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17,286,956	K-170 (Kansas highway)	1,095,027,687	Highway in Kansas	[ "State highways in Kansas", "Transportation in Lyon County, Kansas", "Transportation in Osage County, Kansas" ]	K-170 is a 21.759-mile-long (35.018 km) state highway in the U.S. State of Kansas. K-170's western terminus is at K-99 about 12 miles (19 km) north of Emporia, and the eastern terminus is at K-31 on the west side of Osage City, a mile south of the K-31 intersection with U.S. Route 56 (US-56). K-170 provides access, via county roads, to Lyons County State Fishing Lake. The highway that became K-170 was first designated by 1930 as K-70, from K-11 and K-22 east to Reading. K-11 was renumbered to K-99, and K-22 was decommissioned in 1938. Then in 1946, the highway was extended east to end in Osage City. In 1957, K-70 was renumbered to K-170 to avoid a numbering confusion with Interstate 70 (I-70). ## Route description K-170's western terminus is at an intersection with K-99 northeast of Emporia. The highway begins traveling east through flat rural farmlands, and after about .5 miles (0.80 km) it crosses Badger Creek, a tributary of the Neosho River. The highway continues east for 1.5 miles (2.4 km) then intersects Road T, which travels north to Lyon County State Lake. It continues east for 5.3 miles (8.5 km) through more flat rural farmlands then enters the city of Reading. It travels approximately .8 miles (1.3 km) through the city. As the highway exits the city it also crosses into Osage County. Soon after crossing the county line, the highway expands to four lanes and has an at-grade crossing with a BNSF Railway track. K-170 quickly downgrades back to two lanes and crosses the Marias des Cygnes River about one mile (1.6 km) later. The highway then continues east for about two miles (3.2 km) then crosses Cherry Creek. Roughly 1.2 miles (1.9 km) past Cherry Creek it crosses Little Cable Creek, then Cable Creek about one mile (1.6 km) later. After crossing Cable Creek, it intersects West 301st Street, which leads to the Eisenhower State Park. At this point, K-170 curves north and travels approximately 3.7 miles (6.0 km) then crosses Mute Creek. It continues north for about .3 miles (0.48 km) then intersects West 269th Street, which leads west to the unincorporated community of Barclay. From this point, it continues north roughly two miles (3.2 km) and enters Osage City. The highway passes by Osage City Reservoir, then expands to four lanes and has an at-grade crossing with the BNSF Railroad track again. K-170 then briefly exits the city and transitions back to two lanes. It then crosses Salt Creek as it reenters the city as Martin Street. The roadway continues north through the city for about .6 miles (0.97 km) then reaches its eastern terminus at K-31 in Osage City. K-170 is signed as east–west its entire length, even though the section from West 301st Street to K-31 runs directly north–south. The Kansas Department of Transportation (KDOT) tracks the traffic levels on its highways, and in 2017, they determined that on average the traffic varied from 430 vehicles per day east of Reading to 1,150 vehicles per day south of the terminus of K-31. K-170 is not included in the National Highway System. ## History Before state highways were numbered in Kansas there were auto trails, which were an informal network of marked routes that existed in the United States and Canada in the early part of the 20th century. The eastern terminus (K-31) was part of the former National Old Trails Road, which was established in 1912, and stretched from Baltimore, Maryland to California. K-31 also followed the Old Santa Fe Trail, which was established in 1821, and connected Santa Fe, New Mexico with Franklin, Missouri. K-170 was commissioned as K-70 by 1930, with the designation applying to a highway running from K-11 and K-22 east to Reading. K-11 was renumbered to K-99 on May 17, 1938, along with Oklahoma and Nebraska doing the same to make a three-state, continuous Highway 99. Also the K-22 designation was removed between January and July 1938. In a resolution on December 12, 1945, it was approved to extend K-70 from Reading east then north to Osage City as soon as Osage County had brought the road up to state highway standards. Then in a resolution on October 23, 1946, it was extended, as the county had finished required projects. By late 1957, a majority of I-70 had been completed within Kansas and on October 31, 1957, K-70 was renumbered to K-170 to avoid a numbering confusion with I-70. ## Major intersections	[ "## Route description", "## History", "## Major intersections" ]	1,107	31,279
12,103,411	Lee Choon Seng	1,134,757,946	Chinese businessman and philanthropist	[ "1888 births", "1966 deaths", "20th-century Singaporean businesspeople", "20th-century philanthropists", "Chinese emigrants to Singapore", "Date of birth missing", "Singaporean Buddhists", "Singaporean people of Hokkien descent", "Singaporean philanthropists" ]	Lee Choon Seng (Chinese: 李俊承; pinyin: Lǐ Jùnchéng; Pe̍h-ōe-jī: Lí Tsùn-sîng; 1888—5 June 1966) was a businessman and philanthropist in pre-independence Singapore. He founded several companies, cultivated rubber plantations in Malaya and started Chinese banks in the region. Lee held leadership roles in several Chinese community organisations in Singapore, notably the Singapore Chinese Chamber of Commerce and Industry (SCCCI), and supported Sun Yat-Sen's revolutionary cause in China. In addition, he promoted the growth of Buddhism in Singapore by setting up several Buddhist institutions, including the Singapore Buddhist