructure was minor. Peak winds of 32 mph (51 km/h) and peak gusts of 67 mph (108 km/h) were recorded in Ha'apai. Power was lost on Lifuka for about three hours during the night of January 27. Communications services were also affected but restored on January 28. Cilla also affected the American Samoa, providing moderate rainfall over the area, peaking at 2.21 in (56 mm) in Asasfou. The name Cilla was retired by the World Meteorological Organization after the season, and was replaced by Cody. ## See also - Cyclone Cliff - Cyclone Tam (2006) - Cyclone Ami	[ "## Meteorological history", "## Impact and aftermath", "## See also" ]	1,153	1,296
1,603,713	M-17 (Michigan highway)	1,166,526,889	State highway in Washtenaw County, Michigan, United States	[ "State highways in Michigan", "Transportation in Washtenaw County, Michigan" ]	M-17 is a 6.390-mile-long (10.284 km) state trunkline highway in the U.S. state of Michigan, connecting the cities of Ypsilanti and Ann Arbor in Washtenaw County. It was once part of a highway that spanned the southern Lower Peninsula of Michigan before the creation of the U.S. Highway System in 1926. The designation once extended into downtown Detroit, but the eastern terminus was progressively scaled back in the late 1960s to the current location in Ypsilanti. The changes made to the highways in Washtenaw County spawned Business M-17 (Bus. M-17), a business loop for 11 years between 1945 and 1956. ## Route description M-17 begins at exit 37 along US Highway 23 (US 23) on the Ann Arbor – Pittsfield Township border. West of this cloverleaf interchange, Washtenaw Avenue is Business Loop Interstate 94 (BL I-94) and Business US 23 (Bus. US 23). M-17 follows Washtenaw Avenue east of this interchange through Pittsfield Township and Ypsilanti Township. The street is five lanes wide through an urban area between Ann Arbor and Ypsilanti running east-southeasterly. Although there are many residential areas near M-17, particularly to the south, the road itself is dominated by commercial development, including numerous restaurants. M-17 crosses into the city of Ypsilanti at Hewitt Road. This intersection provides access north to Rynearson Stadium, home field for the Eastern Michigan University (EMU) Eagles football team. Continuing east-southeasterly along Washtenaw Avenue, M-17 meets the southwest corner of the EMU campus at Oakwood Avenue. The highway follows the southern edge of campus to Cross Street, where the highway splits to follow a one-way pairing of streets. Eastbound M-17 continues along Washtenaw Avenue while westbound traffic follows Cross Street. Eastbound traffic turns southward at Hamilton Street for two blocks before turning east along Michigan Avenue, meeting westbound Bus. US 12. The two highway designations merge, running concurrently through downtown Ypsilanti. The section of Michigan Avenue between Hamilton and Huron streets is actually a wrong-way concurrency because although it is a two-way boulevard, the eastbound direction is M-17 and the westbound direction is Bus. US 12. Both directions of traffic for both highways rejoin at Huron Street, as the westbound M-17 traffic uses Huron Street north to Cross Street and westbound Bus. US 12 turns south along Huron Street. Northeast of the Huron Street intersection is Riverside Park. Michigan Avenue forms the extreme southern park boundary just before it crosses the Huron River. At Ecorse Road, M-17 turns south in Ypsilanti Township through a residential area, separating from Bus. US 12. Ecorse Road turns east four blocks north of I-94/US 12 and runs parallel to the freeway. Past Harris Road, US 12 turns northeasterly on a separate expressway. Where it meets Ecorse Road, US 12 follows Ecorse Road, replacing M-17. This junction marks the eastern terminus of M-17 west of Willow Run Airport. Like other state highways in Michigan, M-17 is maintained by the Michigan Department of Transportation (MDOT). As a part of these maintenance duties, the department tracks the traffic levels along its roadways using a metric called annual average daily traffic (AADT). This is a statistical calculation of the average daily number of vehicles on a segment of roadway. In 2009, MDOT's surveys found that the highest AADT along the trunkline was 26,141 vehicles daily on the westernmost section near the US 23 interchange while the lowest counts were along the north–south section of Ecorse Road at 8,926 vehicles. The section of M-17 from US 23 to the western junctions with Bus. US 12 has been listed on the National Highway System, a network of roadways important to the country's economy, defense, and mobility. ## History M-17 is an original state trunkline dating back to the 1919 signing of the system. On July 1, 1919, the highway started at M-11 in Berrien County in the southwestern Lower Peninsula and ran east to Detroit. The debut of the U.S. Highway System replaced most of M-17 with two different highways. From Watervliet to Ann Arbor, US 12 replaced M-17; east of Ypsilanti to Detroit, US 112 replaced M-17. The M-17 designation also replaced M-23 on Ecorse Road between Ypsilanti and Lincoln Park and then ran concurrently with US 25 into Detroit. The Ann Arbor segment was rerouted along Boulevard Drive (now Stadium Boulevard) between US 12 and US 23. A realignment in 1937–38 moved the M-17 designation in Allen Park. Changes made moved the highway to turn east on Southfield Road to US 25 and follow US 25 back to the former routing into Detroit. Another larger change came before 1945 with the completion of the Willow Run Expressway. M-17 was rerouted west of the Wayne–Washtenaw county line along the expressway that replaced Ecorse Road. M-17 was joined by Bypass US 112 (BYP US 112) along the Willow Run Expressway to a southern freeway bypass of Ypsilanti. M-17 continued past the end of BYP US 112 at US 112/Michigan Avenue along a two-lane highway to US 23. It then followed US 23 back to Washtenaw Avenue in Pittsfield Township to rejoin the original alignment of M-17 west to Ann Arbor. The former M-17 through downtown Ypsilanti was redesignated Business M-17 (Bus. M-17). The Michigan State Highway Department (MSHD) completed the freeway bypass of the Ann Arbor–Ypsilanti in 1956, then moved the M-17 designation back to Washtenaw Avenue, Michigan Avenue and Ecorse Road, removing Bus. M-17 in the process. US 12 and US 112 replaced the BYP US 112 designation on the freeway. The former US 112 designation through downtown Ypsilanti was converted to a BUS US 112 designation, including sections concurrent with M-17. Another change was made to the Ann-Arbor section of the highway as it was truncated to end at US 23. The 1962 completion of the US 23 freeway through the Ann Arbor area by MSHD moved the western terminus of M-17 west to meet the new freeway at the current terminus. The eastern terminus was progressively scaled back starting in 1968. The US 25 concurrency was removed and the terminus was moved to M-39/Southfield Road in Allen Park. A second truncation scaled the terminus back to US 12, the current eastern endpoint. ## Major intersections ## Business loop Business M-17 (Bus. M-17) was a business route designation used along a section of highway from 1945 until 1956. It was routed along Washtenaw and Michigan avenues and Ecorse Road in the Ypsilanti area. At the time of its commissioning, M-17 was moved to a freeway bypass of downtown Ypsilanti. It was later decommissioned in 1956 when the freeway bypass was completed west around the south side of Ann Arbor. M-17 was moved back to its original routing through downtown Ypsilanti, supplanting Bus. M-17 when US 12/US 112 supplanted M-17 on the freeway. ## See also	[ "## Route description", "## History", "## Major intersections", "## Business loop", "## See also" ]	1,652	13,741
47,004,849	ReCore	1,161,843,999	2016 video game	[ "2016 video games", "Action-adventure games", "Metroidvania games", "Microsoft games", "Open-world video games", "Platform games", "Post-apocalyptic video games", "Science fiction video games", "Shooter games", "Single-player video games", "Video games about robots", "Video games developed in France", "Video games developed in Japan", "Video games developed in the United States", "Video games featuring female protagonists", "Video games set on fictional planets", "Windows games", "Xbox Cloud Gaming games", "Xbox One X enhanced games", "Xbox One games", "Xbox Play Anywhere games" ]	ReCore is an action-adventure and platform video game developed by Comcept and Armature Studio, with assistance from Asobo Studio, and published by Microsoft Studios for Windows and Xbox One. The game was released worldwide in September 2016 and re-released in August 2017. The story tracks Joule Adams, one of the first volunteers for the utopian colony of Far Eden, who wakes after centuries in cryo-sleep to find that nothing has gone according to plan. With her three robotic machines known as corebot companions, Joule ventures throughout Far Eden to uncover the secrets behind the failed mission. The open world of Far Eden is subject to exploration and the collection of resources. Joule's weapons are color-coded to inflict damage on a particular set of enemies and, like her companions, can also be enhanced. The corebots support her in battle and puzzle solving. Development began in 2014. The game was directed by Mark Pacini, written by Joseph Staten and conceptualized by Keiji Inafune. Mega Man and Metroid were significant influences in its creation. The development was divided between Armature Studio and Comcept into their own distinctive proficiencies, while Asobo Studio assisted. ReCore received mixed reviews, the most critical of which noted insufficient design choices, technical issues regarding lengthy and unsuccessful loading screens and repetitive combat, while praise was overall focused on the story, platforming and controls. ## Gameplay ReCore is an action-adventure and platform game played from a third-person perspective. It centers around Joule Adams and her three robotic machines known as corebot companions, who aid her in combat and puzzle solving; these types of machines can be improved, should players find the blueprints and materials to do so, which grants upgrades to their attack and defense. The machines' cores can be swapped between them, changing their abilities in succession, and their frames are rearrangeable. Players can level up Joule's weapons and vitality. Ranged weapons have three kinds of ammunition that take down an enemy with a matching color: red, blue and yellow. Furthermore, if one of Joule's corebots matches the color of an enemy, it will thus inflict more damage in combat. Joule also wields a grappling hook that she uses to extract her enemies' energy cores after a certain amount of damage is done. Joule must dodge, jump or dash quickly to avoid taking damage. Joule navigates the open world of Far Eden either on foot equipped with rocket boosters on her shoes and her back, across platforms with the grappling hook or via fast travel. The scenery may be altered by sandstorms, unveiling new areas to explore. Corebots can speak their own language called DigiMode, which the players are permitted to translate. Dungeons leading to progression in the story and containing resources that can be used for crafting are scattered throughout the world for Joule to unlock by way of collecting cores. ## Plot ReCore is set roughly 200 years in the future. In the course of the early 2020s, a disease called the "Dust Devil Plague" began to ravage the Earth. An organization named Mandate led global efforts to fight the disease. As the Earth became uninhabitable, Mandate launched several missions to a new planet known as Far Eden. Far Eden was discovered many light-years away in the first decades of the 21st century. Several thousand corebots were sent to build atmospheric processing facilities on Far Eden, and the first group of colonists was sent. The colonists were to hibernate in cryo-sleep for 200 years while the terraforming process finished. During this period, many of the colonists vanished, and the corebots became corrupted. The game begins on the desert world of Far Eden as one of the colonists Joule Adams (Erika Soto) and her corebot Mack (Jonathan Lipow) are walking past the wreckage of her cryo-sleep maintenance habitat, or "crawler", from which she previously woke. They venture out to obtain a power core to get the crawler back online. Eventually finding it inside a corebot, Joule pries it out with her extractor tool. Joule and Mack then return to the crawler, switching its power back on. Joule sets out to reactivate a terraforming pylon that she learns has been offline for ninety-six years. After Joule manages to reboot the pylon, she receives a distress signal from a beacon that had until then been obstructed. Once she obtains a prismatic core in order to progress towards the signal, enemy corebots appear. On the order of Victor (Alex Fernandez), the leader of the corebots, they demand that she hand over the core. When she refuses, they become agitated. She defeats the enemies and proceeds to her destination. There, she encounters amputee Kai Brehn (Harry Shum) and his corebot Seth. Kai requests aid for his leg and Joule complies. She reveals the prismatic core, as it might assist him. Kai urges her to travel to the core foundry so that Joule may discover the answers to its potential. Seth accompanies her. In the foundry, Joule is able to analyze the prismatic core. She can make out voices coming from the core – including her father's – thus deducing that it is a transmission of sorts. Heading to Eden Tower to decrypt the core's transmission, she agrees to meet Kai there. Once reunited, they are ambushed by Victor. Kai stays behind to provide Joule the time to escape. She finds a lost crawler filled with parietal art indicating that Victor had manipulated the other corebots to attack the maintenance habitats. Corebot Duncan enters, lamenting the death of his human companion, and unites with Joule against Victor. Joule approaches Eden Tower to activate it, only to be faced with Victor and his minions. She learns that the ships, once orbiting Far Eden while waiting for its terraforming to complete, are long gone, having been destroyed by Victor. He throws Kai's prosthetic leg to the ground, proclaiming him dead. Finally, Joule bests Victor in combat and activates the terraforming system, materializing a hologram of her father from parts of memories hidden in the cores. In the end, it becomes clear that Kai survived his confrontation with Victor. ## Development Development started in early 2014 and took 14 months to go into full production. The concept was contributed by Keiji Inafune, who wished to convey the idea of surviving in a world verging on human extinction. The developers first came up with the robots, whose anatomical design problems would later be solved by the insertion of cores – essentially robot souls – to explain their propulsion. Writer Joseph Staten resolved to create a simple story to enhance an emotional backdrop more grounded in complexity. ReCore was designed by Comcept, which is a development studio founded by former Capcom employee Keiji Inafune. Partnering with Comcept was Armature Studio, formed by designers who worked on Metroid Prime 3: Corruption and the prior Mega Man X series spin-off concept Maverick Hunter. Dividing labor between the studios into each their expertise, Armature Studio developed the technical assets while Comcept maintained the base philosophy of the world, characters and story. Using the Unity game engine, Armature Studio collaborated with Unity Technologies to advance its animation state machine system, Mecanim, for its application in ReCore. Asobo Studio assisted in a share of the development including creating the game's world and enemies. The game was directed by Mark Pacini of the Metroid Prime series. Mega Man and Metroid influenced the manner in which the robotic characters and world-unlocking were developed, and the cinematic story was impacted by Staten's reading of The Jungle Book. Chad Seiter composed the score. ## Release ReCore was first revealed at E3 2015 during Microsoft's opening press conference. At the conclusion of the debut trailer, Microsoft revealed the game was to be released in the second quarter of 2016 on the Xbox One. On January 4, 2016, Microsoft announced that ReCore would also be released for Windows. ReCore was released as the first title of Xbox's Play Anywhere program – the opportunity to play the game on both Windows and Xbox One, no matter the platform for which it was initially purchased – on September 13, 2016, in North America and Australia, September 15 in Japan and September 16 in Europe. After the loading screens were criticized, a patch was made to assuage their long duration on the Xbox One. An artbook, The Art of ReCore, was published on September 27, 2016, by Dark Horse Comics. A free trial version lasting 30 minutes was released the following month in concurrence with an update launched to polish the audio, performance, waypoints, achievement tracking, collision locations, checkpoints and respawn points. ReCore: Definitive Edition was released on August 29, 2017, adding story content, areas to explore, and gameplay changes and repairs. ## Reception ReCore received "mixed or average" reviews, according to review aggregator Metacritic. The game was the fifth best-selling retail video game in the UK in its week of release, according to Chart-Track. It was nominated for the 2016 Unity Awards in the category of Best 3D Visuals and for Xbox Game of the Year at the 2016 Golden Joystick Awards. Brett Makedonski of Destructoid had a mixed response to ReCore. Though describing the game to be "brimming with ideas", Makedonski criticized the design for being injurious to its foundation. He felt the fetch quests were repetitive and over represented as part of the gameplay experience, and that it failed to do justice to the narrative. Makedonski praised the game's controls, but had issues with the combat for its tedious nature and inability to advance. Keri Honea of Game Revolution showed little enthusiasm for the game, considering the dungeon raids "formulaic", boring and repetitive. The unlockable "Arena Dungeons" were declared unintelligible in the context of the game's established world. In addition to combat abilities being recounted as "pointless and padded", loading times – lasting up to 4 minutes – also met charges of criticism. Honea concluded that the "first couple of hours of ReCore were almost downright magical" but grew disenchanted with everything but the story, which was seen as its only redeeming quality. Tamoor Hussain of GameSpot called it a modest action game whose length suffered a condition of insecurity, yet added that most of its ventures were carried out successfully. Hussain found the combat "quite pleasing" despite its simplicity, in particular the extraction of cores, which he likened to reeling in a fish. Though marred by an apparent lack of visual diversity, the world appeared conversely evocative according to Hussain. Also subject to complaint were lengthy and unsuccessful loading screens, and the rate at which it crashed on the Xbox One. Sam Prell of GamesRadar wrote that ReCore signified good ideas, when poorly executed. Prell explains that, for all the game's positive aspects, they were outweighed by some considerable problems. He cited its extensive loading times as one of the most frequent offenders, which would also cause the game to crash. Other technical issues included bugs and frame rates that would scale down dramatically. The main story was nevertheless appreciated, even though it had a slight running time and, as concluded by Prell, resulted in a "padded" experience. Arthur Gies of Polygon took the view that, however strong a first impression the fundamentals and ideas yielded, the game's overall quality was reduced by being drawn out beyond its capabilities with superfluous material. A more favorable aspect was the combo system, which was said to channel "early '00s Japanese action games in a way that feels hard to resist". Traversal challenges and controls were also lauded. Further, Polygon disparaged the design for the game's considerable length, and sensed it was to compensate for the small number of story missions. The loot and crafting system appeared minimal in action and the grinding involved was found to be "annoying" and "a real chore". Mike Williams of USgamer endorsed the combat and platforming's reminiscence to Mega Man Legends and Metroid Prime, respectively. Williams wrote that the corebots were one of ReCore's strongest aspects and judged exploration to be the most robust feature, but found that the story was obstructed by the level-based progression. The release of the Definitive Edition update was met with a more positive reception due to technical fixes, improved loading times, changes to gameplay and additional content. Makedonski was favorable to the update, noting gameplay improvements that altered the pacing to lessen repetition, overall calling the update "what ReCore should've been in the first place."	[ "## Gameplay", "## Plot", "## Development", "## Release", "## Reception" ]	2,649	9,264
218,361	Northern pintail	1,161,126,733	Migratory duck that breeds in northern Eurasia and North America	[ "Anas", "Birds described in 1758", "Birds of Africa", "Birds of Haiti", "Birds of the Dominican Republic", "Holarctic birds", "Taxa named by Carl Linnaeus" ]	The pintail or northern pintail (Anas acuta) is a duck species with wide geographic distribution that breeds in the northern areas of Europe and across the Palearctic and North America. It is migratory and winters south of its breeding range to the equator. Unusually for a bird with such a large range, it has no geographical subspecies if the possibly conspecific duck Eaton's pintail is considered to be a separate species. This is a large duck, and the male's long central tail feathers give rise to the species' English and scientific names. Both sexes have blue-grey bills and grey legs and feet. The drake is more striking, having a thin white stripe running from the back of its chocolate-coloured head down its neck to its mostly white undercarriage. The drake also has attractive grey, brown, and black patterning on its back and sides. The hen's plumage is more subtle and subdued, with drab brown feathers similar to those of other female dabbling ducks. Hens make a coarse quack and the drakes a flute-like whistle. The northern pintail is a bird of open wetlands which nests on the ground, often some distance from water. It feeds by dabbling for plant food and adds small invertebrates to its diet during the nesting season. It is highly gregarious when not breeding, forming large mixed flocks with other species of duck. This duck's population is affected by predators, parasites and avian diseases. Human activities, such as agriculture, hunting and fishing, have also had a significant impact on numbers. Nevertheless, owing to the huge range and large population of this species, it is not threatened globally. ## Taxonomy This species was first described by Carl Linnaeus in his landmark 1758 10th edition of Systema Naturae as Anas acuta. The scientific name comes from two Latin words: anas, meaning "duck", and acuta, which comes from the verb acuere, "to sharpen"; the species term, like the English name, refers to the pointed tail of the male in breeding plumage. Within the large dabbling duck genus Anas, the northern pintail's closest relatives are other pintails, such as the yellow-billed pintail (A. georgica) and Eaton's pintail (A. eatoni). The pintails are sometimes separated in the genus Dafila (described by Stephens, 1824), an arrangement supported by morphological, molecular and behavioural data. The famous British ornithologist Sir Peter Scott gave this name to his daughter, the artist Dafila Scott. Eaton's pintail has two subspecies, A. e. eatoni (the Kerguelen pintail) of Kerguelen Islands, and A. e. drygalskyi (the Crozet pintail) of Crozet Islands, and was formerly considered conspecific with the Northern Hemisphere's northern pintail. Sexual dimorphism is much less marked in the southern pintails, with the male's breeding appearance being similar to the female plumage. Unusually for a species with such a large range, northern pintail has no geographical subspecies if Eaton's pintail is treated as a separate species. A claimed extinct subspecies from Manra Island, Tristram's pintail, A. a. modesta, appears to be indistinguishable from the nominate form. The three syntype specimens of Dafila modesta Tristram (Proceedings of the Zoological Society of London, 1886, p.79. pl. VII), the extinct subspecies, are held in the vertebrate zoology collections of National Museums Liverpool at World Museum, with accession numbers NML-VZ T11792 (male immature), NML-VZ T11795 (female adult) and NML-VZ T11797 (female adult). The specimens were collected by J. V. Arundel in Sydney Island (Manra Island), Phoenix Islands in 1885 and came to the Liverpool national collection via Canon Henry Baker Tristram's collection which was purchased in 1896. ## Description The northern pintail is a fairly large duck with a wing chord of 23.6–28.2 cm (9.3–11.1 in) and wingspan of 80–95 cm (31–37 in). The male is 59–76 cm (23–30 in) in length and weighs 450–1,360 g (0.99–3.00 lb), and therefore is considerably larger than the female, which is 51–64 cm (20–25 in) long and weighs 454–1,135 g (1.001–2.502 lb). The northern pintail broadly overlaps in size with the similarly widespread mallard, but is more slender, elongated and gracile, with a relatively longer neck and (in males) a longer tail. The unmistakable breeding plumaged male has a chocolate-brown head and white breast with a white stripe extending up the side of the neck. Its upperparts and sides are grey, but elongated grey feathers with black central stripes are draped across the back from the shoulder area. The vent area is yellow, contrasting with the black underside of the tail, which has the central feathers elongated to as much as 10 cm (3.9 in). The bill is bluish and the legs are blue-grey. The adult female is mainly scalloped and mottled in light brown with a more uniformly grey-brown head, and its pointed tail is shorter than the male's; it is still easily identified by its shape, long neck, and long grey bill. In non-breeding (eclipse) plumage, the drake pintail looks similar to the female, but retains the male upperwing pattern and long grey shoulder feathers. Juvenile birds resemble the female, but are less neatly scalloped and have a duller brown speculum with a narrower trailing edge. The pintail walks well on land, and swims well. In water, the swimming posture is forward leaning, with the base of the neck almost flush with the water. It has a very fast flight, with its wings slightly swept-back, rather than straight out from the body like other ducks. In flight, the male shows a black speculum bordered white at the rear and pale rufous at the front, whereas the female's speculum is dark brown bordered with white, narrowly at the front edge but very prominently at the rear, being visible at a distance of 1,600 m (0.99 mi). The male's call is a soft proop-proop whistle, similar to that of the common teal, whereas the female has a mallard-like descending quack, and a low croak when flushed. ## Distribution and habitat This dabbling duck breeds across northern areas of the Palearctic south to about Poland and Mongolia, and in Canada, Alaska and the Midwestern United States. It mainly winters south of its breeding range, reaching almost to the equator in Panama, northern sub-Saharan Africa and tropical South Asia. Small numbers migrate to Pacific islands, particularly Hawaii, where a few hundred birds winter on the main islands in shallow wetlands and flooded agricultural habitats. Transoceanic journeys also occur: a bird that was caught and ringed in Labrador, Canada, was shot by a hunter in England nine days later, and Japanese-ringed birds have been recovered from six US states east to Utah and Mississippi. In parts of the range, such as Great Britain and the northwestern United States, the pintail may be present all year. The northern pintail's breeding habitat is open unwooded wetlands, such as wet grassland, lakesides or tundra. In winter, it will utilise a wider range of open habitats, such as sheltered estuaries, brackish marshes and coastal lagoons. It is highly gregarious outside the breeding season and forms very large mixed flocks with other ducks. ## Behaviour ### Breeding Both sexes reach sexual maturity at one year of age. The male mates with the female by swimming close to her with his head lowered and tail raised, continually whistling. If there is a group of males, they will chase the female in flight until only one drake is left. The female prepares for copulation, which takes place in the water, by lowering her body; the male then bobs his head up and down and mounts the female, taking the feathers on the back of her head in his mouth. After mating, he raises his head and back and whistles. Among the earliest species to breed in the spring, northern pintails typically form pairs during migration, or even while still on wintering grounds. Breeding takes place between April and June, with the nest being constructed on the ground and hidden amongst vegetation in a dry location, often some distance from water. It is a shallow scrape on the ground lined with plant material and down. The female lays seven to nine cream-coloured eggs at the rate of one per day; the eggs are 55 mm × 38 mm (2.2 in × 1.5 in) in size and weigh 45 g (1.6 oz), of which 7% is shell. If predators destroy the first clutch, the female can produce a replacement clutch as late as the end of July. The hen alone incubates the eggs for 22 to 24 days before they hatch. The precocial downy chicks are then led by the female to the nearest body of water, where they feed on dead insects on the water surface. The chicks fledge in 46 to 47 days after hatching, but stay with the female until she has completed moulting. Around three-quarters of chicks live long enough to fledge, but not more than half of those survive long enough to reproduce. The maximum recorded age is 27 years and 5 months for a Dutch bird. ### Feeding The pintail feeds by dabbling and upending in shallow water for plant food mainly in the evening or at night, and therefore spends much of the day resting. Its long neck enables it to take food items from the bottom of water bodies up to 30 cm (12 in) deep, which are beyond the reach of other dabbling ducks like the mallard. The winter diet is mainly plant material including seeds and rhizomes of aquatic plants, but the pintail sometimes feeds on roots, grain and other seeds in fields, though less frequently than other Anas ducks. During the nesting season, this bird eats mainly invertebrate animals, including aquatic insects, molluscs and crustaceans. ## Health Pintail nests and chicks are vulnerable to predation by mammals, such as foxes and badgers, and birds like gulls, crows and magpies. The adults can take flight to escape terrestrial predators, but nesting females in particular may be surprised by large carnivores such as bobcats. Large birds of prey, such as northern goshawks, will take ducks from the ground, and some falcons, including the gyrfalcon, have the speed and power to catch flying birds. It is susceptible to a range of parasites including Cryptosporidium, Giardia, tapeworms, blood parasites and external feather lice, and is also affected by other avian diseases. It is often the dominant species in major mortality events from avian botulism and avian cholera, and can also contract avian influenza, the H5N1 strain of which is highly pathogenic and occasionally infects humans. The northern pintail is a popular species for game shooting because of its speed, agility, and excellent eating qualities, and is hunted across its range. Although one of the world's most numerous ducks, the combination of hunting with other factors has led to population declines, and local restrictions on hunting have been introduced at times to help conserve numbers. This species' preferred habitat of shallow water is naturally susceptible to problems such as drought or the encroachment of vegetation, but this duck's habitat might be increasingly threatened by climate change. Populations are also affected by the conversion of wetlands and grassland to arable crops, depriving the duck of feeding and nesting areas. Spring planting means that many nests of this early breeding duck are destroyed by farming activities, and a Canadian study showed that more than half of the surveyed nests were destroyed by agricultural work such as ploughing and harrowing. Hunting with lead shot, along with the use of lead sinkers in angling, has been identified as a major cause of lead poisoning in waterfowl, which often feed off the bottom of lakes and wetlands where the shot collects. A Spanish study showed that northern pintail and common pochard were the species with the highest levels of lead shot ingestion, higher than in northern countries of the western Palearctic flyway, where lead shot has been banned. In the United States, Canada, and many western European countries, all shot used for waterfowl must now be non-toxic, and therefore may not contain any lead. ## Status The northern pintail has a large range, estimated at 41,900,000 km<sup>2</sup> (16,200,000 sq mi), and a population estimated at 4.8–4.9 million individuals. The IUCN has categorised the northern pintail as not being threatened globally, however it is endangered in Europe. In the Palaearctic, breeding populations are declining in much of the range, including its stronghold in Russia. In other regions, populations are stable or fluctuating. Pintails in North America at least have been badly affected by avian diseases, with the breeding population falling from more than 10 million in 1957 to 3.5 million by 1964. Although the species has recovered from that low point, the breeding population in 1999 was 30% below the long-term average, despite years of major efforts focused on restoring the species. In 1997, an estimated 1.5 million water birds, the majority being northern pintails, died from avian botulism during two outbreaks in Canada and Utah. The northern pintail is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies, but it has no special status under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), which regulates international trade in specimens of wild animals and plants.	[ "## Taxonomy", "## Description", "## Distribution and habitat", "## Behaviour", "### Breeding", "### Feeding", "## Health", "## Status" ]	2,996	38,372
54,044,081	2017 EFL Championship play-off final	1,164,556,933	English football match	[ "2017 English Football League play-offs", "2017 sports events in London", "Association football penalty shoot-outs", "EFL Championship play-off finals", "Huddersfield Town A.F.C. matches", "May 2017 sports events in the United Kingdom", "Reading F.C. matches" ]	The 2017 EFL Championship play-off final was an association football match that was played on 29 May 2017 at Wembley Stadium, London, between Huddersfield Town and Reading. The match determined the third and final team to gain promotion from the EFL Championship, the second tier of English football, to the Premier League. The top two teams of the 2016–17 EFL Championship season gained automatic promotion to the Premier League, while the teams placed from third to sixth place in the table partook in play-off semi-finals; Reading finished in third place while Huddersfield ended the season in fifth position. The winners of these ties competed for the final place for the 2017–18 season in the Premier League. Sheffield Wednesday and Fulham were the losing semi-finalists. Winning the play-off final was estimated to be worth £170 million through sponsorship and television deals to the successful team. The game, which was refereed by Neil Swarbrick, was played in front of a crowd of 76,682. It ended goalless in regular time and the deadlock was not broken by the end of extra time. A penalty shootout was required to determine the winner for the third time in the history of the second tier play-off final. Although Michael Hefele was the first to miss, Reading's Liam Moore's shot was wayward and Jordan Obita's attempt was saved by Danny Ward, leaving Christopher Schindler to score the winning penalty for the Terriers. Huddersfield won the final 4–3 on penalties, and their midfielder Aaron Mooy was selected as the man of the match. The following season, Huddersfield's first back in the top tier of English football since 1972, saw them finish 16th in the Premier League. Reading ended the 2017–18 EFL Championship season in 20th position, three points above the relegation zone. ## Route to the final Reading F.C. finished the regular 2016–17 season in third place in the EFL Championship, the second tier of the English football league system, two places ahead of Huddersfield Town. Both therefore missed out on the two automatic places for promotion to the Premier League and instead took part in the play-offs to determine the third promoted team. Reading finished four points behind Brighton & Hove Albion (who were promoted in second place) and nine behind league winners Newcastle United. Huddersfield ended the season four points behind Reading, and were the only club in the top eleven to have a negative goal difference. Reading faced Fulham in their play-off semi-final and the first leg was played away at Craven Cottage. The match ended 1–1, with goals from Jordan Obita for Reading and Fulham's Tom Cairney. With ten minutes of the game remaining, Reading's defender Paul McShane was shown a straight red for a foul on Kevin McDonald. In the second leg, Reading won 1–0 at their home ground, the Madejski Stadium, with a penalty scored by Yann Kermorgant after Fulham's Tomáš Kalas had handled the ball. This gave them a 2–1 aggregate victory and qualification for the play-off final. Ali Al-Habsi, the Reading goalkeeper, made a number of saves to keep a clean sheet and was praised by his manager Jaap Stam: "It was a terrific performance. That's why he's paid to be in goal and be our last line of defence". Huddersfield Town went into their first leg match against Sheffield Wednesday having failed to beat them in their last seven encounters. The game ended in a draw at Huddersfield's home ground, the Kirklees Stadium, despite Huddersfield's domination in possession and shots. The second leg finished 1–1 after extra time, as Wednesday scored first through Steven Fletcher only for Tom Lees to score an own goal to equalise for Huddersfield Town. The resulting penalty shoot-out finished 4–3 in Huddersfield's favour with their goalkeeper, Danny Ward saving two Wednesday penalties, from Sam Hutchinson and Fernando Forestieri. Prior to the game, Hudderfield's German manager David Wagner had joked: "everyone knows Germans are able to win penalties". ## Match ### Background Reading's last appearance in the play-off final had been in 2011 when they lost 4–2 to Swansea City. Reading had never won a play-off competition, having previously lost to Bolton Wanderers in the 1995 First Division play-off final and to Walsall in the 2001 Second Division play-off final. Reading had also lost in the second-tier play-off semi-finals in 2003 and 2009. Huddersfield had an extensive history in the play-offs, including four appearances in the finals: promotions from the second tier in 1995 and from the third tier in 2004 and 2012, having lost the previous season. Prior to the 2017 final, Huddersfield had played twenty-two matches in league play-offs, winning eight, drawing eight and losing six. During the regular season, both teams had won their home fixtures against one another, with a 1–0 win for Reading in September and a win by the same scoreline in February for Huddersfield. The German-born Elias Kachunga was Huddersfield's top scorer for the season with 12 goals, while Reading's Kermorgant was his team's most prolific striker having scored 18 times prior to the semi-finals. Reading had last been in the top flight of English football in 2013 while Huddersfield had last experienced football at the highest domestic tier in the 1971–72 season. Reading were without captain Paul McShane who was shown a straight red card in their play-off semi-final first leg game at Fulham. Other than Jordan Obita being named among the substitutes, Reading named the same team as for their previous match. Huddersfield's starting line up was unchanged from their semi-final second leg, including Elias Kachunga who had recovered from a hamstring injury suffered in the second leg of the semi-final. The final was refereed by Neil Swarbrick from the Lancashire County Football Association, with assistant referees Jake Collin and Darren Cann, while Stuart Attwell acted as the fourth official. It was widely reported that the game was worth at around £170 million over three years to the winners through sponsorship and television deals. Reading were allocated 38,342 tickets for the final in the eastern half of Wembley Stadium, with Huddersfield being allocated the western half of the ground. Ticket prices ranged from £36 to £98 for adults, with concessions being half price. Huddersfield were considered favourites by the media and bookmakers to win the match, which was broadcast in the UK on Sky Sports. Before the match commenced, a minute's silence was held to commemorate the victims of the Manchester Arena bombing. ### First half Kermorgant kicked off for Reading at 3:04 p.m. in front of a crowd of 76,682. In the 4th minute, Huddersfield won a free kick which was taken by Aaron Mooy but the resulting cross was headed wide by Michael Hefele. The Yorkshire club dominated the early stages and in the 11th minute a cross to the far post from Kachunga was struck wide of the post by Izzy Brown from three yards. Two minutes later, Lewis Grabban's shot passed wide of Huddersfield's post. Kachunga was then brought down by Joey van den Berg who received the first yellow card of the game from the referee Neil Swarbrick. Two minutes later Kermorgant was also booked, for a foul on the Huddersfield captain Tommy Smith. Midway through the first half, Kermogant found Chris Gunter, who needed treatment after he was tackled strongly by Chris Löwe. In the 28th minute, Jonathan Hogg fouled Danny Williams and received the third yellow card of the game. Five minutes later Mooy brought down Kermorgant and was awarded a free kick, which John Swift struck wide of the Huddersfield goal from 35 yards. The half ended goalless with Reading dominant in possession but Huddersfield having the better chances to score. ### Second half Early in the second half, a shot from Löwe from distance was caught by Reading's Al-Habsi. Two minutes later, Swift was put through on goal by George Evans but his shot was saved by the Huddersfield goalkeeper Ward. In the 54th minute, a deep Van den Berg corner was hooked over the bar by Kermogant. Reading had the majority of the second half possession and won a free-kick wide on the left after Kachunga fouled Tyler Blackett. The cross into the box was punched clear by Ward. In the 60th minute Kachunga was booked for dissent. A minute later Hefele was brought down in the area by Van den Berg but Huddersfield's appeals for a penalty were turned down. The first substitution of the game was made in the 64th minute as Reading's Obita came on to replace Van den Berg. Two minutes later, Huddersfield made their first substitution with Collin Quaner coming on for Kachunga. Chances for both sides followed before Grabban was replaced by Garath McCleary in the 74th minute. Smith was then booked for a foul on Williams before a snatched shot by Quaner from a Mooy cross, intended for Nahki Wells, went wide. In the 82nd minute, a shot from Tiago Ilori after a cross by Obita was deflected out by Hefele. With three minutes of normal time remaining, Smith was stretchered off the pitch after a challenge from Kermogant, and was replaced by Martin Cranie. Two minutes into the seven minutes of injury time, Gunter headed over the bar from a McCleary cross. A late shot from Swift went wide and with seconds remaining, a low shot from Wells was well covered by Al-Habsi. The half ended goalless sending the match into extra time. ### Extra time and penalties Huddersfield kicked off the first period of extra time and within two minutes, a header from Brown header was cleared by the Reading defender Liam Moore. Once again Reading dominated possession but made few chances. After eight minutes, Huddersfield made their final substitution with Kasey Palmer replacing Brown, with Reading's Liam Kelly coming on for Swift two minutes later. Al-Habsi then stopped a Rajiv van La Parra chance before McCleary shot high and wide past the Huddersfield goal. Obita was then booked for what Barry Glendenning of The Guardian referred to as a "rugby tackle" on Quaner. In the last action of the first half of extra time, Kelly played McCleary in only for him to shoot wide of the right post; the half ended 0–0. Reading started the second half of extra time but Huddersfield enjoyed the early possession with missed chances from Hefele and Van La Parra. With three minutes of extra time remaining, Palmer passed to Wells just inside the Reading penalty area but his shot was wide of the left post. A last-minute free kick from Löwe came to nothing and extra time ended goalless, sending the second tier play-off final to a penalty shootout for the third time ever. Penalties were taken at the Huddersfield end, with Reading's Kermorgant commencing the shootout. Ward dived the right way but Kermogant's shot was too good. Löwe stepped up to equalise the shootout with a low, hard shot. Williams' strike was down the centre, narrowly missed by Ward's feet, to regain Reading's lead. Next for Huddersfield was Hefele whose weak strike was saved by Al-Habsi, keeping the score 2–1 to Reading. The third penalty for Reading was taken by Kelly who struck the ball high into Ward's net, while Huddersfield scored their second with a well placed strike from Wells. Moore's spot kick went over the bar and Mooy equalised the shootout at 3–3 after four penalties each. Obita's shot was then saved by Ward, allowing Christopher Schindler to strike the winning penalty, securing Huddersfield's promotion to the Premier League with a 4–3 penalty win. ### Details ### Statistics ## Post-match It was the first time since the play-off format was introduced in 1987 that a final ended goalless. Huddersfield's coach Wagner stated: "we said no limits and now we know what our limits are – the Premier League". He went on to call his players "legends for sure. Everybody will remember what this group of players have done with a small budget. And they deserve it. This football club has written an unbelievable story". Schindler, the winning penalty-taker, said: "I think nobody's feeling 100% confident under this pressure, but you have to do it". Aaron Mooy was named the man of the match; according to BBC reporter Ian Woodcock, Mooy "has been incredibly influential throughout the season and his energy and guile drove his side forward for 120 minutes". Reading's captain Chris Gunter observed: "nobody knows what to say to each other ... the first thing is to make sure that this manager is in charge for the first game of next season". Huddersfield's first season back in the top tier of English football since 1972 saw them end the Premier League in 16th place, four points ahead of the relegation zone. It was described by Paul Doyle in The Guardian as "the Premier League's greatest survival story", with Wagner in particular noted as "a leader of rare charisma and intelligence". Reading finished the 2017–18 EFL Championship season in 20th position, three points above the relegation places, with Stam leaving the club in March 2018 after a run of one win in eighteen games.	[ "## Route to the final", "## Match", "### Background", "### First half", "### Second half", "### Extra time and penalties", "### Details", "### Statistics", "## Post-match" ]	2,947	42,414
28,464,647	Bencoolen MRT station	1,171,656,514	Mass Rapid Transit station in Singapore	[ "Downtown Core (Singapore)", "Mass Rapid Transit (Singapore) stations", "Railway stations in Singapore opened in 2017" ]	Bencoolen MRT station is an underground Mass Rapid Transit (MRT) station on the Downtown Line (DTL) in Singapore. It is located at the boundary of Rochor and Museum planning areas. Situated under Bencoolen Street, the station serves primarily the Nanyang Academy of Fine Arts (NAFA) and surrounding developments. At 43 metres (141 ft) below street level, it is the deepest station in Singapore and will remain so until the Cross Island Line (CRL) platforms at Pasir Ris station are completed, which will be deeper at 47 metres (154 ft). The station was first announced in August 2010 when the DTL Stage 3 (DTL 3) stations were revealed. Constructing the station and the connecting tunnels was one of the most difficult projects on the DTL due to its location in a narrow site and the need to construct the DTL tunnels near the existing operational tunnels. The station was completed on 21 October 2017, along with the revamping of Bencoolen Street above. ## History On 20 August 2010, the Land Transport Authority (LTA) announced that Bencoolen station would be part of the 21-kilometre (13 mi) Downtown Line Stage 3 (DTL 3), consisting of 16 stations between River Valley (now Fort Canning) and Expo. The line was expected to be completed in 2017. The contract for the design and construction of Bencoolen station and associated tunnels — Contract 936 — was awarded to Sato Kogyo at a sum of S\$177.58 million (US\$ million) in April 2011. Construction of the station and the tunnels started in the second quarter of that year and was targeted to be completed in 2017. The station and associated tunnels were constructed close to the operational tunnels of the Circle (CCL) and North South (NSL) lines and underneath various commercial developments, which explains the need to construct the station at a depth of 43 metres (141 ft). Various instruments were used to monitor the CCL and NSL tunnels to ensure the construction of the DTL tunnels did not impact the train operations. To maximise efficiency and reduce the risks of the construction, the geology along the tunnels from Fort Canning to Bencoolen was analysed and the cutter heads of the tunnel boring machines were changed at places where it was most convenient to do so. The geology of the station site was composed of soft soil overlaying a thick boulder bed. Due to the very tough ground conditions, mechanical and chemical means were used to break down the boulders. To minimise inconvenience to the residents of the surrounding buildings, working hours were restricted. The LTA and contractors cooperated with the hotels and surrounding developments to deal with noise and environmental problems. As there was limited space, a section of Bencoolen Street was closed to traffic from Prinsep Link to Bras Basah Road from 16 October 2011 to 10 December 2016. The road was reinstated as a one-way street after the construction, with pedestrian walkways and bike lanes. During the construction, on 3 March 2017, a burst pipe caused a flood at the station. The valve was turned off within 15 minutes and the faulty pipe was reinforced. On 31 May 2017, the LTA announced that the station, together with the rest of DTL 3, would be opened on 21 October that year. Passengers were offered a preview of the station along with the other DTL 3 stations at the DTL 3 Open House on 15 October. ## Station details ### Services Bencoolen station serves the Downtown line (DTL) and is situated between the Fort Canning and Jalan Besar stations. The official station code is DT21. The station operates between 6:06 am and 12:12 am daily, with headways of 2 to 5 minutes. The station also has an unpaid link to the nearby Bras Basah station on the CCL. ### Location Situated underneath Bencoolen Street near the junction with Bras Basah Road, the station serves the educational institutions of the Nanyang Academy of Fine Arts (NAFA), Singapore Management University (SMU) and the Manulife Centre. The station also serves the Parklane Shopping Centre, Peace Centre and Sunshine Plaza retail developments. In addition, Bencoolen station is near several religious institutions: Kwan Im Temple, Sri Krishnan Temple, Maghain Aboth Synagogue and Masjid Bencoolen. ### Station design The six-level underground station reaches 43 metres (141 ft) below ground and is currently the deepest station on the MRT network, being 1 metre (3.3 ft) deeper than Promenade station. This title will eventually be replaced when the Cross Island Line (CRL) platforms at Pasir Ris station are completed, at 47 metres (154 ft) below ground. The station and the tunnels are placed at that depth to avoid intersecting the existing infrastructure at the surface, as well as the other rail tunnels in the way of the alignment. The station, designed by Aedas, is only 22 metres (72 ft) wide and 140 metres (460 ft) long, as the distance between the buildings along the street is 25 metres (82 ft) wide. The station has three entrances. Exit A of the station is inside of the NAFA Tower Block above the station and the underpass link to the SMU. The station was constructed alongside NAFA's fourth campus. This integration allows students to access the campus easily, regardless of the weather conditions. The glass and frame structure of Exit B is designed in a vintage style to "harmonise" with the colonial-style exterior of Hotel Rendezvous near the station. The curving interior walls symbolise canyon walls and earth-tone colours represent the many layers of the soil, emphasising the depth of space. The glass walls of the passenger lifts were tinted in maroon so that the journey to the platforms looks like a descent to the Earth's core. ### Bencoolen Street redesign At the surface, Bencoolen Street was transformed into an enhanced pedestrian walkway. Two of the four lanes are permanently closed to make way for a communal space, which includes a wide footpath for pedestrians and a bicycle lane. The transformation was part of Singapore's government Walk-Cycle-Ride initiative, which was aimed to make the country "car-lite" and allow more opportunities to walk and cycle. One of the remaining lanes on the street was converted into a dedicated bus lane. The area is designed to be pedestrian-friendly, with sheltered linkways from the station to the surrounding developments. The surface structures of the station, comprising the entrances and vent shafts, were placed to preserve the buildings' facades while establishing a "vibrant, comfortable" walking environment above ground. The street also features seven "funky" benches designed by students and alumni through a competition held by NAFA. The bench designs include a dog-shaped double-level bench, another shaped like a cat on its back, and animal-shaped branches made of fibreglass. These benches were intended to add some innovation to the streetscape. A total of 125 bicycle parking lots were installed at various places along the street. ### Station artwork As part of the MRT system's Art-in-Transit program — a public art showcase which integrates artworks into the MRT — an artwork called Tracing Memories was drawn by NAFA students and installed in the station. The artwork consists of two murals, each featuring six figures linked together by a thread. Taking inspiration from the local community, the students gathered 800 original photographs of buildings, objects and people that form the bodies. The figures were intended as inconspicuous navigation aids, directing commuters to the two different colleges near the station, Those with laptops point towards SMU, while those with art materials indicate the way to NAFA.	[ "## History", "## Station details", "### Services", "### Location", "### Station design", "### Bencoolen Street redesign", "### Station artwork" ]	1,658	20,227