Lodge, Singapore Buddhist Federation and Poh Ern Shih Temple. In 2008, his life and contributions to society were commemorated in a memorial hall at the Ee Hoe Hean Club. ## Early years and personal life In 1888, Lee was born in Éng-chhun County, Fujian, China; he had an elder stepbrother and a younger sister. To seek better fortunes, his father, Lee Lip Chai (Chinese: 李立齋; pinyin: Li Lìzhāi; Pe̍h-ōe-jī: Lí Li̍p-chai), emigrated to Negri Sembilan, Malaysia, where he started a horse-drawn transport service and a provision shop, then initiated a series of charitable projects, including setting up a clan association and schools. Lee later joined his father in Negri Sembilan to help him run the family business and participate in his charitable projects. Lee grew up as a Taoist, but converted to Buddhism in adulthood, with Venerable Hong Choon, the abbot of Kong Meng San Temple, acting as his spiritual mentor. He married twice and had at least fifteen children. ## Business Lee moved to Singapore to set up another branch of his family business, called Thye Hin Limited. In Singapore, he founded Eng Hin Company, the Thye Hong Biscuit Factory and Thye Ann Investment, a property firm. He also cultivated large rubber plantations across Malaya. Realising that many newly arrived businessmen had difficulty obtaining loans from established Western banks, Lee and his business associates started several local Chinese banks, including Ho Hong Bank. In 1931, Lee became the managing director of Ho Hong Bank and after it merged with two other banks to form the Oversea-Chinese Banking Corporation (OCBC), he became a director of OCBC and eventually its chairman. ## Contributions to the Chinese community ### Support of Sun Yat Sen An ardent supporter of the Kuomintang, Lee was involved in secret meetings with Sun Yat-Sen at the Wan Qing Yuan, a two-storey villa at Tai Gin Road. He also helped the Chinese diaspora in Southeast Asia raise funds to support the Kuomintang in their struggles against the Empire of Japan and Communist Party of China. In 1937, Lee and five other Chinese community leaders bought the Wan Qing Yuan to preserve it as a historical site; it was later handed over to the Singapore Chinese Chamber of Commerce and Industry (SCCCI), which renovated it and turned it into a national monument, the Sun Yat Sen Villa (now Sun Yat Sen Nanyang Memorial Hall). ### Chinese community organisations From 1927, Lee was actively involved with the SCCCI, initially as General-Secretary, then as President. Under his leadership, the SCCCI supported the establishment of Nanyang University and convinced the British to grant citizenship to Chinese immigrants who had lived in Singapore for eight years. Lee was Chairman of the Ee Hoe Hean Club from 1933 to 1935 and from 1941 to 1945. Lee was also one of six Hokkien representatives in the Overseas Chinese Association (OCA), which acted as a bridge between the Chinese community and Japanese military administration during the Japanese Occupation of Singapore. During an OCA assignment to the Endau Settlement in Malaysia, his convoy was ambushed by the Malayan People's Anti-Japanese Army and everyone in the convoy was shot. Only Lee survived, as a bullet hit a Buddhist medallion on his chest; this inspired him to spread Buddhism in Singapore. ## Contributions to Buddhism in Singapore ### Poh Ern Shih Temple During World War II, many Japanese soldiers, British soldiers and civilians died in the crossfire and bombings of the Battle of Pasir Panjang at Chwee Chian Hill. On advice from Venerable Hong Choon, Lee purchased the hill from the British colonial government, with the aim of building a Buddhist temple dedicated to the bodhisattva Ksitigarbha, to liberate the spirits of the people who were sacrificed during the Japanese invasion. In 1950, Lee incorporated the 46,938 square feet (4,360.7 m<sup>2</sup>) Poh Ern Shih Temple (Hokkien for "temple of thanksgiving") as a limited company without shares, and in April 1954, he officiated its opening. ### Singapore Buddhist Lodge In 1943, the Singapore Buddhist Lodge (Chinese: 新加坡佛教居士林; Pe̍h-ōe-jī: Sin-ka-pho Hu̍t-kàu Ku-sū-lîm) was set up with about 100 members, mostly from the Chinese social elite. Its fixed address, a double-storey house at 26 Blair Road, was donated by Lee, who also contributed S\$1,000 for furniture and other expenses, a considerable sum at that time. The Lodge grew to over 2000 members by 1946, so Zhang Jiamei and Zhong Tianshui decided to rent bigger premises at 17 Kim Yam Road. In 1950, Zhang and Lee donated S\$10,000 and started a drive to raise funds to purchase the rented premises. ### Singapore Buddhist Federation The rate of growth of Buddhist temples and Buddhists doubled after the war, but without an umbrella organisation, each temple, headed by a chief monk or management committee, had its own way of conducting its affairs and relied on itself for financial support. Lee invited representatives from all Chinese temples to the Singapore Buddhist Lodge to discuss the formation of an umbrella organisation, and on 30 October 1949, the Singapore Buddhist Federation was registered, with Lee elected as its chairman and Venerable Hong Choon as its vice-chairman. In its first decade, its notable achievements included having Vesak Day gazetted as a public holiday in 1955, getting government approval to set up a Buddhist cemetery of about 110 acres (0.45 km<sup>2</sup>) at Choa Chu Kang Road and managing two schools, Maha Bodhi School and Mee Toh School. ### The Chinese Temple in Sarnath In the early 1930s, Lee learned that Venerable Tao Chiai wanted to restore a dilapidated Chinese temple in Sarnath (the deer park where the Buddha gave his first sermon after his enlightenment) that a Chinese emperor of the Tang dynasty built in the 8th century AD. Venerable Tao Chiai died before he could accomplish this task; however, his chief disciple, Venerable Teh Yue, continued the restoration project, which Lee personally funded. Lee went on a pilgrimage to India with Venerable Teh Yue and brought along an English engineer, A. H. King, to assess and assist the restoration works. This temple still stands today in Sarnath and is called simply The Chinese Temple in Sarnath. ## Death and commemoration On 5 June 1966, Lee was found dead in his home at Pasir Panjang Road. On 9 November 2008, his life and contributions to society were commemorated in a gallery, called The Pioneers' Memorial Hall, on the ground floor of the Ee Hoe Hean Club at Bukit Pasoh Road. ## See also - Poh Ern Shih Temple - Hong Choon - Ho Yuen Hoe - Teresa Hsu Chih - Piya Tan	[ "## Early years and personal life", "## Business", "## Contributions to the Chinese community", "### Support of Sun Yat Sen", "### Chinese community organisations", "## Contributions to Buddhism in Singapore", "### Poh Ern Shih Temple", "### Singapore Buddhist Lodge", "### Singapore Buddhist Federation", "### The Chinese Temple in Sarnath", "## Death and commemoration", "## See also" ]	1,710	11,023
61,357,063	Hardlight	1,167,534,339	British mobile game developer owned by Sega	[ "2012 establishments in England", "British companies established in 2012", "British subsidiaries of foreign companies", "Companies based in Leamington Spa", "Sega divisions and subsidiaries", "Video game companies established in 2012", "Video game companies of the United Kingdom", "Video game development companies" ]	Hardlight (stylised as HARDlight) is a British video game developer founded by Sega and based in Leamington Spa, England. Revealed in January 2012, it is focused on mobile games for smartphones and became part of Sega Europe. Founded by Sega employee Chris Southall, Hardlight initially began work on research and development for handheld video game consoles, but soon shifted to mobile games after being asked by Sega as part of an initiative to increase mobile game development outside of Japan. Hardlight has since developed several mobile games in the Sonic the Hedgehog and Crazy Taxi video game series. In 2019, Hardlight was more closely integrated into parent Sega Europe. Hardlight's games have received numerous downloads, with Sonic Dash having been downloaded millions of times. ## History Hardlight was founded by Chris Southall, a former Codemasters employee who also helped to found Sega Racing Studio and revealed by Sega in January 2012. After working with Sega Racing Studio, Southall worked in Sega technical support areas along with a team, and served as chief technology officer for Sega Europe. According to Southall, Sega's desire for more development of mobile games led to Hardlight's foundation. The initial studio was in Dorridge, Solihull, in the West Midlands. Shortly after its formation, Sega announced that Hardlight was in development on a PlayStation Vita action-adventure game, to be released in late 2012. Hardlight also performed some research and development work for the Nintendo 3DS. According to studio manager Sion Lenton, Hardlight employed 21 employees at this time, in addition to contracted staff, and had a goal of remaining small for the moment. By September 2012, Hardlight had completed a port of Viking: Battle for Asgard for PC. Sega would make the decision to focus more on mobile games in the west, having had success in Japan. Hardlight was asked to shift its focus to developing games for iOS and Android systems. Their first project was a remake of Sonic Jump, which had originally been developed for the T-Mobile Sidekick and released in 2005. Southall called development of the remake "an interesting learning process". Hardlight relocated its studio around that time to Leamington Spa, a town with a community of video game developers in the area. By the time of Sonic Jump's launch in October 2012, the studio was working on developing titles in the Sonic the Hedgehog and Crazy Taxi series. Although initially faced with difficulty deciding which to develop, Sega Sammy Holdings president and chief operating officer (COO) Haruki Satomi saw a demo of Sonic Dash and liked it so much that he insisted it be developed. Sonic Dash was initially scheduled for a Christmas 2012 release, but would not be released until March 2013. The studio's next title was Crazy Taxi: City Rush. The concept for developing a mobile Crazy Taxi game came from the original Sega AM3 producer, Kenji Kanno. Hardlight worked with Kanno on design aspects for the game. Subsequently, Hardlight released Sonic Dash 2: Sonic Boom and Sonic Jump Fever. After these releases, all of which were casual games, Hardlight began looking at developing a more strategy-oriented game involving multiplayer. After some discussions with Sonic Team, Hardlight began working on Sonic Forces Speed Battle, to tie in with the upcoming 2017 release of Sonic Forces. While development of the game began with a small team of three or four developers, up to 28 were involved with the project as the game closed in on its release. In April 2019, Hardlight was integrated more closely into Sega Europe, structuring it as one of five "pillars" alongside Creative Assembly, Sports Interactive, Relic Entertainment, and Amplitude Studios. In the same announcement, Sega emphasized that Hardlight would continue its focus on mobile games. Neall