5,008,273	Wipeout 3	1,169,694,998	1999 video game	[ "1999 video games", "Multiplayer and single-player video games", "PlayStation (console) games", "PlayStation (console)-only games", "Split-screen multiplayer games", "Video games developed in the United Kingdom", "Video games set in the 22nd century", "Video games set in the future", "Wipeout (series)" ]	Wipeout 3 is a futuristic racing video game developed by Psygnosis exclusively for the PlayStation. The title is the fourth game in the Wipeout series, and was released in Europe and North America in September 1999. Players control anti-gravity ships and use weapons to force other contenders out of the race. Psygnosis hired design studio The Designers Republic to create a simple color scheme and design for in-game menus and race courses, to create what a Psygnosis staff member called "a believable future". The game is one of the few PlayStation titles to run in 16:9 widescreen and high-resolution mode, offering crisper graphics and visuals. Wipeout 3's soundtrack is composed of electronica tracks selected by DJ Sasha and features contributions by Orbital and The Chemical Brothers. The game was re-released in Europe as Wipeout 3: Special Edition in August 2000, which contained additional tracks and content. The game was positively received on release: critics lauded the graphics, music, and minimalist design elements. The high level of difficulty, perceived lack of new content and courses, and paucity of new game features were seen as the game's primary faults. Despite generally good press, the game was a financial disappointment. Wipeout 3 was the last title in the series to appear on the PlayStation; the next entry, Wipeout Fusion, was released exclusively for the PlayStation 2 platform in 2002. ## Gameplay Wipeout 3 is a racing game that retains the same basic elements of its predecessors, and introduces players to the F7200 Anti-Gravity Race League. Set in 2116, players control futuristic anti-gravity ships owned by racing corporations and pilot them on eight circuits (plus four hidden prototype tracks). Each craft is equipped with an energy shield that absorbs damage sustained on the track; if the shield is disabled, the player's craft can be knocked out of the race. Shields are regenerated in a pit lane set apart from the main course. The less time is spent in the pit lane, the less the shield will regenerate. In addition to shields, each racing craft contains airbrakes for navigating tight corners, as well as a "Hyperthrust" option. Players can activate Hyperthrust to increase their speed, but using Hyperthrust drains energy from the shields, making the craft more vulnerable. Scattered across each raceway are weapon grids that bestow random power-ups or items. Wipeout 3 adds new weapons in addition to the five retained from previous games. Several weapons are defensive: for example, the gravity shield protects the craft from attacks and collisions for a time period. Offensive weapons are also available: crafts can use rockets, Multi-Missiles and mines to disable competitors. Players can use an autopilot to coast through difficult turns safely. The single race mode awards medals to the top three finishers. Each contestant must reach checkpoints on the course within a certain amount of time, or be ejected from the race. Winning consecutive gold medals unlocks new tracks and crafts. Wipeout 3 features several other game modes, including challenges to complete courses in a set time. In the "Eliminator" mode, players gain points for destroying competitors and finishing laps. The "Tournament" mode has players competing on several tracks, with points being awarded for placement in each race. Players can engage in two-player racing via a split-screen option. Unfortunately Wip3out/WipEout 3 SE is the only game in the series that allows you to watch a replay of your race. ## Development In developing the next entry in the Wipeout series, developer Psygnosis retained many of the developers of the original game to preserve the distinctive racing experience of earlier games. At the same time, Psygnosis sought to make the game more accessible to new players of the fast-paced racer, and kept early courses easier for these players; the difficulty was adjusted for later courses so that experts would still experience a challenge. Wipeout 3 was the first Wipeout game to take advantage of PlayStation controllers with analogue sticks, used to offer smoother control of the player's craft. Psygnosis turned to the graphic design studio The Designers Republic to assist in development. The Designers Republic, known for its underground techno album covers, provided "visual candy" to Wipeout 3's graphics, designing the game's icons, billboards, colour schemes, and custom typefaces. The look and feel of the futuristic courses was bounded by the desire to remain believable: Wipeout 3 lead artist Nicky Westcott said that "[Psygnosis] tried to make it look like a believable future, instead of making the sky toxic orange with 10 moons flying around and the world gone mad. It's very low-key [and] a lot more refined". A special edition of Wipeout 3 was released exclusively in Europe on 14 July 2000. Wipeout 3 Special Edition featured many minor changes to gameplay, such as different craft physics, auto-loading of saves and AI bug fixes. In addition, eight courses from previous Wipeout titles (three from Wipeout and five from Wipeout 2097), plus two hidden prototype circuits previously only available in the Japanese version of Wipeout 3. The Special Edition also allowed for four-person multiplayer, using two televisions and two PlayStation consoles. Wipeout 3 was the last game in the series made for PlayStation. The next entry in the Wipeout series, entitled Wipeout Fusion, was released in 2002 exclusively for PlayStation 2. The game introduced new courses, crafts, and weaponry, as well as enhanced artificial intelligence. ### Music Continuing the tradition set by the first game, Wipeout 3 contains electronica offerings from various artists, including The Chemical Brothers, Orbital, and the Propellerheads. Psygnosis' development manager, Enda Carey, focused on bringing together music early in the game's development cycle, instead of as an afterthought or last-minute addition to the game. Unlike previous soundtracks, Psygnosis selected a single music director, DJ Sasha, who worked with artists to create a cohesive soundtrack. Sasha included several of his own tracks made specifically for the game. The game disc is a Mixed Mode CD that allows Wipeout 3's soundtrack to be played in a standard compact disc player. To promote Wipeout 3 and its game music, Psygnosis sponsored a Global Underground tour for Sasha. Game pods featuring Wipeout 3 were placed at parties and venues, accompanied by a tie-in marketing campaign. ## Reception The game received "generally favourable reviews", just one point shy of "universal acclaim", according to the review aggregation website Metacritic. In Japan, Famitsu gave it a score of 30 out of 40. GamePro said that the game was "hands-down the best futuristic racing game to ever come on the PlayStation. Its blazing frame rate, smooth graphics, and kick-ass soundtrack make it the must-have game for anyone who has a passion for fast, furious fun." The fast-paced gameplay and graphics were singled out as strong features of the game. Jack Schofield of The Guardian was surprised by the level of detail, stating that the "graphics are better than you'd expect the [PlayStation] to deliver". Both Scary Larry of GamePro and Baldric of GameRevolution praised the new game features, specifically the new weapons and ability to challenge friends via splitscreen. The Designer Republic's style was consistently praised as helping to make the racing locales seem real, though David Goldfarb of the magazine International Design stated that the "techno-meets-Nihonpop-art visuals" had been executed better in previous entries of the series. Wipeout 3's soundtrack and sound effects were also lauded. Critics judged Wipeout 3's learning curve steep and unforgiving. David Canter of The San Diego Union-Tribune described the difficulty progression as "ludicrous", with the tournament game mode going from "easy as pie to tough as nails". Though the analogue stick was judged as helping to increase control over the onscreen craft, Scary Larry found that proper handling required large amounts of patience and practice. Jeff Lundrigan of NextGen said of the game, "It's not terrible, but for a series known for its 'gee whiz' level of quality, this is a serious misstep." Reviewers who gave Wipeout 3 lower marks noted a sense of disappointment that the series broke little new ground. Stuart Miles of The Times admitted Wipeout 3 was a good game, but felt that he had been expecting much more from the sequel: "It's as if the programmers have concerned themselves more with the overall look and feel, rather than further developing the existing gameplay". Alistair Wallace of Gamasutra, in a retrospective on Wipeout 2097, remembered that "I enjoyed [Wipeout 3] because it was more of the same and I loved it, but I think the series ran out of its innovation. Doing loop the loops isn't a big deal really". Joe Fielder of GameSpot summed up its review of the game by judging the game an excellent racer, but not able to beat Wipeout 2097 as the best futuristic racing game of all time. IGN named it the most accessible game of the series, and in 2007 the title was named the 92nd best game by the site. In 2021, Retro Gamer noted Special Edition as one of the best PS1 racing games. Despite generally positive reviews of the game, Wipeout 3 was not a commercial success.	[ "## Gameplay", "## Development", "### Music", "## Reception" ]	1,991	43,412
22,130,652	Solar power in Turkey	1,173,004,721	None	[ "Solar power in Turkey" ]	Turkey’s sunny climate possesses a high solar energy potential, specifically in the South Eastern Anatolia and Mediterranean regions. Solar power is a growing part of renewable energy in the country, with 10 gigawatts (GW) of solar panels generating 5% of the country's electricity. Solar thermal is also important. Although similarly sunny, by 2021 Turkey had installed far less solar power than Spain. Solar power subsidizes coal and fossil gas power. Every gigawatt of solar power installed would save over US\$100 million on gas import costs, and more of the country's electricity might be exported. Most new solar power is tendered as part of hybrid power plants. Building new solar power plants would be cheaper than running existing import-dependent coal plants if they were not subsidized. However, think tank Ember has listed several obstacles to building utility-scale solar plants, such as insufficient new grid capacity for solar power at transformers, a 50 MW cap for any single solar power plant's installed capacity, and large consumers not allowed to sign long-term power purchase agreements for new solar installations. ## Background Turkey has a sunny climate, ideal for producing solar power. There are about 2600 hours of sunshine each year (about 7 hours a day), almost twice that of Germany, yet Germany has five times as much solar capacity. Turkey's average annual solar irradiance is over 1 million terrawatt-hours, that is about 1500 kW·h/(m<sup>2</sup>·yr) or over 4 kW·h/(m<sup>2</sup>·d). Covering less than 5% of the country's land area with solar panels would provide all the energy needed. Solar power may also be preferable to other renewable energy sources such as wind power and hydroelectricity because wind speed and rainfall can be low in summer, which is when demand peaks due to air conditioning. Solar water heating has been commonplace in Turkey since the 1970s, but the first licences for solar electricity generation were not granted until 2014. Fatih Birol, executive director of the International Energy Agency (IEA), said that in 2021 less than 3% of solar potential was being used. ## Policies and laws The country plans to increase capacity to almost 53 GW by 2035. Systems producing over 5 megawatts (MW) of power must be licensed by the Energy Market Regulatory Authority if they feed into the grid. Since 2021 feed-in tariffs for new installations have been in lira (but are maximum about US\$0.05 per kWh) and set by the president, but the 10-year period has been criticised as too short. In 2022 there are many applications for hybrid solar and wind licences. As of 2022 there are 9 renewable energy cooperatives; it has been suggested that agricultural energy cooperatives would be profitable if farmers had more loans and technical help to establish them. According to think tank Ember, building new wind and solar power is cheaper than running existing coal plants which depend on imported coal. But they say that there are obstacles to building utility-scale solar, such as lack of new capacity allocated for solar power at transformers, a 50 MW cap for any single solar power plant's installed capacity, and large consumers being unable to sign long-term power purchase agreements for new unlicensed solar installations. Owners of these small unlicensed installations can sell to the grid at the same price as they buy. ## Economics As in many countries for many types of variable renewable energy, from time to time the government invites companies to tender sealed bids to construct a certain capacity of solar power to connect to certain electricity substations. By accepting the lowest bid the government commits to buy at that price per kWh for a fixed number of years, or up to a certain total amount of power. This provides certainty for investors against highly volatile wholesale electricity prices. However they may still risk exchange rate volatility if they borrowed in foreign currency. For example as Turkey does not have enough solar cell manufacturing capacity they would likely be bought from China and so would have to be paid for in foreign currency. In 2021 prices at these "solar auctions" were similar to or lower than average wholesale electricity prices, and large-scale solar for companies own use is also competitive; but macroeconomic challenges and exchange rate volatility are causing uncertainty. Installation costs are low and according to the Turkish Solar Energy Industry Association the industry provides jobs for 100,000 people. As part of the fourth round of solar auctions which are planned to total 1000 MW in lots of 50 MW and 100 MW, in April 2022 three lots of 100 MW were auctioned at prices around 400 lira per MWh, around 25 euros at the exchange rate at that time. The tender included a 60% foreign exchange weight clause, which partly protects against currency volatility, and selling on the open market is also allowed. Modelling by Carbon Tracker indicates that new solar power will become cheaper than all existing coal plants by 2023. According to a May 2022 report from think tank Ember wind and solar saved 7 billion dollars on gas imports in the preceding 12 months. Every gigawatt of solar power installed would save over US\$100 million on gas import costs. According to a 2022 study by Shura almost all coal power could be replaced by renewables (mainly solar) by 2030. Export of solar power could increase together eventually with hydrogen produced by clean electricity. Operation and maintenance costs of concentrated solar power is about 2 UScent/kWh. ## Heating and hot water Sales of vacuum tube hot water systems have exceeded flat-plate collectors since 2019. Vacuum tubes are more efficient for households than flat plate. Turkey is second in the world in solar water heating collector capacity after China, with about 26 million square metres generating 1.15 million tonnes of oil equivalent heat energy each year. About two-thirds is residential and a third industrial. Installed domestic hot water systems are typically convection without pumping, with 2 flat plate collectors, each nearly 2 m2. Solar combi (space and water heating backed up by gas) is starting to be installed in villas and hotels. The industry is well developed for hot water with high quality manufacturing and export capacity, but less so for space heating, and is hampered by subsidies for coal heating. A 2018 study found that solar water heating saved on average 13% energy and increased the value of properties. In 2021 the IEA recommended that the Turkish government should support solar water heating because "technology and infrastructure quality needs to improve significantly to maximise its potential". Solar heating is also used for agriculture in Turkey, for example drying produce with solar air heaters. ## Photovoltaics Photovoltaics (PV) growth was supported by the government during the 2010s. Monthly average efficiencies are from 12–17% depending on tilt and climate type; specific yield decreases with elevation. In 2020 solar cell manufacturing started in Turkey, and in 2022 Minister of Energy and Natural Resources Fatih Dönmez claimed that Turkey could assemble enough solar panels annually to produce 8 GW of power. Industry sometimes uses its own solar power for processes which need a lot of electricity, such as electrolysis. As of 2020, unlike in the EU, obsolete solar panels are not classified as electronic waste and recycling criteria are not defined. Solar PV has been suggested at public charging stations. Turkey's greenhouse gas emissions attributable to solar PV are estimated at around 30 g Co2eq/kWh for utility scale and 30–60 g for rooftop; emissions for coal and natural gas are over 1000 g and about 400 g respectively. ### Solar farms The largest solar farm is Karapınar, which started generation in 2020 and is planned to exceed 1 GW by the end of 2022. If a solar power plant is not cleaned for a year it can lose over 5% efficiency. Environmental groups say that half of opencast mines for brown coal (lignite) in Turkey could be converted to 13 GW of solar farms (some with battery storage) generating 19 TWh per year, as much of the electrical infrastructure is already in place for the 10 GW of the 22 adjacent lignite-fired power stations. Aluminium producers favour solar as they use a lot of electricity for electrolysis. ### Rooftop As of 2022 there is about 1 GW of rooftop solar, companies are installing a lot, and the government is aiming for 2–4 GW by the early 2030s. If total electricity generated by solar panels exceeds 50% of the capacity of the local distribution transformer no more will be approved in that area. #### Residential The limit for a household is 10 kW. The payback period is very long because electricity from the grid to householders is subsidised a lot. As of 2019, the payback period of rooftop solar with net metering for homeowners and businesses was estimated at 11 years; removal of VAT and the fixed government approval fee, and attaching borrowing for installation to the property's mortgage has been suggested to shorten this. #### Non-residential In general non-residential grid power is more expensive than residential, so the payback period is much shorter. From 2023 new buildings larger than 5,000 square meters will have to generate at least five per cent of their energy from renewables. A 2021 study in Ankara found far more rooftop potential for public and commercial buildings than residential. The study also suggested increasing technical potential by suitable roof design in new buildings. Solar PV used with heat pumps may be able to make buildings zero energy in the Mediterranean Region. Aluminium producer Tosyalı [tr] claimed in 2022 to be installing the world's largest rooftop solar power system on the roofs of its buildings. ### Agriculture Farmers are financially supported to install solar panels, for example to power irrigation pumps, and can sell some electricity. Agrivoltaics has been suggested as suitable for wheat, maize and some other shade-loving vegetables. Hybrid solar and biogas has been suggested, for example on dairy farms. Rainwater harvesting has been suggested. ## Alternatives to photovoltaics Mehmet Bulut of the Ministry of Energy and Natural Resources suggested in 2021 that concentrated solar power (CSP) could be co-located with photovoltaics in the south-east. CSP systems generate electricity by using lenses or mirrors to reflect the sun's rays onto a central receiver, which converts the light into heat, which in turn is converted to electricity. Turkey's first solar power tower, the Greenway CSP Mersin Solar Tower Plant in Mersin, was constructed in 2013 and has an installed power of 5 MW. A solar updraft tower has been suggested for Antalya Province. ## See also - Renewable energy in Turkey - Wind power in Turkey - Geothermal power in Turkey - Biofuel in Turkey - Hydroelectricity in Turkey	[ "## Background", "## Policies and laws", "## Economics", "## Heating and hot water", "## Photovoltaics", "### Solar farms", "### Rooftop", "#### Residential", "#### Non-residential", "### Agriculture", "## Alternatives to photovoltaics", "## See also" ]	2,265	37,326
16,901,141	Hiram Kahanawai	1,169,341,913	Hawaiian high chief	[ "1837 births", "1874 deaths", "Burials at Oahu Cemetery", "Hawaiian Kingdom Anglicans", "Hawaiian Kingdom military officers", "Hawaiian nobility", "House of Kalākaua", "Royalty of the Hawaiian Kingdom" ]	Hiram Kahanawai, also known as Hairama Kahanawai, (September 1837 – August 7, 1874) was a member of the Hawaiian nobility who served as a retainer and household steward of King Kamehameha IV and his widow Queen Emma of Hawaiʻi. He married the future Princess Poʻomaikelani, and they joined the court of King Kalākaua after he won the royal election of 1874 against Queen Emma. ## Life and career Hiram Kahanawai was born on September 1837, at Luaʻehu, Lahaina, on the island of Maui, to Kaʻaha and Kamaile. His paternal grandmother Kahikaheana was a trusted kahu (caretaker) who served the family of Kalaʻimamahū, a brother of King Kamehameha I, and his daughter Kekāuluohi. He was also a relative of Queen Emma of Hawaiʻi, by a junior line of descent, and distant relative of the family of Kalākaua and Liliuokalani. During the Great Māhele of 1848, his father received the land allotments on the islands of Oʻahu, Maui and Kauaʻi, including half of the ʻili of Kawananakoa in Honolulu, the ahupuaʻa of Kaulalo near Lahaina, and the ʻili of Kuiloa near Hanapepe. Kaʻaha died before 1852 and left all his landholding to his son. On May 29, 1852, Kahanawai was placed under the guardianship of his brother-in-law William Luther Moehonua, the husband of his sister Lucy Muolo. During his youth, he continued his family kuleana (responsibility) in serving the Hawaiian royal family. On October 15, 1853, Kahanawai was appointed as First Lieutenant of the Infantry in the Royal Hawaiian army by Prince Alexander Liholiho (the future Kamehameha IV) during reign of King Kamehameha III. Kahanawai also served as the chief steward and butler in the royal household under King Kamehameha IV and his wife Queen Emma from 1855 to 1863. After Kamehameha IV's death, he continued to serve the household of the Queen Dowager Emma during her widowhood. On March 20, 1855, he married Virginia Kapoʻoloku Poʻomaikelani (1839–1895), a trusted lady-in-waiting and household attendant of Queen Emma. The couple did not have any children of their own but adopted and raised Edward Abnel Keliʻiahonui (1869–1887), the nephew of Poʻomaikelani. Some time prior to 1873, Kahanawai and Poʻomaikelani left the service of Emma to join the factions loyal to Kalākaua. In the election of 1874 Kalākaua defeated Queen Dowager Emma to succeed Lunalilo as the monarch of Hawaii. Besides his own distant family ties to the new dynasty, Poʻomaikelani's elder sister was Queen Kapiolani, the wife and consort of the new king. After Kalākaua restored the Hawaiian army which had been disbanded by his predecessor, he appointed Kahanawai to the rank of Captain and in the capacity of Commander of the Household Troops. ## Death Kahanawai, who had been in poor health for some time, died suddenly of a heart attack, on August 7, 1874, while in an audience with the King. His obituary reported his sudden death: > On Friday last (Aug. 7) Captain Hiram Kahanawai died very suddenly as it is supposed from aneurysm. He had just entered the King's presence, and bowed to His Majesty, when he dropped on the floor, and was carried out dead. He was a true and faithful servant, of a quiet and reserved disposition, and made a favorable impression upon all who knew him. His funeral was attended on Saturday afternoon from St. Andrew's Chapel, and his remains escorted to Nuuanu cemetery by the infantry troops and numerous personal friends, including members of the royal family. Among Hawaiians there are few who have left a more pleasant memory. On September 17, 1873, Queen Emma had noted in a letter to her cousin Peter Kaʻeo that Kahanawai was suffering from "Anurism" and, although still resenting his betrayal, prayed for the recovery of her former servant for the sake of her dead husband and son. According to a later letter from Kaʻeo to Emma, he told her that both he and Jonatana Napela suspected that Kahanawai had been poisoned and the death had been covered up by the government. According to historian Alfons L. Korn, "No criminal charges were ever brought against anyone for being implicated in the death of Hiram Kahanawai." He was buried at the Oʻahu Cemetery in Honolulu. His widow continued to be known as Mrs. Kapoʻoloku Kahanawai until she was created a Princess of the Kingdom by Letter Patent in 1883.	[ "## Life and career", "## Death" ]	1,119	32,103
3,255,019	Sally James (presenter)	1,157,963,238	British actress and television presenter	[ "1950 births", "British radio presenters", "British women radio presenters", "British women television presenters", "English radio DJs", "English television actresses", "English television presenters", "Living people", "People from Chiswick", "Television personalities from Surrey" ]	Sally James (born Sally Cann, 10 May 1950) is a former British presenter on the ITV Saturday morning children's show Tiswas from 1977 until it ended in 1982. James's role on the show included conducting the "Almost Legendary Pop Interviews", interviewing musical acts including Elvis Costello, Sting, The Clash, Motörhead, and Kate Bush, and serving as music editor. Before joining Tiswas, James was an actress, appearing in the films To Sir, with Love (1967), Journey to the Unknown (1969), The Railway Children (1970), and Never Too Young to Rock (1975). Her television roles included parts in Castle Haven (1969), Cousin Bette (1971), and The Black Arrow (1973–74). She was a presenter on Saturday Scene (later known as Supersonic Saturday Scene), starting in 1974, and interviewed pop stars in a segment of the show. James was a member of the Four Bucketeers group, whose single "Bucket Of Water Song" reached No. 26 in the UK Singles Chart in 1980. Her book Sally James' Almost Legendary Pop Interviews was published in 1981. After Tiswas ended in 1982, James presented Ultra Quiz and Six Fifty-five Special, the latter being a nightly BBC Two programme co-presented by James with David Soul. She now runs a business selling school uniforms. ## Early life and career Sally James was born in Chiswick on 10 May 1950, the daughter of Olive and Bob Cann. Bob Cann was a photographer, who later worked as the official photographer for the films Dr. No and A Hard Day's Night. James attended the Arts Educational Schools. She appeared as one of Sidney Poitier's pupils in To Sir, with Love (1967), credited as Sally Cann, after her father, who was working on the film spoke to the director and got her the part. She subsequently used her father's middle name, James, in her stage name. She appeared in Castle Haven (1969), a twice-weekly serial for Yorkshire Television, playing Jo Mercer, a woman newly married to a teacher. In the series, the couple are tenants of one of the flats in a pair of converted houses and are struggling financially. James Towler in The Stage reviewed the programme including the comment "more performances of the quality of Sally James would undoubtedly enhance the future of the series." She played the role of a "" in the comedy Turnbull's Finest Half-Hour (1972), which was set in a fictional television station, and was one of the cast praised for their performances in Towler's review in The Stage. Her television roles included parts in Sanctuary, Dixon of Dock Green, Curry & Chips, Journey to the Unknown, Cousin Bette, The Two Ronnies, and The Black Arrow. Film roles included The Railway Children (1970) as a maid, and in the glam rock film Never Too Young to Rock (1975). ## Presenting career James started her first presenting role in 1973, for Saturday Scene, during which she interviewed pop stars, including David Essex and The Bay City Rollers in a quarter-hour long section of the show. The show was later Supersonic Saturday Scene, and broadcast at different times in different ITV regions, including as a Saturday morning show in London. An album, Saturday Scene, that included both interviews and songs performed by James, was released in 1974. The review in The Stage called James "an ebullient personality in sound as well as vision", adding that "disc, screen or stage she's got the potential to adorn all of them." Paul Brookman of The Thanet Times thought that although the programme was popular, the album would have limited appeal as the interviews would soon be outdated, and "after hearing the album a few times it has nothing to offer." In October 1976, the BBC started devoting a three-hour slot on BBC1 on Saturday mornings to a new show, Multi-Coloured Swap Shop, which The Stage noted put the new programme "in direct competition with ITV's Saturday Scene presented by Sally James." By July 1977, Multi-Coloured Swap Shop attracted six million weekly viewers nationally, whilst Saturday Scene, which was not broadcast across all ITV regions, had three million viewers in London. Meanwhile, ATV had produced the Saturday morning children's show Tiswas since 1974, which was shown only in the ATV region until also being screened in the ITV Wales & West from 1976. It was announced that James and Jim Davidson would be joining the show, alongside existing hosts Chris Tarrant and Trevor East, for the series starting on 10 September 1977, and that the programme would be broadcast in three additional ITV regions. The following year, Tiswas was reduced from three to two hours duration, with Tarrant becoming the producer, as well as being a main host beside James, and East taking a reduced role. James's role on the show included conducting the "Almost Legendary Pop Interviews", interviewing many famous musical acts including Elvis Costello, Sting, The Clash, Motörhead, and The Pretenders. James remained as a presenter until the show ended in 1982. She was also music editor for the show. James was a member of the group the Four Bucketeers, alongside other Tiswas cast members Tarrant, John Gorman and Bob Carolgees. The group released the single "Bucket Of Water Song", which reached No. 26 in the UK Singles Chart in 1980 and undertook a national concert tour. A collection of her interviews, titled Sally James Almost Legendary Pop Interviews, was published as a book in 1981. It included interviews with Kate Bush, Motörhead, Adam Ant, Bad Manners, Roger Daltrey and Kim Wilde among others. Several of the interviewee pictures used in the book were taken by her father, Bert Cann. Paul Taylor's Popular music since 1955 : a critical guide to the literature (1985) says that "The quality varies widely from serious dialogues to those in which the interviewer is not being taken at all seriously." Marion McMullen of the Coventry Evening Telegraph wrote in 2003 that "Tiswas turned [James] into a cult favourite and 21 years later she is still remembered as the woman who first brought sex appeal to children's telly." A piece in The Times in 1998 said "Kids at home adored the chaos ... while their dads admired the denim-clad charms of Sally James."; for The Guardian in 2007, Bibi van der Zee commented that James "was openly touted as, er, getting dads up in the morning". James was one of the presenters of the first series of TVS show Ultra Quiz (1983), alongside Michael Aspel and Jonathan King. The programme, a version of the Japanese game show Trans America Ultra Quiz, started with 2,000 contestants, who were reduced to a final pair, by eliminating participants who answered questions wrongly, taking place at a variety of locations. The winner's prize was £10,000, a large amount for a British quiz show at the time. TVS controller Michael Blakstad described the show as "quite awful," and it was revamped for the following season with a new presenting team. In the 1984-85 pantomime season, James appeared in the title role in Aladdin at the Towngate Theatre, Poole, whilst pregnant. In The Stage, Stan Sowden wrote that James "establishe[d] a quick rapport with the audience, particularly the younger members." After a career break, James appeared on Back to the Drawing Board in 1986 and guested on Countdown for a week in 1987. ## Later career Some 25 years after Tiswas ended, James presented a reunion show Tiswas Reunited alongside Tarrant on ITV on 16 June 2007. Lasting 90 minutes, the show featured contributions from celebrities who enjoyed the show as children and appearances by people who had been on the show. In 2010 she had a programme on BBC WM. James appeared on stage in Harpenden for Christmas 2013 as Fairy in the pantomime Jack and the Beanstalk'', around 30 years after her previous pantomime appearance. As of 2014 she was running a business selling school uniforms in Cobham, Surrey. She is married to agent and entrepreneur Mike Smith. They have three sons. She lives near Effingham, Surrey (as of 2016). ## Filmography Pantomime''' ## Discography	[ "## Early life and career", "## Presenting career", "## Later career", "## Filmography", "## Discography" ]	1,779	31,641
4,062,407	Wormwood: A Drama of Paris	1,142,704,563	1890 novel by Marie Corelli	[ "1890 British novels", "Absinthe", "British novels adapted into films", "British novels adapted into plays", "Novels by Marie Corelli", "Novels set in Paris", "Victorian novels" ]	Wormwood: A Drama of Paris is an 1890 novel by Marie Corelli. It tells the sensational story of a Frenchman, Gaston Beauvais, driven to murder and ruin by the potent alcoholic drink absinthe. Like Corelli's previous four novels, Wormwood was a great commercial success. Corelli presented the story as a cautionary tale about the dangers of absinthe, and it has been implicated in bans of the spirit which later occurred in Europe and the United States. The book has also been interpreted as a condemnation of the aesthetic and decadent movements. ## Summary Wormwood is set in Paris. The protagonist, Gaston Beauvais, is a writer engaged to be married to Pauline de Charmilles, but shortly before their marriage, she confesses that she has fallen in love with another man, Silvion Guidel, a priest in training. Beauvais turns to alcohol as a result and shows up to their wedding day drunk on absinthe, causing a scene. He turns to drugs and further debauchery with a friend, Gessonex. When he learns that Pauline has run away, he searches for her in the slums of Paris. He comes upon Guidel, and strangles him to death, throwing his body into the Seine river. He finds Pauline and confesses that he has killed Guidel, causing her to also throw herself into the river, from the Pont Neuf bridge. Beauvais slips into unconsciousness, and when he awakens the next day, he finds himself stalked by a hallucinatory leopard. The story ends with Beauvais in the morgue with Pauline's dead body. ## Style Wormwood is written in the first person, from the perspective of Gaston Beauvais. The book's dialogue and Beauvais's narration are in English, though French words and phrases are occasionally substituted, as in "Héloise showed no inclination for marriage; she was dull and distraite in the company of men". Corelli's French was occasionally marred by errors of spelling or grammar, a feature seized on by some of her detractors. Dialogue between characters on familiar terms make use of archaisms such as thou, as when Beauvais's father says to him "Amuse thyself well, Gaston! Art thou going to see the pretty Pauline this evening?". Corelli had used a similar style in the dialogue of her earlier novel Vendetta!. ## Moral themes Like many of Corelli's novels, Wormwood was intended to shine light on the moral deficits of modern society—in this case, the vices of Paris, particularly in association with the aesthetic and decadent movements. The book depicts the downfall of its protagonist, the decadent writer Gaston Beauvais, as a consequence of his lifestyle. Corelli takes pains in an introductory note to separate herself from Beauvais, writing that she had "nothing whatsoever to do with the wretched 'Gaston Beauvais' beyond the portraiture of him in his own lurid colours", and the novel's text includes moralistic rants against France and French literature. Despite this, some modern literary critics have seen the book's thrilling style as co-opting decadent tropes to appeal to readers. The book also quotes "Lendemain", a poem about absinthe by Charles Cros, a recently deceased decadent poet and absinthe addict, and includes a footnote in which Corelli, in her own voice, praises Cros. The book specifically targets absinthe, with its title being a reference to the bitter herb used in the production of the spirit. Corelli included an 'Introductory note', observing that "the open atheism, heartlessness, flippancy, and flagrant immorality of the whole modern French school of thought is unquestioned." She ascribed this in part to "the reckless Absinthe-mania, which pervades all classes, rich and poor alike", and warned that this habit might come to infect Britain. An epigraph dedicated the book "à messieurs les absintheurs de Paris, ces fanfarons du vice qui sont la honte et le désespoir de leur patrie" ("to the absinthe-drinkers of Paris, those boasters of vice who are the shame and despair of their homeland"). The novel was said to have contributed to legislation in France and Switzerland relating to alcohol, and absinthe in particular (see ). It was also said to be indirectly responsible for a ban on absinthe in the United States—in response to this, Corelli said it was "a great thing to have accomplished, to have saved a noble nation from one of the most malignant curses of modern times". ## Publication Corelli sent the manuscript for Wormwood to her long-time publisher George Bentley on 12 July 1890. She intended the novel to have a more realist style than her previous works, describing it to Bentley as "a study à la Balzac". Bentley requested that she excise some of the novel's more lurid scenes, such as one of two scenes set in the morgue; privately, he referred to Wormwood in his diary as "this repulsive book of hers". Corelli signed a contract with Bentley on 1 September, receiving £100 as an advance, £300 on publication, and 6 shillings per copy after sales passed 1,500. The book was published in November 1890 in three volumes. The first edition was, at the direction of Corelli, bound in a pale green binding similar to the colour of absinthe, and featured a serpent on the cover, and red ribbon crisscrossed on the spine, such as was found on absinthe bottles. It was published in France under the title Absinthe. A modern edition with extensive footnotes was published in 2004 by Broadview Press. ## Reception Wormwood was an immediate commercial success, with the first edition selling out in ten days. Though, according to George Bentley, some readers were so scandalised by the book that they were returning it to booksellers. Middlebrow periodicals such as The Graphic, The Literary World, and Kensington Society praised the novel, finding it simultaneously entertaining and morally salubrious. It received somewhat positive reviews from the more highbrow literary journals The Academy and The Athenaeum, with both praising the story's realism. Among publications which negatively reviewed the book were the Pall Mall Gazette and The Times. The Times described it as "a succession of tedious and exaggerated soliloquies, relieved by tolerably dramatic, but repulsive incidents", and criticized Corelli's writing as having a "feminine redundancy of adjectives". The Standard described the book as "repulsive". While noting that Corelli attempts to distance herself from being identified with Gaston Beauvais, the book's protagonist, the reviewer questioned the moral and artistic acceptability of an author, particularly a female author, writing from the perspective of a "vicious maniac" such as Beauvais. Corelli had anticipated such harsh criticisms, writing in private correspondence prior to Wormwood's publication, "I do not write in a ladylike or effeminate way, and for that they hate me". Punch magazine mocked the book's style and content with a parody in an 1891 issue, as part of the magazine's "Mr. Punch's Prize Novels" series. The parody, titled "Germfood" and attributed to "Mary Morally", is an account of a Parisian man addicted to marrons glacés (a candied chestnut confection). The piece mocks Corelli's writing style, including her use of archaisms like thou and her solecistic French (for example, it quotes her narrator saying "Nous blaguons le chose."—since chose is feminine, this is grammatically incorrect, and should instead be "Nous blaguons la chose."). It furthermore sends up Wormwood's melodramatic and lurid plot, with Mary Morally warning "I'll give you fits, paralytic fits, epileptic fits, and fits of hysteria, all at the same time.", and the story ending with the revelation that the narrator has inexplicably died: > The world is very evil. My father died choked by a marron. I, too, am dead—I who have written this rubbish—I am dead, and sometimes, as I walk, my loved one glides before me in aërial phantom shape, as on page 4, Vol. II. But I am dead—dead and buried—and over my grave an avenue of gigantic chestnuts reminds the passer-by of my fate: and on my tombstone it is written, "Here lies one who danced a cancan and ate marrons glacés all day. Be warned!" THE END. ## Adaptations A theatrical adaptation, Wormwood, or the Absinthe Drinkers of Paris, by Charles W. Chase was staged across the United States around 1902–1903 as a temperance play. Chase's adaptation makes a number of modifications to the original story, including changing Silvion Guidel from a priest to a writer, adding the character of Mephisto, and a new scene set in hell. Moreover, unlike the novel, Chase gives his play a happy ending, recasting the story's most dramatic events as a dream sequence. Wormwood was adapted into a silent film of the same name in 1915 produced by Fox Film.	[ "## Summary", "## Style", "## Moral themes", "## Publication", "## Reception", "## Adaptations" ]	1,957	1,897
155,214	Pudendal nerve	1,164,900,051	Main nerve of the perineum	[ "Nerves of the lower limb and lower torso", "Sexual anatomy" ]	The pudendal nerve is the main nerve of the perineum. It is a mixed (motor and sensory) nerve and also conveys sympathetic autonomic fibers. It carries sensation from the external genitalia of both sexes and the skin around the anus and perineum, as well as the motor supply to various pelvic muscles, including the male or female external urethral sphincter and the external anal sphincter. If damaged, most commonly by childbirth, loss of sensation or fecal incontinence may result. The nerve may be temporarily anesthetized, called pudendal anesthesia or pudendal block. The pudendal canal that carries the pudendal nerve is also known by the eponymous term "Alcock's canal", after Benjamin Alcock, an Irish anatomist who documented the canal in 1836. ## Structure ### Origin The pudendal nerve is paired, meaning there are two nerves, one on the left and one on the right side of the body. Each is formed as three roots immediately converge above the upper border of the sacrotuberous ligament and the coccygeus muscle. The three roots become two cords when the middle and lower root join to form the lower cord, and these in turn unite to form the pudendal nerve proper just proximal to the sacrospinous ligament. The three roots are derived from the ventral rami of the 2nd, 3rd, and 4th sacral spinal nerves, with the primary contribution coming from the 4th. ### Course and relations The pudendal nerve passes between the piriformis muscle and coccygeus (ischiococcygeus) muscles and leaves the pelvis through the lower part of the greater sciatic foramen. It crosses over the lateral part of the sacrospinous ligament and reenters the pelvis through the lesser sciatic foramen. After reentering the pelvis, it accompanies the internal pudendal artery and internal pudendal vein upwards and forwards along the lateral wall of the ischiorectal fossa, being contained in a sheath of the obturator fascia termed the pudendal canal, along with the internal pudendal blood vessels. ### Branches Inside the pudendal canal, the nerve divides into branches, first giving off the inferior rectal nerve, then the perineal nerve, before continuing as the dorsal nerve of the penis (in males) or the dorsal nerve of the clitoris (in females). ### Nucleus The nerve is a major branch of the sacral plexus, with fibers originating in Onuf's nucleus in the sacral region of the spinal cord. ### Variation The pudendal nerve may vary in its origins. For example, the pudendal nerve may actually originate in the sciatic nerve. Consequently, damage to the sciatic nerve can affect the pudendal nerve as well. Sometimes dorsal rami of the first sacral nerve contribute fibers to the pudendal nerve, and even more rarely S5. ## Function The pudendal nerve has both motor (control of muscles) and sensory functions. It also carres sympathetic autonomic fibers (but not parasympathetic fibers). ### Sensory The pudendal nerve supplies sensation to the penis in males, and to the clitoris in females, which travels through the branches of both the dorsal nerve of the penis and the dorsal nerve of the clitoris. The posterior scrotum in males and the labia in females are also supplied, via the posterior scrotal nerves (males) or posterior labial nerves (females). The pudendal nerve is one of several nerves supplying sensation to these areas. Branches also supply sensation to the anal canal. By providing sensation to the penis and the clitoris, the pudendal nerve is responsible for the afferent component of penile erection and clitoral erection. ### Motor Branches innervate muscles of the perineum and the pelvic floor; namely, the bulbospongiosus and the ischiocavernosus muscles respectively, the levator ani muscle (including the Iliococcygeus, pubococcygeus, puborectalis and either pubovaginalis in females or puboprostaticus in males) the external anal sphincter (via the inferior anal branch), and male or female external urethral sphincter. As it functions to innervate the external urethral sphincter it is responsible for the tone of the sphincter mediated via acetylcholine release. This means that during periods of increased acetylcholine release the skeletal muscle in the external urethral sphincter contracts, causing urinary retention. Whereas in periods of decreased acetylcholine release the skeletal muscle in the external urethral sphincter relaxes, allowing voiding of the bladder to occur. (Unlike the internal sphincter muscle, the external sphincter is made of skeletal muscle, therefore it is under voluntary control of the somatic nervous system.) It is also responsible for ejaculation. ## Clinical significance ### Anesthesia A pudendal nerve block, also known as a saddle nerve block, is a local anesthesia technique used in an obstetric procedure to anesthetize the perineum during labor. In this procedure, an anesthetic agent such as lidocaine is injected through the inner wall of the vagina about the pudendal nerve. Abnormal loss of sensation in the same region as a medical symptom is also sometimes termed saddle anesthesia. ### Damage The pudendal nerve can be compressed or stretched, resulting in temporary or permanent neuropathy. Injury to the pudendal nerve manifests more as sensory problems (pain or alteration/loss of sensation) rather than loss of muscle control. Irreversible nerve injury may occur when nerves are stretched by 12% or more of their normal length. If the pelvic floor is over-stretched, acutely (e.g. prolonged or difficult childbirth) or chronically (e.g. chronic straining during defecation caused by constipation), the pudendal nerve is vulnerable to stretch-induced neuropathy. After repeated traction of the pudendal nerve, it starts to be replaced by fibrous tissue with subsequent loss of function. Pudendal nerve entrapment, also known as Alcock canal syndrome, is very rare and is associated with professional cycling. Systemic diseases such as diabetes and multiple sclerosis can damage the pudendal nerve via demyelination or other mechanisms. A pelvic tumor (most notably a large sacrococcygeal teratoma), or surgery to remove the tumor, can also cause permanent damage. Unilateral pudendal nerve neuropathy inconsistently causes fecal incontinence in some, but not others. This is because crossover innervation of the external anal sphincter occurs in some individuals. There is significant overlap of the innervation of the external anal sphincter from the pudendal nerves of both sides. This allows partial re-innervation from the opposite side after nerve injury. ### Imaging The pudendal nerve is difficult to visualize on routine CT or MR imaging, however under CT guidance, a needle may be placed adjacent to the pudendal neurovascular bundle. The ischial spine, an easily identifiable structure on CT, is used as the level of injection. A spinal needle is advanced via the gluteal muscles and advanced within several millimeters of the ischial spine. Contrast (X-ray dye) is then injected, highlighting the nerve in the canal and allowing for confirmation of correct needle placement. The nerve may then be injected with cortisone and local anesthetic to confirm and also treat chronic pain of the external genitalia (known as vulvodynia in females), pelvic and anorectal pain. #### Nerve latency testing The time taken for a muscle supplied by the pudendal nerve to contract in response to an electrical stimulus applied to the sensory and motor fibers can be quantified. Increased conduction time (terminal motor latency) signifies damage to the nerve. 2 stimulating electrodes and 2 measuring electrodes are mounted on the examiner's gloved finger ("St Mark's electrode"). ## History The term pudendal comes from Latin pudenda, meaning external genitals, derived from pudendum, meaning "parts to be ashamed of". The pudendal canal is also known by the eponymous term "Alcock's canal", after Benjamin Alcock, an Irish anatomist who documented the canal in 1836. Alcock documented the existence of the canal and pudendal nerve in a contribution about iliac arteries in Robert Bentley Todd's "The Cyclopaedia of Anatomy and Physiology". ## Additional images ## See also - Neurogenic bladder	[ "## Structure", "### Origin", "### Course and relations", "### Branches", "### Nucleus", "### Variation", "## Function", "### Sensory", "### Motor", "## Clinical significance", "### Anesthesia", "### Damage", "### Imaging", "#### Nerve latency testing", "## History", "## Additional images", "## See also" ]	1,817	27,324