Jones, formerly of Codemasters, Traveller's Tales, and Eidos Interactive was announced to be the studio's new director; Southall and operations head Harinder Sangha departed for Sumo Digital. Jones anticipated that the studio's staff will double over time. He also expressed a belief in more intellectual property for PCs and consoles will see more releases for mobile devices. Hardlight developed ChuChu Rocket! Universe and Sonic Racing—a port of Team Sonic Racing—for Apple Arcade, which were released on the service's launch date of September 19, 2019. Production of ChuChu Rocket! Universe took approximately eight months starting with a team of 15 people that doubled in size over time. In designing the game, a sequel of the 1999 Dreamcast game ChuChu Rocket!, Hardlight had to redesign the game in full 3D. According to director Paul Twynholm, testing of the game had to occur internally because the game could not be soft launched for Apple Arcade. Twynholm acknowledged a desire to bring back Sega franchises in future Hardlight releases. By June 2015, Sonic Dash had been downloaded over 100 million times across multiple different platforms, and had 14 million players per month. By November 2017, Sonic Dash's download count was over 300 million. Within its first five days of release, Sonic Forces Speed Battle had been downloaded 1.3 million times, and reached 2 million downloads within its first two weeks. According to Southall in a November 2017 interview, Hardlight was continuing to work on updates for Sonic Dash, Sonic Dash 2, and Crazy Taxi: City Rush. In a February 2020 interview, Jones expressed the studio's surprise at the longevity of Sonic Dash, having been downloaded more than 350 million times and earned more than \$10.1 million. He spoke on the implementation of new features to keep the game interesting, as well as additions such as a baby Sonic from the Sonic the Hedgehog film. ## List of games ## See also - Three Rings Design - Demiurge Studios - Two Point Studios	[ "## History", "## List of games", "## See also" ]	1,222	888
22,353,994	Clathrus columnatus	1,171,071,949	Species of fungus	[ "Fungi described in 1811", "Fungi native to Australia", "Fungi of Australia", "Fungi of Central America", "Fungi of New Guinea", "Fungi of New Zealand", "Fungi of North America", "Fungi of Oceania", "Fungi of South America", "Fungi without expected TNC conservation status", "Phallales", "Taxa named by Louis Augustin Guillaume Bosc" ]	Clathrus columnatus, commonly known as the column stinkhorn, is a saprobic species of basidiomycete fungus in the family Phallaceae. It has a widespread distribution, and has been found in Africa, Australasia, and the Americas. It may have been introduced to North America with exotic plants. Similar to other stinkhorn fungi, the fruiting body, known as the receptaculum, starts out as a subterranean "egg" form. As the fungus develops, the receptaculum expands and erupts out of the protective volva, ultimately developing into mature structures characterized by two to five long vertical orange or red spongy columns, joined at the apex. The fully grown receptaculum reaches heights of 8 cm (3.1 in) tall. The inside surfaces of the columns are covered with a fetid olive-brown spore-containing slime, which attracts flies and other insects that help disseminate the spores. Although once considered undesirable, the fungus is listed as edible. It is found commonly in mulch. ## Taxonomy and naming The species was first named by the French botanist Louis Augustin Guillaume Bosc in 1811. Christian Gottfried Daniel Nees von Esenbeck transferred it into Laternea in 1858, a genus intended to accommodate those Clathrus-like species with arms arranged in columns rather than a network; in its current meaning, Laternea includes species that have gleba suspended below the arch of the receptaculum by trabeculae (columns that extend from the peridium to the central core of the receptaculum). Other genera to which the species has been transferred include Linderia by Gordon Herriot Cunningham in 1932, Colonnaria by Eduard Fischer in 1933, and Linderiella by Cunningham in 1942. Colonnaria, Linderia and Linderiella are now considered obsolete genera, as they have been subsumed into Clathrus. The specific epithet columnatus is Latin, meaning "supported by pillars". The mushroom is commonly known as the "column stinkhorn". Curtis Gates Lloyd wrote in 1906 "in Florida, it is known to the natives as "Dead Men's Fingers." however in recent times Dead Men's Fingers usually refers to Xylaria polymorpha. ## Description The fruit body, or receptaculum, of Clathrus columnatus consists of two to five (usually four) spongy vertical columns, which are separate where they arise from the volva, but joined at the top in an arch. The columns are joined in pairs; the opposite pairs are joined by a short and broad arch similar in structure to the columns. The columns, which are narrower at the base than above, are reddish-orange above and yellowish-pink below. Young specimens have the fruit body compressed into the small interior space of an "egg", which consists of a peridium that is surrounded by a gelatinous layer that encloses the compressed fruiting body. The egg, usually gray or grayish-brown, typically reaches diameters of 3 to 5 cm (1.2 to 2.0 in) before the columns grow. The volva remains at the base of the fruit body as a thick, loose, whitish sack. The mycelial cords found at the base of the volva are made of two types of tissues: a central bundle of fine hyphae that extend in a longitudinal direction, and an outer cortical layer of coarser hyphae that form a loose but highly interwoven structure. Full-grown columns can extend to 5 to 8 cm (2.0 to 3.1 in) above the ground, a location that optimizes spore dispersal. The fetid-smelling gleba, the spore-bearing mass, is smeared on the upper inner surface of the columns. The spores are elliptical, smooth, and have dimensions of 3.5–5 by 2–2.5 μm. They have thin walls, and are covered by a transparent envelope. ### Edibility The words of William Gilson Farlow, published in 1890, serve as a warning to those who might be inclined to consume Clathrus columnatus: "The odor of fully grown specimens of the order Phalloidea is so repulsive that the question as to their poisonous character when eaten by men has often been the subject of experiment." Farlow described two cases of poisoning, one involving a young girl "who ate a small piece of the fungus, and was seized with violent convulsions followed by loss of speech and a deep sleep lasting 52 hours"; the other case involved hogs that ate the fungus found in patches in oak woods, and died 12–15 hours later. Despite this early report of poisoning, Orson K. Miller, Jr. notes that the taste of the egg is mild, and lists the species as edible. ### Similar species Pseudocolus fusiformis, Clathrus bicolumnatus, and C. ruber have similarities to Clathrus columnatus. The lattice stinkhorn, C. ruber, has a larger, more globular, lattice-like receptacle. The "stinky squid", P. fusiformis, has arms that are attached at the bases, and free at the top. It grows on rotting logs and chip-mulched soil, in contrast to C. columnatus, which grows on sandy soil. C. bicolumnatus has a smaller stature (up to 9 cm tall), and only has two columns. ## Development The American botanist Edward Angus Burt published a detailed description of the development of C. columnatus in 1896. He found that the egg consists of cortical and medullary systems continued upward from the mycelial strand in the earliest stage. The cortical layer gives rise to the outer layer of the volva, the cortical plates and the pseudoparenchyma (thin-walled, usually angular, randomly arranged cells that are tightly packed) of the receptaculum. The medullary portion gives rise to the gelatinous masses of the gelatinous layer of the volva, to the gleba, and to the gelatinous tissue of the chambers of the receptaculum. The elongation of the receptacle begins at the base and after its elongation, the gleba hangs suspended from the arch of the receptaculum by medullary tissue constituting the chamber masses of the receptacle. ## Ecology, habitat and distribution Like all Phallaceae species, C. columnatus is saprobic, and uses extracellular digestion to acquire nutrients from dead and decaying organic matter, like wood. As a consequence of its predilection for dead wood, the fungus is often associated with disturbed habitats. It can often be found growing in and around gardens and residences where areas of cultivation or landscaping have resulted in accumulations of mulch, wood chips or other cellulose-rich materials. The mycelial cords can be traced to buried roots, stumps, and other woody material. The species grows in sandy soil, near woody debris, in lawns, gardens, and cultivated soil. Fruit bodies appear singly, or scattered, and can arise in the summer, autumn, and early winter, especially after wet weather. Like other member of the family Phallaceae, the mature fungus attracts insects with its smell to help disperse its spores. Psilopyga fasciata, a stinkhorn beetle of the sap beetle family, has been recorded feeding on the gleba of Mexican specimens. In 1980 Donald Malcolm Dring summarized the known geographical distribution of C. columnatus; the fungus has been collected in Australia, New Zealand, Oceania, New Guinea, Africa, and North and South America; According to Australian mycologist Tom May, the Australian distribution is "presumably erroneous", as it is based on only a single collection in 1948. In Central America, it has been collected from Costa Rica. It is also found in China, in Jiangsu, Fujian, and Guangdong. The North American distribution extends south to Mexico, and north to New York; it is also in Hawaii. The fungus is less common in the southeastern and southern United States. It is thought to have been introduced to North America, as it typically appear in landscaped areas or other locations where exotic plants have been established.	[ "## Taxonomy and naming", "## Description", "### Edibility", "### Similar species", "## Development", "## Ecology, habitat and distribution" ]	1,752	26,017
61,426,481	The Anthropocene Reviewed	1,167,813,410	Podcast and book by John Green	[ "2018 podcast debuts", "2021 non-fiction books", "American podcasts", "Anthropocene", "Books about the COVID-19 pandemic", "Educational podcasts", "Essay collections", "Memoirs", "Podcasts adapted for other media", "WNYC Studios programs", "Works by the Green brothers" ]	The Anthropocene Reviewed is the shared name for a podcast and 2021 nonfiction book by John Green. The podcast started in January 2018, with each episode featuring Green reviewing "different facets of the human-centered planet on a five-star scale". The name comes from the Anthropocene, the proposed geological epoch that includes significant human impact on the environment. Episodes typically contain Green reviewing two topics, accompanied by stories on how they have affected his life. These topics included intangible concepts like humanity's capacity for wonder, artificial products like Diet Dr. Pepper, natural species that have had their fates altered by human influence like the Canada goose, and