5,950,853	U.S. Route 50 in Utah	1,152,000,207	Highway in Utah	[ "Transportation in Emery County, Utah", "Transportation in Grand County, Utah", "Transportation in Millard County, Utah", "Transportation in Sevier County, Utah", "U.S. Highways in Utah", "U.S. Route 50" ]	U.S. Route 50 (US-50) in Utah crosses the center of the state. The highway serves no major population centers in Utah, with the largest city along its path being Delta. Most of the route passes through desolate, remote areas. Through the eastern half of the state the route is concurrent with Interstate 70 (I-70). US-50 both enters and exits Utah concurrent with US-6, however the two routes are separate through the center of the state. Three completely different routings of US-50 have existed between Green River and Ely, Nevada. The route between these cities has become progressively shorter as new roads have been paved through this largely uninhabited region of both states. The earlier routings were a result of a dispute between Utah and Nevada over which auto trails would be paved and converted to U.S. Highways. ## Route description The highway enters Utah from Nevada in a desolate portion of the Great Basin Desert. Similar to many portions of the route in Nevada, there are multiple stretches without any motorist services. There are no services between the state line and the small farming village of Hinckley, just outside of Delta, a span of roadway that is about 100 miles (160 km). While passing through the Great Basin the highway crosses two mountain ranges, the Confusion Range via King's Canyon, and House Range via Skull Rock Pass, before arriving at the shore of Sevier Lake, an intermittent lake fed by snow melt from many mountain ranges in the eastern half of the Great Basin. The highway follows the north shore of Sevier Lake and the Sevier River towards Delta. Today much of the water in the Sevier river is diverted for agricultural use before reaching the lake, and rarely is significant water visible in the lake. The scenery changes as US-50 approaches Delta, where U.S. Route 6 and 50 separate. As the road approaches Delta, a straight passage across desert becomes zigzags through farming areas. The highway continues to zigzag through farms until arriving at more mountainous terrain at Holden. At Holden, the highway merges with Interstate 15 to cross the Pavant Range via Scipio Summit. After passing the mountains, US-50 then separates from this freeway as again a two lane road passing through desolate territory towards Salina where the road joins with Interstate 70. The two highways run concurrent from this point east to Colorado. Yet again, there is a stretch of highway 110 miles (180 km) long without services from Salina to Green River. While co-routed with I-70, US-50 crosses the Wasatch Plateau and passes through the San Rafael Swell. The construction of I-70 through the swell is noted as one of the engineering marvels of the Interstate Highway System. One specific feat, the excavation through a portion called Spotted Wolf Canyon, required excavating 3,500,000 cubic yards (2,700,000 m<sup>3</sup>) of rock to have a bed for just 8 miles (13 km) of roadway. Construction workers noted that prior to the construction of the freeway a man could stand in this canyon and touch both sides of the canyon wall. US-6 rejoins US-50 near Green River. The three routes run concurrent and follow the southern edge of the Book Cliffs to Grand Junction, Colorado. Once again, services are not present from Thompson Springs to Fruita, Colorado, a span of about 60 miles (97 km). This portion of US-50 is part of the Dinosaur Diamond Prehistoric Highway, a National Scenic Byway. The name of the byway comes from the large number of areas along the route with visible dinosaur remains. The entire route through the state, as well as the concurrencies with I-15 and I-70, is included in the National Highway System. ## Photos ## History The modern route of U.S. Route 50 between Ely, Nevada and Green River, Utah is the third iteration. ### First iteration In 1926, when the U.S. Highway system was first announced, there was a gap in US-50 between Ely and Thistle. At the time the states of Utah and Nevada were feuding about which of the old auto trails would be paved and used for the new U.S. Highway System. Nevada favored the Lincoln Highway, which the modern US-50 closely follows in that state. Utah refused to consider the Lincoln Highway west of Salt Lake City. Officials perceived that route would carry all California bound traffic directly to Nevada while passing through very few communities in Utah. Utah instead favored the Victory Highway (modern Interstate 80 west of Salt Lake) and the Arrowhead Trail (modern Interstate 15). By favoring these routes Utah could force travelers destined for southern California to use a different route than those destined for northern California, with both of these traversing through more cities in Utah than the Lincoln Highway. The Arrowhead trail was especially beneficial to Utah as it passed through many communities in the state, but only Las Vegas in Nevada. Utah prevailed and US-50 did not continue to follow the Lincoln Highway to Salt Lake City as Nevada had wanted. The first continuous route of US-50 across eastern Nevada and western Utah was an arch shaped route. US-50 proceeded north from Ely along what is now numbered U.S. Route 93 and Alternate US-93 where the highway would merge with the Victory Highway (U.S. Route 40 along the Wendover Cut-off, since replaced by I-80) to Salt Lake. From there the highway returned to Green River via what is now numbered State Route 201, U.S. Route 89 and U.S. Route 6. ### Second iteration The second iteration has its origins with the formation of US-6. In 1937, US-6 was extended west from its former terminus at Greeley, Colorado to Long Beach, California. In eastern Utah the route used the existing alignment of US-50. However, in western Utah the route used an unpaved road through Delta reconnecting with US-50 in Ely. In 1953, US-50 was approved to use this shorter alignment with the older US-50 alignment designated as U.S. Route 50 Alternate. Nevada first showed this alignment as paved and signed as US 50 in their 1954 map. With this change, US-6/50 ran concurrent from Ely to Grand Junction, Colorado. The paved version did not exactly follow the unpaved roads. The dirt route passed through the numerous mountain ranges of the Great Basin using Marjum canyon and Marjum Pass to and through the Tule Valley. Once paved, the route was relocated to follow the north shore of Sevier Lake, which reduced the number of mountain ranges crossed. Although US-50 was moved to yet another alignment, this route remains US-6 today. ### Third iteration The modern route of US-50 was created in 1976. This iteration of US-50 has its origins in a dispute over the route of Interstate 70 in Utah. While I-70 was in the planning stage Colorado lobbied for an extension of the original proposal to run across Colorado and into Utah. Utah supported an extension using then US-6/50 to connect Denver, Colorado with Salt Lake City. However, federal planners did not see value in this route and instead supported a route that could be used to connect Denver with Los Angeles, California. I-70 was built using the federally selected route. In 1976, US-50 was changed again to a routing mostly concurrent with I-70. The portion of modern US-50 between Delta and Scipio had been previously numbered State Route 26, and the portion between Scipio and Salina had been numbered State Route 63, with the SR-63 portion being transferred to SR-26 in 1971. East of Green River I-70 closely follows the original route of US-50, with some minor straightening by Crescent Junction, Cisco, and Westwater. ## Major intersections	[ "## Route description", "## Photos", "## History", "### First iteration", "### Second iteration", "### Third iteration", "## Major intersections" ]	1,653	17,371
21,895,463	On the Pulse of Morning	1,147,867,255	Poem by Maya Angelou	[ "1993 poems", "Grammy Award for Best Spoken Word Album", "Inaugural poems", "Poetry by Maya Angelou", "Presidency of Bill Clinton" ]	"On the Pulse of Morning" is a poem by writer and poet Maya Angelou that she read at the first inauguration of President Bill Clinton on January 20, 1993. With her public recitation, Angelou became the second poet in history to read a poem at a presidential inauguration, and the first African American and woman. (Robert Frost was the first inaugural poet, at the 1961 inauguration of John F. Kennedy.) Angelou's audio recording of the poem won the 1994 Grammy Award in the "Best Spoken Word" category, resulting in more fame and recognition for her previous works, and broadening her appeal. The poem's themes are change, inclusion, responsibility, and role of both the President and the citizenry in establishing economic security. Its symbols, references to contemporary issues, and personification of nature has inspired critics to compare "On the Pulse of Morning" with Frost's inaugural poem and with Clinton's inaugural address. It has been called Angelou's "autobiographical poem", and has received mixed reviews. The popular press praised Clinton's choice of Angelou as inaugural poet, and her "representiveness" of the American people and its president. Critic Mary Jane Lupton said that "Angelou's ultimate greatness will be attributed" to the poem, and that Angelou's "theatrical" performance of it, using skills she learned as an actor and speaker, marked a return to the African-American oral tradition of speakers such as Frederick Douglass, Martin Luther King Jr. and Malcolm X. Poetry critics, despite praising Angelou's recitation and performance, gave mostly negative reviews of the poem. ## Background When Angelou wrote and recited "On the Pulse of Morning", she was already well known as a writer and poet. She had written five of the seven of her series of autobiographies, including the first and most highly acclaimed, I Know Why the Caged Bird Sings (1969). Although she was best known for her autobiographies, she was primarily known as a poet rather than an autobiographer. Early in her writing career she began alternating the publication of an autobiography and a volume of poetry. Her first volume of poetry Just Give Me a Cool Drink of Water 'Fore I Diiie, published in 1971 shortly after Caged Bird, became a best-seller. As scholar Marcia Ann Gillespie writes, Angelou had "fallen in love with poetry" during her early childhood in Stamps, Arkansas. After her rape at the age of eight, which she depicted in Caged Bird, Angelou memorized and studied great works of literature, including poetry. According to Caged Bird, her friend Mrs. Flowers encouraged her to recite them, which helped bring her out of her self-imposed period of muteness caused by her trauma. Angelou was the first poet to read an inaugural poem since Robert Frost read his poem "The Gift Outright" at President John F. Kennedy's inauguration in 1961, and the first Black woman. When it was announced that Angelou would read one of her poems at Clinton's inauguration, many in the popular press compared her role as inaugural poet with that of Frost, especially what critic Zofia Burr called their "representativeness", or their ability to speak for and to the American people. The press also pointed to the nation's social progress that a Black woman would "stand in the place of a white man" at his inauguration, and praised Angelou's involvement as the Clinton administration's "gesture of inclusion". Angelou told her friend Oprah Winfrey that the call requesting her to write and recite the poem came from television producer Harry Thomason, who organized the inauguration, shortly after Clinton's election. Even though she suspected that Clinton made the request because "he understood that I am the kind of person who really does bring people together", Angelou admitted feeling overwhelmed, and even requested that the audiences attending her speaking engagements pray for her. She followed her same "writing ritual" that she had followed for years and used in writing all of her books and poetry: she rented a hotel room, closeted herself there from the early morning to the afternoon, and wrote on legal pads. After deciding upon the theme "America", she wrote down everything she could think of about the country, which she then "pushed and squeezed into a poetic form". Angelou recited the poem on January 20, 1993. ## Themes "On the Pulse of Morning" shared many of the themes in President Clinton's inaugural address, which he gave immediately before Angelou read her poem, including change, responsibility, and the President's and the citizenry's role in establishing economic security. The symbols in Angelou's poem (the tree, the river, and the morning, for example) paralleled many of the same symbols Clinton used in his speech, and helped to enhance and expand Clinton's images. Clinton's address and the poem, according to Hagen, both emphasized unity despite the diversity of American culture. "On the Pulse of Morning" attempted to convey many of the goals of Clinton's new administration. Burr compared Angelou's poem with Frost's, something she claimed the poetry critics who gave "On the Pulse of Morning" negative reviews did not do. Angelou "rewrote" Frost's poem, from the perspective of personified nature that appeared in both poems. Frost praised American colonization, but Angelou attacked it. The cost of the creation of America was abstract and ambiguous in Frost's poem, but the personified Tree in Angelou's poem signified the cultures in America that paid a significant cost to create it. Both Frost and Angelou called for a "break with the past", but Frost wanted to relive it and Angelou wanted to confront its mistakes. Burr also compared Angelou's poem with Audre Lorde's poem "For Each of You", which has similar themes of looking towards the future, as well as with Walt Whitman's "Song of Myself" and Langston Hughes' "The Negro Speaks of Rivers". According to Hagen, the poem contains a recurring theme in many of Angelou's other poems and autobiographies, that "we are more alike than unalike". "On the Pulse of Morning" was full of contemporary references, including toxic waste and pollution. Angelou's poem was influenced by the African-American oral tradition of spirituals, by poets such as James Weldon Johnson and Langston Hughes, and by modern African poets and folk artists such as Kwesi Brew and Efua Sutherland, which also influenced her autobiographies. ## Critical response, impact, and legacy According to Lupton, "On the Pulse of Morning" is Angelou's most famous poem. Lupton has argued that "Angelou's ultimate greatness will be attributed" to the poem, and that Angelou's "theatrical" performance of it, using skills she learned as an actor and speaker, marked a return to the African-American oral tradition of speakers such as Frederick Douglass, Martin Luther King Jr. and Malcolm X. British reporter Kate Kellaway compared Angelou's appearance as she read the poem at Clinton's inauguration with the eight-year-old child in Caged Bird, noting that the coats she wore in both occasions were similar: "She looked magnificent, sternly theatrical with an unsmiling bow mouth. She wore a coat with brass buttons, a strange reminder of the eight-year-old Maya Angelou who stood in a courtroom, terrified at the sight of the man who had raped her". Gillespie stated regarding Kellaway's observations: "But standing tall on the steps of the Capitol, she was light-years removed from that terrible time, and America was no longer an 'unfriendly place.' Her poem 'On the Pulse of Morning' was a soaring call for peace, justice, and harmony. Capturing the hope embodied in the human spirit, it was a solemn and joyful reminder that all things are possible. She wished us 'Good morning' in her poem, and one felt as if a new day was truly dawning." Angelou recognized that although "On the Pulse of Morning" was a better "public poem" than a great poem, her goal of conveying the message of unity was accomplished. Poet David Lehman agreed, stating that although it fulfilled its theatrical and political objectives, the poem was "not very memorable". Poet Sterling D. Plumpp found Angelou's performance "brilliant", but was "not as enthusiastic about it as a text". Burr stated that the negative reviews of Angelou's poem, like the majority of the reviews about her other poetry, was due to their elitism and narrow views of poetry, which were limited to written forms rather than spoken ones like "On the Pulse of Morning", which was written to recite aloud and perform. Burr compared the response of literary critics to Angelou's poem with critics of Frost's poem: "Frost's powerful reading served to supplement the poem in the sense of enhancing it, while Angelou's powerful reading of her poem supplemented it in the sense of making evident its inadequacy and lack." Angelou's recitation of "On the Pulse of Morning" resulted in more fame and recognition for her previous works, and broadened her appeal "across racial, economic, and educational boundaries". The week after Angelou's recitation, sales of the paperback version of her books and poetry rose by 300–600 percent. Bantam Books had to reprint 400,000 copies of all her books to keep up with the demand. Random House, which published Angelou's hardcover books and published the poem later that year, reported that they sold more of her books in January 1993 than they did in all of 1992, accounting for a 1200 percent increase. The sixteen-page publication of the poem became a best-seller, and the recording of the poem was awarded a Grammy Award. The poem was featured in the film August 28: A Day in the Life of a People, which debuted at the opening of the Smithsonian's National Museum of African American History and Culture in 2016. ## See also	[ "## Background", "## Themes", "## Critical response, impact, and legacy", "## See also" ]	2,074	16,618
37,808,646	Moonshine (Bruno Mars song)	1,172,312,334	2012 promotional single by Bruno Mars	[ "2010s Atlantic Records singles", "2012 singles", "2012 songs", "American contemporary R&B songs", "American power pop songs", "Bruno Mars songs", "Song recordings produced by Jeff Bhasker", "Song recordings produced by Mark Ronson", "Song recordings produced by the Smeezingtons", "Songs written by Andrew Wyatt", "Songs written by Ari Levine", "Songs written by Bruno Mars", "Songs written by Jeff Bhasker", "Songs written by Mark Ronson", "Songs written by Philip Lawrence (songwriter)" ]	"Moonshine" is a song by American singer-songwriter Bruno Mars from his second studio album Unorthodox Jukebox (2012). It was released as the second promotional single on November 19, 2012, by Atlantic Records. "Moonshine" is a pop, power pop and R&B record, with a "retro" vibe. It was written by Mars, Philip Lawrence, Ari Levine, Andrew Wyatt, Jeff Bhasker and Mark Ronson. It was produced by the former three, under their alias, the Smeezingtons, Bhasker and Ronson. Its lyrics establish a metaphor between "bootleg liquor" and the "longing for the high water mark of a relationship", which becomes "impossible to reach". It received generally favorable reviews from music critics, who compared its composition to the works of Michael Jackson and Prince. Commercially, "Moonshine" charted only in South Korea, where it reached number 17, along with the release of its parent album. In 2013, it charted on the Belgium Ultratop 50 Flanders at number 30. On the following year, it debuted in France, spending 11 weeks on the chart, and Poland peaking at number 113 and 11, respectively. The song was performed on The Moonshine Jungle Tour (13–2014) as the opening act. ## Background and release During an interview, with Rolling Stone, Bruno Mars explained the origin of "Moonshine", by saying "We all [Mars, Ronson and Bhasker] went out one night, and they had actual moonshine on the menu. We drank it all night, then headed to the studio – Jeff got on keyboards, Mark starts playing electronic drums that sound like Eighties Prince and I started screaming, 'Moonshine, take us to the stars!' There were a lot of nights like that". The Smeezingtons spent three months trying to write a second verse for the song. "Moonshine" was written by Mars, Philip Lawrence, Ari Levine, Andrew Wyatt, Jeff Bhasker and Mark Ronson. Its production was handled by the former three under their alias the Smeezingtons, along with Bhasker and Ronson. The song was recorded by Levine, with additional engineering by Charles Moniz. The guitar was played by Wyatt and Ronson, the latter also handled the bass and other beats, while the former contributed with backing vocals along with Bhasker. The lead singer performs the keyboards on the recording. The mixing of the track was done at Larrabee Sound Studios in North Hollywood by Manny Marroquin. It was mastered by David Kutch at The Mastering Place. Upon the song lifting, Mars tweeted "Ive been jammin to this song for a while now. I hope yall can groove wit me and slide wit me but most important BOK wit me \#Moonshine". "Moonshine" was released digitally as a promotional single in the United States on November 19, 2012, as part of the iTunes countdown through Atlantic Records. In countries outside of the US it as liberated by Warner Entertainment Group on the same date. It was announced on the Brazilian website of Warner Music Group that the track was set to be released on contemporary hit radio as a single on October 25, 2013, in Europe and South America, while "Gorilla" had been sent to United States and Oceania mainstream radio. Nevertheless, it was replaced by Gorilla as the fourth single. A remix of the song, made by The Futuristics (Alex Schwartz and Joe Khajadourian), was exclusively released as bonus track on the Target edition of the album, on December 11, 2012. Almost a year later, on November 5, 2013, the remix of the song was also included on the deluxe edition of the album, released in various countries. ## Composition and lyrics "Moonshine" is a midtempo pop, power pop, and R&B song. Critics noticed being heavily influenced by quiet storm and dance-pop, while having a "disco groove", as well as, having a "retro" and "slightly ’80s-informed" vibe. Mitchell Peters, while writing the Billboard cover story where Mars was featured, called "Moonshine" a "sexed-up rocker" According to the sheet music published at Music Notes, the recording is composed in the key of A minor with a time signature in common time, and a moderate groove of 104 beats per minute. As the track progresses "flanged guitar notes and moody chord progressions" can be heard with "cheesy flecks of synthesizer". The song lope is "amusing Simple Minds-like" and its chorus is similar to "Heartbeat" (1986) by Don Johnson. A bass guitar, drums and additional beats are also part of its instrumentation. The subject addressed in the recording lyrics has led Spin's critic, Chris Martins, to become "slightly disappointed" when he realized that "the song was not, in fact, an ode to bootleg liquor", but a "longing for the high water mark of a relationship that now seems impossible to reach", despite the fact that "Mars’ lyrics intoxicate in their own way". Brittany Spanos of Rolling Stone found the lyrics to "compares a woman to the distilled liquor", as Mars tries to recreate the "magic" when they were together the last time. The recording's composition brought attention due to its similarities to the works of Michael Jackson. Martins of Spin stated that the track finds Mars channeling "the King of Pop with a markedly more reverent aplomb". Sam Lansky of Idolator concurred, writing that the artist is channeling "80's pop icon: Michael Jackson". Nevertheless, Lansky discovered "a little bit of Prince in there", as well, "but Mars’ vocals sound eerily like Jacko in his prime". The song has drawn comparisons to Daft Punk due to its "disco groove", with Sarah Rodman from The Boston Globe calling it "wistful" and Los Angeles Times' Mikael Wood called it "conflict-free tune" gritting with "desperation". Mars said that the primary influence for the track was American musician Prince. ## Critical reception The song has received generally favorable reviews from critics, who couldn't help to avoid comparisons between the track and Michael Jackson's work. Chris Martins of Spin called the recording "'wonderfall', stating that was something that "Mars might say". He also wrote that the track was an "80's-informed backing track". Sam Lanksy of Idolator praised the track, saying "fortunately" the drinking during the recording sections "paid off on the song" since it "is probably our favorite effort from Mars to date". Jason Lipshut of Billboard wrote that "The production is so buttery that the listener can't help but get another sugar rush". Joe DeAndrea of the same publication, while reviewing Mars' 5 Best Deep Cuts, opined "one of the most eclectic songs Mars has ever delivered...with a retro pop feel and a slight disco vibe to it, Mars unleashes a dose of musical ecstasy." In a mixed review, Jon Caramanica of New York Times called it "melodramatic and spry", furthering "the song feels bigger than the contours Mr. Mars can give it. It demands a yowler. It could use Adam Lambert". ## Commercial performance Following the release of Unorthodox Jukebox in 2012, "Moonshine" debuted at number 17 on the South Korea International Download Chart, with 11, 360 copies sold. In 2013, the track entered in the Ultratop 50 Flanders chart, debuting at its peak position 30. In the same year, it also peaked at number 41 on the Finnish Airplay chart. On January 4, 2014, it debuted at number one on the Tipparade in the Netherlands. On the following week, the song entered the Dutch Top 40 and eventually it peaked at number 32. During the same month, it also charted on the French single charts, spending 11 weeks, peaking at number 113 in its sixth week. It peaked at number 11 on the Polish Airplay Top 100. ## Personnel Credits adapted from the liner notes of Unorthodox Jukebox. - Bruno Mars – lead vocals, songwriting, keyboards - Philip Lawrence – songwriting - Ari Levine – songwriting, recording - The Smeezingtons – production - Jeff Bhasker – production, songwriting, backing vocals - Emile Haynie – production, songwriting - Mark Ronson – production, songwriting, guitar, bass, beats - Andrew Wyatt – songwriting, guitar, backing vocals - Charles Moniz – additional engineer - Manny Marroquin – mixing - David Kutch – mastering ## Charts ### Weekly charts ## Release history ### Promotional release ### Canceled single release	[ "## Background and release", "## Composition and lyrics", "## Critical reception", "## Commercial performance", "## Personnel", "## Charts", "### Weekly charts", "## Release history", "### Promotional release", "### Canceled single release" ]	1,878	37,887
412,869	When the Bough Breaks (Star Trek: The Next Generation)	1,168,140,397	null	[ "1988 American television episodes", "Star Trek: The Next Generation (season 1) episodes", "Television episodes directed by Kim Manners" ]	"When the Bough Breaks" is the seventeenth episode of the American science fiction television series Star Trek: The Next Generation. The episode first aired in broadcast syndication on February 15, 1988. It is the first episode written for the series by Hannah Louise Shearer and the only episode of the series with Kim Manners as director. Set in the 24th century, the series follows the adventures of the Starfleet crew of the Federation starship Enterprise-D. In the episode, the residents of a not-so-mythical planet kidnap children from the Enterprise to re-populate their dying world. While Captain Jean-Luc Picard (Patrick Stewart) attempts to negotiate for their release, Wesley Crusher (Wil Wheaton) organizes a passive resistance among the children. The episode features Jerry Hardin in his first Star Trek role (later as Samuel Clemens in Time's Arrow), and Brenda Strong. Mackenzie Westmore, the daughter of make-up supervisor Michael Westmore, along with Jeremy and Amy Wheaton, the younger brother and sister of Wil Wheaton, appear as uncredited children (with character names of Rose, Mason, and Tara, respectively, as listed in the script). 10.2 million viewers watched the episode, which was higher than the number of viewers watching the following episode. "When the Bough Breaks" received a mixed reception from critics who praised the performances of Stewart and Wheaton, but criticized the lack of subtlety in its environmental message. ## Plot The Enterprise enters the Epsilon Mynos system, searching for the legendary world of Aldea. The planet de-cloaks, and reveals itself to the ship. The Aldeans beam down Commander William Riker (Jonathan Frakes), Counselor Deanna Troi (Marina Sirtis), and Chief Medical Officer Beverly Crusher (Gates McFadden) to the planet. The Aldeans explain that they have been unable to bear children for many years and revealed themselves to the Enterprise in hopes they could trade their advanced technology for some of the Enterprise's children so that they can re-populate their world. Riker refuses and the crew is returned to the Enterprise. Simultaneously, seven children, including young Wesley Crusher (Wil Wheaton), are taken down to the planet protected by a planetary energy shield that the crew of the Enterprise are unable to penetrate. While the Aldean elders attempt to integrate the children into their society, Wesley is shown the "Custodian", an ancient computer system that the Aldeans rely on but do not understand. As Captain Jean-Luc Picard (Patrick Stewart) attempts to negotiate with the Aldeans, they briefly allow Dr. Crusher to reunite with her son on the planet. Wesley hints about the Custodian to her, while she secretly passes him a tricorder to scan the Aldeans. After Picard fails to get the Aldeans to agree to the children's return, they fire an energy weapon that sends the Enterprise three days away from Aldea at maximum warp. The Aldeans warn that they can send the Enterprise an impossibly far distance if they refuse to cooperate. During the return trip, Dr. Crusher reviews the scanner results and finds the Aldeans are suffering from radiation poisoning, which has harmed their reproductive capabilities but can be reversed if the source is discovered. On arrival back at the planet, Picard orders the crew to try to find a way through the planet's shield while he restarts negotiations. Wesley, aware the Enterprise is in orbit, arranges for the children to passively resist. When the Aldeans request Picard's help to resolve the issue with the children, the crew finds a way to beam through the shield, allowing Commander Riker and Lt. Commander Data (Brent Spiner) to sneak onto the planet. Data manages to disable the Custodian, disrupting the Aldean's transporter and planetary shield. Dr. Crusher explains to the Aldeans that their shield has weakened the ozone layer of their planet, exposing the inhabitants to ultraviolet radiation that has left them unable to bear children. The radiation would likely have the same effects on the children from the Enterprise. Without the planetary shield, the ozone layer will naturally return, allowing the Aldeans to reproduce again. The Aldeans accept the error of their ways and return the children to the Enterprise. Starfleet offers to help to correct their ancient systems and recognize that they will have to forgo their invisibility to continue their society. ## Production Writer Hannah Louise Shearer pitched the episode to associate producer D. C. Fontana, highlighting the families living on board the Enterprise. While the pilot episode "Encounter at Farpoint" first mentioned the children on the ship, "When the Bough Breaks" was the first time they had been used as a plot element. Shearer also discussed a story idea with series creator Gene Roddenberry about "a society that had lost its humanity in favor of technology". Originally, there was a subplot involving the separation of the saucer section with the saucer taken hostage. Shearer described Wheaton's performance in the episode as "just wonderful". "When the Bough Breaks" was the first of five episodes credited to Shearer; she later described it as her favourite episode. It was the only episode of the series directed by Kim Manners. Manners later produced the television series The X-Files and Supernatural. Visual effects supervisor Robert Legato created a two-foot (0.61 m) model of the Aldean computer. It was cheaper to build a model of the computer for around US\$3,000 than to create a series of matte paintings. Ron Jones took a simple approach to the score, using a lilting theme with a piano or flute instead of singing. The theme is representative of the Enterprise's children and first appeared in the opening cue, "Escape From Calculus". The technology of Aldea is embodied by electronic music across several pieces, including "Scanning for Children" and "Power Source". Legato also constructed a model of the Aldean power source. Legato's visual effects for this episode were showcased in the Reading Rainbow episode "The Bionic Bunny Show". Among the guest stars in "When the Bough Breaks" were Jerry Hardin who later appeared again in The Next Generation as Mark Twain in the two-part episode "Time's Arrow", and appeared in The X-Files as Deep Throat. Brenda Strong went on to appear as Mary Alice Young in 179 episodes of Desperate Housewives, and was nominated for two Emmy Awards. Several uncredited children appeared, including Mackenzie Westmore, the daughter of make-up supervisor Michael Westmore and the younger siblings of Wil Wheaton, Jeremy and Amy. ## Reception The episode first aired on February 15, 1988. It received Nielsen ratings of 10.2 million on the first broadcast, a ratings decrease following "Too Short a Season", which received ratings of 10.9 the previous week. The episode received higher ratings than the following episode, "Home Soil" the week after, which gained ratings of 9 million. Several reviewers re-watched the episode after the end of the series. Keith DeCandido of Tor.com said it was "A mostly harmless episode that lifts quite a bit from The Cliché Handbook". He thought the performances were fairly solid and that the overall message about the ozone layer was "unsubtle but not too sledgehammery". DeCandido praised Patrick Stewart's performance of Captain Picard, noting that his "anger and outrage and justified self-righteousness at the kidnapping of children modulates nicely into diplomacy when negotiating with the Aldeans and amusingly into total discomfort when he has to actually deal directly with the children". He gave the episode a score of six out of ten. James Hunt, writing for Den of Geek, said that it was "a decent enough story, but not in a way that makes you want to watch it". He also felt that it was "a complete throwaway episode and contains almost nothing unique to the franchise". Zack Handlen of The A.V. Club said that he was scared by the way he liked the episode despite it focusing on Wesley. He noticed the similarity between the "legendary" planets of Aldea in the episode and Magrathea in The Hitchhiker's Guide to the Galaxy, a reference Handlen considered possibly deliberate. He thought that the child-heavy episode wasn't "as bad as it could've been", and gave the episode a "B" grade. Michelle Erica Green in her review for TrekNation, described "When the Bough Breaks" as "tedious, plodding and didactic" with a "preposterous" ending. She thought that the plot element of ozone damage was not optimal and that the quality of the episode was typical of the first season. ## Home media release "When the Bough Breaks" was first released on VHS cassette in the United States and Canada on August 26, 1992. The episode was released in March 2002 on the Star Trek: The Next Generation season one DVD box set. It was included as part of the season one Blu-ray set on July 24, 2012.	[ "## Plot", "## Production", "## Reception", "## Home media release" ]	1,900	1,458
62,180,062	1911–12 North Carolina Tar Heels men's basketball team	1,171,440,646	American college basketball season	[ "1911 in sports in North Carolina", "1911–12 NCAA men's basketball independents season", "1912 in sports in North Carolina", "North Carolina Tar Heels men's basketball seasons" ]	The 1911–12 North Carolina Tar Heels men's basketball team (variously "North Carolina", "Carolina" or "Tar Heels") was the second varsity college basketball team to represent the University of North Carolina. After the first season, it was announced that star player and captain Marvin Ritch was named manager for the upcoming year's team. He assumed scheduling duties and released a tentative schedule in December. Newspaper outlets deemed it to be one of the toughest schedules to be played. However, before the start of the semester and college basketball season, Ritch left the team to work as a secretary for Congressman Edwin Y. Webb. North Carolina opened the season at home with a five-game home-stand, the first of which came against the Durham Y.M.C.A. The Tar Heels led for majority of the match, only to lose the game in the closing minutes. Carolina then squared off against Elon College and William & Mary, which the Tar Heels won the former handily and played a closer game in the latter. A physically larger Guilford College faced Carolina next. Guilford emerged victorious 35–20 in a game marred by many foul calls. After beating Virginia Christian, North Carolina dropped the next three games. Their loss against Virginia Agricultural and Mechanical College and Polytechnic Institute (V.P.I.) was attended by over 2,000 people. The team closed the season beating Wake Forest. The Tar Heels established a large lead in the early second half and went scoreless for the game's remainder. The Alumni Review reported after the V.P.I. game that "... basketball has come into its own in this state." ## Roster and schedule After the conclusion of the Tar Heels' inaugural season, the school's Athletic Association announced the previous season's leading scorer Marvin Ritch as team manager, along with teammate William Tillet as his assistant. He assumed the duties of putting together the schedule for the upcoming season. In October, Ritch returned to his home in Charlotte, North Carolina, where he told the newspapers that he felt North Carolina's team would be the best in the state. In mid-December, a tentative schedule was made public that featured 17 games between January 5 and February 29. Writers from the student run newspaper The Tar Heel commented on the schedule saying it was "... one of the longest and hardest ever attempted by a North Carolina College." The games against the Charlotte Y.M.C.A. and Guilford College were thought to be early tests before the team travels north into Virginia and around Washington D.C. to play the likes of Georgetown, Virginia, and V.P.I., which were all thought to be difficult opponents. Wilmington's The Morning Star felt the schedule was tough, stating the team would have to "hustle some." In particular, they viewed the three schedule games against Virginia to be the "big feature" and the writers expected the attendance and crowd involvement to be similar to the school's match-ups in football and baseball. The final slate of games differed from the tentative schedule and did not feature the three proposed games against Virginia, a second game against V.P.I., and the single games against Georgetown, Catholic University, Davidson, and Roanoke College. Prior to the season, Ritch was also unanimously re-elected as captain of the basketball team. On December 18, 1911, The Charlotte News reported that Ritch again returned to Charlotte and told the press that he "may not be able to return to 'the Hill' in the spring." The writers commented that if he did not, the basketball team would suffer in his absence. Before the season opened on January 5, The Evening Post confirmed Ritch's absence as they announced his appointment to be the private secretary for North Carolina Representative Edwin Y. Webb in Washington D.C. According to The Morning Star, Ritch leaving led to a "distinct dismay among the student body." Junius Smith was named captain upon Ritch's departure. \\|+ Schedule \\|- !colspan=6 style="background:#4B9CD3; color:#FFFFFF;"\\| Regular season ## Regular season On January 5, Durham's Y.M.C.A. team traveled to Chapel Hill, North Carolina to face the Tar Heel in their season–opening match. The Y.M.C.A. brought a strengthened team that featured a couple players who were members of Trinity College's team the prior year. These additions were thought to have made the team better and quicker. North Carolina remained in front for much of the game; however, in the closing minutes, the Y.M.C.A. rallied to take the lead and won 29–18. One writer commented that the Tar Heels missed Ritch's presence. Chapel Hill's Bynum Gymnasium hosted Elon College four days later, where the Tar Heels beat them 36–5 with a strong performance from captain Junius Smith. The Tar Heels were thought to have played fast and showed improved teamwork relative to their opening game. The Tar Heels faced William & Mary on January 12. The first half featured back-and-forth scoring and visiting team led the Tar Heels 19–15 at the half. William & Mary's Metcalf scored several points from foul shots. Carolina held William & Mary to just three points for the whole second half, while the Tar Heels scored 15 more points to seal the victory. Smith again was said to have played the best for the Heels, while Tillett and Hanes were also thought to have played well. Following the game there was a break in the schedule due to the school's exam schedule from January 15 to 25. The Tar Heel reflected on the team's performance by stating they did not have great teamwork or a star player, but just needed practice and could develop into a fast and "good, fighting quint." Guilford College defeated the Tar Heels 35–20 on January 31. The Guilford players were reportedly heavier than the Carolina starting five, and although the Tar Heels played good defense, their overall teamwork was lacking, and they could not withstand Guilford's "machine-like force". The game had "a great many fouls", and Guilford's Hoyos took seven foul shots while North Carolina's Smith took eight. Virginia Christian arrived in Chapel Hill for the Tar Heels' next game on February 2. The contest was closely fought for the first half as it closed with a Tar Heel advantage of 3 points, 18–15. The second half was dominated by North Carolina as they scored 25 points to Virginia Christian's 2, bringing the final score to 45–17 in Carolina's favor. The team traveled to Durham for a rematch against their Y.M.C.A. team on February 12. The Y.M.C.A. made more field goals while the Tar Heels made more foul shots, which resulted in a 26–18 victory for Durham. Durham's Holcomb led all scoring and made some long range shots. V.P.I. arrived in Chapel Hill four days later for the next game. The teams played a close game in the first half, where both managed to counter the opposing team's scores frequently. The Tar Heels were led by strong performances from Tillett and Carrington, who helped create a halftime lead of 21–17. As Carolina held the lead early in the second half, Tillett was removed from the game. Tillett's defense proved to be a critical reason for Carolina's success and shortly after his removal, V.P.I. gained the lead. They extended their lead and won 37–28, anchored by the Legge brothers who each scored 5 apiece. The Tar Heel regarded the game as the "best played and hardest fought game" at Bynum all season long. On February 19, a third match against the Durham Y.M.C.A. happened and proved to be close throughout. Carolina led going into halftime 17–16, but the Durham squad managed to gain the lead and win the game 29–28. On February 26, Wake Forest and North Carolina faced off in Raleigh, North Carolina. A crowd of nearly 1,000 filled the auditorium to see the contest. The game featured several fouls on both teams (5 on Carolina and 11 on Wake Forest) and inconsistent performances by both teams. Carolina won the first half of the game 10–6 with multiple baskets from Smith. The Tar Heels continued to score and reached 18 points; however, Wake Forest began to click on offense and scored seven shots in the final ten minutes, sinking one as time expired. Their efforts fell short as the game ended 18-15 in Carolina's favor. ## Aftermath Following the game against V.P.I., where an estimated 2,000 people attended, the Alumni Review wrote that "... basketball has come into its own in this state." When the season ended, The Tar Heel published a column where it discussed the basketball championship of North Carolina. The editors spoke of the parity between the North Carolina based squads and felt that all of them had an equal right to the championship. In September 1912, The Tar Heel published a column where it commented on the season, blaming the poor performance on the fact the team started practice after Christmas, while most other successful teams started in October.	[ "## Roster and schedule", "## Regular season", "## Aftermath" ]	1,902	44,408
3,740,607	Innsmouth no Yakata	1,161,157,721	1995 horror video game	[ "1990s horror video games", "1995 video games", "First-person shooters", "Japan-exclusive video games", "Single-player video games", "Sprite-based first-person shooters", "Video games based on works by H. P. Lovecraft", "Video games developed in Japan", "Video games set in the 1920s", "Virtual Boy games", "Works based on The Shadow over Innsmouth" ]	also rendered as Insmouse no Yakata, is a 1995 first-person video game developed by Be Top and published by I'Max in Japan for the Virtual Boy. Assuming the role of a private detective in 1922, the player is tasked with escaping a monster-infested mansion with an artifact called the Necronomicon. The player navigates several mazelike levels that must be finished in a certain amount of time. It is loosely based on the H.P. Lovecraft novel The Shadow over Innsmouth, though the only similarity between the two is the presence of fishlike monsters. It received mixed reviews, with critics praising its Lovecraftian setting. Reception of the gameplay was mixed, with critical contemporary reviews from magazines Famitsu and VB Guide, though it was viewed positively for its ambition and uniqueness. ## Gameplay Innsmouth no Yakata is a first-person horror video game where players assume the role of a private detective in 1922 who must escape from a monster-infested mansion with an artifact called the Necronomicon. Each stage in the game consists of a floor within the mansion, and on each floor players must find a key and use it to open an exit door under a time limit, which varies between levels. It uses a twin-stick-style control scheme with two directional pads, one for movement and the other for the player-character's gun. Completing each stage will present players with a stage select screen, featuring branching level paths similar to the Darius series. The game automatically selects a floor based on how much time is left upon completion; finishing in under 30 seconds lets players move up a floor, while finishing in the last 30 seconds forces them to move down a floor. After completing one of the final floors, the player-character escapes and the game ends. Throughout the game, players encounter fishlike monsters that attempt to kill the player-character. These creatures can either be overcome with bullets or by fleeing. Additional ammunition as well as health pickups are found scattered throughout the various floors. A map screen shows players' current location and the layout of the floor, which will begin to reveal itself as players progress. Two kinds of collectible orbs can be found randomly placed on each floor. The white orbs reveal the entirety of the map, while the black orbs show the locations of items on that specific floor. The game features 45 different floors, though only 13 floors can be visited in a session. It features four different endings, including a "joke" ending that sends the player back to the start of the game. ## Development Innsmouth no Yakata was developed by Be Top and published by I'Max on October 13, 1995 in Japan for the Virtual Boy. It is loosely based on the H.P. Lovecraft novella The Shadow over Innsmouth, though the only relation between them is the presence of fishlike monsters. Akin to all other Virtual Boy games, it uses a red-and-black color scheme and projects two slightly different images in each eye hole to simulate depth. Its limited release and launch towards the end of the Virtual Boy's short lifespan has since made it a prized collector's item. ## Reception Initial reviews for Innsmouth no Yakata were lukewarm. Famitsu was critical towards the game's lack of ambition and the presence of a time limit, saying that most players would not be able to fully immerse themselves in its world due to the short length of the timer. They unfavorably compared it to Dungeon Master (1987), disliking its limited ammunition and a relatively low level of difficulty. VB Guide felt similarly about the game, criticizing its gameplay and horror elements. However, they felt the presentation was good. Despite the more negative reception, Nintendo Magazine felt that its horror-themed locations and role-playing elements would make it a success in Japan. Retrospectively, it has been met with a mixed response. Both Anthony John Agnello for The A.V. Club and Hardcore Gaming 101 found it to be a precursor to the twin-stick movement control style found in first-person shooters and virtual reality horror games respectively. Writer Jeremy Parish noted Innsmouth no Yakata as an exception to the Virtual Boy's otherwise lackluster Japan-only catalog. Parish found it to be unlike most other games, praising its "hyper-focused design" and noted that the Virtual Boy's otherwise "nightmarish" red-and-black visuals work well with the Lovecraftian setting. He added that the "little burst of actions" allows players time to rest their eyes. Other critics were more negative; while Benji Edwards for PC Magazine found its difficulty and Lovecraftian setting enhanced the game despite not thinking of it as a "great game," Official Nintendo Magazine staff were more critical, calling its controls "awful" and sprites "ugly." Dave Frear of Nintendo Life noted the jerking motion in the intro video and commented that it wasn't effects, that the game actually plays that way. Retro Gamer staff, meanwhile, felt that the game's password system and time limit harmed the atmosphere and tension of the game, while also criticizing it for repetitive gameplay and environments. Dominic Tarason for Rock, Paper, Shotgun called it the "most cursed thing" on the Virtual Boy, praising its "blood red" visual style as "glorious." The video game Ritualistic Madness took inspiration from Innsmouth no Yakata with Tarason stating that it is billed as "a port of a lost, even more cursed little maze-crawler with a similar aesthetic."	[ "## Gameplay", "## Development", "## Reception" ]	1,122	35,393
42,145,196	Jade Etherington	1,172,671,247	British alpine skier	[ "1991 births", "Alpine skiers at the 2014 Winter Paralympics", "Alumni of Bishop Grosseteste University", "British blind people", "British female alpine skiers", "Living people", "Medalists at the 2014 Winter Paralympics", "Paralympic alpine skiers for Great Britain", "Paralympic bronze medalists for Great Britain", "Paralympic medalists in alpine skiing", "Paralympic silver medalists for Great Britain", "Sportspeople from Chelmsford", "Sportspeople from Lincoln, England", "Visually impaired category Paralympic competitors" ]	Jade Etherington (born 9 March 1991) is a British former alpine skier who, with her sighted guide Caroline Powell, won silver in the women's downhill skiing, combined and slalom, and bronze medals in the Super-G at the 2014 Winter Paralympic Games in Sochi. Their three silvers and a bronze at the Winter Paralympics made them the most successful female British Winter Paralympians of all time, and the first Britons to win four medals at one Paralympics. Because of her success at the 2014 Paralympics, Etherington was the British flagbearer at the 2014 Winter Paralympics closing ceremony. Etherington has only five percent vision in both eyes and competes in the visually impaired category. Because of her impairment she requires a sighted guide, Caroline Powell. The pair have competed together since August 2013. After asking for a new guide through Facebook and after two other applicants pulled out, Etherington and Powell combined in April 2013. ## Personal history Etherington was born in Chelmsford on 9 March 1991, to Amber, a Braintree District Council employee, and Andrew, a stockbroker. They lived in The Causeway, Maldon, but when Jade was seven they moved to Lincolnshire. She was born with glaucoma and Axenfeld syndrome, a visual impairment which can lead to blindness. She inherited it from her mother, Amber, who lost her sight at 14. Her three younger sisters also have the condition. Despite undergoing multiple surgeries as a child, by the age of 17 she began to lose her sight. She describes her vision as "very blurry with little focus", and she has a recorded five percent vision in both eyes, which puts her in the B2 classification. Etherington was educated at The Deepings School in Lincolnshire before matriculating to Bishop Grosseteste University where she was awarded a degree in education and geography. Etherington studied to become a geography teacher with The Open University, undertaking a PGCE, but placed her career on hold to concentrate on the 2014 Winter Paralympic Games. In 2014, she was awarded doctorate of science honoris causa by Anglia Ruskin University. ## Skiing career Etherington began skiing while still sighted at the age of eight, being taught by her father Andrew and her sisters. She continued skiing recreationally for the next ten years. In 2009, she joined the British Disabled Ski Team (BDST) at development level, and began racing internationally in 2011. The following year she carried the Olympic torch through Lincoln, and was inspired to compete at a higher level after watching the 2012 Summer Olympics and Paralympics in London. Etherington's success at Europa cup and International Paralympic Committee (IPC) alpine skiing events was achieved with her sighted guide Fiona Gingell, but Etherington was forced to appeal for a new guide on her Facebook page after Gingell married and moved to America. After two applicants pulled out, she was left without a guide at the beginning of 2013, but Heather Mills, who had not qualified for the World Championships, offered her coach, John Clark. The pair qualified for the 2013 IPC Alpine Skiing World Championships in La Molina, representing Great Britain. At La Molina, Etherington came fourth in the women's slalom and came third in the women's super-G, taking bronze. The runs ensured her place at the 2014 Winter Paralympics in Sochi. Etherington teamed up with Caroline Powell in April, allowing her to compete that season. Etherington and Powell began skiing together in August 2013. ### Paralympics The 2014 Winter Paralympics was Etherington's debut Paralympics, competing for ParalympicsGB. She competed in the downhill, winning a silver medal with Powell on 8 March 2014. Slovakian Henrieta Farkasova came 2.73 seconds ahead. This was the first time a British woman had won a Winter Paralympic medal on snow, and ParalympicsGB's first medal of the 2014 Paralympics. Etherington then won a bronze medal in the women's downhill skiing, and silver in the slalom and the super combined. After winning a silver medal in the super-G visually impaired event on 14 March 2014, she and Powell became Great Britain's most successful female Winter Paralympians, and the first Britons to win four medals at one Paralympics. However, they pulled out of the giant slalom, which was on the day of the Sochi 2014 Closing Ceremony. The four medals she won at the 2014 Winter Paralympics were part of a total of six for ParalympicsGB, 66% of the total British medals at the games. Etherington was the flag bearer for Great Britain at the closing ceremony, despite rupturing an ovarian cyst, which left her in a wheelchair for much of the day of the ceremony; she was able to walk and carry the flag having taken painkillers. After the end of the 2014 Winter Paralympics, she was unsure if she would continue competing at international level, saying "I don't really know what I want right now". In November 2014, Etherington announced her retirement from the Paralympic alpine skiing programme, aged 23.	[ "## Personal history", "## Skiing career", "### Paralympics" ]	1,142	34,534