phenomena that primarily influence humanity such as Halley's Comet. The podcast was released monthly until September 2020, when Green announced he was putting the podcast on hiatus as he adapted it into a book. The Anthropocene Reviewed: Essays on a Human-Centered Planet, was published by Dutton Penguin on May 18, 2021, featuring revised essays from the podcast and several new essays. The book received positive reviews and debuted at number one on The New York Times Best Seller list. After the release of a four-episode season accompanying the publication of the book, Green announced he did not have plans to release any further episodes. ## Podcast Each podcast typically covers two topics, which have included a diverse range of subjects including celestial phenomena, works of art, diseases, and human emotions. The subjects ultimately serve as starting points into explorations of Green's own life and perspectives in the form of memoir-like essays, which have been described as "thought-provoking reviews [that] use a blend of poetry, historical detail and humor." ### Background The premise for the podcast was born from a number of sources. Green worked for the book review journal Booklist in the early 2000s, where he reviewed hundreds of books over the course of five years, sparking his interest in reviews as a literary format. In October 2017, after the release of Green's most recent novel, Turtles All the Way Down, he and his brother Hank Green went on a book tour. As they travelled across the country, they passed the time by finding Google user reviews for the places they were passing that they considered absurd, such as a one-star review for Badlands National Park. While reflecting on the increased prevalence that reviews and the five-star scale had taken in modern life, John told Hank he had once had an idea to write a review on Canada geese, to which Hank responded, "The Anthropocene... reviewed!" A few months later, John shared some reviews he had written in 2014 on Canada geese and Diet Dr Pepper with his wife, Sarah Urist Green. After noting that John wrote the reviews in a nonfiction form of third-person omniscient narration, Sarah pointed out that reviews often act as a form of memoir, saying that, "in the Anthropocene, there are no disinterested observers; there are only participants." John cited this as a major reason he chose to put more of himself into the reviews. John Green, in the introduction to The Anthropocene Reviewed book, also revealed that he had begun to have trouble writing fiction because of the ways readers were conflating his protagonists' views with his own. Green specifically referenced a 2017 Allegra Goodman quote; Goodman was asked who she would like to have write her life story, to which she responded, "I seem to be writing it myself, but since I'm a novelist, it's all in code." In an interview with The New York Times in June 2021, Green elaborated, stating that, "I didn't want to write in code anymore. I wanted to try to write as myself because I've never done that in any formal way." ### Post-debut The podcast's first episode was published on January 29, 2018. Green reflected in a November 2018 interview with Vulture that, "The Anthropocene Reviewed is an opportunity for me to get back to my roots. With the podcast, I want to pay careful and sustained attention to the world around me, and that's something I often feel like I don't do, especially when I'm on the internet." In June 2019, Roman Mars interviewed Green about his show in an episode of 99% Invisible which also featured the reviews from episodes six and nine. The Lascaux Paintings essay from episode six was also adapted into an animated visualization by the German YouTube channel Kurzgesagt in May 2020. In August 2019, John and Hank performed live versions of their podcasts on stage, with John presenting a new episode of The Anthropocene Reviewed, as well as a live episode of their shared podcast Dear Hank & John. The live performances returned in March 2020 with a planned three-city tour including stops in Columbus, Ohio and Carmel, Indiana, with a third performance set for Ann Arbor, Michigan. However, the third performance was cancelled due to the onset of the COVID-19 pandemic in the United States. On the August 2020 episode titled "The Anthropocene Reviewed, Reviewed", Green announced he would be taking a hiatus from the podcast after the following month's episode in part to work on a book adaptation of the podcast. In April 2021, the podcast returned for a four-episode season coinciding with the release of the book. The fourth episode was released on August 26, 2021, with Green commenting the day before in a video posted to his Vlogbrothers YouTube channel that he believed the episode would be his last. He stated, "Working on The Anthropocene Reviewed has been an incredible experience, but I think I'm ready to go back to writing fiction... maybe?" ## Book The Anthropocene Reviewed: Essays on a Human-Centered Planet was published by Dutton Penguin on May 18, 2021, Green's first nonfiction book and sixth solo publication. The book features revised versions of many of the essays from the podcast, as well as new original essays, ordered chronologically through Green's life to give the book the approximate structure of a memoir. Green wrote about living through the COVID-19 pandemic in many of the essays. He also narrated the audiobook, which was released simultaneously with the hardcover. In addition to the English version, translated versions were released in German, Spanish, Portuguese, Italian, and Dutch. As he had done with many of his previous books, Green signed all 250,000 tip-in sheets of the first printing for the United States and Canada. He wrote a review of the experience on the final signed page. This review was later revised and expanded on for an episode of the podcast released on the same day as the book. Green hosted a virtual book tour, with guests Clint Smith, Latif Nasser, Sarah Urist Green, Hank Green, and Ashley C. Ford making appearances at the various shows. In November 2021, John Green announced an accompanying zine sold through the Green brothers' e-commerce store DFTBA.com. The zine is 20 pages long and contains reviews from John Green and Stan Muller, a poem by Rosianna Halse Rojas, and illustrations by Nadim Silverman. In April 2022, the book was chosen to be the 2022 common read at the University of Mississippi. Green gave a keynote address at the university's annual fall convocation. The paperback edition was released on March 21, 2023, with the inclusion of two additional essays. Green hosted an event at Miami Dade College on March 23 for the launch of the book. ### Reception The book received positive reviews and sold well, with more than 57,000 copies purchased during its first week. It debuted as a number one New York Times Best Seller in the Combined Print & E-books Nonfiction and Hardcover Nonfiction categories, staying on the latter list for nine weeks. It was subsequently listed at number six on the American Booksellers Association's Year-End 2021 Bestseller List in the category of hardcover nonfiction. Booklist, Library Journal, Publishers Weekly, and Shelf Awareness all gave starred reviews, with the last stating that "each of the 44 entries [...] is a small gem, polished to near perfection." Adam Frank reviewing the book for NPR wrote how each essay, "is a web of salient and unexpected connections." Elizabeth Greenwood from The San Francisco Chronicle wrote, "The Anthropocene Reviewed is the perfect book to read over lunch or to keep on your nightstand, whenever you need a reminder of what it is to feel small and human, in the best possible way." Scott Neumyer of Shondaland wrote that, "Green may have made his name by writing fiction (and for good reason), but this first foray into nonfiction is his most mature, compelling, and beautifully written book yet." In November 2021, the book was named to the longlist for the 2022 Andrew Carnegie Medals for Excellence in Fiction and Nonfiction. The book also won the 2021 Goodreads Choice Award in the category of Best Nonfiction. ## Reviews ### Podcast episodes Ratings are presented in the order that topics are listed in the title, regardless of order presented within the episode. ### Text-based reviews Reviews in The Anthropocene Reviewed book originally from the podcast are excluded from the table below.	[ "## Podcast", "### Background", "### Post-debut", "## Book", "### Reception", "## Reviews", "### Podcast episodes", "### Text-based reviews" ]	1,915	31,749
12,460,606	Chestnut-capped piha	1,134,997,858	Species of bird	[ "Birds described in 2001", "Birds of the Colombian Andes", "Endemic birds of Colombia", "Lipaugus", "Taxa named by Paul Salaman", "Taxonomy articles created by Polbot" ]	The chestnut-capped piha (Lipaugus weberi) is a species of bird in the family Cotingidae. It is endemic to a small portion of Colombia’s central Andes in the department of Antioquia. The chestnut-capped piha resides only in a narrow band of humid premontane cloud forest. It is a dark grey passerine with a notable chestnut crown on the upper nape and pale cinnamon-colored undertail coverts. Adults are small for pihas, measuring about 20 to 25 cm (8 to 10 in) long. Males have modified primary feathers with elongated and stiff barbules that enable them to create a whirring noise with their wings, which the piha likely uses for display purposes. Its call is extremely loud and can be heard over 100 m (330 ft) away. The chestnut-capped piha is mostly frugivorous, although it will eat some invertebrates. Little is known about the species' breeding ecology, although it is believed to be a lekking species. The chestnut-capped piha was not discovered until 1999, due in large part to the very limited and to political instability in central Colombia. The chestnut-capped piha is considered by the IUCN to be critically endangered, and the population may be as low as 250 birds. It is primarily threatened by habitat destruction as its cloud forests are converted into usage for farming, mining, and agriculture. Although several reserves have been set up to protect portions of its range, more conservation work needs to be done to protect the species from extinction. ## Taxonomy During the late nineteenth and twentieth centuries, the area infrastructure led many ornithological expeditions to explore the northern Cordillera Central mountains; however, the northern premontane slopes remained largely unexplored before political instability closed off the area until the 1990s. On March 31, 1999, during survey work to compile an inventory of the avifauna of the La Forsoza region, the first known chestnut-capped piha was captured, photographed, and released by ornithologists Andrés M. Cuervo, José M. Ochoa, Sandra Galeano, and Juan Carlos Luna. Following the capture of a second bird in May, Cuervo began to speculate that the unusual pihas were an undescribed species. In August 1999 a rapid survey across a wide swathe of the region encountered the unknown piha on numerous occasions, and in some areas it was one of the more common species present. Two birds which were mistnetted during this survey were collected and became the holotype and