429,139	Henry Percy, 3rd Earl of Northumberland	1,131,454,644	15th century English magnate	[ "1421 births", "1461 deaths", "15th-century English nobility", "Earls of Northumberland", "English military personnel killed in action", "Honourable Corps of Gentlemen at Arms", "Lords Warden of the Marches", "Military personnel from Yorkshire", "Peers jure uxoris", "People from Leconfield", "People of the Wars of the Roses", "Percy family" ]	Henry Percy, 3rd Earl of Northumberland, (25 July 1421 – 29 March 1461) was an English magnate. The Earldom of Northumberland was then one of the greatest landholdings in northern England; Percy also became Lord Poynings on his marriage. This title would bring him into direct conflict with the Poynings family themselves, and indeed, feuds with neighbouring nobles, both lay and ecclesiastical, would be a key occupancy of his youth. Percy married Eleanor Poynings, who outlived him; together they had four children. He was a leading Lancastrian during the Wars of the Roses, from which he managed to personally benefit, although his father died early in the war. He was not, however, to live to enjoy these gains, being killed at the Battle of Towton in 1461 on the defeated Lancastrian side. ## Early life and war with Scotland Percy was the son of Henry Percy, 2nd Earl of Northumberland, and Lady Eleanor Neville, daughter of Ralph Neville, 1st Earl of Westmorland, and his second wife, Joan Beaufort. Percy was knighted in 1426 together with Henry VI. He was appointed Warden of the Eastern March on the Scottish border on 1 April 1440, originally for four years, and subsequent extensions in 1444, and 1445, for the next seven years. This came as well with the custody of Berwick Castle and responsibility for its defence He was to hold this post until March 1461. In May 1448, Percy, with his father and Sir Robert Ogle, invaded Scotland and burnt Dunbar and Dumfries, for which, in revenge, the Scots attacked his father's castles of Alnwick and Warkworth. King Henry made his way north, and whilst at Durham sent Percy – now Lord Poynings – to raid Dumfrieshire; the sortie – "only to return with some 500 cattle" – of around 5,000 men failed, and he was captured whilst caught in a marsh following his father's defeat at the River Sark on 23 October. Sir Robert Ogle was now outlawed and the king used half of his estates to compensate Poynings for the ransom he had expended arranging his release from captivity. Tensions with Scotland remained, to the extent that Poynings, his father, and other nobles were requested to stay and guard the border rather than attend Parliament, for which they were excused. In summer 1451, with an Anglo-Scottish truce pending, Poynings was commissioned to treat with Scottish embassies. In July 1455, he successfully prevented an assault on Berwick by the Scottish King, James II, and was congratulated by the English King as a result. ## Feud with the Poynings In the late 1440s, the Yorkshire tenants of his father, the Earl of Northumberland, were in almost constant conflict with their neighbours, those of the Archbishop of York, involving armed skirmishes which Percy's brothers led. These events were deemed so severe that in 1448 they led to the only progress north for the King during his reign. The same year, because of a dispute over the inheritance his family received as a result of Henry Percy's marriage, the Earl of Northumberland's retainers had ejected the earl's relative, Robert Poynings, from his Sussex manors. A year later, Henry Percy – now Lord Poynings by right of his wife – took direct part, with his father, in raiding the manor of Newington Bertram in Kent, which was also enfeoffed by Robert. This attack also apparently involved cattle rustling and theft, and Robert later claimed it to be so brutal that he was "deterred from seeking a remedy at law for three years". ## Feud with Nevilles By the early 1450s, relations with a powerful neighbouring family, the Nevilles, became increasingly tense, and Poynings' brother Thomas, Lord Egremont, had finally ambushed a Neville force, returning from a wedding, near Sheriff Hutton, with a force of between 1,000 and 5,000 men. Although this was a bloodless confrontation, a precedent for the use of force in this particular dispute had already been laid in the previous violence in the region. By October 1453, Poynings was directly involved, with his father, brothers Egremont and Richard, and joined by Lord Clifford, in forcing a battle with John and Richard Neville at Topcliffe. The feud continued into the next year, when Poynings reportedly planned on attending parliament accompanied by a large force of men in February, and three months later both he and the earl were summoned by the king to attend council in an attempt to impose a peace; a second letter was "written but not despatched". Neither, along with John Neville or Salisbury, did as requested. ## Wars of the Roses During the Wars of the Roses, Percy followed his father in siding with the Lancastrians against the Yorkists. The Earl himself died at what is generally considered to be the first battle of the wars, at St Alban's on 22 May 1455, and Poynings was elevated as third Earl of Northumberland, without having to pay relief to the Crown, because his father had died in the King's service. He in his turn "swore to uphold the Lancastrian dynasty". Although a reconciliation of the leading magnates of the realm was attempted in October 1458 in London, he arrived with such a large body of men (thought to be around 1,500) that the city denied him entry. The new earl and his brother Egremont were bound over £4,000 each to keep the peace. When conflict broke out again, he attended the so-called Parliament of Devils in October 1459, which condemned as traitors those Yorkists accused of, among other offences, causing the death of his father four years before. On 30 December 1460, Percy led the central "battle" or section of the victorious Lancastrian army at the Battle of Wakefield, following which, the army marched south, pillaging on the road to London. He fought against Warwick at the second Battle of St. Albans on 17 February 1461, and he commanded the Lancastrian van at the Battle of Towton on 29 March 1461, however, "his archers were blinded by snowstorms", and he was either slain in close fighting or died of his wounds soon after. He was buried at St Denys's Church, York. He was posthumously attainted by the first parliament of the victorious Edward IV in November 1461, and his son and namesake was committed to the Tower. ## Estates, offices and finances The estates of the Earls of Northumberland had traditionally been in constant use as a source of manpower and wages in defence of the border since the Percy family first gained the office the previous century. The wages assigned to the third Earl were substantial: £2,500 yearly in time of peace, and £5,000 during war, as well as an annual payment for the maintenance of Berwick's upkeep (£66 in peacetime and £120 in wartime). Percy often had to provide from his own resources, however, as "securing payment was not easy" from the Exchequer, (for example, in 1454 he received no payments at all). In July 1452 he gained a twenty-year fee-farm (£80 yearly, from Carlisle), although he subsequently lost it in favour of Richard Neville, Earl of Salisbury, in July 1454. Throughout the 1450s, the Crown continually made efforts at paying Percy his Warden's wages and fees promptly (paying him full wartime rates for the whole of the year 1456–7, for example), and since he was a loyal Lancastrian he achieved this more often than his counterpart on the west march, Salisbury, who by now had publicly aligned himself with York. The fee farm of Carlisle was returned to Percy in November 1459, following Salisbury's attainder in Coventry. He also benefited from the attainder of York, being granted an annuity of £66 from the latter's forfeited Wakefield Lordship in Yorkshire; he also received £200 from the profits of Penrith. As a reward for his role in the Lancastrian victory at Ludford Bridge, he was made Chief Forester north of the River Trent and the Constable of Scarborough Castle on 22 December 1459 for life. He was nominated to a wide-ranging commission of oyer and terminer (from the old French, literally a commission "to hear and determine") on 30 May 1460, his new rank was a tactic to deal with the treasons and insurrections in Northumberland. On 3 July, he was granted Yorkshire, Derbyshire, and Cambridgeshire, all belonging to Salisbury, on a twelve-year lease. After the Yorkists captured Henry VI at the Battle of Northampton in 1460, they accused Percy of having looted York's northern estates during his exile in Ireland. This charge was likely to have had some truth in it, as it was his continued pillaging of those estates, with the Lords Clifford and Dacre, that led to York marching north to Wakefield in December 1460. These incomes, however collected, would have been vital to the Earl both personally and militarily as his northern estates especially had been a victim of feudal decline for most of the first half of the fifteenth century: even on the forfeit of the earldom to the Crown in 1461, his arrears have been calculated as still standing at approximately £12,000. ## Family On or before 25 June 1435, by the arrangement in 1434 of his father and Cardinal Beaufort, he married Eleanor Poynings (c.1422-11 February 1484), suo jure Baroness Poynings, daughter and heiress of Sir Richard Poynings of Poynings in Sussex, by his second wife Eleanor Berkeley, a daughter of Sir John Berkeley of Beverston Castle in Gloucestershire. In 1446 she became heir general to her grandfather Robert Poynings, 4th Baron Poynings (1380–1446), inherited his title of Baron Poynings (which having been created by writ was able to descend to females) and his large estates across the south of England. He was summoned to Parliament from 14 December 1446 to 26 May 1455, by writs directed Henrico de Percy, chivaler, domino de Ponynges ("Henry de Percy, Knight, lord of the manor of Poynings"). His wife was a legatee in the 1455 will of her mother, Eleanor, Countess of Arundel (widow of John FitzAlan, 13th Earl of Arundel). They had at least one son and four daughters: - Anne Percy (1444–1522), who married Sir Thomas Hungerford in 1460. - Margaret Percy (b. c. 1447), who married Sir William Gascoigne Potential ancestors of notably Catherine Middleton - Henry Percy, 4th Earl of Northumberland (c. 1449 – 28 April 1489), who married Maud Herbert, daughter of the first Earl of Pembroke. - Eleanor Percy (1455-c. 1477), who married Thomas West, 8th Baron De La Warr; they had no children. - Elizabeth Percy (1460–1512), who married Henry Scrope, 6th Baron Scrope of Bolton. ## Ancestry	[ "## Early life and war with Scotland", "## Feud with the Poynings", "## Feud with Nevilles", "## Wars of the Roses", "## Estates, offices and finances", "## Family", "## Ancestry" ]	2,462	22,426
5,788,800	Elizabethtown station	1,168,239,238	Amtrak station in Pennsylvania	[ "Amtrak stations in Pennsylvania", "Former Pennsylvania Railroad stations", "Limestone buildings in the United States", "Railway stations in the United States opened in 1915", "Stations on the Philadelphia to Harrisburg Main Line" ]	Elizabethtown station is an Amtrak railroad station on the Keystone Corridor in Elizabethtown, Lancaster County in the U.S. state of Pennsylvania. The station is served by Amtrak's Keystone Service between New York City and Harrisburg, and by the Pennsylvanian between New York and Pittsburgh. The station was built in 1915 by the Pennsylvania Railroad to replace another that had been built in 1900. The station building was closed in 1977 by Amtrak. The title to the building was transferred to the borough of Elizabethtown in 1998, and it was leased back to Amtrak. From 2009 to 2011, the station underwent a 21-month renovation to make it handicapped-accessible. ## Services and facilities The Elizabethtown station is located on South Wilson Avenue, off of Pennsylvania Route 241 (West High Street). In addition to being used by passengers originating from Elizabethtown and surrounding Lancaster County, residents of nearby Dauphin and Lebanon counties utilize the Elizabethtown station as well. It sees twenty-six arrivals by the Keystone Service on weekdays, thirteen from both Harrisburg and New York Penn Station, and seven from each on weekends. The Pennsylvanian arrives once daily from both New York and Pittsburgh Union Station. The station is 18 miles (29 km) east of Harrisburg, 86 miles (138 km) west of 30th Street Station in Philadelphia, and 179 miles (288 km) from New York. The station was the 7th busiest in Pennsylvania with an annual ridership of 22,232 passengers in fiscal year 2021, a decrease of 52.2 percent from the previous year. The station is equipped with Amtrak's Quik-Trak ticket machines, public restrooms, information kiosks, and wireless internet. As the Elizabethtown station is unstaffed, all tickets from the station need to be pre-paid, purchased from Quik-Trak, or from a conductor on board the train. Parking is in a 45-vehicle lot located in front of the station and a 100-vehicle "overflow lot [located] down the street." The Red Rose Transit Authority's Route 18 transit bus provides service between the station, Elizabethtown, Mount Joy, and Lancaster. Elizabethtown College's campus security drives students to the train station. ## History Because of the construction of an embankment at nearby Bainbridge Street, the Pennsylvania Railroad was forced to build a new station at West High Street in 1900. After 15 years, the Pennsylvania replaced the station. The new station was constructed out of Indiana Limestone in a similar style to the nearby Masonic Homes built by the Grand Lodge of Pennsylvania. On July 4, 1915, the Liberty Bell made a stop at the station while being transported to the Panama–Pacific International Exposition in San Francisco, California. The Pennsylvania began electrifying its line between Philadelphia and Harrisburg in 1937, a task which was completed on January 15, 1938. In 1977, the deteriorating station building was closed. Prior to the introduction of the Keystone Service in 1981, the Elizabethtown station was served by the Big Apple, the Silverliner Service, and the Keystone. From 1991 to 1995, the Atlantic City Express served the station on weekends. The Three Rivers made stops in Elizabethtown in 1995 and 1996. ### Renovations In August 1998, the station building was leased to Amtrak for 99 years by the borough of Elizabethtown for \$1 per year after ownership was transferred to the borough; ownership of the platforms and right-of-way was retained by Amtrak. Renovations began in August 2009 and were funded by \$9.3 million from the American Recovery and Reinvestment Act of 2009. The station was cited by U.S. Senator Tom Coburn as an example of pork barrel spending in the stimulus bill. Elevators were built and the station's two platforms were raised, per the requirements of Americans with Disabilities Act of 1990. The platforms were also lengthened to accommodate longer trains. Canopies were erected over the platforms to provide protection from the elements for waiting passengers. The station building was completely remodeled, including restoration of the original wood furnishings, replacement of broken slate roof tiles, and masonry repointing. The completed station was unveiled in a ribbon-cutting ceremony on May 4, 2011. ## Station layout ## See also - List of Amtrak stations - Transportation in Lancaster County, Pennsylvania	[ "## Services and facilities", "## History", "### Renovations", "## Station layout", "## See also" ]	973	20,463
73,306,458	All of the Girls You Loved Before	1,172,782,979	2023 song by Taylor Swift	[ "2023 songs", "American synth-pop songs", "Song recordings produced by Frank Dukes", "Song recordings produced by Louis Bell", "Song recordings produced by Taylor Swift", "Songs written by Frank Dukes", "Songs written by Louis Bell", "Songs written by Taylor Swift", "Taylor Swift songs" ]	"All of the Girls You Loved Before" is a song by American singer-songwriter Taylor Swift. It is an outtake from her seventh studio album, Lover (2019). After its demo version was leaked online and went viral on TikTok, "All of the Girls You Loved Before" was surprise-released on March 17, 2023, ahead of Swift's sixth concert tour, the Eras Tour. Swift wrote and produced the song with Frank Dukes and Louis Bell. A synth-pop love song, "All of the Girls You Loved Before" has lyrics about a narrator's gratitude to the women in her boyfriend's life, including his former girlfriends, for shaping his experiences which led him to her. Music critics complimented the song for its affectionate lyrics and dreamy production. The track charted within the top 25 in several countries and peaked at number 10 on the Billboard Global 200. ## Background and release Taylor Swift released her seventh studio album, Lover, on August 23, 2019. The album received positive critical reviews and was the global best-selling album by a solo artist of 2019. Swift planned to embark on a concert tour to support Lover in summer 2020 but canceled the plan due to the COVID-19 pandemic. During the lockdowns in 2020, she released the indie folk albums Folklore and Evermore. After that, she released two re-recorded albums, Fearless (Taylor's Version) and Red (Taylor's Version), in 2021, and another studio album, Midnights, in 2022. To support Midnights and all of her discography up until that point, Swift embarked on her sixth headlining concert tour and her first in five years, the Eras Tour, on March 18, 2023. A day prior to the tour's kickoff, she released four songs: three re-recordings of previously-released songs ("Eyes Open (Taylor's Version)", "Safe & Sound (Taylor's Version)", and "If This Was a Movie (Taylor's Version)") and a previously-unreleased track ("All of the Girls You Loved Before"). "All of the Girls You Loved Before" is a song Swift had written and intended to include on Lover but did not make the final tracklist. Prior to the song's release, a demo titled "All of the Girls" was leaked online and went viral on TikTok in February 2023. "All of the Girls You Loved Before" was also included on The More Lover Chapter, a streaming-exclusive compilation that also includes select Lover tracks. On July 29, Swift performed the track as a "surprise song" at the Eras Tour show in Santa Clara, California. ## Composition "All of the Girls You Loved Before" was written and produced by Swift, Frank Dukes, and Louis Bell. Dukes is credited under his birthname, Adam King Feeney, as writer. Musicians who played instruments on the track include Dukes (keyboard and guitar) and Matthew Tavares (guitar). Bell and Dukes programmed the song, which was mixed by Serban Ghenea and mastered by Randy Merrill. "All of the Girls You Loved Before" is a synth-pop song that incorporates a doo-wop progression and soft synths, which bring forth a soundscape that critics described as "dreamy" and "ethereal". The track is a love song and media publications interpreted it as a message to her then-boyfriend, English actor Joe Alwyn, although Swift did not confirm the inspiration. In the lyrics, a female narrator reflects on her past loves before meeting her current lover ("Crying in the bathroom for some dude whose name I cannot remember now"); some critics interpreted this lyric as a reference to the events described in Swift's 2021 song "All Too Well (10 Minute Version)". She discusses her romantic partner's past love life and expresses gratitude to his ex-girlfriends for making him the righteous man he is now. In the bridge, she appreciates his mother ("Your mother brought you up loyal and kind") and all the women in his life and promises to love him forever. ## Reception In The New York Times, critic Jon Pareles described the track's lyrics as "Swift at her most forgiving". Jake Viswanath of Bustle opined that "All of the Girls You Loved Before" would have "fit perfectly" on Lover and lauded it as a "spellbound yet self-assured" love song. The Straits Times described it as a catchy tune that has all of the characteristics of a "Swift bop": a memorable, catchy melody and lyrical storytelling. The Independent's Annabel Nugent complimented the production as "dreamy and ethereal pop gold" and the lyrics as "breezy", and The Times' Will Hodgkinson picked the track as an example of "what Taylor Swift does best: to feel things deeply, then present those feelings in a way that anyone, whatever their situation, can relate to". Writing for the Philippine newspaper The Freeman, Januar Junior Aguja lauded the song as both refreshing and familiar, and he wrote that it could have been included as a bonus track on Lover. "All of the Girls You Loved Before" debuted at number 10 on the Billboard Global 200 and was Swift's 14th top-10 entry on the chart, a record among women. In the United States, the song opened at number 12 on the Billboard Hot 100. It extended three of Swift's all-time records: the song marked the 189th Hot 100 entry of her career (the most among women), her 80th top-10 entry on the Digital Songs chart (the most for any act), and her first new Hot 100 entry in 2023 (Swift holds the longest streak on the Hot 100 as the first artist with an uninterrupted 18-year run on the chart, having charted a song every year since her debut with "Tim McGraw" in 2006). Elsewhere, "All of the Girls You Loved Before" debuted on the charts of several countries: it peaked within the top 25 in the Philippines (6), Ireland (9), the United Kingdom (11), Canada (12), New Zealand (13), Singapore (13), Australia (15), Malaysia (17), and Hungary (22). ## Personnel Credits adapted from Tidal - Taylor Swift – vocals, songwriter, producer - Louis Bell – producer, songwriter, recording engineer, programming - Frank Dukes – producer, songwriter, programming, keyboards, guitar - Matthew Tavares – guitar - Serban Ghenea – mixer - Bryce Bordone – mix engineer - Randy Merrill – mastering ## Charts	[ "## Background and release", "## Composition", "## Reception", "## Personnel", "## Charts" ]	1,380	5,257
1,246,435	HMS Hurst Castle	1,082,700,173	British castle-class corvettes	[ "1944 ships", "Castle-class corvettes", "Maritime incidents in September 1944", "Royal Navy ship names", "Ships built in Dundee", "Ships sunk by German submarines in World War II", "World War II shipwrecks in the Atlantic Ocean" ]	HMS Hurst Castle (K416) was one of 44 Castle-class corvettes built for the Royal Navy during World War II. Completed in June 1944, she began escorting convoys in August and was sunk by a German U-boat the following month. ## Design and description The Castle-class corvette was a stretched version of the preceding Flower class, enlarged to improve seakeeping and to accommodate modern weapons. The ships displaced 1,010 long tons (1,030 t) at standard load and 1,510 long tons (1,530 t) at deep load. They had an overall length of 252 feet (76.8 m), a beam of 36 feet 9 inches (11.2 m) and a deep draught of 14 feet (4.3 m). They were powered by a pair of triple-expansion steam engines, each driving one propeller shaft using steam provided by two Admiralty three-drum boilers. The engines developed a total of 2,880 indicated horsepower (2,150 kW) and gave a maximum speed of 16.5 knots (30.6 km/h; 19.0 mph). The Castles carried enough fuel oil to give them a range of 6,500 nautical miles (12,000 km; 7,500 mi) at 15 knots (28 km/h; 17 mph). The ships' complement was 99 officers and ratings. The Castle-class ships were equipped with a single QF 4-inch (102 mm) Mk XVI gun forward, but their primary weapon was their single three-barrel Squid anti-submarine mortar. This was backed up by one depth charge rail and two throwers for 15 depth charges. The ships were fitted with two twin and a pair of single mounts for 20-millimetre (0.8 in) Oerlikon light AA guns. Provision was made for a further four single mounts if needed. They were equipped with Type 145Q and Type 147B ASDIC sets to detect submarines by reflections from sound waves beamed into the water. A Type 277 search radar and a HF/DF radio direction finder rounded out the Castles' sensor suite. ## Construction and career Hurst Castle, the only ship of her name to serve in the Royal Navy, was ordered on 2 February 1943 from Caledon Shipbuilding & Engineering Company and was laid down at their shipyard in Dundee on 6 August. She was launched on 23 February 1944 and was completed on 9 June. The ship sailed to the anti-submarine training base in Tobermory, Mull, HMS Western Isles, for working up. Hurst Castle was assigned to Escort Group B3 on 3 July and escorted Convoy OS 85/KMS 59 from Britain to Gibraltar on 2 August. The group escorted Convoy SL 167/MKS 58 from Gibraltar to the UK later that month. On 30 August Hurst Castle and her sister ship Oxford Castle departed Derry, Northern Ireland, to rendezvous with Force 33 the following day. After meeting up with the other ships, they were tasked to search for the which had been spotted by a Royal Air Force Consolidated B-24 Liberator patrol aircraft on the morning of 1 September. At 08:25, Hurst Castle was struck port side aft by a torpedo fired by the submarine; the ship sank in six minutes at with the loss of 17 ratings. The escort destroyer Ambuscade rescued all 102 survivors.	[ "## Design and description", "## Construction and career" ]	732	24,072
1,059,497	Second Partition of Poland	1,164,502,152	1793 division of Poland	[ "1793 in the Polish–Lithuanian Commonwealth", "Partitions of Poland", "Treaties of the Kingdom of Prussia", "Treaties of the Polish–Lithuanian Commonwealth", "Treaties of the Russian Empire" ]	The 1793 Second Partition of Poland was the second of three partitions (or partial annexations) that ended the existence of the Polish–Lithuanian Commonwealth by 1795. The second partition occurred in the aftermath of the Polish–Russian War of 1792 and the Targowica Confederation of 1792, and was approved by its territorial beneficiaries, the Russian Empire and the Kingdom of Prussia. The division was ratified by the coerced Polish parliament (Sejm) in 1793 (see the Grodno Sejm) in a short-lived attempt to prevent the inevitable complete annexation of Poland, the Third Partition. ## Background By 1790, on the political front, the Commonwealth had deteriorated into such a helpless condition that it was forced into an alliance with its enemy, Prussia. The Polish-Prussian Pact of 1790 was signed, giving false hope that the Commonwealth might have at last found an ally that would shield it while it reformed itself. The May Constitution of 1791 enfranchised the bourgeoisie, established the separation of the three branches of government, and eliminated the abuses of the Repnin Sejm. Those reforms prompted aggressive actions on the part of its neighbours, wary of the potential renaissance of the Commonwealth. The Empress Catherine II was angered; arguing that Poland had fallen prey to the radical Jacobinism then at high tide in France, Russian forces invaded the Commonwealth in 1792. During the Polish–Russian War of 1792 in Defense of the Constitution, the Polish forces supporting the Constitution fought against the Imperial Russian Army, invited by the pro-Russian alliance of Polish magnates, known as the Targowica Confederation. The conservative nobility (see also, szlachta) believed that the Russians would help them restore their Golden Liberty. Abandoned by their Prussian allies, the badly outnumbered Polish pro-Constitution forces fought under Prince Józef Poniatowski a defensive war with some measure of success, but were ordered to abandon their efforts by their supreme commander, King Stanisław August Poniatowski. The King decided to join the Targowica Confederation, as demanded by the Russians. Russia invaded Poland to ensure the defeat of the Polish reforms, with no overt goal of another partition (it viewed Poland as its protectorate, and saw little need to give up chunks of Poland to other countries). Frederick William II of Prussia, however, saw those events as an opportunity to strengthen his country. Frederick demanded from Catherine that for his country's abandoning Poland as a close ally, for Prussian participation in the War of the First Coalition against revolutionary France, because Russia had encouraged Prussian participation, and because Prussia had recently suffered a major defeat at the Battle of Valmy, Prussia should be compensated – preferably with parts of the Polish territory. Russia soon decided to accept the Prussian offer. ## Partition treaty On 23 January 1793, Prussia signed a treaty with Russia, agreeing that Polish reforms would be revoked and both countries would receive broad swaths of Commonwealth territory. Russian and Prussian troops took control of the territories they claimed, with Russian troops already present, and Prussian troops meeting only limited resistance. In 1793, deputies to the Grodno Sejm, the last Sejm of the Commonwealth, in the presence of Russian forces, agreed to the Russian and Prussian territorial demands. The Grodno Sejm became infamous not only as the last sejm of the Commonwealth, but because its deputies had been bribed and coerced by the Russians (Russia and Prussia wanted legal sanction from Poland for their demands). Imperial Russia annexed 250,000 square kilometres (97,000 sq mi), while Prussia took 58,000 square kilometres (22,000 sq mi). The Commonwealth lost about 307,000 km2, being reduced to 215,000 km2. ### Russian Partition Russia received the Kiev Voivodeship, Bracław Voivodeship, Podole Voivodeship and Minsk Voivodeship, and parts of the Vilnius Voivodeship, Nowogródek Voivodeship, Brest Litovsk Voivodeship and the Volhynian Voivodeship. This was accepted by the Grodno Sejm on 22 July. Russia reorganized its newly acquired territories into Minsk Viceroyalty and Izyaslav Viceroyalty (which in 1795 was split into Podolian and Volhynian Viceroyalties). ### Prussian Partition Prussia received the cities of Gdańsk (Danzig) and Toruń (Thorn), and Gniezno Voivodeship, Poznań Voivodeship, Sieradz Voivodeship, Kalisz Voivodeship, Płock Voivodeship, Brześć Kujawski Voivodeship, Inowrocław Voivodeship, Dobrzyń Land, and parts of the Kraków Voivodeship, Rawa Voivodeship and Masovian Voivodeship. This was accepted by the Grodno Sejm on 23 September or 25 September (sources vary). Prussia organized its newly acquired territories into South Prussia. The Commonwealth lost about 5 million people; only about 4 million people remained in the Polish–Lithuanian lands. What was left of the Commonwealth was a small buffer state with a puppet king, and Russian garrisons keeping an eye on the reduced army. ## Aftermath Targowica confederates, who did not expect another partition, and the king, Stanisław August Poniatowski, who joined them near the end, both lost much prestige and support. The reformers, on the other hand, were attracting increasing support. In March 1794 the Kościuszko Uprising began. The defeat of the Uprising in November that year resulted in the final Third Partition of Poland, ending the existence of the Commonwealth. ## See also - Administrative division of the Polish–Lithuanian Commonwealth in the course of partitions - Administrative division of Polish territories after partitions - Third Partition of Poland	[ "## Background", "## Partition treaty", "### Russian Partition", "### Prussian Partition", "## Aftermath", "## See also" ]	1,282	35,848
7,282,230	The Cost of Living (Lost)	1,161,301,985	null	[ "2006 American television episodes", "Lost (season 3) episodes", "Television episodes directed by Jack Bender" ]	"The Cost of Living" is the 5th episode of the third season of Lost, and the 54th episode overall. It aired on November 1, 2006, in the US, averaging 16.07 million viewers, and on December 5, 2006, in the UK, being watched by 1.15 million viewers. The episode was written by Monica Owusu-Breen and Alison Schapker and directed by Jack Bender. The plot centers on the character of Mr. Eko (Adewale Akinnuoye-Agbaje), who in flashbacks shows how he became a priest replacing his dead brother Yemi (Adetokumboh M'Cormack), and in the present day events is haunted by visions of Yemi while other castaways decide to visit a Dharma Initiative station. The episode was written to finish Eko's character arc as Akinnuoye-Agbaje had requested to leave the show while finishing the second season. Reviewers subsequently praised "The Cost of Living" while considering that the departure of Eko made Lost lose one of its best characters. ## Plot ### Flashbacks Shortly after the death of his brother Yemi, Eko is driven back to Yemi's village. Inside the church, Eko announces to the altar boy Daniel and his mother Amina that he will be taking his brother's place at the church. When Amina also inquires about Yemi's upcoming trip to London, a surprised Eko states that he would also replace him there. Some time later, after Eko has become established in his new role as priest, he is confronted by militiamen, who Amina reveals that had a deal with Yemi to get most of the clinic's vaccines. Eko soon develops a plan to sell the vaccine on the black market before he leaves the country that coming weekend. As the militiamen learn of Eko's deal, they attack him inside the church, but end up getting killed. The villagers respond by closing the church as they felt it was desecrated. Amina calls out Eko, saying she had been aware of the vaccine deal, and advises him to repent and make his peace with God, telling Eko that he "owes" Yemi one church. ### On the Island A delirious Eko has a vision of his brother Yemi (Adetokumboh M'Cormack) holding a cigarette lighter, who says it was Eko's time to confess his sins and, he knew where to find him. Afterwards, Eko's shelter catches fire, and Eko is rescued by Charlie Pace (Dominic Monaghan) and Hugo "Hurley" Reyes (Jorge Garcia). As John Locke (Terry O'Quinn) arrives to ask what happened, Eko has vanished. The next morning, Locke suggests to Desmond Hume (Henry Ian Cusick) that he visit the Pearl station. Joined by Charlie, Sayid Jarrah (Naveen Andrews), Nikki and Paulo (Kiele Sanchez and Rodrigo Santoro), the group finds Eko on their way to the Pearl. Upon arrival, Eko does not find Yemi's body on the airplane atop the entrance, and decides to remain outside while Locke and the others enter the hatch. Inside the Pearl, Sayid tinkers first with the communication lines and, following a suggestion from Nikki, the monitors. Then one of the screens gets a live video feed of what appears to be another hatch, revealing a man with an eyepatch (Andrew Divoff) who then turns off the camera. Meanwhile, outside the Pearl, Eko sees Yemi and follows him into an open field, where Yemi tells him it is time for Eko to confess his sins. Eko says he has not sinned, having not chosen the life he was given and that Eko had only done what he needed to do to survive. An angry-looking Yemi replies, "You speak to me as if I were your brother" as he retreats into the jungle. Eko follows him asking "Who are you?!", and then finds the smoke monster. An arm of smoke attacks Eko, beating him into trees before he is slammed into the ground. Locke and the others rush out of the station to find a bloodied Eko. Locke approaches Eko, who whispers his dying words into Locke's ears. Sayid asks what he said, and Locke replies, "We're next." ### On Hydra Island At The Hydra, Jack is invited by Ben Linus (Michael Emerson) to attend a memorial service being held for Colleen. On the way, Jack asks about the symptoms of Ben's spinal tumor, particularly pointing out that it will kill him. Ben professes not to know what Jack is talking about. Privately, Ben asks Juliet Burke (Elizabeth Mitchell) why she showed his X-rays to Jack. Juliet replies that she never told Jack whose X-rays they were, and remarks that Ben must have inadvertently confirmed Jack's guess. The following day, Ben tells Jack that they had a perfect plan to convince Jack to operate on Ben's spine, but it failed when Jack saw the X-rays. Afterwards, Juliet brings to Jack's cell a movie, which consists of Juliet speaking through cue cards. As Juliet discusses how the surgery will proceed, on the tape she tells Jack that Ben is a liar and very dangerous, and thus the surgery should be intentionally botched to kill Ben, and that she will protect Jack if he does so. ## Production Adewale Akinnuoye-Agbaje signed to Lost on a one-year contract, as he did not want to make a long-term commitment to the series. As Michelle Rodriguez signed under similar conditions that lead to her character Ana-Lucia Cortez only appearing in the show's second season, show runners Damon Lindelof and Carlton Cuse negotiated with Akinnuoye-Agbaje to make his character, Mr. Eko, to appear in the third season as well, adding some space between the two character deaths to develop Eko's closure better. As filming of season 2 ended, conversations between the actor and the writers ended setting Eko's departure during the first six episodes, prior to mid-season break, with "a shocking and emotional death". To make sure the sequence was "big and impressive", effects supervisor Kevin Blank decided to set the death at the Jackass Ginger in Kalihi, a large space that allowed to make the Smoke Monster "flip him around in weird physical positions". A stunt double was dragged through cables, and along with the digital monster and wire removal, fast editing made the scene akin to "a magician's trick", in Blank's opinion. The episode was written by Monica Owusu-Breen and Alison Schapker, who had previously worked in another series by Lost production company Bad Robot Productions, Alias. Cuse and Lindelof stated that Nikki and Paulo served as a red herring as rumors were raised of an incoming character death, and the fanbase would expect this to happen to the newcomers "who were sort of just there all along" instead of a prominent and popular character as Eko. Juliet's message to Jack is an homage to Bob Dylan's video for "Subterranean Homesick Blues", where the musician flips cue cards while looking at the camera. ## Reception This episode attracted 16.07 million American viewers in its original broadcast on November 1, 2006, standing as the tenth most watched program of the week. In the United Kingdom, the episode had 1.247 million viewers, ranking third in multichannel shows after Ford Super Sunday and The Simpsons. In Canada, "The Cost of Living" had 1.15 million viewers, ranking as the 26th highest-rated program of the week. Reviews were positive, though most critics found that the character of Eko was killed too soon in the show. Writing for Zap2it, Rick Porter said that while "The Cost of Living" was the best episode of season 3 thus far with "an illuminating flashback, some heavy island juju and a nice mix of the campers and the Others", the death of Eko removed from Lost "one of its most compelling characters and best actors, which just flat-out sucks." Kristin dos Santos of E! Online called Mr. Eko "the best character of the show", and was therefore very disappointed with his death. Christine Fenno of Entertainment Weekly stated that she would miss Adewale Akinnuoye-Agbaje, and found Juliet's message to be the best part of the episode, that like the rest of season three "answered a few questions (whose tumor?), raised a few questions (who's the eye-patch guy?), and ignored many long-standing questions (how did Yemi and Eko crash on the same island?)." IGN's Chris Carabott ranked the episode 9.3 out of 10, saying it was "one of the series' best efforts" exploring the series' mythology and providing new paths, while also featuring Eko in "one of the most refreshing flashbacks that the series has produced thus far" and "a shocking confrontation" with the Smoke Monster. The reviewer still complained about Nikki and Paulo's participation, considering them "poorly developed" and giving "the sense that they are being shoehorned in". The website later ranked "The Cost of Living" as the 25th best episode of the series, saying that while early Season 3 "might have dragged a bit", "The Cost of Living" "saw the excitement and drama ramp up considerably. The only thing marring this otherwise excellent episode was the presence of Nikki and Paolo." On the other hand, a similar list by the Los Angeles Times ranked it 96th, considering that despite being "actually a pretty good piece of TV", the episode was "just marred by the fact that the show was forced into killing Mr. Eko, a character whose story was far from over."	[ "## Plot", "### Flashbacks", "### On the Island", "### On Hydra Island", "## Production", "## Reception" ]	2,055	709
13,465,747	New Haven and Northampton Railroad	1,157,890,468	Defunct railroad in Connecticut and Massachusetts	[ "1846 establishments in Connecticut", "American companies established in 1846", "Defunct Connecticut railroads", "Defunct Massachusetts railroads", "Predecessors of the New York, New Haven and Hartford Railroad", "Railway companies disestablished in 1910", "Railway companies established in 1846" ]	The New Haven and Northampton Railroad (founded as the New Haven and Northampton Company, also known as the Canal Line) was a railroad originally built alongside a canal between 1847 and 1850 in Connecticut. Leased by the New York and New Haven Railroad from 1849 to 1869, the railroad expanded northwards to Massachusetts and its second namesake city in 1859. Upon the end of the lease in 1869, the company expanded further into Massachusetts, reaching as far north as Shelburne and Turners Falls. After a fight for control of the company by several other railroads in the 1880s, the New Haven and Northampton was leased by New York, New Haven and Hartford Railroad in 1887. The company continued to exist as a lessor until October 26, 1910, when it was formally merged into the New Haven system. In the 20th century, much of the line was gradually abandoned, though two portions continue to see freight service as of 2021. The vast majority of the abandoned line is now part of the Farmington Canal Heritage Trail, with the right of way owned by the State of Connecticut. ## As a canal The New Haven and Northampton began in the 1820s as a canal company. It operated a canal which, upon its opening in 1835, provided a connection between New Haven, Connecticut, and Northampton, Massachusetts. Despite the belief of its promoters that the canal would carry a significant amount of business, the expected levels of traffic never materialized, thanks in large part to the completion of the parallel Hartford and New Haven Railroad a few years after the opening of the canal. Additionally, the canal was only operable for eight months of the year, as it closed during the winter. In the early 1840s, the canal was bought by New Haven businessman Joseph Earl Sheffield, who came to the conclusion that the struggling canal could work much better if it were converted to a railroad. ## As a railroad ### Formation Following authorization in May 1846 by the Connecticut General Assembly to switch from a canal company to a railroad company, work began on building a railroad along the canal right of way. Starting in New Haven, the railroad reached Plainville, 27 miles (43 km) away, by the end of 1847. In 1850, it was joined by the Hartford, Providence & Fishkill Railroad's line between Hartford and Waterbury. The first trains ran in January 1848, though construction continued northwards to Granby. ### Expansion and lease by the New York and New Haven Railroad On January 11, 1848, the New York and New Haven Railroad leased the line between New Haven and Plainville for 20 years effective on July 1, 1849, for a price of \$45,000 per year. Meanwhile, the New Haven and Northampton continued to build north. In 1849, the Canal Line made an attempt to reach Springfield, Massachusetts, and requested charters from the Massachusetts and Connecticut legislatures authorizing such an extension. This ran into intense opposition, both from the competing Hartford and New Haven Railroad, and from legislators in both states. Opponents argued that the New Haven and Northampton's charter authorized it to build a railroad "on or near" the right of way of the previous canal. This granted the company the freedom to diverge slightly from the canal's route where necessary by terrain or other obstacles, but also constrained them to follow the canal's general route, from New Haven northward towards Granby, and therefore not towards Springfield. The matter went to the Connecticut Superior Court, where a judge ruled that the railroad could not build towards Springfield, as doing so would violate its charter. Between 1849 and 1850, two branch lines were constructed. The first was between Farmington and Collinsville, where it connected with Samuel W. Collins's Collins Company, a major manufacturer. The other was a short extension connecting Simsbury to Tariffville. Both opened in 1850, as did the extension of the main line to Granby. Almost immediately after they opened, the New York and New Haven leased these as well, effective April 25, 1850, for an additional \$40,000 per year. The New York and New Haven was motivated to lease the Canal Line as leverage in negotiations with the Hartford and New Haven. If the New Haven and Northampton were built to Northampton, it would be in direct competition with the H&NH's line between New Haven and Springfield, Massachusetts. These negotiations concluded with the New York and New Haven agreeing that the Canal Line would not build north of Granby, and only limited connecting service was to be made available with the HP&F in Plainville, since traffic could potentially travel between New Haven and Hartford via a transfer in that city. In return, the Hartford and New Haven contributed approximately \$12,000 a year towards the New York and New Haven's payments for its lease of the Canal Line. This arrangement upset the communities along the Canal Line, such as Southington, which were left with poor service to and from Connecticut's capital city. In spite of the "gentlemen's agreement" between the Hartford and New Haven and the New York and New Haven, the Canal Line's proponents were determined to still reach Northampton. To this end, in 1849 an officially unrelated company was created under the name of the Farmington Valley Railroad, which received a charter from the Connecticut legislature to build a rail line northwards from Granby 4.5 miles (7.2 km) to the Massachusetts state line. Soon after it opened, the New Haven and Northampton acquired a 1,000 year lease of the new company for \$10,000. Building in Massachusetts proved to be more difficult, as several railroads in that state were determined to keep the New Haven and Northampton confined to Connecticut, most of all the Hartford and New Haven. The New Haven and Northampton's charter allowed it to build in Connecticut, but it lacked an equivalent charter from the state of Massachusetts. Two more small companies were established in 1852 and promptly received charters from the Massachusetts General Court; the Hampden Railroad was to build from the state line to Westfield, Massachusetts, while the Northampton and Westfield Railroad would build from Westfield to Northampton. In 1853, these two companies merged to form the Hampshire and Hampden Railroad, the name derived from the Hampshire and Hampden Canal which was once the Massachusetts portion of the Farmington Canal. The combined line between Granby and Northampton opened in 1856, and remained independent until October 1, 1859, when the New Haven and Northampton acquired a 999-year lease of the Hampshire and Hampden in exchange for agreeing to assume \$200,000 of the latter company's bonds. All three of these smaller companies were formally consolidated with the New Haven and Northampton on July 1, 1862. In 1867, construction began on a branch from Northampton to Williamsburg. The eight-mile (13 km) branch opened in 1868. ### Independent operations The New York and New Haven Railroad's lease of the New Haven and Northampton expired in 1869, and was not renewed. From the start, the New York and New Haven had been suffering a significant loss from its lease of the Canal Line, losing between \$35,000 and \$45,000 per year. By 1860, the New York and New Haven had lost over \$250,000 from the lease, while the Hartford and New Haven lost a further \$120,000. Thus, the New Haven and Northampton was an independent company for the first time in 20 years. The company quickly began to expand its lines at this time, nearly immediately starting construction on an extension of the Collinsville Branch to Pine Meadow, the site of a tool manufacturer. This extension opened for traffic in 1870, and was further expanded to New Hartford, Connecticut, in 1876. Construction between Collinsville and New Hartford was along a narrow gorge following the Farmington River. It was reported that construction along the river was so difficult that the area was nicknamed "Satan's Kingdom". In Massachusetts, the New Haven and Northampton built a branch from North Westfield to Holyoke in 1871, a distance of nine miles (14 km). Here, the company connected with the Connecticut River Railroad. The New Haven and Northampton began a switch from iron to steel rails in 1872, which were stronger and better able to handle increasingly heavy trains. In the early 1880s, two additional branches were built. The first was the 18-mile (29 km) long Shelburne Falls Extension, built in 1881 between Northampton and Shelburne via South Deerfield. The following year, the nine-mile (14 km) long Turners Falls branch was built between South Deerfield and Turners Falls. ### Assumption of control by the New York, New Haven and Hartford Railroad A battle for control of the New Haven and Northampton began in 1880, when the Boston and Albany Railroad, an east–west line in Massachusetts, chose a new president. The new president, William Bliss, had a plan to compete with the New York, New Haven and Hartford Railroad (formed by the merger of the Hartford and New Haven and the New York and New Haven in 1872). Bliss sought to take control of the New Haven and Northampton to secure a competing route for traffic between New York City and Boston. For the new few years, the Boston and Albany began purchasing shares of the Canal Line, driving a more than three-fold increase in share price. The president of the New Haven Railroad was said to have learned of rumors about the Boston and Albany's plans from a mention in a Springfield newspaper in March 1881. The New Haven's executives were greatly alarmed, as "For years they had been haunted by the bugaboo of a parallel railroad between New Haven and New York, and here it was about to be materialized as a part of a new through line from New York to Boston." The executives decided to buy the shares still held by Joseph Sheffield, who controlled more than half the company's stock. Upon visiting him, Sheffield told the New Haven's representatives that he would sell to them, but only for \$100 per share (). Despite the steep asking price, the New Haven agreed to buy all of Sheffield's shares for a total price of \$1,229,800 (), much to the anger of the Boston and Albany, which had also been attempting to obtain his shares. Now having control of a majority of the Canal Line's stock, the New Haven installed new directors which supported its interests. The New Haven leased the Canal Line in 1887, ending its independence. While the Canal Line was only mildly profitable for its new owners, the New Haven judged the costs of allowing a competitor such as the Boston and Albany or the New York and New England Railroad to take control to be far higher. The New Haven and Northampton continued to exist on paper until it was finally merged into the New Haven on October 26, 1910. ### 20th century Entering the 20th century, the New Haven and Northampton was considered a secondary route compared to the parallel New Haven–Springfield Line. The first cuts to the railroad came in 1919, when the branches to Shelburne and Turners Falls were both placed out of service. While freight service resumed on the Turners Falls branch a few years later, the tracks between Shelburne and South Deerfield were formally abandoned in 1925. The Turners Falls branch and the remaining portion of the Shelburne Extension were both abandoned in 1943, but the final four miles (6.4 km) of the former line were purchased by the Boston and Maine in 1947 and returned to service. In 1956, the New Hartford branch was cut back to Collinsville. The Collins Company, the line's biggest customer, shut its doors in 1966, leading the remainder of the branch to be abandoned two years later. ### Penn Central, Conrail, and abandonments The New Haven was merged into the Penn Central Transportation Company on January 1, 1969. That year, the main line was cut back from Northampton to Easthampton, and the Williamsburg Branch abandoned in its entirety. In the middle of the 1970s, the railroad line's connection to the Northeast Corridor was severed due to low clearance under a bridge which made it impossible for modern railroad cars to access the line. Traffic to and from the southern portion of the line had to be routed via Plainville from this time onwards. Penn Central went bankrupt in 1970, and the federal government got involved, ultimately creating Conrail in 1976. The remaining lines were included in Conrail, with the exception of the segment between Simsbury and Westfield, which was abandoned. This left the former New Haven and Northampton as two separate lines. To save the five miles between Avon and Simsbury, the state of Connecticut agreed to subsidize Conrail operations over that segment. Conrail sold its Connecticut portion of the Canal Line to the Boston and Maine, while the Massachusetts lines went to the newly formed Pioneer Valley Railroad. The line between Avon and Simsbury was abandoned at this time, and the Boston and Maine further cut the line back to Plainville in 1991. Meanwhile, the southern portion in Connecticut was cut back to Cheshire in 1987. ### 21st century In the 21st century, the remaining Connecticut portion of the Canal Line is operated by Pan Am Railways between Plainville and Southington, while the Pioneer Valley Railroad operates the remnants in Massachusetts. The majority of the abandoned right of way in Connecticut and Massachusetts has been railbanked and converted into several different rail trails, chiefly the Farmington Canal Heritage Trail. The Connecticut Department of Transportation has identified the abandoned portions of the Canal Line between Hamden and Suffield, as well as between Farmington and Canton, as corridors which have the potential for future freight rail service. ## See also - List of New York, New Haven and Hartford Railroad precursors	[ "## As a canal", "## As a railroad", "### Formation", "### Expansion and lease by the New York and New Haven Railroad", "### Independent operations", "### Assumption of control by the New York, New Haven and Hartford Railroad", "### 20th century", "### Penn Central, Conrail, and abandonments", "### 21st century", "## See also" ]	2,932	18,601
846,046	1903 Tour de France	1,168,982,151	null	[ "1903 Tour de France", "1903 in French sport", "1903 in road cycling", "July 1903 sports events", "Tour de France by year" ]	The 1903 Tour de France was the first cycling race set up and sponsored by the newspaper L'Auto, ancestor of the current daily, L'Équipe. It ran from 1 to 19 July in six stages over 2,428 km (1,509 mi), and was won by Maurice Garin. The race was invented to boost the circulation of L'Auto, after its circulation started to plummet from competition with the long-standing Le Vélo. Originally scheduled to start in June, the race was postponed one month, and the prize money was increased, after a disappointing level of applications from competitors. The 1903 Tour de France was the first stage road race, and compared to modern Grand Tours, it had relatively few stages, but each was much longer than those raced today. The cyclists did not have to compete in all six stages, although this was necessary to qualify for the general classification. The pre-race favourite, Maurice Garin, won the first stage, and retained the lead throughout. He also won the last two stages, and had a margin of almost three hours over the next cyclist. The circulation of L'Auto increased more than sixfold during and after the race, so the race was considered successful enough to be rerun in 1904, by which time Le Vélo had been forced out of business. ## Origin After the Dreyfus affair separated advertisers from the newspaper Le Vélo, a new newspaper L'Auto-Vélo was founded in 1900, with former cyclist Henri Desgrange as editor. After being forced to change the name of the newspaper to L'Auto in 1903, Desgrange needed something to keep the cycling fans; with circulation at 20,000, he could not afford to lose them. When Desgrange and young employee Géo Lefèvre were returning from the Marseille–Paris cycling race, Lefèvre suggested holding a race around France, similar to the popular six-day races on the track. Desgrange proposed the idea to the financial controller Victor Goddet, who gave his approval, and on 19 January 1903, the Tour de France was announced in L'Auto. It was to have been a five-week race, from 1 June to 5 July, with an entry fee of 20 francs. These conditions attracted very few cyclists: one week before the race was due to start, only 15 competitors had signed up. Desgrange then rescheduled the race from 1 to 19 July, increased the total prize money to 20,000 francs, reduced the entry fee to 10 francs and guaranteed at least five francs a day to the first 50 cyclists in the classification. After that, 79 cyclists signed up for the race, of whom 60 actually started the race. Géo Lefévre became the director, judge and time-keeper; Henri Desgrange was the directeur-général, although he did not follow the race. ## Rules and course The 1903 Tour de France was run in six stages. Compared to modern stage races, the stages were extraordinarily long, with an average distance of over 400 km (250 mi), compared to the 171 km (106 mi) average stage length in the 2004 Tour de France; cyclists had one to three rest days between each stage, and the route was largely flat, with only one stage featuring a significant mountain. The cyclists were not grouped in teams but raced as individuals, and paid a fee of ten francs (about at 2023 prices) to compete in the race for general classification, or five francs to enter a single stage. As the stages were so long, all but the first started before dawn: the last stage started at 21:00 the night before. The first Tour de France crossed no mountain passes, but several lesser cols. The first was the col du Pin-Bouchain (759 m (2,490 ft)), on the opening stage from Paris to Lyon, on what is now the old road from Roanne to Lyon. The stage from Lyon to Marseille included the col de la République (1,161 m (3,809 ft)), also known as the col de Grand Bois, at the edge of St-Etienne. In 1903, it was normal for a professional cyclist to hire pacers, who would lead them during the race. Desgrange forbade this: it was originally intended that in the final, longest, stage pacers would be allowed, but this was rescinded after the fifth stage. To ensure that the cyclists rode the entire route, stewards were stationed at various points around the course. The yellow jersey for the leader in the general classification had not yet been introduced, but the leader was identified by a green armband. The fastest eight cyclists on each stage received a prize between 50 francs and 1,500 francs, varying per stage. The fourteen best cyclists in the general classification received a prize from 3,000 francs for the winner to 25 francs for fourteenth place. The remaining seven cyclists to finish in the general classification each received 95 francs, 5 francs for each of the 19 days that the race took, provided that they had not won more than 200 francs in prize money and did not have an average speed below 20 km/h (12 mph) on any stage. ## Participants In contrast to modern stage races, a cyclist who gave up during a stage was allowed to start again the next stage, although he would no longer be in contention for the general classification. Thus Hippolyte Aucouturier, who gave up during the first stage, was able to return, and won the second and third stages. Charles Laeser, winner of the fourth stage, had not completed the third stage. Sixty cyclists, all professionals or semi-professionals, started the race, of whom 49 were French, 4 Belgian, 4 Swiss, 2 German, and one Italian; 21 of them were sponsored by bicycle manufacturers, while 39 entered without commercial support. 24 other cyclists took advantage of the opportunity to enter specific stages: one rode in both the second and fourth stages, and additionally three cyclists took part in the second stage, one in the third stage, fifteen in the fourth stage only, and a further four only competed in the fifth stage. ## Race overview The pre-race favourites for the victory were Maurice Garin and Hippolyte Aucouturier. Garin dominated the race from the start by winning the first stage, a 471 km (293 mi) parcours from Paris to Lyon. The stage started at 15:16, and the cyclists initially rode with a speed of 35 km/h. The first cyclists abandoned after around 50 km (31 mi). At 23:00, Garin and Emile Pagie, leading the race, reached the control point in Nevers. Garin expected at that point that they would finish at 8:00 the next morning. During the night, Garin's main rival, Aucouturier, had stomach cramps, and was unable to finish the stage. Also during that first stage, the first breach of the rules occurred: Jean Fischer had used a car as pacer, which was illegal. Pagie fell down, but got up again; he and Garin kept leading the race during the night. Around 9:00 in the morning, both reached Lyon. Garin got away from Pagie, and finished one minute ahead. Although Aucouturier had abandoned in the first stage, and so was not eligible for the general classification, he could still start the rest of the stages. In the second stage, Aucouturier was able to win the sprint. In the third stage, the cyclists who were competing for the general classification started one hour earlier than the other cyclists, including Aucouturier. At the end of that stage, a group of four cyclists had broken away, and Eugène Brange won the sprint. Aucouturier finished 27 minutes later, but this meant that he had run the course 33 minutes faster, so he was declared the winner of the stage. Garin retained the lead, helped by a crash of second-placed Pagie in the second stage, which eliminated him from the race. In the fourth stage, Aucouturier had a clear lead and seemed set to win a third successive stage, but was caught using the slipstream of a car, and was removed from the race. Swiss Charles Laeser (who had abandoned in the 3rd stage) took the victory, becoming the first non-French winner. As in the third stage, the cyclists departed in two groups, and Laeser was in the second group because he was no longer contending for the general classification. Laeser finished more than 50 minutes after a group of six cyclists, but he had travelled the distance 4 minutes faster than them, so he was declared the winner. At that point, Garin was leading, with Émile Georget almost two hours behind. In the fifth stage, Georget had two flat tires, and fell asleep when he stopped at the side of the road to rest; he failed to finish. Thus Garin extended his lead by winning this stage, carrying nearly three hours' advantage into the final day's racing. Garin had requested other cyclists in the leading group to let him win the stage, but Fernand Augereau refused to do this. Garin then had Lucien Pothier throw down his bicycle in front of Augereau, who fell, and Garin then bent Augereau's rear wheel. Augereau quickly obtained a spare bike and continued to the finish, however Garin easily won the sprint. Augereau still received a prize of 100 francs from Velo-Sport Nantes for the fastest final kilometer of the stage in the Nantes velodrome. The last stage was the longest, at 471 km (293 mi), and ran from Nantes to the small town of Ville-d'Avray, which lies between Versailles and Paris, instead of at the Parc des Princes velodrome. This was because of a bylaw forbidding road races to end on cycling tracks (a bylaw subsequently repealed in light of the race's success). Garin took his third stage win, and sealed overall victory by 2 hours 59 minutes 31 seconds: this remains the greatest margin of victory in the Tour de France. After arriving at Ville-d'Avray the riders were given a board marked with their finishing time and cycled on to Parc des Princes where they made several laps of honour. That day, 19 July, saw a large crowd at the velodrome to watch the riders and an earlier 100-km cycle race. ## Results ### Stage results In 1903, there was no distinction in the rules between plain stages and mountain stages; the icons shown here indicate whether the stage included mountains. ### General classification There were 21 cyclists who had completed all six stages. For these cyclists, the times taken for each stage were added up for the general classification. The cyclist with the least accumulated time was the winner. The cyclists officially were not grouped in teams; some cyclists had the same sponsor, even though they were not allowed to work together, ## Aftermath The circulation of L'Auto increased significantly due to this event; a special edition of 130,000 copies was made after the race was over, and normal circulation increased from 25,000 to 65,000. The big success made sure that the Tour de France was scheduled again for 1904. The cyclists had also become national heroes. Maurice Garin returned for the 1904 Tour de France but his title defence failed when he was disqualified. With the prize money that he won in 1903, which totalled 6,075 francs, (approximately 40,000 and GBP£23,000 in 2006 values) Garin later bought a gas station, where he worked for the rest of his life.	[ "## Origin", "## Rules and course", "## Participants", "## Race overview", "## Results", "### Stage results", "### General classification", "## Aftermath" ]	2,520	33,778
49,177,664	B46 (New York City bus)	1,171,875,196	Bus route in Brooklyn, New York	[ "Bus routes in Brooklyn", "MTA Regional Bus routes", "Select Bus Service", "Streetcar lines in Brooklyn" ]	The B46 bus route constitutes a public transit corridor in Brooklyn, New York City. The route runs primarily along Utica Avenue north from the Kings Plaza shopping center through Eastern Brooklyn, with continued service west along Broadway to the Williamsburg Bridge Plaza Bus Terminal. The corridor was originally served by a streetcar line, known as the Utica and Reid Avenues Line, Utica−Reid Line, Reid−Utica Line, Reid Avenue Line, or Utica Avenue Line until 1951, when the line was replaced by bus service. The bus route is operated by MTA Regional Bus Operations under the New York City Transit brand. The B46 consistently ranks among the top five busiest routes in New York City, and is the second busiest in Brooklyn after the B6, serving 13 million riders in 2017. Because of this, in 2009 the route was selected for conversion into bus rapid transit under Phase II of the city's Select Bus Service (SBS) program, implemented on July 3, 2016. The B46 was also notorious for high incidence of crime and fare evasion; in 2014, the magazine The New Yorker declared the route "the most dangerous bus route in the city", following several crimes such as the killing of a B46 bus driver in 2008. ## Route description and service ### Streetcar route The Utica−Reid streetcar line began at Avenue N and Utica Avenue in Flatlands, just north of the Flatbush Trolley Depot. It ran north along Utica Avenue to the street's terminus at Fulton Street. It then ran north along Reid Avenue to Broadway, and west along Broadway to the Washington Plaza trolley terminal at the foot of the Williamsburg Bridge. The trackage along Broadway was shared with the Broadway Line. The line had previously continued over the Williamsburg Bridge between 1904 and 1923 and during the 1930s, using the southernmost trolley tracks, to the Essex Street terminal in the Lower East Side of Manhattan. ### Current bus service The current B46 route begins at the bus terminal of the Kings Plaza shopping center at Flatbush Avenue and Avenue U, on the border of the Mill Basin and Marine Park neighborhoods. After running a short distance on Flatbush Avenue, it turns north onto Utica Avenue, following the trolley route along Utica Avenue, the former Reid Avenue (renamed Malcolm X Boulevard in 1985), and Broadway (underneath the BMT Jamaica Line). The segment on Broadway is shared with the B47. The route terminates at the Williamsburg Bridge Plaza Bus Terminal, which replaced the trolley terminal. During most hours of the day, seven days a week, the B46 employs limited-stop service along Malcolm X Boulevard, Utica Avenue, and Flatbush Avenue between DeKalb Avenue and Malcolm X Boulevard (near the Kosciuszko Street station of the BMT Jamaica Line), and Kings Plaza, via the B46 Select Bus Service route. The B46 SBS operates between DeKalb Avenue and Kings Plaza only, while the B46 local continues to Williamsburg, making all stops along Broadway. Avenue H, and the Crown Heights – Utica Avenue station at Eastern Parkway serve as short turn terminals for B46 local service, while some B46 SBS buses begin or end service at Avenue N, just north of the Flatbush Bus Depot. The B46 SBS does not operate during early morning and late night hours; during this time, the B46 local covers the entire route between Williamsburg and Kings Plaza. Prior to SBS implementation in 2016, the service pattern was reversed, in which B46 limited-stop buses would continue to Williamsburg, while B46 local buses terminated at DeKalb Avenue or Eastern Parkway at their northern end, with many buses from both services terminating at Avenue H at their southern end. The B46 operates out of the Flatbush Bus Depot, which replaced the trolley depot, near Kings Plaza. #### Fare evasion and safety issues The B46 has been known for various safety issues, including assaults on and harassment of bus drivers and passengers, correlated with high rates of fare evasion (passengers not paying or refusing to pay a fare). The route runs through several high-crime neighborhoods, including Flatlands, East Flatbush, Crown Heights, and Bedford–Stuyvesant. In 2008, it was estimated that there were 4,000 weekly incidents of fare evasion on the B46. The route was also among 10 services that constituted 22% of fare evasion in the city. In 2014, the Metropolitan Transportation Authority (MTA) ranked the B46 route as the "most dangerous and crime-ridden bus route" in terms of fare evasion and on-bus assaults; in the previous year, there were 41 incidents in which drivers of B46 buses were assaulted or harassed. #### Select Bus Service stops ## History ### Streetcars The Reid Avenue Line was originally a horse trolley line operated by the Broadway Railroad, running between Broadway Ferry in Williamsburg and Atlantic Avenue just south of Fulton Street. In 1893, the Broadway Railroad was purchased by the Long Island Traction Company, and the line began operations under the subsidiary Brooklyn, Queens County and Suburban Railroad in November of that year. The line was electrified on December 9, 1894. On July 1, 1898, the Brooklyn Rapid Transit Company (BRT) acquired the route. In May 1900, the Reid Avenue Line was extended south along Utica Avenue to the neighborhood of Rugby (now East Flatbush), in conjunction with housing construction in the neighborhood. During the summer months of 1900, the line terminated at the Holy Cross Cemetery, west of Utica Avenue and south of Church Avenue. On October 15, the line was truncated to Utica Avenue and Church Avenue. Trolley service continued along the Church Avenue Line and Culver Line to Coney Island. After the Williamsburg Bridge opened in 1903, Reid Avenue trolleys began running across the south side of the bridge to Manhattan on November 6, 1904. The line used the trolley terminal at Essex Street at the Manhattan foot of the bridge. On June 1, 1910, the Utica Avenue Line was inaugurated as a shuttle between Church Avenue and Avenue N, connecting with the Flatbush Avenue Line to Bergen Beach. An additional fare was charged for transfer to the Reid Avenue Line. At the time, the town of Flatlands was largely rural farms, and most passengers on the shuttle line were beachgoers. On December 1, 1923, service on the Reid Avenue Line and all other now-Brooklyn–Manhattan Transit Corporation (BMT) lines over the Williamsburg Bridge ended, due to decreasing profits and a dispute with the city over tolls. Reid Avenue service was truncated to Washington Plaza, and bridge service was replaced with municipal shuttle service. On February 15, 1931, Reid Avenue cars once again began running to Manhattan after municipal shuttle service ended. On July 1, 1937, the Reid and Utica lines were combined into a single-fare service called the "Utica−Reid Line". ### Bus replacement Around this time, many streetcar lines in Brooklyn and the rest of the city began to be replaced by buses, particularly after the unification of the city's three primary transit companies (including the BMT) under municipal operations in June 1940. By 1949, the Utica line was one of eleven remaining streetcar routes in Brooklyn. On January 11, 1951, the New York City Board of Estimate voted unanimously to motorize nearly all the remaining trolley lines in the city, including the Utica−Reid Line. On March 18, 1951, the Utica−Reid Line was replaced by bus service, designated "B-46". Kings Plaza was opened in September 1970, and the B46 was extended south to the new mall around that time. In the 1980s during summer months, the B46 as well as the were extended south of Kings Plaza across the Marine Parkway–Gil Hodges Memorial Bridge to the Rockaway peninsula in Queens to serve Jacob Riis Park, with a federal subsidy funding the extension. By 1994, service had decreased by 21% since the late 1980s due to competition from unlicensed van services. As enforcement against such vans was increased in summer 1993, ridership increased by 20%. An aggressive marketing program and the implementation of limited-stop service on the B46 were put into place to better compete with the vans. Limited-stop service was expected to save 6–8 minutes per trip. Limited-stop service was funded as part of the 1994 Fare Deal/Ridership Growth Initiative. To further take back ridership, the Fare Demonstration Program was introduced to the route, making the round trip bus fare \$1.50 instead of \$2.50, and the round trip intermodal fare \$4 instead of \$5. Northbound and southbound riders boarding prior to the stop at Eastern Parkway would receive a return ticket for their return trip from the subway stop. Limited-stop service, began on September 12, 1994, running between 6 a.m. and 9:30 a.m. and 3 p.m. and 8 p.m.. Limited-stop service made all stops north of DeKalb Avenue and south of Avenue H. Saturday limited-stop service was added on September 10, 1995, operating between 8 a.m. and 8 p.m. On December 1, 2008, bus driver Edwin Thomas, who was operating a B46 Limited bus that day, was fatally stabbed by a passenger who did not pay his fare and, as a result, was refused a transfer. It was the first time a New York City bus operator had been killed on the job since an incident on the in 1981, where another bus driver was fatally shot, also because the driver had refused to give the passenger a transfer. The incident led to the strict enforcement of the Metropolitan Transportation Authority (MTA) policy not to confront fare evaders, and installation of Plexiglas partitions on many city buses to protect bus operators; previously drivers were only protected by a single metal bar. The pilot program for the bus partitions began at the Flatbush Depot, where the B46 is dispatched from, in 2009. The same year as Thomas's stabbing, the MTA and New York City Police Department (NYPD) began deploying teams of police officers as well as squads of uniformed and plainclothes transit security officials (called EAGLE teams) on the B46 and other target routes to crack down on fare evaders, in the spirit of the broken windows theory. On February 26, 2014, an NYPD officer was shot in the legs by a fare evader after pulling him off a B46 bus. ### Select Bus Service In 2004, the Malcolm X Boulevard-Utica Avenue corridor was one of eight Brooklyn bus corridors studied under the city's bus rapid transit (BRT) study. In 2009, the B46 was included in a list of potential routes for the second phase of Select Bus Service (SBS), the city's brand of BRT service. The B46 was identified due to high ridership, isolation from subway service, and slow travel speeds caused by traffic congestion. Under the plan, the then-current local/limited service pattern would be reversed. The B46 Limited would become the B46 SBS, running between Kings Plaza and DeKalb Avenue only. The B46 Local would cover the Broadway portion of the route at all times, due to lower ridership on this section of the line. Limited-stop service would be instituted on the southern portion of the line between Kings Plaza and Avenue H, with local buses covering the stops on this portion of the route. Preliminary studies and community outreach began in 2011, with around 25 community meetings taking place. In 2014, the first dedicated bus lanes were installed on Utica Avenue between St. Johns Place and Church Avenue, offset from the sidewalk curb. In May 2015, the MTA and the New York City Department of Transportation (DOT) announced plans to implement the B46 SBS in the fall of that year. In the summer of that year, the bus lanes were extended south to Fillmore Avenue. The implementation was pushed back, however, with two other SBS routes (the ) going into service during this time. The B46 Select Bus Service was later announced to begin in spring 2016, then to summer 2016, finally beginning service on July 3, 2016. Initially, the B46 SBS ran with shorter 40-foot-long (12 m) buses, unlike most other Select Bus Service routes, which used longer 60-foot-long (18 m) articulated buses. In late 2019, the MTA indicated that it would start using articulated buses on the route by January 2020 to increase passenger capacity. ### Bus redesign On December 1, 2022, the MTA released a draft redesign of the Brooklyn bus network. As part of the redesign, B46 local service north of Woodhull Hospital would be discontinued, and closely spaced stops would be eliminated. The B46 SBS's morning rush hour frequencies would be slightly increased, but the route would remain otherwise unchanged. ## See also - B41 (New York City bus) - B44 (New York City bus) - B47 (New York City bus)	[ "## Route description and service", "### Streetcar route", "### Current bus service", "#### Fare evasion and safety issues", "#### Select Bus Service stops", "## History", "### Streetcars", "### Bus replacement", "### Select Bus Service", "### Bus redesign", "## See also" ]	2,814	20,404
848,735	Ormulum	1,163,431,070	12th century English book of homilies	[ "1180s books", "12th century in England", "12th century in religion", "12th-century Christian texts", "12th-century manuscripts", "Biblical exegesis", "Bodleian Library collection", "Christianity in medieval England", "Homiletics", "Medieval documents of England", "Middle English", "Middle English poems", "Old English", "Unfinished books" ]	The Ormulum or Orrmulum is a twelfth-century work of biblical exegesis, written by an Augustinian canon named Orm (or Ormin) and consisting of just under 19,000 lines of early Middle English verse. Because of the unique phonemic orthography adopted by its author, the work preserves many details of English pronunciation existing at a time when the language was in flux after the Norman conquest of England. Consequently, it is invaluable to philologists and historical linguists in tracing the development of the language. After a preface and dedication, the work consists of homilies explicating the biblical texts set for the mass throughout the liturgical year. It was intended to be consulted as the texts changed, and is agreed to be tedious and repetitive when read straight through. Only about a fifth of the promised material is in the single manuscript of the work to survive, which is in the Bodleian Library in Oxford. Orm developed an idiosyncratic spelling system. Modern scholars have noted that the system reflected his concern with priests' ability to speak the vernacular and may have helped to guide his readers in the pronunciation of the vowels. Many local priests may have been regular speakers of Anglo-Norman French rather than English. Orm used a strict poetic metre to ensure that readers know which syllables are to be stressed. Modern scholars use these two features to reconstruct Middle English as Orm spoke it. ## Origins Unusually for work of the period, the Ormulum is neither anonymous nor untitled. Orm names himself at the end of the dedication: At the start of the preface, the author identifies himself again, using a different spelling of his name, and gives the work a title: The name "Orm" derives from Old Norse, meaning worm, serpent or dragon. With the suffix of "myn" for "man" (hence "Ormin"), it was a common name throughout the Danelaw area of England. The metre probably dictated the choice between each of the two forms of the name. The title of the poem, "Ormulum", is modeled after the Latin word speculum ("mirror"), so popular in the title of medieval Latin non-fiction works that the term speculum literature is used for the genre. The Danish name is not unexpected; the language of the Ormulum, an East Midlands dialect, is stringently of the Danelaw. It includes numerous Old Norse phrases (particularly doublets, where an English and Old Norse term are co-joined), but there are very few Old French influences on Orm's language. Another—likely previous—East Midlands work, the Peterborough Chronicle, shows a great deal of French influence. The linguistic contrast between it and the work of Orm demonstrates both the sluggishness of the Norman influence in the formerly Danish areas of England and the assimilation of Old Norse features into early Middle English. According to the work's dedication, Orm wrote it at the behest of Brother Walter, who was his brother both affterr þe flæshess kinde (biologically, "after the flesh's kind") and as a fellow canon of an Augustinian order. With this information, and the evidence of the dialect of the text, it is possible to propose a place of origin with reasonable certainty. While some scholars, among them Henry Bradley, have regarded the likely origin as Elsham Priory in north Lincolnshire, as of the mid-1990s it became widely accepted that Orm wrote in the Bourne Abbey in Bourne, Lincolnshire. Two additional pieces of evidence support this conjecture: firstly, Arrouaisian canons established the abbey in 1138, and secondly, the work includes dedicatory prayers to Peter and Paul, the patrons of Bourne Abbey. The Arrouaisian rule was largely that of Augustine, so that its houses often are loosely referred to as Augustinian. Scholars cannot pinpoint the exact date of composition. Orm wrote his book over a period of decades and the manuscript shows signs of multiple corrections through time. Since it is an autograph, with two of the three hands in the text generally believed by scholars to be Orm's own, the date of the manuscript and the date of composition would have been the same. On the evidence of the third hand (that of a collaborator who entered the pericopes at the head of each homily) it is thought that the manuscript was finished c. 1180, but Orm may have begun the work as early as 1150. The text has few topical references to specific events that could be used to identify the period of composition more precisely. ## Manuscript Only one copy of the Ormulum exists, as Bodleian Library MS Junius 1. In its current state, the manuscript is incomplete: the book's table of contents claims that there were 242 homilies, but only 32 remain. It seems likely that the work was never finished on the scale planned when the table of contents was written, but much of the discrepancy was probably caused by the loss of gatherings from the manuscript. There is no doubt that such losses have occurred even in modern times, as the Dutch antiquarian Jan van Vliet, one of its seventeenth-century owners, copied out passages that are not in the present text. The amount of redaction in the text, plus the loss of possible gatherings, led J. A. W. Bennett to comment that "only about one fifth survives, and that in the ugliest of manuscripts". The parchment used in the manuscript is of the lowest quality, and the text is written untidily, with an eye to economical use of space; it is laid out in continuous lines like prose, with words and lines close together, and with various additions and corrections, new exegesis, and allegorical readings, crammed into the corners of the margins (as can be seen in the reproduction above). Robert Burchfield argues that these indications "suggest that it was a 'workshop' draft which the author intended to have recopied by a professional scribe". It seems curious that a text so obviously written with the expectation that it would be widely copied should exist in only one manuscript and that, apparently, a draft. Treharne has taken this as suggesting that it is not only modern readers who have found the work tedious. Orm, however, says in the preface that he wishes Walter to remove any wording that he finds clumsy or incorrect. The provenance of the manuscript before the seventeenth century is unclear. From a signature on the flyleaf we know that it was in van Vliet's collection in 1659. It was auctioned in 1666, after his death, and probably was purchased by Franciscus Junius, from whose library it came to the Bodleian as part of the Junius donation. ## Contents and style The Ormulum consists of 18,956 lines of metrical verse, explaining Christian teaching on each of the texts used in the mass throughout the church calendar. As such, it is the first new homily cycle in English since the works of Ælfric of Eynsham (c. 990). The motivation was to provide an accessible English text for the benefit of the less educated, which might include some clergy who found it difficult to understand the Latin of the Vulgate, and the parishioners who in most cases would not understand spoken Latin at all. Each homily begins with a paraphrase of a Gospel reading (important when the laity did not understand Latin), followed by exegesis. The theological content is derivative; Orm closely follows Bede's exegesis of Luke, the Enarrationes in Matthoei, and the Glossa Ordinaria of the Bible. Thus, he reads each verse primarily allegorically rather than literally. Rather than identify individual sources, Orm refers frequently to "ðe boc" and to the "holy book". Bennett has speculated that the Acts of the Apostles, Glossa Ordinaria, and Bede were bound together in a large Vulgate Bible in the abbey so that Orm truly was getting all of his material from a source that was, to him, a single book. Although the sermons have been deemed "of little literary or theological value" and though Orm has been said to possess "only one rhetorical device", that of repetition, the Ormulum never was intended as a book in the modern sense, but rather as a companion to the liturgy. Priests would read, and congregations hear, only a day's entry at a time. The tedium that many experience when attempting to read the Ormulum today would not exist for persons hearing only a single homily each day. Furthermore, although Orm's poetry is, perhaps, subliterary, the homilies were meant for easy recitation or chanting, not for aesthetic appreciation; everything from the overly strict metre to the orthography might function only to aid oratory. Although earlier metrical homilies, such as those of Ælfric and Wulfstan, were based on the rules of Old English poetry, they took sufficient liberties with metre to be readable as prose. Orm does not follow their example. Rather, he adopts a "jog-trot fifteener" for his rhythm, based on the Latin iambic septenarius, and writes continuously, neither dividing his work into stanzas nor rhyming his lines, again following Latin poetry. Orm was humble about his oeuvre: he admits in the preface that he frequently has padded the lines to fill out the metre, "to help those who read it", and urges his brother Walter to edit the poetry to make it more meet. A brief sample may help to illustrate the style of the work. This passage explains the background to the Nativity: ## Orthography Rather than conspicuous literary merit, the chief scholarly value of the Ormulum derives from Orm's idiosyncratic orthographical system. He states that since he dislikes the way that people are mispronouncing English, he will spell words exactly as they are pronounced, and describes a system whereby vowel length and value are indicated unambiguously. Orm's chief innovation was to employ doubled consonants to show that the preceding vowel is short and single consonants when the vowel is long. For syllables that ended in vowels, he used accent marks to indicate length. In addition to this, he used three distinct letter forms for the letter g depending on how they sounded. He used insular <ᵹ> for the palatal approximant , a flat-topped <ꟑ> for the velar stop , and a Carolingian <g> for the palato-alveolar affricate , although in printed editions the last two letters may be left undistinguished. His devotion to precise spelling was meticulous. For example, he originally used eo and e inconsistently for words such as beon and kneow, which had been spelled with eo in Old English. At line 13,000 he changed his mind and went back to change all the eo spellings in the book, replacing them with e alone (ben and knew), to reflect the pronunciation. The combination of this system with the rigid metre, and the stress patterns this meter implies, provides enough information to reconstruct his pronunciation with some precision; making the reasonable assumption that Orm's pronunciation was in no way unusual, this permits scholars of the history of English to develop an exceptionally precise snapshot of exactly how Middle English was pronounced in the Midlands in the second half of the twelfth century. ## Significance Orm's book has a number of innovations that make it valuable. As Bennett points out, Orm's adaptation of a classical metre with fixed stress patterns anticipates future English poets, who would do much the same when encountering foreign language prosodies. The Ormulum is also the only specimen of the homiletic tradition in England between Ælfric and the fourteenth century, as well as the last example of the Old English verse homily. It also demonstrates what would become Received Standard English two centuries before Geoffrey Chaucer. Further, Orm was concerned with the laity. He sought to make the Gospel comprehensible to the congregation, and he did this perhaps forty years before the Fourth Council of the Lateran of 1215 "spurred the clergy as a whole into action". At the same time, Orm's idiosyncrasies and attempted orthographic reform make his work vital for understanding Middle English. The Ormulum is, with the Ancrene Wisse and the Ayenbite of Inwyt, one of the three crucial texts that have enabled philologists to document the transition from Old English to Middle English. ## See also - Allegory in the Middle Ages - Biblical criticism - Biblical studies - List of biblical commentaries ## Endnotes A. Quotations are from Holt (1878). The dedication and preface are both numbered separately from the main body of the poem.	[ "## Origins", "## Manuscript", "## Contents and style", "## Orthography", "## Significance", "## See also", "## Endnotes" ]	2,692	43,476
528,908	M-26 (Michigan highway)	1,166,651,624	State highway in Michigan, United States	[ "Lake Superior Circle Tour", "M-26 (Michigan highway)", "State highways in Michigan", "Transportation in Houghton County, Michigan", "Transportation in Keweenaw County, Michigan", "Transportation in Ontonagon County, Michigan" ]	M-26 is a 96.355-mile-long (155.068 km) state trunkline highway in the U.S. state of Michigan, running from two miles (3.2 km) east of Rockland to its junction with US Highway 41 (US 41) in Copper Harbor. It generally runs southwest-to-northeast in the western half or Michigan's Upper Peninsula. The northernmost segment, which closely parallels the shore of Lake Superior on the west side of the Keweenaw Peninsula, is highly scenic. M-26 previously reached the Wisconsin border, but a section of the highway became US 45. Other changes on the northern end of M-26 incorporated highways that were previously numbered M-111 and M-206 in the Eagle Harbor and Eagle River area. ## Route description ### Southern terminus to Houghton M-26 starts at an intersection with US 45 east of Rockland in Michigan's Ontonagon County. From there it runs through the town of Mass City to the junction with M-38 east of Greenland. The two highways join for a short distance before M-26 separates turning northeast to Winona across the Houghton County line. In Twin Lakes M-26 passes the shores of the namesake lakes and Twin Lakes State Park. M-26 passes through wooded, hilly terrain in western Houghton County. The segment of roadway in South Range was recently realigned to smooth out curves in the roadway. From there north, M-26 runs generally downhill on approaching the western business district of Houghton and the Portage Lake Lift Bridge from the west. It enters and runs through the middle of Dakota Heights before re-entering Houghton and continuing to approach the bridge. ### Portage Lake Lift Bridge The Portage Lake Lift Bridge connects the cities of Hancock and Houghton, Michigan by crossing over the Portage Waterway, an arm of Portage Lake which cuts across the Keweenaw Peninsula with a canal linking the final several miles to Lake Superior to the northwest. As its name states, the bridge is a lift bridge with the middle section capable of being lifted from its low point of four feet clearance over the water to a clearance of thirty two feet to allow boats to pass underneath. The Portage Lake Lift Bridge is the widest and heaviest double decked vertical lift bridge in the world. The lower deck of the bridge was originally open to rail traffic, but this level is now closed to trains and is used in the winter for snowmobile traffic. Throughout the 1960s, 70s and 80s, the bridge was painted the same color as the Mackinac Bridge — cream and forest green — however, in the early 1990s, it was repainted in a cream and robins egg blue color scheme—exactly the same colors as the National Park Service's ship Ranger III—to some denoting Houghton as the "Gateway to Isle Royale". ### Hancock to Copper Harbor On the north end of the bridge, M-26 turns east while US 41 turns west into Hancock. M-26 passes through Ripley at the base of the Mt. Ripley Ski Area before turning north to Dollar Bay on the shore of the heavy polluted Torch Lake. Next are the twin communities of Lake Linden and Hubbell. M-26 forms the main streets of these as it passes north from Hubbell into Lake Linden. The highway then runs back to the west to rejoin US 41 in Calumet. US 41/M-26 connects with the northern end of M-203 on the north side of town before heading out to Keweenaw County. In the town of Phoenix, M-26 separates from US 41 one last time, turning west for a stretch along the northern shoreline of the Keweenaw Peninsula. It passes through the communities of Eagle River (county seat of Keweenaw County) and Eagle Harbor. M-26 in Eagle River crosses the namesake river on the glue-laminated Eagle River Timber Bridge. The 152-foot (46 m) bridge features two timber frame arches of 74 feet (23 m) and 79 feet (24 m) in length. The connecting work between the wood elements is steel. There are hinge points in the center of each arch. The deck is wood covered with an asphalt driving surface. Enough wood was used in construction to fabricate three or four average-sized homes. All the wood was pressure-treated, and the steel was galvanized and epoxy-coated. Reapplication of preservative and tightening bolts will be the routine maintenance required every three years. Past Eagle Harbor, M-26 meets the highly scenic Brockway Mountain Drive. The northern terminus of M-26 is located in Copper Harbor. The terminus is just past the second intersection with Brockway Mountain Drive near the marina and the location of the Isle Royale Queen ferry to Isle Royale National Park. ## History Before it was a state highway, many parts of the original route of M-26 were used as a military road, connecting Fort Wilkins at Copper Harbor with Fort Howard at Green Bay, Wisconsin. From 1919 until 1934, M-26 was routed southward to the Wisconsin state line to a connection with STH-26 along what is now US 45. The original northern terminus of M-26 was in Laurium at M-15 (now US 41); it was extended by 1927 along US 41 to Mohawk and then replacing M-83 to Gay. This extension would be reversed in 1933 when the Mohawk to Gay routing was turned over to Keweenaw County control. A second extension in 1935 along US 41 to Phoenix replaced M-129 between Phoenix and Eagle Harbor. At this time, M-206 was designated from M-26 to the Eagle Harbor light house. A rerouting of M-26 in November 1940 moved it between Phoenix and Eagle River, replacing M-111. The segment between Phoenix and Eagle River along Copper Falls Mine Road was turned over to Keweenaw County at this time. In 1979, M-26 was rerouted through Dakota Heights, bisecting it. Park Avenue had formerly served as the main route from Houghton to Atlantic Mine, but this was replaced by the new route of the highway. The Lake Shore Drive Bridge, which had carried M-26 over the Eagle River, was relegated to pedestrian use in 1990 after the adjacent Eagle River Timber Bridge opened for traffic. In 2006, the Michigan Department of Transportation (MDOT) opened a bypass around the southwest and southern edge of South Range in order to provide a safer route through the town. As of 4 October 2006, MDOT has transferred jurisdiction of the necessary pieces of roadway to complete the M-26 bypass of South Range. ### M-111 After 1938, the M-111 designation was given to an old M-6 routing in the Keweenaw Peninsula that ran between Eagle River and Phoenix along what is, now, modern-day M-26 parallel to Eagle River. That incarnation lasted two years until M-111 was deleted and M-26 was realigned over it. The M-111 designation has not been used since being deleted in 1940. ### M-206 M-206 was a state highway that served as a spur route from M-26 into Eagle Harbor and the Eagle Harbor Lighthouse in Keweenaw County in 1935. ## Major intersections ## See also	[ "## Route description", "### Southern terminus to Houghton", "### Portage Lake Lift Bridge", "### Hancock to Copper Harbor", "## History", "### M-111", "### M-206", "## Major intersections", "## See also" ]	1,548	8,478
40,752,227	The Asset (Agents of S.H.I.E.L.D.)	1,173,359,123	null	[ "2013 American television episodes", "Agents of S.H.I.E.L.D. (season 1) episodes", "Television episodes directed by Milan Cheylov", "Television episodes set in Malta", "Television episodes written by Jed Whedon", "Television episodes written by Maurissa Tancharoen" ]	"The Asset" is the third episode of the first season of the American television series Agents of S.H.I.E.L.D. Based on the Marvel Comics organization S.H.I.E.L.D., it follows Phil Coulson and his team of S.H.I.E.L.D. agents as they investigate the kidnapping of Dr. Franklin Hall. It is set in the Marvel Cinematic Universe (MCU) and acknowledges the franchise's films. The episode was written by co-showrunners Jed Whedon and Maurissa Tancharoen, and directed by Milan Cheylov. Clark Gregg reprises his role as Coulson from the film series, starring alongside Ming-Na Wen, Brett Dalton, Chloe Bennet, Iain De Caestecker, and Elizabeth Henstridge. The episode adapts the character of Hall from the comics, portrayed by guest star Ian Hart. It features Hall's gravitational technology, powered by the fictional element gravitonium that was created for the episode by visual effects vendor FuseFX. The episode also introduces David Conrad as recurring villain Ian Quinn, with his own villainous musical theme; a variation of this theme is played on ethnic instruments to support the episode's Malta setting. "The Asset" originally aired on ABC on October 8, 2013, and was watched by 12.01 million viewers within a week. The episode received a mostly positive critical response, especially for Hart's portrayal of Hall, but the development of the main cast seen to be lacking. ## Plot Carrying a S.H.I.E.L.D. "asset" between classified bases, a convoy is attacked by a seemingly invisible force, with the vehicles being hurled impossibly into the air. Soldiers break into the main transport and find the asset, Dr. Franklin Hall. Aboard the Bus, the aerial headquarters for S.H.I.E.L.D. agent Phil Coulson and his team, Agent Grant Ward is struggling to supervise the training of the unmotivated civilian-recruit Skye. Learning of Hall's kidnapping, Coulson and his team investigate the convoy wreckage. Agents Leo Fitz and Jemma Simmons discover a device, fueled by the rare element gravitonium, that alters gravity fields. The team tracks down the former owner of an excavator used by the soldiers in the attack, and trace the gold bars he was paid with back to Ian Quinn, a wealthy industrialist and philanthropist. Quinn holds an announcement of a large deposit of gravitonium in his possession, in his Malta mansion where S.H.I.E.L.D. has no jurisdiction. Skye uses her hacktivist background to gain entry to the announcement, and disables Quinn's outer defenses. Coulson and Ward are able to sneak into Quinn's mansion, where they find Hall free and well, and working on a large gravitonium generator that would allow Quinn to control the world's gravity. Hall reveals that he was working with Quinn all along, the two having attended college together where they had first designed the generator. However, Hall realized that he couldn't allow anyone to gain control of the generator's power, and so plans to let it destroy itself and Quinn's mansion. As this would kill the thousands of innocent people on the island, Coulson lets Hall fall into the gravitonium which catalyzes an anti-reaction to turn off the machine, apparently killing Hall in the process. Quinn escapes custody while S.H.I.E.L.D. takes possession of the gravitonium. Skye finds the motivation to commit to her training, after her and Ward have a meaningful conversation about their "defining moments", and Agent Melinda May, who had previously avoided combat operations since retiring, decides she would rather be fully committed than watching helplessly from the Bus. In an end tag, Hall is still alive within the gravitonium, which is sealed in an unmarked vault by S.H.I.E.L.D. ## Production ### Development Marvel Television announced in September 2013 that the third episode of the series Agents of S.H.I.E.L.D. was titled "The Asset", and had been written by co-showrunners Jed Whedon and Maurissa Tancharoen, with Milan Cheylov directing. ### Casting Marvel confirmed that the episode would star main cast members Clark Gregg as Phil Coulson, Ming-Na Wen as Melinda May, Brett Dalton as Grant Ward, Chloe Bennet as Skye, Iain De Caestecker as Leo Fitz, and Elizabeth Henstridge as Jemma Simmons. The guest cast for the episode includes David Conrad as Ian Quinn and Ian Hart as Franklin Hall. On adapting the character of Franklin Hall from the comics, co-showrunner Jeffrey Bell said the writers had written the role into the episode before deciding who the character would be. They then looked through the comics for an appropriate character, and adjusted the story to make it work for Hall once they had selected him. The episode is an origin story for the character, rather than depicting him as the fully formed supervillain from the comics. As a hint at his potential to become the villain "Graviton", the series changed his original scientific interests from matter transportation to the study of "gravitonium", a substance created for the series. The episode's ending, which sees Hall fall into some gravitonium, indicates that this is how he would gain his Graviton abilities in the series. ### Filming and visual effects Filming occurred from July 29 to August 18, 2013. The set for Hall's lab which is affected by the gravitonium was built on a giant gimbal so it could rotate 360°, with all the props and furniture secured to the set. FuseFX provided the episode's visual effects, including replacing the S.H.I.E.L.D. vehicles from the opening sequence with computer generated models to depict them defying gravity and being destroyed. FuseFX visual effects supervisor Kevin Lingenfelser explained that shots involving gravitonium were divided into two categories: shots where the gravitonium is "neutral" or "ball like", which were animated to make the element act like a fluid; and more aggressive shots where the gravitonium envelopes Hall, which mimicked the effects of gravity while Hall was being sucked in, with "more sentient and deliberate motion" animated around that. Hart was filmed at high speed for this sequence as he fell onto a greenscreen stunt pad. As he is falling, he is replaced by a digital double to allow the gravitonium to surround him. ### Music For "The Asset", composer Bear McCreary wrote a theme for Ian Quinn. A "bouncy and energetic" version of this was performed on a bouzouki by guitarist Ed Trybek to evoke the music of Malta, while a simplified orchestral version is used as the primary Quinn theme. McCreary stated that he does not "use it a lot, but it counts when I do. When he catches Skye in the hallways and steps forward menacingly, the low strings and woodwinds sneak in on this theme and underscore how dangerous he is." ## Release ### Broadcast "The Asset" was first aired in the United States on ABC on October 8, 2013. It was aired alongside the US broadcast in Canada on CTV, while it was first aired in the United Kingdom on Channel 4 on October 11, 2013. It premiered on the Seven Network in Australia on October 9, 2013. ### Home media The episode, along with the rest of Agents of S.H.I.E.L.D.'s first season, was released on Blu-ray and DVD on September 9, 2014. Bonus features include behind-the-scenes featurettes, audio commentary, deleted scenes, and a blooper reel. On November 20, 2014, the episode became available for streaming on Netflix. ## Reception ### Ratings In the United States the episode received a 2.9/9 percent share among adults between the ages of 18 and 49, meaning that it was seen by 2.9 percent of all households, and 9 percent of all of those watching television at the time of the broadcast. It was watched by 7.87 million viewers. The Canadian broadcast gained 1.91 million viewers, the second highest for that day and the seventh highest for the week. The United Kingdom premiere had 2.37 million viewers and in Australia, the premiere had 1.9 million viewers, including 0.9 million timeshifted viewers. Within a week of its release, the episode was watched by 12.01 million U.S. viewers, above the season average of 8.31. ### Critical response Eric Goldman of IGN scored the episode 7.7 out of 10, praising the plot and the introduction of Hall/Graviton, but criticizing the amount of humor and MCU references. David Sims of The A.V. Club scored the episode a "B", calling it "the first episode to show some potential for originality around the corner". He praised the character development, specifically for Coulson and Skye, and the introduction of Hall/Graviton, but criticized Quinn as "barely a step above a generic Miami Vice villain and whose motives would be totally uninteresting if they were ever made clear to us". He also found Dalton to be "the latest in a line of dull Whedon hunks with just a glimmer of personality." The Guardian's Graeme Virtue felt that "If Agents of S.H.I.E.L.D. hasn't been levitating your boat so far, this breezy episode probably didn't do that much to change your mind. If you're not in the mood, the endless quipping can seem exhausting, but at least there was some incremental character development." He had especial praise for the introduction of Hall/Graviton, and felt that Hart's performance as the character topped Samuel L. Jackson's cameo from the previous episode. Dan Casey at Nerdist found the adage "third time is the charm" to apply to the episode, feeling that "Rather than trying to figure out where it fits within Marvel's grander on-screen universe, S.H.I.E.L.D. is focusing its energy on developing the eponymous agents and giving us more backstory", and though he felt that "The show still needs to figure out its balance of seriousness and humor", he concluded that the "show just keeps getting better." James Hunt at Den of Geek felt that "There's a distinct feeling of treading water", finding the episodic plot to be "fairly by-the-numbers for a show that's supposed to be about the fantastic", and he was disappointed in "Graviton's non-appearance appearance", referring to the lack of Hall's comics' alter-ego. Marc Bernardin of The Hollywood Reporter praised the episode's opening sequence, but criticized the character Skye and the focus the episode put on her rather than Coulson. He also spoke unfavorably of Quinn, noting that Hall would likely return as a villain himself in the future, but "until then, S.H.I.E.L.D. needs to up its adversarial game". Jim Steranko, known for his work on Nick Fury, Agent of S.H.I.E.L.D., felt "the plot's twists and turns clicked, even though it's kind of embarrassing when the commercials are more engrossing than the show."	[ "## Plot", "## Production", "### Development", "### Casting", "### Filming and visual effects", "### Music", "## Release", "### Broadcast", "### Home media", "## Reception", "### Ratings", "### Critical response" ]	2,330	33,769
1,835,302	Everett Scott	1,162,191,533	American baseball player (1892-1960)	[ "1892 births", "1960 deaths", "Baltimore Orioles (International League) players", "Baseball players from Indiana", "Boston Red Sox players", "Chicago White Sox players", "Cincinnati Reds players", "Fairmont Champions players", "Kokomo Wild Cats players", "Major League Baseball shortstops", "New York Yankees players", "People from Bluffton, Indiana", "Reading Keystones players", "St. Paul Saints (AA) players", "Toledo Mud Hens players", "Washington Senators (1901–1960) players", "Youngstown Steelmen players" ]	Lewis Everett Scott (November 19, 1892 – November 2, 1960), nicknamed "Deacon", was an American professional baseball player. A shortstop, Scott played in Major League Baseball for 12 seasons as a member of the Boston Red Sox, New York Yankees, Washington Senators, Chicago White Sox and Cincinnati Reds, from 1914 through 1926. Scott batted and threw right-handed. Scott served as captain of both the Red Sox and Yankees, who have become fierce rivals. He compiled a lifetime batting average of .249, hitting 20 home runs with 551 runs batted in in 1,654 games. He led American League shortstops in fielding percentage seven straight seasons (1916–22) and appeared in 1,307 consecutive games from June 20, 1916, through May 6, 1925, setting a record later broken by Lou Gehrig. As of 2022, it is still the third-longest streak in history. After retiring from baseball, Scott became a professional bowler and owned bowling alleys. He died in Fort Wayne, Indiana, at the age of 67. He was posthumously inducted into the Indiana Baseball Hall of Fame and Boston Red Sox Hall of Fame. ## Early life Scott was born in Bluffton, Indiana. He had two brothers and a sister. His father, Lewis, had moved to Bluffton from Warren, Indiana, shortly before Everett's birth. Lewis' brother, Frame, had been a baseball player when he was younger. Scott attended Bluffton High School, where he played for the school's baseball and basketball teams. He graduated in 1909. Scott married his high school sweetheart, Gladys Watt, in 1912. ## Career ### Early career After graduating from Bluffton, Scott made his professional baseball debut in Minor League Baseball with the Kokomo Wild Cats of the Class D Northern State of Indiana League in 1909. He moved to the Fairmont Champions of the Class D Pennsylvania–West Virginia League for the remainder of the 1909 season. He began the 1910 season with Fairmont, and completed the season with Kokomo. He joined the Youngstown Steelmen of the Class C Ohio–Pennsylvania League in 1911, and remained with them in 1912, when they played in the Class B Central League. Jimmy McAleer, a native of Youngstown and minority owner of the Boston Red Sox of the American League (AL), noticed Scott playing for the Steelmen. On McAleer's suggestion, the Red Sox purchased Scott from Youngstown after the 1912 season, and optioned him to the St. Paul Saints of the Class AA American Association. Towards the end of the 1913 season, the Red Sox recalled Scott. Bill Phillips, manager of the Indianapolis Hoosiers of the outlaw Federal League, attempted to convince Scott to jump from the AL after the 1913 season by offering Scott a \$4,000 contract (\$ today). Scott remained with the Red Sox, signing a contract for \$2,500 (\$ today) for the 1914 season. ### Boston Red Sox Scott made his major league debut on April 14, 1914 for the Red Sox, and had a .239 batting average with strong fielding as a rookie. His batting average dropped to .201 in the 1915 season. The Red Sox won the AL pennant, and defeated the Philadelphia Phillies in the 1915 World Series. Scott had one hit in 18 at bats during the series. On June 20, 1916, Scott began a consecutive games played streak. Scott batted .232 in the 1916 season and led all AL shortstops in fielding percentage. In the 1916 World Series, the Red Sox defeated the Brooklyn Robins. Scott had two hits in 16 at bats, and Wilbert Robinson of the Robins nicknamed Scott "Trolley Wire" due to his accurate throws. After a contract dispute, when Scott refused a pay cut from the Red Sox, Scott signed a contract for the 1918 season. He batted .241 in 1917, while leading AL shortstops in fielding percentage and defensive games played, but the Red Sox did not win the pennant. Scott batted .221 in the 1918 season, while leading AL shortstops in fielding percentage for the third consecutive season, as the Red Sox won the 1918 World Series. In April 1919, Scott signed a three-year contract with the Red Sox. Scott led AL shortstops in fielding percentage for the fourth consecutive season in 1919, and batted .278, the highest average of his career. Scott broke George Pinkney's MLB consecutive games played streak of 577 on April 26, 1920. He again led AL shortstops in fielding percentage. The Red Sox named Scott team captain for the 1921 season, after the previous captain, Harry Hooper, was traded to the Chicago White Sox. During spring training in 1921, Scott dealt with leg cramp that threatened his playing streak, but he was able to continue playing. Scott had 62 runs batted in on the season, and stated that it was his goal to play in 1,000 consecutive games. ### New York Yankees After the 1921 season, the Red Sox traded Scott with Bullet Joe Bush and Sad Sam Jones to the New York Yankees for Rip Collins, Roger Peckinpaugh, Bill Piercy, Jack Quinn and \$100,000 (\$ in current dollar terms). Del Pratt succeeded Scott as captain of the Red Sox. After Peckinpaugh, the captain of the Yankees, was traded, Babe Ruth was named the new team captain. Ruth was suspended in May 1922 and Scott was named captain in Ruth's place. Scott remained the Yankees' captain through 1925. Scott played with the Yankees in the 1922 World Series. He entered the 1923 season 14 games shy of his goal of 1,000 consecutive games played, but sprained his ankle during spring training. He played on Opening Day at the newly opened Yankee Stadium, recording the first assist in the stadium's history. He played his 1,000th consecutive MLB game on May 2, 1923. U.S. Secretary of the Navy Edwin C. Denby presented Scott with a gold medal during a pregame ceremony. Scott broke Perry Lipe's record for consecutive professional baseball games (regardless of level) with his 1,127th game on September 14, 1923; all of Lipe's games had been in the minor leagues and Lipe never played at the MLB level. . By the following offseason, manager Miller Huggins began to consider ending Scott's streak. Huggins benched Scott on May 6, 1925 in favor of Pee Wee Wanninger, ending his record consecutive games played streak at 1,307. ### Later career The Washington Senators selected Scott off waivers from the New York Yankees in June 1925, paying the Yankees the waiver price of \$4,000 (\$ today). With the Senators, Scott served as Peckinpaugh's backup. The Senators reached the 1925 World Series, but lost to the Pittsburgh Pirates; Scott did not appear in the series. Though it was reported that Scott would retire to manage his business in Fort Wayne, Indiana, the Chicago White Sox signed Scott in February 1926. The Cincinnati Reds purchased Scott from the White Sox in July 1926. He played in four games for the Reds. Scott signed with the Baltimore Orioles of the International League for the 1927 season, receiving his unconditionally release on August 4. He signed with the Toledo Mud Hens of the American Association in August, and played in 33 games for them. Toledo released him after the season. Scott played with the Reading Keystones of the International League in 1928, batting .315. Scott returned to the Keystones in 1929, but received his release in July 1929 after 62 games, due to the team's disappointing play. ## Later life Scott was an avid bowler, and he competed in ten-pin bowling events sanctioned by the American Bowling Congress. He bowled against professional Hank Marino in 1931, though he lost. Scott also owned bowling alleys in Fort Wayne. He wrote a children’s book, called Third Base Thatcher, that was published in 1928. Lou Gehrig, a former teammate of Scott's on the Yankees, surpassed Scott's record of consecutive games played in August 1933 in a game against the St. Louis Browns. Gehrig's streak began in 1925, by pinch hitting for Wanninger, the same season Scott's streak ended. Scott attended the game at Sportsman's Park as a special guest of the Browns. Scott died in Parkview Hospital in Fort Wayne, Indiana at age 67. He was posthumously inducted into the Indiana Baseball Hall of Fame in 1986 and the Boston Red Sox Hall of Fame in 2008. The News-Sentinel named Scott the fourth-best athlete from Northeastern Indiana of the 20th century. ## See also - Major League Baseball consecutive games played streaks - List of Boston Red Sox captains - List of New York Yankees captains	[ "## Early life", "## Career", "### Early career", "### Boston Red Sox", "### New York Yankees", "### Later career", "## Later life", "## See also" ]	1,939	44,387
43,407,239	Kʼinich Yat Ahk II	1,172,112,013	null	[ "8th century in Guatemala", "8th century in the Maya civilization", "8th-century monarchs in North America", "9th century in Guatemala", "9th century in the Maya civilization", "9th-century monarchs in North America", "Kings of Piedras Negras", "Maya monarchs" ]	Kʼinich Yat Ahk II (), also known as Ruler 7, was the last ajaw of Piedras Negras, an ancient Maya settlement in Guatemala. He ruled during the Late Classic Period, from 781 to roughly 808 AD. Possibly a descendant of Itzam Kʼan Ahk II, Kʼinich Yat Ahk II ascended the throne upon the death of his brother, the sixth ajaw of the site, Haʼ Kʼin Xook. While Kʼinich Yat Ahk II presided over the destruction of the rival Maya site Pomona, his reign likely ended with Kʼinich Tatbu Skull IV of Yaxchilan capturing and subjugating Piedras Negras. Itzam Kʼan Ahk II left behind several monuments, including stelae at Piedras Negras, a stone seat known as Throne 1 which records either the death or abdication of Haʼ Kʼin Xook, and Panel 3 which recounts the exploits of Itzam Kʼan Ahk II. ## Biography ### Reign of Piedras Negras Likely the final ajaw of Piedras Negras, Kʼinich Yat Ahk II (also known as Ruler 7) was the son of Lady Bird, and was born on April 7, 750 AD (9.15.18.16.7 12 Mankiʼ 5 Sotzʼ in the Long Count). It is possible that he was the son of Itzam Kʼan Ahk II, or perhaps Tʼul Chiik, a prince of Piedras Negras. The ruler's name is a combination of two elements: a title and a predecessor's name. The title, kʼinich, translates to "red-faced", and is a reference to the settlement's rulers' belief that they were the "lords of the sun". The name portion, Yat Ahk, was not taken from one of Kʼinich Yat Ahk II's immediate predecessors, but rather from one of Piedras Negras's earliest rulers, Yat Ahk I. Kʼinich Yat Ahk II took up the throne at Piedras Negras on May 31, 781 (9.17.10.9.4 1 Kʼan 7 Yaxkʼin), almost a year following the death of his brother, Haʼ Kʼin Xook. Despite this lengthy gap, there is no evidence that anyone ruled Piedras Negras in the interim. ### Acts of aggression Kʼinich Yat Ahk II first took military action against his opponents in August of 787 AD, capturing a yajaw kʼahk (a "lord of fire") from Santa Elena Poco Uinic. Then, in both 792 and 794 AD, Kʼinich Yat Ahk II carried out two "star wars" (that is, wars planned to coincide with key astronomical events) against the rival Maya settlement Pomona, the latter of the two resulting in Pomona being decisively defeated and subordinated. Kʼinich Yat Ahk II was aided in both of these wars by his ally, Parrot Chaak of La Mar. ### Capture In AD 808, Piedras Negras's sworn enemy Yaxchilan, ruled by Kʼinich Tatbu Skull IV, conquered Piedras Negras and subjugated Kʼinich Yat Ahk II, ending his rule; Lintel 10 at Yaxchilan directly names Kʼinich Yat Ahk II as a captive of the Yaxchilan ajaw. There is evidence that troops from Yaxchilan attacked Piedras Negras and razed it, as debris and burnt artifacts have been documented throughout the site, and it appeared that Throne 1 was deliberately dismantled. In the 1930s, certain researchers argued that this evidence suggested that the ruling class had been overthrown in a "peasants revolt" but modern scholars largely reject this idea. Regardless, Simon Martin and Nikolai Grube, and Mayanist Stephen D. Houston argue that the Piedras Negras dynasty may have survived for a time after the capture and death of Kʼinich Yat Ahk II, but its power was severely curtailed and fizzled out around c. 810 AD. Afterwards, Piedras Negras declined in importance and was eventually abandoned to the jungles of Guatemala. ## Monuments ### Stelae Several stelae have been found that were erected by Kʼinich Yat Ahk II, including Stelae 12 and 15, which were sculpted out of limestone. The first to be raised was Stela 15, which celebrated Kʼinich Yat Ahk II's first hotun ending as ajaw of Piedras Negras. The monument, positioned on the upper terrace of Pyramid O-13, is "innovative", because it is almost a three-dimensional depiction of the leader. This innovation was the result of Piedras Negras sculptors fine-tuning their technical skills and marked "the closest [the sculptors of Piedras Negras] came to releasing the body from the stone block", according to O'Neil. The monument bears some stylistic similarities to Haʼ Kʼin Xook's Stela 13, and given that Stela 15 is positioned above Stela 13 on the northwestern side of Pyramid O-13, it was likely that Stela 15 was erected to purposely associate Kʼinich Yat Ahk II with Haʼ Kʼin Xook. The final stela to be erected was Stela 12 and details Kʼinich Yat Ahk II's aforementioned victory over Pomona, showing KʼInich Yat Ahk II above military leaders and captives (of which a few are named). Stylistically, the stela is more reminiscent of panels found at Piedras Negras, due to its "shallow relief[s]". According to O'Neil, this style is evidence that at this time, "the sculptors ... favored multi-figural pictorial narrative over the divine ruler's singular embodiment or three-dimensional presence." Houston et al. argue that this stela is a "monument of vengeance", redressing the defeat of Piedras Negras at the hands of Pomona in 554 AD. While the monument is not a niche stela, it makes reference to the style by showing the "seated ruler at the top ... and other people at lower levels", similar to Stelae 14 and 33. The stela faces southwest, but this is because the monument was installed on the O-13 pyramid, which already faced in this direction. O'Neil has proposed, however, that the orientation was also purposeful, and that Kʼinich Yat Ahk II was trying to connect his stela with those of his forefathers. Stela 12 is in a relatively poor state of preservation, as exposure has weathered it down. According to O'Neil, Stelae 15 and 12 show two different versions of what it means to be a "proper ruler": Stela 15 depicts Kʼinich Yat Ahk II as a devout practitioner of religion who does his sacred duty. Stela 12, on the other hand, depicts the ajaw as a conqueror, defeating enemies and subjugating rivals. In addition, both Stelae 15 and 12 include the names of several sculptors and artists, one of whom worked on both stelae. These names are difficult to translate because many are unique when compared to extant Mayan glyphic texts. ### Throne 1 Kʼinich Yat Ahk II likely commissioned the construction of Throne 1, which details either the death or abdication of Haʼ Kʼin Xook. The entire throne is covered in images and glyphs, with a prominent zoomorphic face featured on the back. Discovered in a special recess in J-6 (a gallery wing of the main Piedras Negras palace acropolis), the throne was in pieces, but has since been reconstructed. J. Eric S. Thompson proposed three hypotheses to explain its destruction: it had been destroyed in a peasant revolt, it was smashed by conquerors from Yaxchilan, or its destruction "was more recent and is attributable to superstitious fear". ### Panel 3 Kʼinich Yat Ahk II also commissioned the carving of Panel 3, which was placed on the O-13 Pyramid. The panel is both an intricate narrative of daily life in the palace, as well as a documentation of a 749 AD Kʼatun celebration thrown by the previous ruler Itzam Kʼan Ahk II. According to the artifact, the celebration was attended by many dignitaries, including a bʼaah sajal ("first ruler") named Kʼan Moʼ Teʼ who had served Kʼinich Yoʼnal Ahk II, as well as the interim ruler of Yaxchilan, Yopaat Bahlam II. When Panel 3 was erected, Piedras Negras had begun to decline in importance. Thus, Kʼinich Yat Ahk II likely erected it recall the time when Piedras Negras held supremacy over the region. To this day, many archaeologists and Mayanists consider Panel 3 to be a "masterpiece of Maya art" due to its elucidating the life of Itzam Kʼan Ahk II and his servants, as well as providing information regarding rare grammatical structures in the Mayan glyphs.	[ "## Biography", "### Reign of Piedras Negras", "### Acts of aggression", "### Capture", "## Monuments", "### Stelae", "### Throne 1", "### Panel 3" ]	2,064	32,068
1,023,045	Handled the ball	1,158,012,300	Former method of dismissing a batsman in cricket	[ "Cricket laws and regulations", "Cricket terminology" ]	Handled the ball was formerly one of the methods of dismissing a batsman in the sport of cricket, but was integrated into the Law on obstructing the field when the Laws of Cricket were rewritten in 2017. It dictated that either batsman can be given out if they intentionally touch the ball with a hand that is not holding their bat. An exception was given if the batsman handled the ball to avoid injury. It was governed by Law 33 of the 2000 Edition of the Laws, and was a rare way for a batsman to be dismissed: in the history of cricket, there have been 61 instances in first-class matches and 5 occasions in List A games. In most cases this occurred when a batsman thought that the ball was going to hit their wicket, and knocked it away from the stumps with their hand. In international cricket, only ten dismissals have been in this fashion; on seven occasions in Test cricket and three times in One Day Internationals. The South African Russell Endean became the first victim of this method in international cricket when he was dismissed in a 1957 Test match against England. The final occurrence was in an ODI in 2015, when Chamu Chibhabha of Zimbabwe was given out against Afghanistan. ## Definition Handled the ball was Law 33 in the Laws of Cricket established by the Marylebone Cricket Club (MCC). A batsman could be given out for handling the ball if, while playing a delivery, the batsman intentionally touched the ball with one or both of their hands not holding the bat. A decision of not out would be reached if the batsman handled the ball to avoid incurring an injury. A bowler did not receive credit for the wicket when a batsman was dismissed in this fashion. ## History As a method of dismissal, handling the ball was included in the Laws of Cricket from the original code, written in 1744. In that document, it stated that "If ye Striker touches or takes up ye Ball before she is lain quite still, unless asked by ye Bowler or Wicket-keeper, its out." Similar wording remained in the revision made to the laws thirty years later. The first batsman to be dismissed for handling the ball in first-class cricket was James Grundy, who suffered the fate while playing for the MCC against Kent in 1857. Prior to 1899, a batsman could be given out for handling the ball even if they were doing so to remove a ball which had got stuck in their equipment or clothing. At the time, if one of the fielders removed the ball from the batsman's clothing, they could claim a catch. It was in such a situation that George Bennett, the first player to be given out handled the ball in English county cricket, was dismissed in 1872. The wicket of William Scotton in early 1887 was described by Gerald Brodribb as "most unusual". In a match between the smokers and the non-smokers involved in the 1886–87 Ashes series, Scotton faced the final delivery of the contest. Eager to claim the ball as a souvenir of the high-scoring match, he defended the delivery and picked the ball up. The fielders—who also wanted the souvenir—appealed, and Scotton was ruled out. An addition was made to the law in 1950 to allow umpires to give a batsman not out if the ball should strike the hand after "an involuntary action by the striker in the throwing up of a hand to protect his person". For a time, the act of handing the ball back to the fielding side was listed as not out under Law 33, and instead was considered to be part of a different method of dismissal: obstructing the field, covered in Law 37. The illegal nature of this offence was later returned to Law 33, but reverted to Law 37 in 2013. In 1948 the MCC issued a reminder to batsman, advising them not to handle the ball for any reason at any point during a cricket match, but it is relatively common for batsmen to pick the ball up and return it to the fielding side. Charles Wright was the first player to be dismissed for returning the ball to a fielder in first-class cricket; albeit wrongly. Brodribb relates that in an 1893 match, W. G. Grace influenced Wright to return the ball to him, and upon doing so, appealed. The umpire dismissed Wright, despite a clause added to the law nine years previous stating that a batsman would not be ruled out if they were returning the ball at the request of the fielding side. In 2013, the law received a major change. Prior to this, there had been ambiguity in certain situations whether handling the ball or obstructing the field was applicable. This ambiguity was removed by setting a clear demarcation point between the two as the point when the striker has "finished playing the ball": before this point, handling the ball applies; thereafter, obstructing the field applies. The result was that only the striker could be dismissed handled ball, and only during the short period when the striker was playing (or attempting to play) the ball, either as a first or subsequent stroke. The act of handing the ball back to the fielding side, mentioned above, was therefore no longer regarded as the striker playing the ball, resulting in this event then being dealt with under obstructing the field. In March 2017 it was announced by the MCC that the law on handled the ball would be completely removed and subsumed into the law on obstructing the field. This means that the act of handling the ball will still result in the batsman's dismissal, but will now always be recorded as obstructing the field. The new law came into effect on 1 October 2017. In total, there were 63 occasions on which a batsman has been given out handled the ball in first-class cricket and 5 instances in List A cricket. Brodribb suggests that it is likely that there should have been a significant number more dismissals than there have been for handling the ball: in addition to the cases where batsman have returned the ball to the fielding side without permission, there are records of cases in which the umpires have been reticent to uphold an appeal. On one such instance, the umpire David Constant rejected an appeal against Younis Ahmed, saying that he thought the appeal was not serious. ## Occasions in international cricket The first occasion of a batsman being given out handled the ball in international cricket occurred during a Test match between South Africa and England in Cape Town in 1957. In the second innings of the match, the South African Russell Endean padded away a delivery from Jim Laker. The ball looped off his pads into the air, and was falling towards his stumps until Endean instinctively knocked it away with his free hand. He later suggested that he had "thought of heading it away, but that seemed too theatrical." The second instance came 22 years later during a bad-tempered series between Australia and Pakistan that also involved another rare dismissal method: Mankading. Andrew Hilditch was the victim in this match; he picked up the ball and returned it to the bowler after a wayward throw from a fielder. The bowler, Sarfraz Nawaz, appealed for the wicket and Hilditch was given out. Another Pakistan player, Asif Iqbal, distanced himself from the incident, commenting that he felt "there was no need for us to stoop so low as to appeal against Hilditch". Hilditch's dismissal marked the only time that a non-striking batsman has been given out for handling the ball. The next case also occurred in another match between Australia and Pakistan. Mohsin Khan defended a delivery from Geoff Lawson, which then landed behind him. Mohsin pushed the ball away from the stumps with his hand, resulting in the wicket. Desmond Haynes was the fourth man to be dismissed for handling the ball in Test cricket, just over a year after Mohsin. Facing India in late 1983, Haynes had been struck on the bat and pad by the ball, which then headed towards the stumps. The West Indian batsman redirected the ball away from the stumps with his free hand. Upon being given out, Haynes—who was ignorant of the law regarding handling the ball—argued with the umpire about the dismissal. After asking the bowler, Kapil Dev, if he wanted to withdraw his appeal, the umpire sent Haynes back to the pavilion. The first instance in One Day Internationals was in 1986, when the Indian batsman Mohinder Amarnath knocked away a turning delivery from Australia's Greg Matthews that was heading for the stumps. In 1993, Graham Gooch became the only player to be dismissed for handling the ball after scoring a century. Playing defensively to try and draw the Test match against Australia, Gooch blocked a short ball from Merv Hughes. The ball flicked off his bat and fell towards his stumps, prompting Gooch to instinctively punch the ball away: Australia won the match by 179 runs. The dismissal of Daryll Cullinan in 1999 was the second instance in ODIs: facing the West Indian spinner Keith Arthurton, Cullinan fended the ball off into the ground. It bounced high in the air, and Cullinan removed his right hand from his bat to catch it as it fell again. Despite the fact that it was unlikely that the ball would land near the stumps, the West Indies captain, Brian Lara, appealed, and Cullinan was dismissed. The next occurrence was two years later, in a Test match between Australia and India. In the first innings of the match, Steve Waugh was struck on the pads by a delivery from Harbhajan Singh. The umpire turned down the appeal, but as he did so, the ball bounced and spun towards the stumps. Waugh was alerted by a shout from the non-striking batsman, and instinctively swept the ball away with his free hand. The most recent instance came during the same year as Waugh's dismissal, in another Test match involving India. England's Michael Vaughan missed an attempted sweep against Sarandeep Singh, and the ball trickled along the ground after striking his pads. Vaughan brushed the ball away with his hand, despite the fact that it was not travelling towards the stumps. Initially, he claimed that he was attempting to give the ball back to the fielder at short leg, but he later admitted that he "should have just held up [his] hands and said 'I got it all wrong, I'm an idiot.'" ### Batsmen dismissed in international cricket ## See also - List of unusual dismissals in international cricket	[ "## Definition", "## History", "## Occasions in international cricket", "### Batsmen dismissed in international cricket", "## See also" ]	2,253	35,092
453,959	HD 209458 b	1,170,102,040	Exoplanet in the constellation Pegasus	[ "Exoplanets detected by radial velocity", "Exoplanets discovered in 1999", "Exoplanets with proper names", "Giant planets", "Hot Jupiters", "Pegasus (constellation)", "Transiting exoplanets" ]	HD 209458 b is an exoplanet that orbits the solar analog HD 209458 in the constellation Pegasus, some 157 light-years (48 parsecs) from the Solar System. The radius of the planet's orbit is 0.047 AU (7.0 million km; 4.4 million mi), or one-eighth the radius of Mercury's orbit (0.39 AU (36 million mi; 58 million km)). This small radius results in a year that is 3.5 Earth-days long and an estimated surface temperature of about 1,000 °C (1,800 °F; 1,300 K). Its mass is 220 times that of Earth (0.69 Jupiter masses) and its volume is some 2.5 times greater than that of Jupiter. The high mass and volume of HD 209458 b indicate that it is a gas giant. HD 209458 b represents a number of milestones in exoplanetary research. It was the first of many categories: - a transiting extrasolar planet - The first planet detected through more than one method - an extrasolar planet known to have an atmosphere - an extrasolar planet observed to have an evaporating hydrogen atmosphere - an extrasolar planet found to have an atmosphere containing the elements oxygen and carbon - one of the first two extrasolar planets to be directly observed spectroscopically - The first extrasolar gas giant to have its superstorm measured - the first planet to have its orbital speed measured, determining its mass directly. Based on the application of newer theoretical models, as of April 2007, it is thought to be the first extrasolar planet found to have water vapor in its atmosphere. In July 2014, NASA announced finding very dry atmospheres on HD 209458 b and two other exoplanets (HD 189733 b and WASP-12b) orbiting Sun-like stars. HD 209458 b has been nicknamed "Osiris" after the Egyptian god. This nickname has been acknowledged by the IAU, but as of 2023 it has not yet been approved as an official proper name. ## Detection and discovery ### Transits Spectroscopic studies first revealed the presence of a planet around HD 209458 on November 5, 1999. Astronomers had made careful photometric measurements of several stars known to be orbited by planets, in the hope that they might observe a dip in brightness caused by the transit of the planet across the star's face. This would require the planet's orbit to be inclined such that it would pass between the Earth and the star, and previously no transits had been detected. Soon after the discovery, separate teams, one led by David Charbonneau including Timothy Brown and others, and the other by Gregory W. Henry, were able to detect a transit of the planet across the surface of the star making it the first known transiting extrasolar planet. On September 9 and 16, 1999, Charbonneau's team measured a 1.7% drop in HD 209458's brightness, which was attributed to the passage of the planet across the star. On November 8, Henry's team observed a partial transit, seeing only the ingress. Initially unsure of their results, the Henry group decided to rush their results to publication after overhearing rumors that Charbonneau had successfully seen an entire transit in September. Papers from both teams were published simultaneously in the same issue of the Astrophysical Journal. Each transit lasts about three hours, during which the planet covers about 1.5% of the star's face. The star had been observed many times by the Hipparcos satellite, which allowed astronomers to calculate the orbital period of HD 209458 b very accurately at 3.524736 days. ### Spectroscopic Spectroscopic analysis had shown that the planet had a mass about 0.69 times that of Jupiter. The occurrence of transits allowed astronomers to calculate the planet's radius, which had not been possible for any previously known exoplanet, and it turned out to have a radius some 35% larger than Jupiter's. It had been previously hypothesized that hot Jupiters particularly close to their parent star should exhibit this kind of inflation due to intense heating of their outer atmosphere. Tidal heating due to its orbit's eccentricity, which may have been more eccentric at formation, may also have played a role over the past billion years. ### Direct detection On March 22, 2005, NASA released news that infrared light from the planet had been measured by the Spitzer Space Telescope, the first ever direct detection of light from an extrasolar planet. This was done by subtracting the parent star's constant light and noting the difference as the planet transited in front of the star and was eclipsed behind it, providing a measure of the light from the planet itself. New measurements from this observation determined the planet's temperature as at least 750 °C (1,020 K; 1,380 °F). The nearly circular orbit of HD 209458 b was also confirmed. ### Spectral observation On February 21, 2007, NASA and Nature released news that HD 209458 b was one of the first two extrasolar planets to have their spectra directly observed, the other one being HD 189733 b. This was long seen as the first mechanism by which extrasolar but non-sentient life forms could be searched for, by way of influence on a planet's atmosphere. A group of investigators led by Jeremy Richardson of NASA's Goddard Space Flight Center spectrally measured HD 209458 b's atmosphere in the range of 7.5 to 13.2 micrometres. The results defied theoretical expectations in several ways. The spectrum had been predicted to have a peak at 10 micrometres, which would have indicated water vapor in the atmosphere, but such a peak was absent, indicating no detectable water vapor. Another unpredicted peak was observed at 9.65 micrometres, which the investigators attributed to clouds of silicate dust, a phenomenon not previously observed. Another unpredicted peak occurred at 7.78 micrometres, for which the investigators did not have an explanation. A separate team led by Mark Swain of the Jet Propulsion Laboratory reanalyzed the Richardson et al. data, and had not yet published their results when the Richardson et al. article came out, but made similar findings. On 23 June 2010, astronomers announced they have measured a superstorm (with windspeeds of up to 7,000 km/h (2,000 m/s; 4,000 mph)) for the first time in the atmosphere of HD 209458 b. The very high-precision observations done by ESO’s Very Large Telescope and its powerful CRIRES spectrograph of carbon monoxide gas show that it is streaming at enormous speed from the extremely hot day side to the cooler night side of the planet. The observations also allow another exciting "first"—measuring the orbital speed of the exoplanet itself, providing a direct determination of its mass. As of 2021, the spectra of planetary atmosphere taken by different instruments remains highly inconsistent, indicating either metal-poor atmosphere, temperatures below blackbody equilibrium or disequilibrium atmosphere chemistry. ## Rotation In August 2008, the measurement of HD 209458 b's Rossiter–McLaughlin effect and hence spin–orbit angle is −4.4 ± 1.4°. The study in 2012, updated the spin-orbit angle to -5°. ## Physical characteristics ### Stratosphere and upper clouds The atmosphere is at a pressure of one bar at an altitude of 1.29 Jupiter radii above the planet's center. Where the pressure is 33±5 millibars, the atmosphere is clear (probably hydrogen) and its Rayleigh effect is detectable. At that pressure, the temperature is 2,200 ± 260 K (1,900 ± 260 °C; 3,500 ± 470 °F). Observations by the orbiting Microvariability and Oscillations of STars telescope initially limited the planet's albedo (or reflectivity) below 0.3, making it a surprisingly dark object. (The geometric albedo has since been measured to be 0.038 ± 0.045.) In comparison, Jupiter has a much higher albedo of 0.52. This would suggest that HD 209458 b's upper cloud deck is either made of less reflective material than is Jupiter's, or else has no clouds and Rayleigh-scatters incoming radiation like Earth's dark ocean. Models since then have shown that between the top of its atmosphere and the hot, high pressure gas surrounding the mantle, there exists a stratosphere of cooler gas. This implies an outer shell of dark, opaque, hot clouds; usually thought to consist of vanadium and titanium oxides, but other compounds like tholins cannot be ruled out yet. A 2016 study indicates the high-altitude cloud cover is patchy with about 57 percent coverage. The Rayleigh-scattering heated hydrogen rests at the top of the stratosphere; the absorptive portion of the cloud deck floats above it at 25 millibars. ### Exosphere On November 27, 2001, astronomers announced that they had detected sodium in the atmosphere of the planet, using observations with the Hubble Space Telescope. This was the first planetary atmosphere outside the Solar System to be measured. The core of the sodium line runs from pressures of 50 millibar to a microbar. This turns out to be about a third the amount of sodium at HD 189733 b. The additional data did not confirm the presence of sodium in the atmosphere of HD 209458 b as in 2020. In 2003–4, astronomers used the Hubble Space Telescope Imaging Spectrograph to discover an enormous ellipsoidal envelope of hydrogen, carbon and oxygen around the planet that reaches 10,000 K (10,000 °C; 20,000 °F). The hydrogen exosphere extends to a distance R<sub>H</sub>=3.1 R<sub>J</sub>, much larger than the planetary radius of 1.32 R<sub>J</sub>. At this temperature and distance, the Maxwell–Boltzmann distribution of particle velocities gives rise to a significant "tail" of atoms moving at speeds greater than the escape velocity. The planet is estimated to be losing about 100–500 million kg (0.2–1 billion lb) of hydrogen per second. Analysis of the starlight passing through the envelope shows that the heavier carbon and oxygen atoms are being blown from the planet by the extreme "hydrodynamic drag" created by its evaporating hydrogen atmosphere. The hydrogen tail streaming from the planet is approximately 200,000 km (100,000 mi) long, which is roughly equivalent to its diameter. It is thought that this type of atmosphere loss may be common to all planets orbiting Sun-like stars closer than around 0.1 AU (10 million km; 9 million mi). HD 209458 b will not evaporate entirely, although it may have lost up to about 7% of its mass over its estimated lifetime of 5 billion years. It may be possible that the planet's magnetic field may prevent this loss, because the exosphere would become ionized by the star, and the magnetic field would contain the ions from loss. ### Atmosphere composition On April 10, 2007, Travis Barman of the Lowell Observatory announced evidence that the atmosphere of HD 209458 b contained water vapor. Using a combination of previously published Hubble Space Telescope measurements and new theoretical models, Barman found strong evidence for water absorption in the planet's atmosphere. His method modeled light passing directly through the atmosphere from the planet's star as the planet passed in front of it. However, this hypothesis is still being investigated for confirmation. Barman drew on data and measurements taken by Heather Knutson, a student at Harvard University, from the Hubble Space Telescope, and applied new theoretical models to demonstrate the likelihood of water absorption in the atmosphere of the planet. The planet orbits its parent star every three and a half days, and each time it passes in front of its parent star, the atmospheric contents can be analyzed by examining how the atmosphere absorbs light passing from the star directly through the atmosphere in the direction of Earth. According to a summary of the research, atmospheric water absorption in such an exoplanet renders it larger in appearance across one part of the infrared spectrum, compared to wavelengths in the visible spectrum. Barman took Knutson's Hubble data on HD 209458 b, applied to his theoretical model, and allegedly identified water absorption in the planet's atmosphere. On April 24, the astronomer David Charbonneau, who led the team that made the Hubble observations, cautioned that the telescope itself may have introduced variations that caused the theoretical model to suggest the presence of water. He hoped that further observations would clear the matter up in the following months. As of April 2007, further investigation is being conducted. On October 20, 2009, researchers at JPL announced the discovery of water vapor, carbon dioxide, and methane in the atmosphere. The refined spectra obtained in 2021 has detected instead water vapor, carbon monoxide, hydrogen cyanide, methane, ammonia and acetylene, all consistent with the extremely high carbon to oxygen molar ratio of 1.0 (while Sun has C/O molar ratio of 0.55). If true, the HD 209458 b may be a prime example of the carbon planet. ## Magnetic field In 2014, a magnetic field around HD 209458 b was inferred from the way hydrogen was evaporating from the planet. It is the first (indirect) detection of a magnetic field on an exoplanet. The magnetic field is estimated to be about one tenth as strong as Jupiter's. ## See also - 51 Pegasi b - YZ Ceti another extra solar planet with evidence of magnetic fields - HAT-P-11b another extra solar planet with evidence of magnetic fields - Tau Boötis b another extra solar planet with evidence of magnetic fields	[ "## Detection and discovery", "### Transits", "### Spectroscopic", "### Direct detection", "### Spectral observation", "## Rotation", "## Physical characteristics", "### Stratosphere and upper clouds", "### Exosphere", "### Atmosphere composition", "## Magnetic field", "## See also" ]	2,961	28,747
47,228,750	Go, Stewie, Go!	1,123,504,916	null	[ "2010 American television episodes", "Cross-dressing in television", "Family Guy (season 8) episodes" ]	"Go, Stewie, Go!" is the 13th episode of the eighth season of the animated comedy series Family Guy. It originally aired on Fox in the United States on March 14, 2010. The episode features Stewie after he auditions, cross-dressed under the pseudonym Karina Smirnoff, for a female role in the American version of Jolly Farm Revue, and eventually ends up falling in love with a female co-star on the show. Meanwhile, Lois finds herself attracted to Meg's surprisingly normal boyfriend, once Peter causes her to realize her advancing age. The episode was written by Gary Janetti and directed by Greg Colton. It received mixed reviews from critics for its storyline and many cultural references, in addition to receiving criticism from the Parents Television Council. According to Nielsen ratings, it was viewed in 6.72 million homes in its original airing. The episode featured guest performances by Stephen Bishop, Mo Collins, Colin Ford, Lucas Grabeel, Anne Hathaway, Nana Visitor and Mae Whitman, along with several recurring guest voice actors for the series. "Go, Stewie, Go!" was released on DVD along with ten other episodes from the season on December 13, 2011. ## Plot Brian, walking in drunk, notices that Stewie has resumed watching Jolly Farm Revue, after previously swearing off the show in "Road to Europe". Remembering a story he had seen in the local newspaper, Brian tells Stewie about upcoming auditions for an American version of the show. Jumping at the opportunity, the two show up to the auditions, but quickly learn that there is only one female role remaining. Determined to win a spot on the show, Stewie decides to cross-dress as a woman, naming his new identity "Karina Smirnoff". Beginning his audition, he starts by telling a completely fabricated story. Convincing the producers that he is telling a true tale, he wins the role. The next morning, on the first day of filming, Stewie as Karina introduces himself to the rest of the cast, and quickly falls in love with a female co-star named Julie. Another co-star, Randall, objects to the new role that Karina was cast to play, and takes Julie away from him to prevent their friendship. As they continue shooting, however, the two develop a friendly relationship, eventually deciding to hold a sleepover, where they become even closer. The next day, Julie professes her love for Karina by wishing that she was actually a boy, causing Stewie, as Karina, to come on to her. Julie insists that she is not a lesbian, so Stewie decides to unveil his true identity to the entire cast during a live taping of the show. Shocked that Karina was actually a boy, Julie's mother refuses to let her speak to him, with Stewie left to regret his decision to come out as a cross-dresser, and decides to go get ice cream with Brian, as he can no longer wear that dress. Meanwhile, Peter begins to insult Lois about her advancing age, including her minor strands of gray hair. This makes her extremely self-conscious, and soon Lois becomes aware of her lust for a younger man. After introducing her new boyfriend, Anthony, to the family, Meg goes on to make out with him on the family couch, with Lois watching over nearby. Jealous of her daughter's new-found love, she begins hitting on Anthony. Later that day, Lois sends Meg to pick up her grandfather, leaving her all alone with Anthony. The two then begin making out on the couch, but Meg returns to the house only a few moments later and discovers them. Angry at her mother for ruining her chance at having a normal boyfriend, Meg threatens Lois to lay off of him, pulling out one of her own teeth in frustration. Lois quickly agrees, but is still angry with Peter for continually insulting her. She confronts him about this, and he admits that he was actually embarrassed about his own advancing age, as well as his lack of fitness, and was only insulting Lois in order to distract her from the fact that she could be with a much better-looking man. He apologizes for his behavior, and Lois forgives him. ## Production and development The episode was written by returning writer Gary Janetti, his first episode since the fourth season episode "Stewie B. Goode". In addition, the episode was directed by series regular Greg Colton, before the conclusion of the seventh production season. The episode was Colton's second for the season, the first being the season premiere, "Road to the Multiverse", which received high praise from critics. The episode saw the third re-appearance, the first being an equally brief appearance in "Spies Reminiscent of Us" and the second in "Road to the Multiverse", by former main cast member Mike Henry as the voice of Cleveland Brown. The actor had previously left the role on Family Guy, in order to star as the character in his own spin-off, entitled The Cleveland Show. "Go, Stewie, Go!", along with the eleven other episodes from Family Guy's eighth season, was released on a three-disc DVD set in the United States on December 13, 2011. The sets include brief audio commentaries by various crew and cast members for several episodes, a collection of deleted scenes and animatics, a special mini-feature which discussed the process behind animating "And Then There Were Fewer", a mini-feature entitled "The Comical Adventures of Family Guy – Brian & Stewie: The Lost Phone Call", and footage of the Family Guy panel at the 2010 San Diego Comic-Con International. In addition to the regular cast, musician Stephen Bishop rerecorded his single "It Might Be You", actress Mo Collins appeared as a little girl, voice actor Colin Ford appeared briefly as Randall, actress Anne Hathaway appeared as Mother Maggie, actor Lucas Grabeel appeared as Meg's new boyfriend Anthony, voice actress Nana Visitor appeared briefly as the audition caller and voice actress Mae Whitman appeared as Julie. Recurring guest voice actors Ralph Garman, writer Gary Janetti, writer Danny Smith, writer Alec Sulkin, actress Jennifer Tilly and writer John Viener also made minor appearances. ## Cultural references Although never specifically referenced or mentioned in the episode itself, Stewie's alter-ego is named after well-known ballroom dancer Karina Smirnoff, who had previously danced professionally on the American television reality show Dancing with the Stars. Most of the storyline following Stewie is a homage of the 1982 film Tootsie. The episode's title is also a reference to the song "Go, Tootsie, Go" played during the photo-shoot montage in the film. A similar scene featuring the song was slightly modified, replacing "Tootsie" with "Stewie," in the lyrics to the song. Another song from the film, "It Might Be You" by Stephen Bishop, is played during the closing credit sequence. As Stewie and Brian watch a recorded episode of Jolly Farm Revue, Stewie notes the introduction of several new characters to the show. The television screen is then shown, as Karina reveals the characters to his co-star, Julie. The new characters include parodies of the Sesame Street characters Big Bird, who describes himself as a "large bird," and a self-described "grouch" named "Moody Green Garbage Creature", who resembles Oscar the Grouch, and butch and femme versions of Bert and Ernie, who try to protect Karina and Julie from Oscar. After sending Meg out on an errand to pick up her grandfather, Lois continues to seduce Anthony, having been interested in him since Peter had begun insulting her about her advancing age. Quickly returning after forgetting the car keys, Meg discovers her mother making out with her new boyfriend on the couch. The bass jingle used extensively in the long-running NBC sitcom Seinfeld is then heard, with the scene pausing, before transitioning to the Jolly Farm studio. In a surprise visit to the Griffin family home, Julie unexpectedly appears when Stewie opens the front door. Expecting Julie to recognize him, he forgets that he is not dressed as Karina, causing him to hurriedly change clothing, while pretending to have an argument with his fabricated persona. A similar scene is featured in the 1993 film Mrs. Doubtfire, starring actor Robin Williams. Stewie and Jolly Farm make a reference to Pan Am Flight 103, a Boeing 747-100 destroyed by a terrorist bomb over Lockerbie, Scotland, killing all 259 occupants. Large portions of the plane fell onto Lockerbie, which killed 11 people, escalating the death toll to 270. A song features on Jolly Farm that explicitly describes debris from the newly disintegrated plane falling into Lockerbie, sung in the fashion of a nursery rhyme. ## Reception In an improvement over the previous two episodes, the episode was viewed in 6.72 million homes in its original airing, according to Nielsen ratings. The episode also acquired a 3.5 rating in the 18–49 demographic, beating The Simpsons, as well as the series premiere of Sons of Tucson, in addition to significantly edging out both shows in total viewership. Reviews of the episode were mixed, calling the storyline a " material in the long-running dysfunctional yet affectionate relationship between Brian and Stewie," while criticizing its multiple cultural references. Emily VanDerWerff of The A.V. Club called the episode a "pleasant surprise," enjoying Stewie's storyline, while criticizing the subplot between Lois and Meg. Ramsey Isler of IGN was much more critical of the episode, however, saying that "while there a couple of funny moments, there are more misses than hits," giving the episode a 6 out of 10. In a subsequent review of Family Guy's eighth season, Isler listed "Go, Stewie, Go!" as being "full of the lowest of the lowest-common-denominator "jokes", with heavy reliance on toilet humor and the characteristic cutaway gags that have steadily gotten more random and less funny." In contrast, Jason Hughes of TV Squad praised the episode, saying that it " an emotional glimpse into the characters." Naming the episode as its "Worst TV Show of the Week" for "strong sexual content," the Parents Television Council called the episode a "nauseating new low," criticizing multiple scenes, including Lois making out with a minor, as well as the confrontation between Brian and Karina at the bar. The PTC also criticized Seth MacFarlane for attempting to "elicit disgust" throughout the episode by " incest and rape" in order to "provoke ." The episode was heavily criticized by families of the victims of Pan Am Flight 103 for the nursery rhyme, "It's raining babies and luggage and limbs and Daddy doesn't come home", which explicitly describes the debris from the disintegrating plane falling into Lockerbie.	[ "## Plot", "## Production and development", "## Cultural references", "## Reception" ]	2,280	26,826
9,586,556	Washington State Route 204	1,173,744,324	Highway in Washington	[ "State highways in Washington (state)", "Transportation in Snohomish County, Washington" ]	State Route 204 (SR 204) is a short state highway in Snohomish County, Washington, United States. It connects U.S. Route 2 (US 2) at the eastern end of the Hewitt Avenue Trestle to the city of Lake Stevens, terminating at a junction with SR 9. The highway runs for a total length of 2.4 miles (3.9 km) and passes through several suburban neighborhoods. The Everett–Lake Stevens road was originally added to the state highway system in 1937 as part of Secondary State Highway 15A (SSH 15A), which continued northeasterly to Granite Falls. The modern highway was built in 1954 and designated as SR 204 a decade later during the 1964 state highway renumbering, while the eastern half of SSH 15A became SR 92. Since then, suburban development in the area has necessitated planning for the reconstruction of the SR 9 intersection into a full interchange. ## Route description SR 204 begins in Cavalero Corner at an interchange with US 2 at the east end of the Hewitt Avenue Trestle, which crosses Ebey Island and connects the highway to Everett. The interchange has direct ramps connecting SR 204 to westbound US 2 and an intersection for traffic heading east on 20th Street Southeast and southeast on US 2 towards Snohomish. The highway ascends from the Snohomish River estuary and runs northeasterly along the edge of several suburban neighborhoods before entering the city of Lake Stevens. SR 204 has few intersections with cross streets and is primarily a three-lane road with one westbound lane and two eastbound lanes. After crossing under a set of transmission lines near Market Place, the highway widens to four lanes and enters the Frontier Village commercial district. SR 204 terminates in the center of the district at a junction with SR 9, which continues north to Arlington and south to Snohomish. SR 204 is maintained by the Washington State Department of Transportation (WSDOT), which conducts an annual survey on state highways to measure traffic volume in terms of average annual daily traffic. Average traffic volumes on the highway in 2016 ranged from a minimum of 5,800 vehicles at its interchange with US 2 to a maximum of 38,000 after the interchange. A section west of Frontier Village had an average volume of 21,000 vehicles in 2016. The entire route is also designated as a MAP-21 principal arterial route under the National Highway System. ## History The original route of the Pacific Highway between Everett and the rest of northwestern Washington ran across Ebey Island and turned north onto Sunnyside Boulevard at Cavalero Corner before continuing into Marysville. Vernon Road, constructed in the 1910s and paved in 1916, branched off from Sunnyside Boulevard at the bottom of Cavalero Hill and traveled northeasterly along the shore of Lake Stevens to the settlement of Hartford. The Pacific Highway was moved in the late 1920s to a more direct route traversing set of new bridges across the Snohomish River estuary, while the Ebey Island road itself was replaced by the completed Hewitt Avenue Trestle in 1936. Vernon Road was added to the reformed state highway system in 1937 as part of Secondary State Highway 15A (SSH 15A), connecting Primary State Highway 15 (PSH 15) with SSH 1A in Lake Stevens and the city of Granite Falls. SSH 15A was moved onto a new highway bypassing Vernon Road in 1954, ahead of work to rebuild the interchange with PSH 15 (by then part of US 2). During the state legislature's 1964 renumbering of the state highway system, SSH 15A was split into two routes: SR 204 from Cavalero Corner to SSH 1A; and SR 92 from northwestern Lake Stevens to Granite Falls. SSH 1A was renumbered to SR 9, which had been relocated in the 1950s to a new road that cut through the Frontier Village commercial district. The current interchange at Cavalero Corner between US 2 and SR 204 was opened in 1969 as part of the expansion of the Hewitt Avenue Trestle. Major suburban development in the Lake Stevens area began in the 1980s, bringing increased traffic on SR 204 and the Hewitt Avenue Trestle. An eastbound truck climbing lane was installed on the highway in 1988. An expansion of the US 2 interchange was completed in 1993, including an onramp from eastbound US 2 to eastbound SR 204, as part of a \$100 million project to replace the Hewitt Avenue Trestle. The highway's intersection with Market Place in Frontier Village was reconstructed in 2004 as part of several city-funded improvements in the area. The state legislature's 2015 Connecting Washington budget and 2016 supplementary budget funded two studies into potential improvements to both termini on SR 204 to address traffic congestion. The Frontier Village junction with SR 9 was planned to rebuilt as a diamond interchange, with an overpass for SR 204, that was estimated to cost \$69.5 million. In early 2019, WSDOT announced that it would re-examine an earlier concept to use roundabouts to manage the intersection at a lower cost compared to the chosen interchange option. The agency had begun subsurface investigations and discovered shallow groundwater that would impede construction of the SR 9 underpass. Another earlier concept had suggested the addition of grade-separated ramps to the current intersection. A separate study into rebuilding the US 2 interchange was completed in 2018 and recommended reconfiguration of its ramps to eliminate the current one-lane merge. The project's four roundabouts near Frontier Village were constructed in a year and fully opened in July 2023. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	1,228	27,208
45,654,642	The Millionaire Milkman	1,167,679,425	1910 film	[ "1910 drama films", "1910 films", "1910 lost films", "1910s American films", "American black-and-white films", "American drama short films", "American silent short films", "Lost American drama films", "Silent American drama films", "Thanhouser Company films" ]	The Millionaire Milkman is a 1910 American silent short drama produced by the Thanhouser Company. The film focus on Jack Cass, a young millionaire, who has affections for a society girl named Clara Moore. Jack receives a letter of warning about Clara's real interest, his money. Jack decides to decides to test his suspicions and the character of Clara, by having newspapers announce the ruin of his mind and his fortune. Clara calls Jack to confirm the story and breaks off the engagement. May Dustin, the orphan girl who Clara's family treats as a servant, expresses sympathy for Jack. Jack becomes infatuated with May and becomes the milkman to see her every day. The two are married and May learns that Jack had never lost his fortune. The cast and production credits are unknown. The film was released on December 16, 1910, and met with mixed reviews. The film is presumed lost. ## Plot Though the film is presumed lost, a synopsis survives in The Moving Picture World from December 17, 1910. It states: "Clara Moore is a society girl who has won the affections of Jack Cass, a young millionaire. He thinks she loves him, but it is really his money that she adores. Prompted by a letter of warning, Jack decides to prove his sweetheart's love. One reason is that he privately disapproves of the way Clara and her mother have treated a poor relation, an orphan girl, who has been left in their care. Instead of giving her a home, they make a servant of her. Jack's plot works like a charm. His faithful valet gives the newspapers the story of the failure of Jack's mind, and that young man's ruin. Clara reads it and when Jack calls and admits that the reports are correct, she returns his ring and says that all is over between them. In fact the only person in the house that shows any sympathy for Jack is the poor relation, May Dustin, and naturally he compares her with the heartless society girl. Jack wants to see more of May, and invents a unique way of doing so. He buys out the milkman who serves the family, and in that way is able to call on May everyday. Liking soon ripens into love, and May agrees to wed Jack, although thinking he has nothing in the world but a meager salary. After marriage she is told the truth and finds that her husband has money enough to supply her every wish. As for Clara, she has lost her only chance to win a prized millionaire." ## Production The writer of the scenario is unknown, but it was most likely Lloyd Lonergan. He was an experienced newspaperman employed by The New York Evening World while writing scripts for the Thanhouser productions. The film director is unknown, but it may have been Barry O'Neil or Lucius J. Henderson. Cameramen employed by the company during this era included Blair Smith, Carl Louis Gregory, and Alfred H. Moses, Jr. though none are specifically credited. The role of the cameraman was uncredited in 1910 productions. The cast credits are unknown, but many 1910 Thanhouser productions are fragmentary. In late 1910, the Thanhouser company released a list of the important personalities in their films. The list includes G.W. Abbe, Justus D. Barnes, Frank H. Crane, Irene Crane, Marie Eline, Violet Heming, Martin J. Faust, Thomas Fortune, George Middleton, Grace Moore, John W. Noble, Anna Rosemond, Mrs. George Walters. This film was an early example of the use of the character names Jack and May, which were repeatedly used by Lonergan in various productions. Film historian Q. David Bowers mentions that patrons who watched the film did not know the protagonist's name, as "it must have become a studio joke to decide who was to play Jack and who was to play May. In actuality, names such as Jack and May were used in printed synopses to keep track of who was who, but such names were usually not mentioned in the film's subtitles." The previous and first usage of the two leading character roles was in Dots and Dashes. ## Release and reception The single reel drama, approximately 1,000 feet long, was released on December 16, 1910. At least one theater advertised the film as a comedy instead of a drama. The film had a wide national release, theaters showing the film include those in Kansas, Pennsylvania, South Dakota, and Arizona. The film was shown in Singapore in 1913. The New York Dramatic Mirror praised the film for its well-execution, but it didn't miss a chance to balance it by criticizing the actor who played the milkman, "The Laura Jean Libbey style of romance is here presented with more than the usual success. ... The purchase of the milk delivery job was not convincing and the milkman talked too much at the camera; otherwise the picture is not seriously defective in detail." The Moving Picture World gave a positive review, concluding that "The life and action which characterize the Thanhouser productions are all present, while the photography is satisfactory and helps to make a good picture." An unrelated comedy film with the same title was released by Pathé Frères on December 25, 1912. ## See also - List of American films of 1910	[ "## Plot", "## Production", "## Release and reception", "## See also" ]	1,110	372
15,634,987	Boyce McDaniel	1,139,563,893	American nuclear physicist (1917–2002)	[ "1917 births", "2002 deaths", "Accelerator physicists", "American nuclear physicists", "Cornell University alumni", "Cornell University faculty", "Manhattan Project people", "Members of the United States National Academy of Sciences", "People from Brevard, North Carolina" ]	Boyce Dawkins McDaniel (June 11, 1917 – May 8, 2002) was an American nuclear physicist who worked on the Manhattan Project and later directed the Cornell University Laboratory of Nuclear Studies (LNS). McDaniel was skilled in constructing "atom smashing" devices to study the fundamental structure of matter and helped to build the most powerful particle accelerators of his time. Together with his graduate student, he invented the pair spectrometer. During World War II, McDaniel used his electronics expertise to help develop cyclotrons used to separate Uranium isotopes. McDaniel is also noted as having performed the final check on the first atomic bomb prior to its detonation in the Trinity test. ## Biography Born in Brevard, North Carolina, McDaniel attended Chesterville High School in Ohio. After graduating in 1933, he attended Ohio Wesleyan University, from which he graduated in 1938 with a Bachelor of Science. His initial postgraduate studies took place at the Case School of Applied Science, graduating with a master's degree in 1940. McDaniel continued postgraduate studies when he moved to Cornell University, and in 1943 he completed his doctoral thesis, examining the absorption rates of neutrons in indium. The research was not classified, but McDaniel and Robert Bacher, his adviser at Cornell, marked it as "secret" on their own initiative. From Cornell, McDaniel moved to MIT where he held a postdoctoral position, studying "the rapidly evolving field of fast electronics", which he applied to research in particle physics. After the outbreak of World War II, McDaniel joined Bacher in Los Alamos, New Mexico to work for the Manhattan Project, where he became a part of Robert R. Wilson's cyclotron research team. McDaniel was to have "a crucial role in helping to identify the amount of uranium-235 needed to ... detonate the world's first nuclear bomb". McDaniel is also noted as having performed the final check on the first atomic bomb prior to its detonation in the Trinity test. McDaniel was one of many Manhanttan Project researchers to join the Cornell faculty after the war. He became an assistant professor in 1946 and became a full professor in 1955. With his Ph.D. student Robert Walker, he invented the pair spectrometer, a device that measures gamma ray energies. He was a co-founder of Cornell's Laboratory for Nuclear Studies (LNS) and had helped create the 300 megavolt (MeV) electron synchrotron, one of the first such accelerators in the world. He and Wilson, who was McDaniel's predecessor as director of LNS, built three more electron synchrotrons of 1 GeV, 2 GeV, and 10 GeV, each of which enabled physicists to study phenomena in a new energy range. McDaniel quickly earned a reputation as a hands-on designer as indicated by this episode in the construction of the 300 MeV synchrotron: > The magnet coil was wound incorrectly, a fatal flaw. To get it repaired by the manufacturer could take months. Mac made a toy model of the coil, studied it carefully for an evening, and discovered an ingenious but simple way to repair it, which he did in about a day, and defused the crisis. He was a Fulbright research fellow in 1953 at the Australian National University and a Guggenheim fellow in 1959 at the University of Rome. In 1967, McDaniel became director of LNS and served until he retired from the Cornell faculty in 1985. He research included important measurements with each of the series of LNS accelerators, including studies lambda-meson photo production, K-meson production, and measurements of the neutron electromagnetic form factors. Wilson and McDaniel continued to collaborate at Cornell until Wilson left to head Fermilab in Batavia, Illinois in 1967. In 1972, Wilson invited McDaniel to serve as acting head of the accelerator section at Fermilab, and McDanield took a one-year leave of absence from Cornell. Though the Fermilab accelerator had been placed into operation, it suffered from frequent component failures. When McDaniel left eight months later, he led the effort which increased the power of Fermilab's accelerator from 20 GeV to 300 GeV and its beam density by a factor of 1000. Of McDaniel's contribution to Fermilab, Wilson said, "This bravura performance demonstrated Mac’s skill for leadership as well as his celebrated sixth sense for finding sources of trouble and fixing them.” Upon returning to Cornell in 1974, McDaniel proposed upgrading the then existing 10 GeV synchrotron with an 8 GeV electron-positron storage ring, which would greatly increase the energy of particle collisions when the particles in the storage ring hit the particles traveling in the opposite direction in the synchrotron. When constructed in 1979, the Cornell Electron Storage Ring became the world's primary source of information about one of the fundamental building blocks of matter, the b-quark. After the end of particle physics experiments 20 years later, CESR is now used as a test facility of damping rings for a future international linear collider. In 1981, McDaniel developed a proposal for a new mile-diameter electron-positron collider called CSER II, but could not obtain the necessary \$200 million in funding for it. In 1988, McDaniel was Visiting Distinguished Professor at Arizona State University. When interviewed in 1973 about his feelings on his work resulting in the dropping of atomic bombs on Japanese cities, McDaniel said: > It's so difficult to assess these things today. I would have preferred to see a demonstration and am rather sad that it didn't work out that way ... but I don't know if it would have worked out as a useful venture. I have no idea what the Japanese would have done. ### Sexual harassment allegation In 1975, 11 years before the Supreme Court decision in Meritor Savings Bank v. Vinson recognized sexual harassment as a violation of the Civil Rights Act of 1964, Carmita Dickerson Wood, an administrative assistant to McDaniel, quit her job after years of alleged sexual harassment by McDaniel, bringing her case to Lin Farley and the Working Women United organization which Farley chaired. Wood was denied unemployment benefits by Cornell after having cited "personal reasons" as the cause of her departure. She was later placed in another job on Cornell's campus. No formal investigation into the allegations was conducted, and McDaniel was not formally investigated by Cornell nor reprimanded. Nevertheless, the incident contributed to a surge in interest in workplace sexual harassment which culminated in the 1986 decision. ## Honors McDaniel was elected to the National Academy of Sciences in 1981. He was a governing board member of Fermilab, a trustee of the Associated Universities, a member of the Department of Energy High Energy Advisory Panel, a trustee of the Universities Research Association and a board member of Brookhaven National Laboratory. In 1993, the McDaniels donated a farm to the Cornell Plantations, which named the 60.6 acre property the Jane McDaniel Preserve. In 2002, McDaniel died of a heart attack in Ithaca, New York, aged 84. ## See also - List of accelerators in particle physics	[ "## Biography", "### Sexual harassment allegation", "## Honors", "## See also" ]	1,526	23,286
53,683,777	Peter Edwards (historian)	1,145,639,777	Australian diplomatic and military historian (born 1945)	[ "1945 births", "Academic staff of the Australian National University", "Academic staff of the University of Adelaide", "Alumni of Wadham College, Oxford", "Australian Rhodes Scholars", "Australian military historians", "Harkness Fellows", "Living people", "Members of the Order of Australia", "People educated at Christ Church Grammar School", "University of Western Australia alumni" ]	Peter Geoffrey Edwards, AM (born 29 August 1945) is an Australian diplomatic and military historian. Educated at the University of Western Australia and the University of Oxford, Edwards worked for the Department of Foreign Affairs, the Australian National University and the University of Adelaide before being appointed Official Historian and general editor of The Official History of Australia's Involvement in Southeast Asian Conflicts 1948–1975 in 1982. The nine-volume history was commissioned to cover Australia's involvement in the Malayan Emergency, Indonesia–Malaysia confrontation and Vietnam War. Edwards spent fourteen years at the Australian War Memorial (AWM) writing two of the volumes, while also researching, editing, and dealing with budget limitations and problems with staff turnover. Since leaving the AWM in 1996, Edwards has worked as a senior academic, scholar and historical consultant. In 2006 his book Arthur Tange: Last of the Mandarins won the Queensland Premier's History Book Award and the Western Australian Premier's Book Award for Non-Fiction. ## Early life and education Edwards was born on 29 August 1945 in Watford, England, to Geoffrey and Joan Edwards. The family moved to Australia in 1950, where Peter was educated at Christ Church Grammar School, Perth. At school Edwards was head prefect, captain of debating and the shooting club and won prizes in English, Latin, French and athletics. He graduated from the University of Western Australia with a Bachelor of Arts with Honours, and in 1967 received a Rhodes Scholarship to undertake doctoral studies at Wadham College, Oxford. ## Career On graduating from Oxford, Edwards was employed as a Historical Research Officer within the Department of Foreign Affairs from 1971. Here, he worked as an editor on the first three volumes of Documents on Australian Foreign Policy, 1937–49. The volumes, published between 1975 and 1979, dealt with the build-up towards and initial period of the Second World War. Edwards was awarded a Harkness Fellowship to Duke University in Durham, North Carolina, in 1975, and moved over to the Australian National University (ANU) as a research fellow in history later that year. In 1978 he was appointed to the University of Adelaide as Master of St. Mark's College. Work on his first authored history, Prime Ministers and Diplomats, was completed during this time. The book was published in 1983 by Oxford University Press. ### Official historian In 1982 Edwards, by now an established scholar of diplomatic history, was appointed Official Historian and general editor of The Official History of Australia's Involvement in Southeast Asian Conflicts 1948–1975. Based out of the Australian War Memorial (AWM) in Canberra, the multi-volume history was commissioned to cover Australia's involvement in the Malayan Emergency, Indonesia–Malaysia confrontation and Vietnam War. Edwards continued the tradition established by Charles Bean, Gavin Long and Robert O'Neill in Australia's earlier official war histories by adopting a holistic approach that sought to analyse the operational, strategic, political, social and medical aspects of the Australian experience. In dealing with twenty-seven years of history, the series spanned the longest period of an Australian official history commissioned to that time. The result was a nine-volume series, published between 1992 and 2012, with contributions from nine historians. Edwards authored two of the volumes. Crises & Commitments (1992), written with Gregory Pemberton, analysed the political and diplomatic history of Australia's involvement in the three conflicts up to 1965, while A Nation at War (1997) covered the political, diplomatic and social history of Australia's Vietnam War from 1965 to 1975. Crises & Commitments received a somewhat contentious reception. John Murphy criticised the volume for what he saw as an overemphasis on the diplomatic and for skirting the social controversies of the Vietnam era; he also questioned the need for an official history. Pemberton, a senior researcher on the history who drafted several of the earlier chapters before leaving the project acrimoniously in 1990, took issue with the book as well, arguing that his input "had been censored and sanitised in the final product". Edwards acknowledged substantial rewrites to Pemberton's drafts in the foreword to Crises & Commitments, but the extent of and reasoning for the changes were not made clear. A Nation at War experienced a warmer reception, winning the Foundation of Australian Literary Studies Award and H. T. Priestley Medal. In spite of Murphy's doubts, the official history series was also "praised [for] its detached and scholarly analysis of complex events", according to the Oxford Companion to Australian Military History. However, the project was not without its trials. Edwards' initial plan to employ a team of writers was thwarted by a lack of resources and funds. He instead had to enlist for some of the volumes historians based outside of the AWM, who agreed to work on the history without financial compensation. The series also experienced problems with staff turnover. Aside from Pemberton, the unexpected death in 1998 of Ian McNeill, author of the volumes on the Australian Army, caused extensive delays to the series' completion. The first seven volumes (including McNeill's To Long Tan [1993], dealing with army operations up to 1966), were delivered in a timely fashion and published successively from 1992 to 1998. However, McNeill's next volume was only partway written when he died. His research assistant, Ashley Ekins, was eventually appointed to complete the series. On the Offensive was published in 2003, while the final volume, Fighting to the Finish, appeared in 2012—two decades after the first volume, and sixteen years after Edwards' position at the AWM had ended. Again following the path of Bean and Long, Edwards was then commissioned by the AWM to write a single-volume summary of the series. Australia and the Vietnam War was published by NewSouth in 2014. ### Senior scholar On leaving the AWM in 1996, Edwards was appointed executive director of the Australian Centre for American Studies (1996–1998). He was a senior tutor at St Paul's College, University of Sydney in 1998, and from that year until 2005 was a senior consulting historian at the AWM. In 2001 Edwards was appointed a Member of the Order of Australia for his "service to the recording of Australia's military history" as Official Historian. Later that year he was a visiting scholar at the John Curtin Prime Ministerial Library, Curtin University, and made a visiting professor at the Australian Defence Force Academy, a position he held until 2008. Edwards' biography of public servant and diplomat Sir Arthur Tange was published in 2006. The book, Arthur Tange: Last of the Mandarins, had been supported by a 1999 Harold White Fellowship at the National Library of Australia, and went on to win the Queensland Premier's History Book Award and the Western Australian Premier's Book Award for Non-Fiction. He later edited Tange's memoirs for publication: Defence Policy-Making: A Close-Up View, 1950–1980 was released in 2008, seven years after Tange's death. Edwards was made a Fellow of the Australian Institute of International Affairs in 2009. The following year he co-authored with Wendy Hillman A School with a View, a centenary history of his former high school, Christ Church Grammar. He has been an Honorary Professor at Deakin University since 2012 (a position he previously held from 1999 to 2005) and at the ANU since 2014. He is a previous contributing editor of the Australian Journal of International Affairs (2002–2008), and was a trustee of the Shrine of Remembrance from 2002 to 2009. ## Personal Edwards has been married to Jacky Abbott since 20 September 1997, and has two daughters from a previous relationship. He describes his key interests as "reading", and lives in the Melbourne suburb of North Fitzroy.	[ "## Early life and education", "## Career", "### Official historian", "### Senior scholar", "## Personal" ]	1,674	16,214
19,087,733	Dwight Johns	1,168,716,362	United States Army general	[ "1894 births", "1977 deaths", "20th-century American engineers", "American military engineers", "Engineers from Illinois", "MIT School of Engineering alumni", "Military personnel from Illinois", "People from Rockford, Illinois", "Recipients of the Distinguished Service Medal (US Army)", "Recipients of the Legion of Merit", "United States Army Command and General Staff College alumni", "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" ]	Brigadier General Dwight Frederick Johns (16 May 1894 – 8 November 1977) was an American soldier and general in the first half of the 20th century. He is best known for his service in the South West Pacific Area during World War II, where he headed the Advance Base and the Combined Operations Service Command during the Kokoda Track campaign and the Battle of Buna-Gona. He later commanded the Advance Base at Lae and Finschhafen, and the Engineer School at Fort Belvoir. After the war he headed the Pacific Engineer Division, where he was responsible for a number of important flood control and irrigation projects. ## Education and early life Dwight Frederick Johns was born in Rockford, Illinois on 16 May 1894. He entered the United States Military Academy at West Point as an appointee from Illinois in 1912 and graduated sixth in the class of 1916. He was commissioned as a second lieutenant in the United States Army Corps of Engineers in June 1916. His fellow graduates included future general officers such as Fay B. Prickett, Stanley Eric Reinhart, Otto F. Lange, Raymond G. Moses, Calvin DeWitt Jr., Joseph M. Tully, Wilhelm D. Styer, Robert Neyland, William R. Woodward, Thomas D. Finley, Robert B. McBride, Horace L. McBride and William M. Hoge. ## World War I Johns initially served at the United States Military Academy as an instructor in the Department of Tactics but in July 1916 he was posted to the 1st Battalion of Mounted Engineers on the Mexican Border. He served with the Pancho Villa Expedition from November 1916 to February 1917, when the 8th Engineers returned to El Paso, Texas. Johns was promoted to captain in May 1917 and major in May 1918. He commanded the 8th Engineers from April to August 1918. Returning to the United States Military Academy in August 1918, he became an instructor in Drawing from August to December 1918, and in Tactics from November to December 1918. From December 1918 to mid-1919 he was an instructor in Mathematics. ## Between the wars Like most officers in the aftermath of World War I, Johns was reduced in rank to his substantive rank of captain in August 1919, but was promoted to major again in February 1921. In June 1921 he entered the Massachusetts Institute of Technology, from which he graduated in June 1922 with a Bachelor of Science degree, majoring in civil engineering. He then became Assistant District Engineer of the Detroit River and Harbour District. In 1924 he was posted to the 11th Engineers, based in the Panama Canal Zone. He returned to the United States in 1927 to take up an appointment in the Office of the Chief of Engineers. From 1931 to 1933 he was a student at the Command and General Staff College at Fort Leavenworth. After graduating, he became District Engineer at St Paul, Minnesota. On 1 July 1937, he was promoted to lieutenant colonel. He attended the U.S. Army War College from 1937 to 1938, then became at instructor at the Command and General Staff College. ## World War II In 1940 Johns became commanding officer of the 21st Engineers. The 21st Engineers were assigned the task of investigating techniques for the rapid construction of air bases. As such, Johns was involved in the development of a number of new construction techniques, most notably the use of Marston Mat. His expertise in airbase construction led to Johns being sent to the South West Pacific as Chief Engineer, American Forces in Java. Departing Washington, D.C. by air on 14 January 1942, Johns arrived in Surabaya nine days later. His first mission was to provide airfield facilities on Java for 2,000 aircraft. Tapping into the vast resources of labour available in one of the world's most densely populated regions, Johns set about readying the required airfields. However, Java was captured by the Japanese before the aircraft arrived. Johns reached Australia on 28 February 1942 and became Chief Engineer, United States Army Forces in Australia (USAFIA), with the rank of brigadier general. As such, Johns represented the US Army on the Allied Works Council, the body controlling and coordinating all construction activities in Australia. With the arrival in Australia of General Douglas MacArthur, Brigadier General Hugh John Casey, who had accompanied MacArthur from the Philippines, became Chief Engineer at General Headquarters (GHQ), South West Pacific Area (SWPA). Johns, who was in an earlier class at West Point than Casey, remained Chief of Engineers, USAFIA until 25 May 1942, when he became Chief of Staff of US Army Services of Supply (USASOS). When the Kokoda Track campaign became mired in logistical difficulties, MacArthur and General Sir Thomas Blamey agreed to establish a Combined Operations Service Command (COSC) under New Guinea Force to co-ordinate logistical activities in Papua-New Guinea. Johns was designated commander of both COSC and the Advance Base, New Guinea on 8 October 1942. He was given an Australian deputy, Brigadier Victor Secombe, a Royal Australian Engineers officer. All Australian and American logistical units were placed under COSC but Johns chose to exercise command of the Australian units through Secombe. They built an organization that "was a radical departure from that which the Australian Army considered normal administrative procedure, but was adequately to meet the novel demands of a campaign in a country lacking roads and railways, in which all transport had to be by sea or air, and in which often the administrative or base areas coincided with the operational areas." Johns later wrote that: > [COSC] had the responsibility – and the authority – to get the maximum utilization out of what means were available. The commander of COSC had the authority, with the approval of GOC New Guinea Force, to call on the local commanders of the Allied Ground Forces, Air Forces, Naval Forces or United States Army Services of Supply for such means as were available to assist in meeting any service problem. GHQ directive provided that such local commander, when called upon, "will furnish". Therein lay the authority of COSC. Johns impressed Australian officers with his sensitive handling of inter-Allied issues, his co-operative nature, and his ability to get the job done. Lieutenant General Edmund Herring, who came to regard Johns as a close friend, later described Johns and Secombe as "born co-operators." One of Johns' most important decisions involved the construction of a new deep-water berth for Liberty ships at Tatana Island. This involved building a causeway out to the island. The project would double the capacity of the port of Port Moresby, but to build it Johns had to divert the African-American 96th Engineers from work on the airfields around Port Moresby, raising fears from airmen like Brigadier General Ennis Whitehead that the airfields would not be ready for all-weather operations by the time that the rainy season arrived. Rains in late October did indeed close three airfields but the causeway opened on 30 October and the wharf accepted its first ship on 3 November. Johns relinquished his roles in Papua and resumed his former post at USASOS in March 1943, being replaced by Brigadier General Hanford MacNider. In turn, he replaced MacNider as GHQ Coordinator, Milne Bay in October 1943. As such, he was responsible for all logistical activities at what was now the major US base in Papua-New Guinea. On 15 December 1943, he became Coordinator, Finschhafen. Finschhafen was destined to become the new hub of US activity in Papua-New Guinea; but an enormous amount of work was required to get the base ready for action. For his service in New Guinea, Johns was awarded the Distinguished Service Medal. In 1944, Johns became commandant of the Engineer School at Fort Belvoir. The wartime Engineer School was responsible for the training of officers. Some were engineers in civilian life who were trained as officers; other were officers transferred from other arms who were given training in engineering subjects. The Officer Candidate School (OCS) prepared enlisted men for commissioning as officers. There had been strong criticism of the content of training courses from SWPA, where it was the norm for machinery to be operated around the clock and for engineer officers to supervise all manner of construction tasks. The commanders there felt that the training courses taught by the Engineer School were concentrating too much on leadership in combat, and not enough on technical matters, such the operation and maintenance of construction equipment. Johns reformed the curriculum, but by this time it was too late for the changes to have much effect in the overseas theaters of operations. For his work at Fort Belvoir, Johns was awarded the Legion of Merit. ## Later life Johns was Assistant Chief of Engineers for Military Operations from June 1945 to March 1947. He reverted to his permanent rank of colonel in March 1946. In June 1947 Johns became commander of the Pacific Engineer Division, based in San Francisco, responsible for the southern half of the Pacific coast. As such he was involved with a number of important construction projects, including the Sacramento Deep Water Ship Channel, the Folsom Dam, the Isabella Dam, the Pine Flat Lake, and the Merced River projects. Johns retired from the army as a brigadier general on 31 December 1949. In retirement, Johns was awarded the Gold Medal from the Society of American Military Engineers in 1950, and served as its president in 1953. Johns maintained the wartime friendships he had made, and with his wife Laura he entertained Australian general Sir Edmund Herring in their home in Piedmont, California in 1967. Johns died on 8 November 1977.	[ "## Education and early life", "## World War I", "## Between the wars", "## World War II", "## Later life" ]	2,074	3,061
51,618,612	John Wayne (song)	1,171,742,480	null	[ "2016 songs", "American pop rock songs", "Cultural depictions of John Wayne", "Lady Gaga songs", "Music videos directed by Jonas Åkerlund", "Song recordings produced by BloodPop", "Song recordings produced by Lady Gaga", "Song recordings produced by Mark Ronson", "Songs about cannabis", "Songs written by BloodPop", "Songs written by Josh Homme", "Songs written by Lady Gaga", "Songs written by Mark Ronson" ]	"John Wayne" is a song recorded by American singer Lady Gaga, for her fifth studio album, Joanne (2016). Gaga co-wrote and co-produced the track with Mark Ronson and BloodPop, with additional writing from Josh Homme who also played guitar. "John Wayne" is a pop rock song that features elements of country, disco, funk, and house music. It derives its name from American actor John Wayne, who was known for his roles in Western films. The lyrics talk about Gaga's romantic craving for a wild, blue-collar man and smoking cannabis. Some critics felt that "John Wayne" might portray Gaga's relationship with her ex-fiancé Taylor Kinney. Reviewers noted the song's tongue-in-cheek lyrics, and some of them criticized its musical composition. The song had minor chart placements in Hungary and the United Kingdom. Jonas Åkerlund directed the song's accompanying music video released on February 8, 2017, through Apple Music. It continues a storyline that started with the videos for singles "Perfect Illusion" and "Million Reasons", and portrays Gaga in different action-packed sequences. The clip received positive feedback for hearkening back to Gaga's older videos, and taking inspiration from action films. Gaga performed "John Wayne" as part of her set at the Victoria's Secret Fashion Show 2016, the 2017 Coachella Valley Music and Arts Festival, and at the Joanne World Tour (2017–2018). ## Recording and composition Lady Gaga recorded "John Wayne" at four locations in the United States. She began recording at Shangri-La Studios, in Malibu, California, with Joshua Blair, assisted by David Covell. They also recorded the song at Pink Duck Studios in Burbank, California, with Justin Smith. He continued recording at Electric Lady Studios in New York City, assisted by Barry McCready. Recording concluded at Dragonfly Recording Studios, in Malibu, assisted by Charley Pollard. Tom Elmhirst mixed the song at Electric Lady Studios, with assistance from Joe Visciano and Brandon Bost. Other personnel included Mark Ronson, who played bass and guitar for the song, BloodPop, who processed the rhythm track and synthesizers and Josh Homme, who played drums and guitar. Homme added a guitar part to the song after Ronson reached out to him. "John Wayne" is composed in the key of B minor with a tempo of 92 beats per minute. Gaga's vocals span the nodes of A<sub>4</sub> to D<sub>6</sub>, and its chord progression follows a basic sequence of B<sub>5</sub>–A<sub>5</sub>–E–B<sub>5</sub>–A<sub>5</sub>.s It is a pop rock song, which has influences of other genres including country, disco, funk, and house music. According to Mikael Wood of the Los Angeles Times, classifying the genre of the song is difficult as it combines "tinny Euro-house synths, slowed-down funk drums and a boot-scooting bass line straight out of Nashville". The track has "tongue-in-cheek" lyrics, referring to a cowboy in the opening verse: "I just love a cowboy, I know it's bad, but I'm, like, can I just hang off the back of your horse and can you go a little faster?" The track's lyrics allude to smoking cannabis, and dating working-class men from Republican states, rather than urban men. In an interview with Zane Lowe at Beats 1, Gaga revealed that with "John Wayne" she explored her constant need to chase wild men, and how she keeps getting "bored of the same old John". The song derives its title from John Wayne, an actor who starred in Western films. Sabienna Bowman of Bustle magazine felt that although Wayne did not have any connection with Gaga, his films served as the "perfect metaphor" for the song's protagonist and her craving for wild men. Rob Sheffield of Rolling Stone compared "John Wayne"'s lyrics with Paula Cole's "Where Have All the Cowboys Gone?" (1996); in the latter, Cole asks "Where is my John Wayne?" Andrew Unterberger of Billboard speculated that the lyrics, "He called, I cried, we broke," could relate to Gaga's breakup with her fiancé Taylor Kinney. Bustle's S. Atkinson noted that the song portrays an "intense, doomed relationship" comparable to Gaga and Kinney's; she concluded that the song is about Kinney, despite him being neither a blue-collar worker nor from a Republican state. ## Critical reception While reviewing Joanne, The Atlantic's Spencer Kornhaber wrote that "John Wayne" was an indication of the musical direction the parent album could have gone, with Gaga's fascination with the Western genre. "When she screams 'go FASTER!' in the song's intro, it's one of the album's few examples of Gaga doing what Gaga got famous for, glorifying the extreme," he added. Similar thought was echoed by Andy Gill of The Independent, who found that the "more stolidly rockist fare" and "rock n' roll authenticity" that Gaga sought with Joanne, works best on "John Wayne" and "A-Yo". He believed Homme's "gritty riffing and imaginative lead lines," and "spiky but fluid breaks" made it one of the album highlights. Maeve McDermott of USA Today wrote that "Gaga proves she can still make pop songs that fit Joanne's twangier direction, nailing the balance" on "John Wayne", along with another song, "Diamond Heart", calling them "stadium-sized tracks that sound written with her huge Super Bowl halftime stage in mind". Daniel Welsh of HuffPost was positive in his review of the track. He called it "one of the more important moments of Joanne, and a welcome relief". Welsh further described "John Wayne" as a stand-out of the album, and complimented Gaga's tongue-in-cheek references in the lyrics. Sal Cinquemani of Slant Magazine thought that "Gaga's fetishizing of blue-collar men as 'red-state treasure[s]' on 'John Wayne' is delivered with the same swagger she brandished on The Fame Monsters 'Teeth.'" Mike Schiller of PopMatters had a negative view of "John Wayne" and gave it a 4/10 rating. He said the track has "lot of energy but [it] can't find a memorable melody to save its life". Scott Zuppardo of the same publication was dismissive of the song, writing, "Gaga makes more bubble gum pop, shocking!" Jezebel writer Bobby Finger called the song "silly", while Anna Gaca of Spin described it as "overstuffed". The Chicago Tribune's Greg Kot wrote that the song is an "embarrassing hoedown ... which piles on the bad-boy-goes-to-the-rodeo cliches". Mic writer Mathew Rodriguez felt that the song was a rehash of "4x4" (2013) by Miley Cyrus that "exposes how uncomfortable Gaga feels in her new persona". Time Out said that "John Wayne" took Joanne's country theme "too literally" and panned its title. Writing for Contactmusic.com, Eoin Hanlon said that "John Wayne" and another Joanne track, "Come to Mama", "are possibly some of the worst songs Gaga has ever released". ## Music video ### Development and synopsis The song's music video, directed by Jonas Åkerlund, premiered on Apple Music on February 8, 2017. Gaga had previously worked with Åkerlund on the "Paparazzi" (2009) and "Telephone" (2010) music videos, and wanted to work with him again. She enlisted him to direct "John Wayne" thinking the song "perfect" for them to work on together. Gaga said, "[Åkerlund] got from me the visions on the song, like falling off the back of a horse but I hold on and carry on enjoying it, or a scene with a guy and me in a car and being reckless to see how reckless love can be. He has a very cinematic approach but doesn't forget to make it a music video." Serial Pictures production company created the video with Violaine Etienne as executive producer, assisted by Scott Pourroy and Michel Waxman. Åkerlund was helped by Andy Coffing as first assistant director. Other personnel who worked on the video include: Par Ekberg as cinematographer, Emma Fairley as production designer, Matt Nee as the editor and Chimney Pot for the post-production scenes. The "John Wayne" video begins with a clip from the end of the music video for "Million Reasons". Gaga wears her characteristic Joanne-era outfit: a pale pink suit and matching cowboy hat. Shortly after the video begins, she removes that clothing in favor of more-revealing cowgirl-inspired clothing. It continues with scenes of fast driving in cars and on motorcycles. The video cuts among a variety of exaggerated set pieces, and shots of Gaga dancing and singing. At the end of the video, Gaga is seen firing bullets from the heels of her thigh-high boots. The singer did her own stunts in most of the scenes, including jumping in high-heels from the top of a truck onto the cars. ### Reception and analysis Several critics noted that the video was comparable to Gaga's earlier music videos. Hunter Harris of New York magazine wrote that the video was "like something from Gaga's The Fame Monster or Born This Way (2011) eras". Andrew Unterberger of Billboard said that the music video for "John Wayne" was like the video for "'Telephone' ... if it used the Grindhouse double-bill as its primary Tarantino influence instead of Natural Born Killers." Kaitlyn Tiffany of The Verge considered the video an "entire B movie in under three minutes". She also felt the video was inspired by 1980s monster movies, the action film Mad Max (1979), as well cowboy films starring Wayne. Tiffany compared the dance sequences to those in Michael Jackson's Thriller (1984), while another writer Lizzie Plaugic recommended watching the last sequences of the video, with all scenes mashed together. Amy Phillips of Pitchfork wrote, "it's a return to the cheeky, fun maximalism of old Gaga videos", "there's a car chase, lots of fire, explosions, crazy costumes, and jokes. At one point, Gaga shoots bullets from her high heels." Time magazine's Raisa Bruner described the video's content as "return to peak Gaga": "shocking costumes, uninhibited group choreography and over-the-top stunt work for maximum visual impact". She gave the video's direction a positive review: "Gaga and Åkerlund aren't afraid to make the viewer uncomfortable and play with the destructive impacts of violence and passion, which is a good match for the masochism of the song." Spin's Anna Gaca wrote in her review of the video: "This Jonas Åkerlund-directed acid horror Western is a hell-on-wheels bad trip, jam-packed with neon lighting, vampy looks, and 'professional driver on a closed course' stunts." Gaca commented that the video was even more "overstuffed" than the song. At the 2017 Clio Awards, the clip was awarded the Silver Winner category for music videos. ## Live performances Gaga first performed "John Wayne" live at the Satellite in October 2016, which was the third stop of her Dive Bar Tour, a brief promotional tour of dive bars in the United States. She next performed the song along with "A-Yo" during the Victoria's Secret Fashion Show in November 2016. The singer wore a glittering, black bodysuit with a big leather belt, high platform boots and a black, Swarovski-crystal-embellished hat for "John Wayne". Near the end of the performance, two women came on stage, putting a white leather jacket on the singer, with angel-wing-like white feathers attached to it. The wings enlarged when Gaga walked the runway during the end of the performance. "John Wayne" was part of Gaga's set list at the 2017 Coachella Festival. She dedicated the track to all the "dangerous men" who come to music festivals. For the Joanne World Tour (2017–2018), Gaga performed "John Wayne" after her first costume change. It was preceded by a video interlude showing Gaga driving a vintage car, spinning up pink dust. After the clip, Gaga returned to the stage wearing black leather fringe costume-made by Alexander Wang, along with a black cowboy hat and over-the-knee boots. Flamethrowers accompanied Gaga and her dancers, spitting fire in the background. ## Credits and personnel Management - Stefani Germanotta P/K/A Lady Gaga (BMI) Sony ATV Songs LLC / House of Gaga Publishing, LLC / BIRB Music (ASCAP) - All rights administered by BMG Rights Management / Songs of Zella (BMI) - Recorded at Shangri-La Studios, Dragonfly Recording Studio (Malibu, California), Pink Duck Studios, (Burbank, California), Electric Lady Studios (New York City) - Mixed at Electric Lady Studios (New York City) - Mastered at Sterling Sound Studios (New York City) Personnel - Lady Gaga – vocals, production - Joshua Blair – recording - BloodPop – rhythm track, synthesizer, production - Brandon Bost – mixing assistant - David Covell – recording assistant - Tom Elmhirst – mixing engineer - Josh Homme – drums, guitar - Barry McCready – recording assistant - Charley Pollard – recording assistant - Mark Ronson – bass, guitar, production - Justin Smith – recording assistant - Joe Visciano – mixing assistant Credits adapted from Joanne liner notes. ## Charts	[ "## Recording and composition", "## Critical reception", "## Music video", "### Development and synopsis", "### Reception and analysis", "## Live performances", "## Credits and personnel", "## Charts" ]	2,903	5,573
22,104,615	Well Dunn	1,168,777,172	Professional wrestling tag team	[ "Smoky Mountain Wrestling teams and stables", "USWA World Tag Team Champions", "United States Wrestling Association teams and stables", "WWE teams and stables" ]	Well Dunn, also known as the Southern Rockers, was a professional wrestling tag team who competed in several promotions in the United States. The team was composed of Rex King and Steve Doll, and the team name "Well Dunn" was a play on the term "well done". Accordingly, King wrestled as "Timothy Well" and Doll as "Steven Dunn". King and Doll held championships in Pacific Northwest Wrestling (PNW), the United States Wrestling Association (USWA), the World Wrestling Council (WWC), and Music City Wrestling (MCW). They are best known, however, for competing in the World Wrestling Federation from 1993 to 1995. In the WWF, Well Dunn faced the promotion's top tag teams and were contenders for the WWF Tag Team Championship. They had a feud with The Bushwhackers that lasted for most of Well Dunn's tenure with the company. The team disbanded in 1996, but reunited briefly in 1998. During this reunion, Doll attacked King and the team separated permanently. Doll died from complications related to a blood clot in 2009, and Well died in 2017 from kidney failure. ## History ### Early years Prior to teaming with Rex King, Steve Doll competed in Pacific Northwest Wrestling with partner Scott Peterson as the Southern Rockers. The team was fashioned after The Rock 'n' Roll Express, and Doll and Peterson held the NWA Pacific Northwest Tag Team Championship together seven times. In August 1989, Peterson left the territory and King began teaming with Doll. They won the tag team title by defeating Scotty the Body and The Grappler on August 26. After an inconclusive rematch on September 9, the title was vacated and another rematch was ordered; the Southern Rockers regained the belts one week later. They held the title until PNW ordered it vacated again on November 4 after a match against Brian Adams and Jeff Warner; once again, Doll and King won a rematch the following week to regain the championship. They dropped the title to Adams and The Grappler on December 14, but regained the belts by winning a rematch on January 27, 1990. In February 1990, the Southern Rockers vacated the championship and left PNW. They began competing for the United States Wrestling Association, where they quickly won the USWA World Tag Team Championship. Three days after winning the title belts, King and Doll dropped them to Robert Fuller and Brian Lee. They regained them six days later, however. On April 28, they lost the title to The Uptown Posse, but were able to regain it less than a month later. On June 2, King competed in a handicap match, in which he faced The Dirty White Boys (Tony Anthony and Tom Burton). Unable to defeat both men, he lost the match and the championship. Doll returned to PNW, where he held the tag team title another seven times with various partners. King remained in Tennessee, winning the USWA World Tag Team Championship with Joey Maggs. He later moved to Puerto Rico, where he wrestled for the World Wrestling Council. With Ricky Santana as his new partner, he held the WWC World Tag Team Championship twice. The team separated in May 1992 when Santana did not appear for a match to determine the winners of the vacant tag team title. Scott Peterson died in a motorcycle accident on July 25, 1994, at 31 years old. ### Reunion In June 1992, Doll and King reunited to win the WWC World Tag Team Championship from Doug Masters and Ron Starr. On August 1, the title was vacated due to a controversial finish in a match against a tag team known as Solid Gold. King replaced Doll with Ray González to win the vacant title. The team got back together again in the USWA, where they defeated The Moondogs to win the tag team belts for a fourth time together. Due to an interpromotional agreement between the USWA and the World Wrestling Federation, Doll and King wrestled at several events alongside WWF wrestlers. While in Tennessee, the team showed a "blatant disregard for the rules" and were involved in a storyline in which they were suspended indefinitely from the USWA as a result. ### World Wrestling Federation #### 1993 The team signed with the WWF and took on the new name Well Dunn, with Doll competing as Steven Dunn and King wrestling under the name Timothy Well. They wore bow ties in addition to wrestling singlets with thongs over top. This led wrestling author RD Reynolds to state that the team was "proof positive that bow ties and thongs do not match". On June 15, 1993, they wrestled in their first official WWF match and defeated the team of Tito Santana and Virgil. It was in the WWF that Well Dunn "first experienced widespread fame". In the WWF, they continued to wrestle as heels (rule breakers) and were described as "among the sneakiest and most cunning" teams in the promotion. The team made its WWF television debut on the July 8, 1993, episode of WWF Superstars in a loss to The Smoking Gunns. They teamed with Blake Beverly in a loss to Tatanka and The Steiner Brothers on July 16. They continued to face the WWF's top face (fan favorite) tag teams, including The Smoking Gunns and Men on a Mission. In August, manager Harvey Wippleman began appearing with the team. On the October 10 episode of All-American Wrestling, they defeated Smoky Mountain Wrestling Tag Team Champions The Rock 'n' Roll Express by countout, but did not win the championship. On October 8, 1993, Well Dunn wrestled their first match against The Bushwhackers, who became the team's longtime rivals. During a match against Men on a Mission, Timothy Well sustained an injury. This forced the team out of action in the WWF for several months, although they did return to competing in Tennessee. #### 1994–1995 In February 1994, through Jim Cornette, Well Dunn was sent to Smoky Mountain Wrestling. While there, they feuded with The Thrillseekers (Chris Jericho and Lance Storm), which culminated in a series of penalty box matches. Upon their return to the WWF, Well Dunn had a short series of matches against WWF Tag Team Champions The Headshrinkers, including a match televised on WWF Wrestling Challenge. Well Dunn became involved in a storyline in which Adam Bomb, who was also managed by Wippleman, turned on the manager and began wrestling as a face. On the August 13 episode of WWF Superstars, Well wrestled a singles match against Bomb; Dunn interfered, and Bomb attacked Well Dunn and Wippleman after the match. This led to a blow off match one week later, in which Bomb teamed with The Smoking Gunns to defeat Kwang (another of Wippleman's wrestlers) and Well Dunn. On August 17, the team also served as lumberjacks in a lumberjack match between Bret and Owen Hart. Well Dunn continued to face the top teams in the WWF, including The Smoking Gunns, The Headshrinkers, and the newly formed team of Sparky Plugg and the 1-2-3 Kid. When The Smoking Gunns were unable to compete due to the birth of Billy Gunn's son, Well Dunn competed against The Heavenly Bodies instead; these matches were unusual, as they pitted heel tag teams against each other. As in 1993, Well Dunn lost more matches than they won in each series, but they had occasional victories against established tag teams and were often booked to defeat jobber tag teams. On September 29, Well Dunn began another series of matches against The Bushwhackers. The feud lasted the remainder of the year, although Barry Horowitz substituted for Steven Dunn in several matches when Dunn was unable to appear. The Bushwhackers were victorious in the majority of matches, but Well Dunn won occasional matches. One of these matches was featured on the Coliseum Video release Wham Bam Bodyslam, and another two were televised on Monday Night Raw. During one of the Monday Night Raw matches, The Bushwhackers were accompanied by ring announcer Howard Finkel, who had a long-standing rivalry with Wippleman. Finkel and Wippleman had an argument during the match that led to a tuxedo match, in which Finkel was declared the winner after stripping Wippleman to his underwear. Leading up to the 1995 Royal Rumble pay-per-view, Well Dunn was entered in a tournament for the vacant WWF Tag Team Championship. They were scheduled to face The Smoking Gunns, but Bob Holly (formerly Sparky Plugg) and the 1-2-3 Kid took the Gunns' place; Holly and the 1-2-3 Kid won the match and went on to win the tournament. Eliminated from the tournament, Well and Dunn competed individually in the Royal Rumble match, a battle royal. Well was eliminated by Davey Boy Smith, and Dunn was eliminated by Aldo Montoya. After The Smoking Gunns regained the championship, Well Dunn challenged for the belts in a series of matches, but was unable to win the title. Well Dunn was featured in the Dirtiest Dozen subset of the Action Packed line of WWF trading cards in 1995. The team continued to face the WWF's top tag teams, including The Bushwhackers and The Blu Brothers, but were unable to win any of these matches. The team's final WWF match came in a loss to The Allied Powers, after which Well Dunn disappeared from the WWF. ### Split After a brief tour in All Japan Pro Wrestling in January 1996, King returned to the World Wrestling Council, and Doll went to World Championship Wrestling, before going back to the United States Wrestling Association. In 1997, King returned to the USWA and teaming with Paul Diamond, feuding with Doll and Flash Flanagan. A year later, the team reunited in the Nashville, Tennessee-based Music City Wrestling, where they won the MCW North American Tag Team Championship on May 30, 1998. The reunion was short-lived, as Doll and Reno Riggins attacked King after the match. Riggins took King's place as co-holder of the title with Doll. ## Deaths On March 23, 2009, Steve Doll died when a blood clot from his lungs entered his heart. On January 9, 2017, Rex King died from kidney failure. ## Championships and accomplishments Doll and Peterson - Pacific Northwest Wrestling - NWA Pacific Northwest Tag Team Championship (7 times) Doll and King - Music City Wrestling - MCW North American Tag Team Championship (1 time) - Pacific Northwest Wrestling - NWA Pacific Northwest Tag Team Championship (4 times) - United States Wrestling Association - USWA World Tag Team Championship (4 times) - World Wrestling Council - WWC World Tag Team Championship (1 time)	[ "## History", "### Early years", "### Reunion", "### World Wrestling Federation", "#### 1993", "#### 1994–1995", "### Split", "## Deaths", "## Championships and accomplishments" ]	2,295	22,970
7,951,331	Hurricane Jimena (2003)	1,162,908,822	Category 2 Pacific hurricane in 2003	[ "2003 Pacific hurricane season", "2003 in Hawaii", "2003 natural disasters in the United States", "Category 2 Pacific hurricanes", "Hurricanes in Hawaii", "Tropical cyclones in 2003" ]	Hurricane Jimena was a strong tropical cyclone that brushed Hawaii in early September 2003. It was the tenth named storm and second hurricane of the 2003 Pacific hurricane season. Jimena formed on August 28 in the far Eastern Pacific Ocean as a tropical depression and moved westward where it rapidly became a hurricane the following day. The storm moved westward into the Central Pacific Ocean where it became a Category 2 hurricane on the Saffir–Simpson Hurricane Scale. After reaching its peak strength as a Category 2 hurricane, the storm began to weaken due to increasing wind shear. Jimena brushed past the Hawaiian Islands before becoming a tropical depression on September 3. The weakening storm then crossed the international dateline before dissipating on September 5, becoming one of the few storms to cross both 140oW and International Date Line. Jimena was the first Pacific hurricane to threaten Hawaii since Hurricane Daniel of the 2000 Pacific hurricane season. However, the storm weakened as it passed south of the islands and the effects from Jimena were minimal; there were no reported fatalities or injuries from the storm. ## Meteorological history An area of disturbed weather formed on August 26, 2003, and drifted westward. The disturbed weather then began to organize and the system became a tropical depression on August 28. Moving westward over waters greater than 82 °F (28 °C), Tropical Depression Ten-E rapidly strengthened into a tropical storm and was named Jimena by the National Hurricane Center. Jimena continued to intensify as it moved westward. On August 29, satellite imagery showed a well defined eye developing in the storm as the storm winds increased to 60 mph (97 km/h). Jimena then was upgraded to hurricane status later that day. At 1500 UTC, visible satellite imagery showed the storm having a small cloud filled eye and developing banding features south of the storm's center as Jimena continued to move west northwest. As the hurricane neared the Central Pacific Basin, it winds reached a peak intensity of 105 mph (169 km/h) and its barometric pressure fell to 970 millibars on August 30. At 0600 UTC, the National Hurricane Center issued its last advisory on Jimena as the storm crossed into the Central Pacific Hurricane Center's area of responsibility. On August 31, Jimena encountered strong southerly wind shear, causing it to quickly weaken back to a tropical storm by September 1. Jimena then turned west-southwest where the center of the storm passed 105 miles (169 km) south of Hawaii at 1500 UTC. Jimena continued to weaken as wind shear increased and the storm weakened to a tropical depression on September 3. After weakening back to a depression, Jimena crossed the International Date Line on September 5 at 0600 UTC, where it became the first storm to exist in all three Pacific basins since 1999's Hurricane Dora. However, Jimena was only tracked briefly by the Joint Typhoon Warning Center, since strong wind shear resulted in the low level circulation to be exposed from the center and at 1727 UTC, the low level had nearly dissipated. At 1800 UTC, the Joint Typhoon Warning Center issued their final advisory on Jimena as the storm dissipated 715 miles (1,151 km) southeast of Wake Island. ## Preparations and impact Forecasters at the Central Pacific Hurricane Center began issuing a Hurricane Watch for the Big Island of Hawaii on August 31 at 0000 UTC; the following day the Central Pacific Hurricane Center (CPHC) issued a tropical storm warning at 0300 UTC and a flash flood watch. The watches and warnings prompted residents to board up windows and stock up on emergency supplies. The storm's approach also closed down beaches and prompted officials to cancel outdoor activates as a precaution and the American Red Cross opened shelters and provided emergency services. The preparations for Hurricane Jimena cost the American Red Cross \$5,000 (2003 USD). As Jimena passed south of Hawaii as a weakening tropical storm, it brought high winds and heavy rainfall to the island. High wind gusts of 53–58 mph (85–93 km/h) were reported in South Point and Kahoolawe. In Honolulu, a weather station reported winds of 36 mph (58 km/h) while a station in Kauai reported winds of 22 mph (35 km/h). The storm dropped 6–10 inches of rain across the Big Island. In Glenwood, Hawaii, the storm dropped 8.43 inches (214 mm) of rain. The rainfall from Jimena helped reduce drought conditions across the Big Island. Coastal sections of the Hawaiian Islands reported high surf ranging from 11 to 15 feet (3.4 to 4.6 meters) high. High winds from Jimena knocked down trees and damaged power lines, leaving 1,300 residents without electricity. Heavy rainfall from the storm also caused minor flooding on the eastern side of the Big Island. Offshore, high surf and strong currents brought by the storm resulted in 350 swimmers being rescued by the United States Coast Guard, residents, and state and local police and fire departments. Overall there were no fatalities or injuries from Hurricane Jimena. The name Jimena was not retired by the World Meteorological Organization in the spring of 2004 and was used in the 2009 season. ## See also - List of Hawaii hurricanes - Hurricane Genevieve (2014)	[ "## Meteorological history", "## Preparations and impact", "## See also" ]	1,126	15,857
51,754,543	JDS Akishio	1,096,171,810	Japanese submarine	[ "1985 ships", "Museum ships in Japan", "Museums established in 2007", "Museums in Hiroshima Prefecture", "Ships built by Mitsubishi Heavy Industries", "Yūshio-class submarines" ]	Akishio (SS-579) is a retired Japanese diesel-electric Yūshio-class submarine. She was laid down in 1983, launched in 1985, commissioned in 1986, and served until 2004. She served as part of both the 1st and 5th Submarine Squadrons of the 1st Submarine Flotilla. She took part in numerous drills, including the Pacific Reach 2000 drills. She is now on display outside Kure Maritime Museum. ## Design and construction Akishio was 76.2 metres (250 ft) long, had a beam 9.9 metres (32 ft) wide, had a draught of 10.2 metres (33 ft) and displaced 2,250 tonnes (2,210 long tons; 2,480 short tons) while surfaced, and 2,450 tonnes (2,410 long tons; 2,700 short tons) when submerged. She had a teardrop hull, and was powered by two Kawasaki-MAN V8V24/30AMTL diesel engines, which produced 3,400 brake horsepower (2,500 kW), a Fuji electric motor, which produced 7,200 shaft horsepower (5,400 kW), and was propelled by one shaft, with a five-bladed propeller. She used her diesel engines while surfaced, and her electric motor when submerged. She had a top speed of 12 knots (22 km/h; 14 mph) while surfaced, and 20 knots (37 km/h; 23 mph) while submerged. She was armed with six 21-inch (533 mm) torpedo tubes, and had a complement of 75: 10 officers and 65 enlisted men. She had a test depth of 300 metres (980 ft). She used a Hughes/Oki ZQQ 5 hull mounted sonar, and a ZQR 1 towed array sonar. ## Service history Akishio was laid down in Kobe by Mitsubishi Heavy Industries on 15 April 1983, launched on 22 January 1985, and commissioned on 5 March 1986. Upon being commissioned, on 5 March 1986, Akishio was immediately assigned to the 1st Submarine Squadron of the 1st Submarine Flotilla of the Japan Maritime Self-Defense Force. On 8 June 1990, she was reassigned to the 5th Submarine Squadron, which was also part of the 1st Submarine Flotilla. Her crew was trained by American submariners, from September to October, in 1991. Akishio took part in the Pacific Reach 2000 drills, which took place from 2 to 14 October 2000, off of Singapore. The navies of the United States, Japan, Singapore, and South Korea took part. Because of the Kursk submarine disaster which had happened earlier that year, the Pacific Reach 2000 drills involved submarine rescue exercises, which Akishio performed in. This was the first time Japanese ships had taken part in a multilateral submarine rescue drill, although they had taken part in similar exercises bilaterally, with the US Navy. Japan's constitution places limits on their ability to perform collective-defence drills. Because of this, Japan joined the drills from a humanitarian standpoint, rather than a military one. She was decommissioned on 3 March 2004. After being decommissioned, Akishio was moved from the water, and placed on display outside the Kure Maritime Museum on 5 April 2007. After being placed there, she became known as "Tetu-no-Kujira Kan", or "Iron Whale Museum". The museum has been criticized by many as being too militaristic. One of Japan's national newspapers, Asahi Shimbun, said that the museum focused too much upon military ships and weapons.	[ "## Design and construction", "## Service history" ]	805	32,420
66,000,005	2020 Missouri Amendment 2	1,173,126,127	Ballot initiative to expand Medicaid	[ "2020 Missouri elections", "2020 ballot measures", "Affordable Care Act", "Constitution of Missouri", "Healthcare ballot measures in the United States", "Medicare and Medicaid (United States)", "Missouri ballot measures" ]	2020 Missouri Amendment 2, also known as the Medicaid Expansion Initiative, was a ballot measure to amend the Constitution of Missouri to expand Medicaid under the Affordable Care Act. The initiative was on the August 4, 2020, primary ballot and passed with 53.27% of the vote. Following similar successful ballot initiatives in other states, Republican lawmakers added work requirements to Medicaid expansions, which supporters aimed to prevent by proposing state constitutional amendments for future Medicaid expansions. Opponents sued to prevent the measure from being voted on, but courts ruled in the measure's favor. The measure was supported most in urban areas and opposed in rural areas. After a delay due to a lack of funding and resulting litigation, the initiative was implemented in October 2021, albeit slowly. Republican lawmakers attempted to roll back the program and add a work requirement through a state constitutional amendment, which failed after the United States Supreme Court did not grant certiorari to similar cases. ## Background The Affordable Care Act, passed in 2010, initially required states to expand Medicaid coverage to continue receiving federal Medicaid funding, but the Supreme Court ruled in National Federation of Independent Business v. Sebelius that it would be unconstitutional to remove Medicaid funding from states which did not wish to opt-in to the expansion. In 2018, the Fairness Project supported successful ballot initiatives to expand Medicaid in conservative-leaning states, such as Nebraska, Utah, and Idaho, where Republican leaders were unwilling to. However, Nebraska and Utah added a work requirement despite such a requirement not being part of the ballot initiative. Due to such resistance from Republican lawmakers, Medicaid expansion supporters began supporting constitutional amendment proposals to prevent similar restrictions from being implemented. After a petition gained 346,000 signatures, Governor Mike Parson scheduled the initiative to appear on the August primary ballot. Conservative organizations United for Missouri and Americans for Prosperity's Missouri branch filed lawsuits to prevent the expansion from appearing on the ballot, arguing the initiative violated a constitutional requirement to cite a funding source in ballot initiatives. The Cole County Circuit Court ruled in favor of the proposal, stating the initiative itself does not fund anything. The organizations appealed the decision, additionally arguing that it violated a constitutional requirement that all petitions for ballot initiatives must contain the initiative's full text. On June 8, 2020, the Western District Missouri Court of Appeals unanimously upheld the lower court's ruling, allowing the initiative to remain on the ballot. ## Contents The amendment appeared on the ballot as follows: > Do you want to amend the Missouri Constitution to: > > - adopt Medicaid Expansion for persons 19 to 64 years old with an income level at or below 133% of the federal poverty level, as set forth in the Affordable Care Act; > - prohibit placing greater or additional burdens on eligibility or enrollment standards, methodologies or practices on persons covered under Medicaid Expansion than on any other population eligible for Medicaid; and > - require state agencies to take all actions necessary to maximize federal financial participation in funding medical assistance under Medicaid Expansion? > > State government entities are estimated to have one-time costs of approximately \$6.4 million and an unknown annual net fiscal impact by 2026 ranging from increased costs of at least \$200 million to savings of \$1 billion. Local governments expect costs to decrease by an unknown amount. The deadline for the state to implement the specified Medicaid expansion was to be July 1, 2021. ## Campaigns The initiative was campaigned for by YES on 2, which was supported by the Missouri Chamber of Commerce, the Missouri Hospital Association, the NAACP, the AARP, the AFL-CIO, and Catholic Charities of St. Louis, among others. The YES on 2 campaign rarely mentioned the Affordable Care Act, a law unpopular in the state, and some campaign material did not refer to a "Medicaid expansion". Instead, supporters noted the federal funding rural hospitals would receive as a result of the proposal's passage and stated it would prevent more hospitals from closing, as 15 in Missouri had done since 2014. Supporters said most hospital closures were in states which did not opt into the Medicaid expansion. No on 2 in August campaigned against the initiative. The initiative was opposed by Republican politicians such as Governor Mike Parson, who said that the state could not afford its share of the Medicaid expansion's cost. Other groups opposing the initiative included Missouri Right to Life, the Missouri Farm Bureau, and Americans for Prosperity. Missouri State House Budget Chair Cody Smith said that at the time, Medicaid had taken up 40% of Missouri's budget and noted that the state requires its budget to be balanced, so the cost of the expansion would need to come from other state programs such as education. Prior to the vote, No on 2 in August mailed campaign material suggesting illegal immigrants would come to Missouri looking for Medicaid coverage, despite them not being eligible for Medicaid. Democrats accused Governor Parson of scheduling the vote for the August primary elections instead of the higher-turnout general election to prevent the proposal from passing. Parson said he scheduled it in August to allow the state to understand, as soon as possible, whether it would need to account for extra spending in its budget assuming the initiative passes. ## Results The measure was approved with just over 53% of the vote. Support was most heavily concentrated in urban areas such as Columbia, Kansas City, St. Louis, and Springfield, while conservative voters in rural areas voted against the measure, including in counties with large numbers of uninsured residents. The amendment has been cited as an example of the popularity of expanding Medicaid, occurring weeks following the success of a similar ballot initiative in Oklahoma. ## Aftermath The year following the measure's passage, lawmakers in the House Budget Committee voted against funding the expansion. Following the budget's passage, Governor Parson announced the state would be unable to expand its Medicaid program before the July 1 deadline. The state was then sued for not complying with the results of the ballot initiative. The initiative itself was ruled unconstitutional by a Cole County Circuit Court judge before being appealed to the Missouri Supreme Court, which overturned the lower court's ruling and required the state to implement the expansion in a 7–0 decision. Enrollment in the Medicaid expansion began in October 2021, with Missouri becoming the 38th state to opt-in. Implementation was slow, with only 7% of newly-eligible Missourians enrolling in the expansion's first month, compared to about 50% in Idaho and Montana. The state's outreach efforts regarding the expansion had been much slower than in other states such as Oklahoma. The state was also slow at processing applications, taking an average of 70 days in early 2022, even though federal law mandated wait times be under 45 days. In 2022, Republican lawmakers proposed a constitutional amendment to allow the state legislature to decide how much it could fund the expansion and to implement a work requirement for it, claiming increases in the state's Medicaid budget following the passage of the initiative would be unsustainable. After the United States Supreme Court refused to grant certiorari to other cases involving state healthcare programs with a work requirement, Republicans gave up on the proposed amendment. The following year, Republican lawmakers proposed requiring that 60% of voters approve of any future state constitutional amendment to make it more difficult for them to pass. As of May 2023, no similar amendment has passed in the Missouri Senate. ## See also - List of Missouri ballot measures - 2020 Missouri elections	[ "## Background", "## Contents", "## Campaigns", "## Results", "## Aftermath", "## See also" ]	1,518	2,977
38,755,563	Gran Guerrero	1,171,547,804	Mexican professional wrestler (born 1993)	[ "1993 births", "CMLL World Tag Team Champions", "CMLL World Trios Champions", "Living people", "Masked wrestlers", "Mexican male professional wrestlers", "People from Gómez Palacio, Durango", "Professional wrestlers from Durango", "Unidentified wrestlers" ]	Gran Guerrero (born 1993) is a Mexican luchador enmascarado (or masked professional wrestler), who works for Consejo Mundial de Lucha Libre (CMLL). He portrays a rudo ("bad guy") wrestling character. He was originally introduced to the wrestling world under the ring name Último Guerrero Jr. in 2009 as the storyline son of Último Guerrero, and later made his wrestling debut under the name Taurus. In 2013 he was given a new image, re-introduced under the ring name "Gran Guerrero", officially acknowledging that he was the much younger brother of Último Guerrero. Gran Guerrero's real name is not a matter of public record, as is often the case with masked wrestlers in Mexico where their private lives are kept a secret from the wrestling fans. He is a member of Los Guerreros Laguneros, a group of rudo wrestlers led by his brother, which also includes Stuka Jr. Gran Guerrero's highest-profile match of his career, the main event of the CMLL 84th Anniversary Show, was a Lucha de Apuestas ("bet match"), victory over Niebla Roja where he forced his opponent to unmask after his loss. ## Professional wrestling career ### Último Guerrero Jr. (2009) In early 2009, professional wrestler Último Guerrero introduced "Último Guerrero Jr." to the public. He revealed that he was training for a professional wrestling career. At the time he was introduced as the son of Último Guerrero. It is not uncommon for masked wrestlers being presented as relatives to well-known wrestlers who are not blood relations, but merely paid for the rights to use the mask and name. In Último Guerrero Jr.'s case it was later confirmed that there was a blood relationship between the two, just not father and son. ### Taurus (2011–2013) When he finally made his in-ring debut, he adopted the name "Taurus" in order to gain experience as a wrestler without revealing his family relationship. Between 2010 and 2011 he only occasionally wrestled matches on various local independent promotion shows. In 2011 he began appearing at International Wrestling Revolution Group (IWRG) events, especially those featuring wrestlers attending the promotion's training school Futuro Idolos de Lucha Libre (FILL). He competed in the 13th, 14th, and 17th Torneo FILL, but did not win either of those tournaments. On July 23, 2011, he competed in IWRG's Copa Higher Power tournament but was defeated by Maquina Infernal. It was not until March 11, 2012, that Taurus teamed up with his older brother Último Guerrero. The team-up indicated the family relationship as they competed in Toryumon Mexico as part of their Copa Toyota tournament, where a rookie and a veteran pair up. The brothers defeated El Hijo del Fantasma and Magnus in the first round but lost to the team of Último Dragón and Angélico in the finals. Shortly after his DragonMania VII appearance Taurus was announced as part of Consejo Mundial de Lucha Libre's (CMLL) Generacion 2012, a group of young wrestlers who made their debut in 2012 and in addition to Taurus included Guerrero Negro Jr., Espanto Jr., Akuma, Herodes Jr., Oro Jr. and Génesis. Taurus made his CMLL in-ring debut on June 18, 2012, teaming with Bobby Zavala and Hooligan as the team lost to Leono, Metálico, and Sensei. Taurus was the last of the Generacion 2012 wrestlers to make his CMLL Super Viernes (CMLL's main show) debut, as he teamed with Zayco to lose to Leono and Metálico on the September 28, 2012 show. On October 14, 2012, worked a Toryumon benefit show for injured wrestler Electrico. On the show, the team of Taurus, El Hijo del Medico Asesino and El Hijo del Signo defeated Magnus, Mr. Rolling, and Platino. In early 2013 Taurus teamed up with Zumba to compete in Toryumon's 16th 2Torneo Juvenil Copa Dragon ("Young Dragon Tournament"), defeating fellow Generacion 2012'ers Akuma and Guerrero Negro Jr. in the quarterfinals, but losing to Los Hermanos Celestick in the semi-finals. Less than two months later CMLL held their second annual Torneo Sangre Nueva ("The New Blood Tournament"), a tournament that focuses primarily on younger wrestlers or wrestlers who work in the promotion's lower ranks, generally the first or second match of the show, as a way to highlight or promote a wrestler up to a higher level of competition. Taurus was part of qualifying "Block B" of the tournament that competed on March 5, 2013, for the other finalist spot, with a field that also included Genesis, Oro Jr., Robin, Sensei, Super Halcón Jr., Disturbio, Guerrero Negro Jr., Inquisidor, and Zayco. Taurus won the torneo cibernetico elimination match, personally eliminating Sensei and Guerrero Negro Jr. to earn a spot in the finals the following week against Soberano Jr. Sobereano Jr. defeated Taurus, two falls to one to win the 2013 Sangre Nueva tournament. In late March 2013 Taurus was announced as one of the Novatos, or rookies, in the 2013 Torneo Gran Alternativa, or "Great Alternative tournament". The Gran Alternativa pairs a rookie with an experienced wrestler for a tag team tournament. Taurus teamed up with veteran Averno and compete in Block A on April 12, 2013. The duo defeated Stigma and La Mascara in the first round but lost to Hombre Bala Jr. and Atlantis in the second round. ### Gran Guerrero (2013–present) During the celebration of Atlantis' 30th anniversary as a wrestler, Último Guerrero appeared after a match to berate him, as a part of the long-running storyline between the two. The appearance turned out to be a distraction, as a second Último Guerrero attacked Atlantis from behind. The two identically dressed Guerreros proceeded to beat up Atlantis and tear his mask apart. Following the match, Último Guerrero introduced his brother "Gran Guerrero" and made him a part of Los Guerreros del Infierno. On June 15, 2013, Gran Guerrero outlasted Aeroboy, Comando Negro, El Hijo del Signo, Epidemia, Fusion, Kato Kung Lee, Laberinto, Lucifer, Magnus, Relampago, Robin and Violento Jack to win the DragonMania VIII "Dragon Scramble" match. Gran Guerrero teamed up with Último Guerrero and Niebla Roja to defeat the then reigning CMLL World Trios Champions Los Estetas del Aire (Máscara Dorada, Místico and Valiente) in the semi-final match of the 2014 Homenaje a Dos Leyendas show. In January 2015, Guerrero made his Japanese debut, when he took part in the Fantastica Mania 2015 tour, co-produced by CMLL and New Japan Pro-Wrestling. During the tour on January 18, Guerrero unsuccessfully challenged Volador Jr. for the NWA World Historic Welterweight Championship. In March 2017, CMLL began a storyline where Niebla Roja started having problems with his fellow Los Guerreros Laguneros teammates, initially by accidentally causing them to lose matches due to a miscommunication between Niebla Roja, Euforia, and Gran Guerrero. On May 19 Niebla Roja's tecnico turn was completed as he kicked Los Guerreros leader Último Guerrero in the face during a match. Afterward, Último Guerrero and Gran Guerrero beat Niebla Roja up, tore his mask off and demanded that Niebla Roja to come up with a new mask instead of wearing the Último Guerrero inspired mask. During the attack, Niebla Roja was aided by his brother Ángel de Oro. The long-running storyline rivalry between Gran Guerrero and Niebla Roja led to the main event of CMLL's 84th Anniversary Show on September 16, 2017. Both wrestlers put their masks on the line in a Lucha de Apuestas match, and as a result of his loss, Niebla Roja was forced to unmask afterward. The Guerrero brothers participated in the "Brothers tag team tournament", held as part of the Fantastica Mania 2018 tour of Japan. On January 21 they defeated Gran Guerrero's rival Niebla Roja and Ángel de Oro in the first round, followed by beating Dragon Lee and Místico in the next day's finals. On July 1, 2018, Los Guerreros Lagunero ended Sky Team's 1,223-day reign with the CMLL World Trios Championship as they defeated them in the main event of CMLL's Domingos Arena México show. Subsequently, Los Guerreros were positioned as "Defenders of CMLL" as they began a storyline feud with "The Cl4n" (Ciber the Main Man, The Chris, and Sharlie Rockstar), three wrestlers who had made a name for themselves in CMLL's main rival Lucha Libre AAA Worldwide. On September 14, The Cl4n won the trios championship, followed by Los Guerreros regaining the championship two weeks later on September 28. 2018. On March 26, 2021, they lost the Trios Championship against Nueva Generación Dinamita. ## Personal life Gran Guerrero was born in 1993 in Gómez Palacio, Durango, Mexico. His real name is not a matter of public record, as is often the case with masked wrestlers in Mexico who have not been unmasked. It is traditional for an enmascarado to conceal their private lives from wrestling fans, supported by the media generally not reporting on masked wrestlers birth names. He was originally presented as the son of José Gutiérrez Hernández (Último Guerrero) in 2009, but it was later confirmed that he was, actually, the 20-year younger brother of Gutiérrez. ## Championships and accomplishments - Consejo Mundial de Lucha Libre - CMLL World Heavyweight Championship (1 time, current) - CMLL World Tag Team Championship (1 time) – with Euforia - CMLL World Trios Championship (2 times) – with Euforia and Último Guerrero - Federación Mundial de Lucha Libre - FMLL Tag Team Championship (1 time) – with Último Guerrero - New Japan Pro-Wrestling - CMLL's Brother Tag Team Tournament (2018) – with Último Guerrero - Pro Wrestling Illustrated - Ranked No. 173 of the top 500 singles wrestlers in the PWI 500 in 2021 ## Lucha de Apuestas record	[ "## Professional wrestling career", "### Último Guerrero Jr. (2009)", "### Taurus (2011–2013)", "### Gran Guerrero (2013–present)", "## Personal life", "## Championships and accomplishments", "## Lucha de Apuestas record" ]	2,376	18,732
2,585,050	Washington State Route 117	1,169,135,649	Highway in Washington, United States	[ "State highways in Washington (state)", "Transportation in Clallam County, Washington" ]	State Route 117 (SR 117) is a short, 1.40-mile (2.25 km) long state highway located entirely within Port Angeles, the county seat of Clallam County, in the U.S. state of Washington. The short roadway, named the Tumwater Truck Route, serves the waterfront of Port Angeles and intersects two streets and crosses under another street on a short bridge. Beginning at an interchange with U.S. Route 101 (US 101), the highway travels northeast to terminate at Marine Drive. SR 117 was first established in 1991, but a road parallel to the current roadway had existed since 1966. ## Route description SR 117 begins as the Tumwater Truck Road at an interchange with U.S. Route 101 (US 101) in southwest Port Angeles. The interchange only serves traffic from US 101 eastbound driving onto SR 117 northbound and motorists driving from the route southbound onto US 101 westbound, however, left turns are allowed to serve the missing movements. Traveling north, the highway intersects Lauridsen Boulevard and crosses under 8th Street. Between 8th Street and the Port Angeles waterfront, a daily average of 7,400 motorists accessed the roadway in 2008. After the 8th Street bridge, the road intersects 3rd Street and terminates at Marine Drive, which continues east as 1st Street to US 101. ## History SR 117 was designated in 1991, but a short local street connecting the waterfront with U.S. Route 101 (US 101) had existed for several decades under local maintenance. The Tumwater Truck Road was approved for construction by the Port Angeles city government in 1954 to detour logging truck traffic away from residential neighborhoods. It was constructed at a cost of \$250,000, shared with the county and state governments, along the existing Tumwater Canyon. The unfinished road was opened to traffic in July 1956, with logging truck drivers encouraged to use the graded road to prepare it for paving. In 1991, the state government added the truck road to the state highway system, assigning SR 117 as its designation. During a severe winter storm on November 27, 2006, the Port Angeles Police Department closed both ends of the highway due to treacherous conditions. On December 15, 2006, a wind storm caused trees near the roadway to block the highway and the route had to be shut down. On August 7, 2007, the city of Port Angeles announced that the 8th Street bridge over the Tumwater Truck Route would be closed on August 20, 2007. A detour was set for both 8th Street and the truck route; trucks were routed onto US 101 (Lincoln Street) and Marine Drive / Front Street. Starting on April 1, 2008, the new bridge's girders started to arrive at the construction site. The last girders arrived on April 9 and the highway was reopened. On August 1, the roadway was closed for another month to be reconstructed. SR 117 was designated as the POW/MIA Memorial Highway by the state transportation commission in 2013. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	672	6,654
22,844,785	Don Zimmerman (lacrosse)	1,167,238,379	American college lacrosse coach (1953-)	[ "1953 births", "American lacrosse players", "Johns Hopkins Blue Jays men's lacrosse coaches", "Johns Hopkins Blue Jays men's lacrosse players", "Lacrosse players from Baltimore", "Living people", "Loyola Greyhounds men's lacrosse coaches", "Major League Lacrosse announcers", "North Carolina Tar Heels men's lacrosse coaches", "Princeton Tigers men's lacrosse coaches", "Sportspeople from Towson, Maryland", "UMBC Retrievers men's lacrosse coaches" ]	Donald Zimmerman (born c. 1953) is a television analyst and former American college lacrosse coach. He became a color analyst for ESPN in May 2016 and does both high school and college lacrosse games. Prior to becoming an analyst, he served as the head coach for the UMBC Retrievers at the University of Maryland, Baltimore County for 24 years. Between 1984 and 1987, Zimmerman coached Johns Hopkins to three national championships. Zimmerman was inducted into the National Lacrosse Hall of Fame in 2017. ## Early life Zimmerman attended St. Paul's School in Brooklandville, Maryland. While there, the lacrosse team on which he played won three Maryland Interscholastic Athletic Association (MIAA) championships. Zimmerman then attended Randolph-Macon College before he transferred to Johns Hopkins University. He played lacrosse as a midfielder for the Blue Jays in 1975 and 1976. His senior year, he received honorable mention All-American honors and the Turnbull-Reynold Award for leadership and sportsmanship. He graduated in 1976. ## Coaching career ### Early coaching positions After graduating, Zimmerman remained at Hopkins for a season to coach the lacrosse program's B squad in 1977. He spent the following season as an assistant coach at Princeton University. From 1979 to 1982, he served as an assistant under Willie Scroggs at the University of North Carolina. While there, the Tar Heels won the national championship in 1981 and 1982. ### Johns Hopkins In 1983, he returned to his alma mater, and became the head coach in 1984 after the retirement of Henry Ciccarone. That year, he led the Blue Jays to a perfect 14–0 season and became the first head coach to win an NCAA championship in his first season. In 1985, Hopkins again won the national title while suffering one loss. The following year, the Blue Jays compiled a 10–2 record, and were eliminated in the semifinals in overtime by the eventual national champions, North Carolina. In 1987, Zimmerman led the team to a 10–3 record and a third title. Upon expiration of his contract, he left Hopkins after compiling a 6–5 record in 1990. The reason he cited was the pressure associated with the high-profile position. In total, Zimmerman's teams at Johns Hopkins posted a 73–15 record. Former Hopkins head coach Dave Pietramala spent his entire college playing career under Zimmerman, from 1986 to 1989. Former North Carolina and Hopkins head coach John Haus played for the Tar Heels under Zimmerman and then served as his assistant at Johns Hopkins. Zimmerman was the United States men's national lacrosse team's assistant coach for the 1986 World Lacrosse Championship. ### UMBC Zimmerman spent three years at Loyola as an assistant for the Greyhounds under Dave Cottle, before he was hired as head coach by the University of Maryland, Baltimore County (UMBC). The Retrievers continued to struggle early in Zimmerman's tenure, and during his first three seasons compiled a 14–25 mark. After a 3–9 campaign in 1996, UMBC became the most improved team in the nation with a 9–3 record for the 1997 season. In 1998, the Retrievers delivered a major upset by beating, 12–8, then first-ranked Maryland, the eventual national championship runners-up. The victory helped UMBC secure its first ever berth in the NCAA tournament. In 1999, the Retrievers again made an appearance in the tournament. Zimmerman coached the South squad in the 2002 North-South Senior All-Star Game. In 2005, UMBC posted a 5–1 conference mark to achieve the America East regular season conference championship. The following year, the Retrievers defeated Binghamton and Albany in the America East tournament for the conference championship, and Zimmerman made his tenth appearance as a head coach in the NCAA tournament. He was named the 2006 America East Coach of the Year. In 2007, UMBC again advanced past Binghamton before falling to Albany in the America East championship game, and secured another berth in the NCAA tournament. There, they upset seventh-seeded Maryland in the first round for the school's first appearance in the NCAA quarterfinals. In 2008, UMBC again faced Albany in the America East championship game. Halfway through the second period, the Retrievers trailed 11–2, but rallied to edge their opponents, 14–13. Zimmerman was named the 2008 America East Coach of the Year. In June, he was considered the frontrunner to replace John Haus who had been fired as North Carolina's head coach, but Zimmerman removed his name from consideration. He said, "The people at UMBC have been good to me, and this is my home ... these are my kids and I recruited them. I just didn't think this was the right time to move." In 2009, UMBC captured its fifth consecutive outright or shared America East regular season title. In the conference semifinals, the Retrievers edged Binghamton, 9–8. In the final, however, UMBC jumped out to an early lead over Albany and never relinquished it, and won, 15–7. Zimmerman was named the 2009 America East Coach of the Year. In the first round of the NCAA tournament, the Retrievers faced sixth-seeded North Carolina. UMBC entered the game with the number-one ranked midfield in the nation, but it was lacking in depth, and the first-string was thus forced to play most of the 90 °F (32 °C) game. The Retrievers led 8–6 at halftime, but North Carolina assumed control during the third period and went on to win, 15–13. While coach at UMBC, Zimmerman has traveled to Japan, Argentina, and the United Kingdom in order to promote the sport of lacrosse. In 2002, 2004, and 2006, UMBC hosted fall scrimmages against teams from Keio University. In the summer of 2005, the Retrievers traveled to Japan. Regarding the possibility of the sport being a future Olympic event, Zimmerman said, "It’s incumbent upon us to introduce and develop the game when opportunities occur in order to reach that goal." The Greater Baltimore Chapter of the United States Lacrosse Hall of Fame inducted Zimmerman on January 25, 2003. ## Personal life Zimmerman lives in Towson, Maryland with his wife, Dorothy. They have two adult children, a son and a daughter.	[ "## Early life", "## Coaching career", "### Early coaching positions", "### Johns Hopkins", "### UMBC", "## Personal life" ]	1,383	14,621
396,016	OSI (band)	1,169,135,263	American progressive rock band	[ "2002 establishments in the United States", "2012 disestablishments in the United States", "American progressive metal musical groups", "American progressive rock groups", "Heavy metal supergroups", "Inside Out Music artists", "Metal Blade Records artists", "Musical groups established in 2002" ]	OSI was an American progressive rock band, originally formed by Fates Warning guitarist Jim Matheos in 2002. Chroma Key keyboardist and vocalist Kevin Moore is the only other full-time member of the band. The collaboration may be considered a studio project, as its members and contributors write and track most of their material independently, sharing and developing tracks long-distance, only coming together at the end of the process for mixing and additional tracking. The band's name is a reference to the Office of Strategic Influence, a short-lived American government agency formed in 2001 to support the War on Terror through propaganda. The band has featured a number of guest musicians on its albums, including Sean Malone, Steven Wilson, Mikael Akerfeldt, Joey Vera and Gavin Harrison. Matheos recruited Moore, Dream Theater's then-drummer Mike Portnoy, and Sean Malone (Fretless Bass and Chapman Stickist) to perform on what was originally planned to be a Matheos solo album. Matheos and Portnoy originally planned to produce a progressive metal album similar to Matheos' work in Fates Warning, however Moore's impact changed the music's direction and genre, incorporating electronica into the original progressive metal sound. The band's debut album was released by InsideOut Music in 2003. OSI was originally intended to be a one-off project, but Matheos and Moore found they both had gaps in their schedules so produced a follow-up. Free was released in 2006, with Portnoy returning to play drums as a session musician rather than a full band member, due to personal and musical differences between him and Moore. Blood was released in 2009, with Porcupine Tree drummer Gavin Harrison replacing Portnoy. The fourth album Fire Make Thunder was released in 2012 by Metal Blade Records, with Harrison once again on drums. ## History ### Formation and Office of Strategic Influence (2002–2003) Fates Warning guitarist Jim Matheos originally intended to create a progressive metal supergroup while Fates Warning went on hiatus. He recruited Cynic & Gordian Knot fretless bass and Chapman Stickist Sean Malone and then-Dream Theater drummer Mike Portnoy to work on the project. Matheos then asked Chroma Key and ex-Dream Theater keyboardist Kevin Moore to contribute by adding keyboard arrangements to the music he had written. Moore instead heavily edited the music, changing the song structures and adding vocals. Matheos decided to pursue this new direction, sounding closer to Chroma Key than standard progressive metal, over his and Portnoy's original idea. Many vocalists were considered to perform on the album; Matheos and Portnoy briefly considered having a different vocalist perform on each track. Daniel Gildenlöw of Pain of Salvation wrote some vocal melodies and lyrics, but Moore ultimately performed most of the vocals and wrote most of the lyrics. Steven Wilson of Porcupine Tree wrote lyrics and performed vocals on one track. Cynic and Gordian Knot bassist Sean Malone performed bass, but was credited as a guest musician because his schedule meant he was unable to join Matheos, Moore and Portnoy for the basic tracking sessions. Matheos, Moore and Portnoy recorded the album at Carriage House Studios in Stamford, Connecticut from June 2 to 9, 2002. Songs with a strong progressive metal influence were mostly written by Matheos, while Moore had greater influence over the vocal-driven tracks. Portnoy made minor arrangement suggestions but did not take part in the actual writing of the album. The album's recording sessions were the first time Moore and Portnoy collaborated since 1994 in their work in Dream Theater. In 2009, Portnoy recalled that he found the experience of making the record difficult, and that he was frustrated by the lack of collaboration between him and Moore. Differences between Moore and Portnoy led to his return on the follow-up album as a session drummer rather than full-time member. InsideOut Music released Office of Strategic Influence on February 17, 2003. Moore chose the group's name and album's title, referring to the Office of Strategic Influence, established by the US Government after the September 11 attacks to spread propaganda. The album was critically well received. Critics praised the members' musicianship and the fact that the album differed significantly from the members' other projects. ### Free and Blood (2005–2009) Matheos and Moore did not plan to make a second OSI album, and returned to their own projects after the first album's completion. In 2005, they both had free schedules, so decided to produce a follow-up album. Joey Vera (also of Fates Warning) played bass on the album. Portnoy originally told Matheos and Moore that he did not want to perform drums on the album, but was persuaded to perform on the album as a session musician. Free was released on April 24, 2006, receiving generally positive critical reception. Critics noted that the album was darker and more keyboard-focused than the band's debut. re:free, an EP featuring remixes of three tracks from Free, was released on October 24, 2006. The band were keen to tour in support of Free, but no live shows materialised. "The reality of it is in order to [tour] the way we would like... and present it the way we would want to present it... would cost too much money for the kind of fan base that we have right now," Matheos said in 2009. In 2010 he anticipated that OSI will "remain a studio band." In September 2008, Moore posted an update on the Chroma Key website, stating that he and Matheos had been working on a third OSI album for several months. Portnoy was replaced by Porcupine Tree drummer Gavin Harrison and Matheos played bass on the album. Opeth vocalist and guitarist Mikael Åkerfeldt and No-Man vocalist Tim Bowness wrote lyrics and sang on one track each. Blood was released on April 27, 2009 in Europe and May 19 in North America. The album received positive reviews: Andrew Reilly of Madeloud said that "with Blood the two have finally found the stylistic fusion their first two discs hinted at", and praised Harrison's drumming. ### Fire Make Thunder (2010–2012) In 2010, OSI signed with Metal Blade Records. The label reissued Office of Strategic Influence on September 28, 2010. Written and recorded throughout most of 2011, OSI's fourth album "Fire Make Thunder" was released on March 27, 2012. Gavin Harrison of Porcupine Tree was once again enlisted as session drummer along with a co-writing credit for the song "Enemy Prayer". All other instruments and programming were performed by Matheos and Moore, while lyrics and vocals were handled exclusively by Moore. The recordings for the album, with the exception of drums, were performed at the musician's respective home studio. In July 2011 at Sound Farm Studio & Recording Environment final overdubs as well as some additional writing and arranging were completed. The band mixed the album alongside engineer Matt Sepanic. Engineer Roger Siebel handled the final mastering. The record was produced by both Moore and Matheos. During the development process, Kevin Moore kept frequent updates referring to the mixing process of the album on his official Facebook and Twitter accounts. ### Hiatus (2013–present) On the current status of O.S.I., co-founder and lead guitarist Jim Matheos offered the following quote in a June 2016 interview about the possibility of a future album, "No, as I just said it's the same situation with John. Kevin and I are both busy doing other things. I believe Kevin is experimenting and working on some Chroma Key material right now, so who knows... In the future I would love to do it and if it happens that's great, but there are no plans right now. My main focus for at least the rest of this year and probably next year is going to be Fates Warning." ## Musical style Moore has described OSI's sound as "a new approach to progressive rock", combining elements of progressive metal and electronica. Moore considers the two genres to be "almost natural enemies", and that the conflict between the two genres "keeps [the music] interesting". Matheos cites progressive rock and heavy metal bands such as Genesis, Jethro Tull, Black Sabbath and UFO as influences. Moore described his influences as minimal techno, experimental, electronic musicians and "bands that play live and then chop it up". Matheos and Moore primarily work alone, exchanging files and ideas by email. The writing process for all OSI's albums has been the same, with Matheos sending Moore an idea "from just a guitar riff to elaborate, almost completed songs", which Moore then edits and sends back to Matheos. Moore, the band's vocalist and lyricist, has described the process of writing lyrics as an "audio Rorschach test". The lyrics on Office of Strategic Influence feature political themes, but the lyrics on later releases are less political, instead being based on Moore's 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." On Blood, Moore largely abandoned his earlier stream-of-consciousness approach to writing lyrics, in an attempt to make the lyrics more 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," he explained. Moore has acknowledged the narrow range of his vocals. He considers his vocal style to "[come] from how I feel when I'm singing, when I'm in the zone of writing lyrics and recording which, a lot of times, comes as the same time. It's sort of an introspective time. A lot of the material lends itself to that kind of voice and that kind of spirit." ## Members Current members - Jim Matheos (Fates Warning) – guitars, bass (since Blood), keyboards, programming - Kevin Moore (Chroma Key, ex-Dream Theater) – vocals, keyboards, programming Former members - Mike Portnoy (ex-Dream Theater) – drums on Office of Strategic Influence as a full band member and on Free as a session musician Guest musicians - Gavin Harrison (Porcupine Tree) – drums on Blood and Fire Make Thunder - Sean Malone (Gordian Knot, Cynic) – bass, Chapman Stick on Office of Strategic Influence - Joey Vera (Fates Warning) – bass on Free - Steven Wilson (Porcupine Tree) – vocals on the track "shutDOWN" on Office of Strategic Influence - Tim Bowness (No-Man) – vocals on the track "No Celebrations" on Blood - Mikael Åkerfeldt (Opeth) – vocals on the track "Stockholm" on Blood ## Discography ### Studio albums	[ "## History", "### Formation and Office of Strategic Influence (2002–2003)", "### Free and Blood (2005–2009)", "### Fire Make Thunder (2010–2012)", "### Hiatus (2013–present)", "## Musical style", "## Members", "## Discography", "### Studio albums" ]	2,323	35,337

Subsets and Splits

No community queries yet

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