paratype when the species was described in 2001. The species' discovery led to hopes that more undescribed species existed in this portion of Colombia will be discovered; since the newly discovered bird species from central Colombia that includes the Magdalena tapaculo, Stiles's tapaculo, Antioquia brushfinch, and Antioquia wren. The chestnut-capped piha is also known as the chestnut-capped cotinga and Antioquia piha. Locals call the species Arrierito Antioqueño, which translates to the "little herdsman of Antioquia," because its call reminds them of the whistles made by horsemen herding cattle. The genus name Lipaugus comes from the Greek lipaugēs, meaning "dark" or "devoid of light." The specific name weberi is in honor of Walter H. Weber, a Colombian ornithologist from Medellín known for promoting conservation and the study of birds in Antioquia. The chestnut-capped piha has no subspecies, and seems to be most closely related to the dusky piha. It may form a superspecies with the dusky, cinnamon-vented, and scimitar-winged pihas. ## Description Overall the chestnut-capped piha is a dark grey bird with a notable chestnut crown on the upper nape and pale cinnamon-colored undertail coverts. The upperparts and wing coverts are a dark grey with paler fringes to most of the feathers. The flight feathers are a dark brownish grey with cinnamon-colored fringes on the secondaries and tertials. As the bird's feathers wear, the pale fringes tend to darken, leaving the bird even more uniform grey in coloration. The underwing is a pale silvery grey. The underparts are a paler shade of grey than the upperparts, particularly on the throat. The tail is a dark greyish-brown, and is noticeably long and forked. The legs and feet are also dark grey, although they have contrasting yellow soles. In addition to its namesake chestnut crown, the bird's head is marked by a dark brown iris and a narrow orbital ring that is a bright yellow. The bird's beak is black and relatively deep and broad at its base, and has a very hooked tip. It also has short rictal bristles and obvious nostrils. Adult chestnut-capped pihas are small for pihas, measuring about 20 to 25 cm (8 to 10 in) long and weighing between 69.4 and 72.2 g (2.45 and 2.55 oz). The sexes are similar in appearance, although the male is suspected to be slightly larger than the female. Males also have slightly different primary feathers where the barbules are elongated and stiff, allowing the males to create a whirring noise with their wings. Molting appears to occur around August, with males molting earlier than females. Juveniles have a far less obvious chestnut crown than the adults, but have brighter and broader rufous fringes on their secondaries and tertials. Their irises are also a greyer shade of dark brown. Juvenile males also have not yet developed the modified primary feathers of the adult. While no other pihas have been found to share the chestnut-capped piha's habitat, making it unlikely to be confused with another species, it is distinguished from the closely related dusky piha by its relatively smaller size, greyer plumage, distinctive chestnut crown, and yellow orbital ring. ### Voice Like most pihas, the chestnut-capped piha is extremely and conspicuously vocal. Its call is a loud, piercing sreeck which rises in pitch before abruptly descending. These calls are given repetitively in a series at one-second intervals, although when agitated they can be given every third of a second, and can be heard over 100 m (330 ft) away. The chestnut-capped piha calls sporadically throughout the day and year-round. The species also produces a quiet, nasal gluck-gluck which is believed to be a contact call. ## Distribution and habitat The chestnut-capped piha is endemic to the central Andes of Colombia. It is only found on the northern slope of the Cordillera Central mountains near the towns of Amalfi and Anorí in the department of Antioquia. Sixteen distinct populations are known from this area just east of the Nechí River Valley, with most of the populations being located closer to Anorí, likely due to more extensive habitat destruction over a longer period of time near Amalfi. Despite the large number of populations, in 2014 it was estimated that its surviving habitat only covered between 42 and 357.5 km<sup>2</sup> (10,400 and 88,300 acres). The species is limited to living in a very narrow band of extremely humid, premontane cloud forest between 1,400 and 1,925 m (4,600 and 6,300 ft) in elevation, although it is suspected that birds may venture as low as 1,200 m (3,900 ft). This piha seems to be most common between 1,600 and 1,750 m (5,200 and 5,700 ft). The cloud forest is dominated by trees in the genera Guarea, Pouteria, Protium, Roucheria, Vochysia, Virola, and Clusia. The species prefers pristine cloud forest, and may need blocks of at least 30 ha (74 acres) of habitat to thrive; however, it may be able to tolerate some selective logging and habitat fragmentation, although as a lower population density. The chestnut-capped piha is non-migratory. ## Ecology and behavior The piha is typically found between the midstory and lower canopy of its cloud forest, and has been observed joining mixed-species foraging flocks in the upper canopy, although typically only for the amount of time needed for the flock to pass through the piha's territory. The species tends to be sluggish and relatively inactive. While perching, the chestnut-capped piha tends to adapt a more horizontal position than the other pihas, which typically perch very upright. When agitated, the piha flicks its tail upwards and raises its crown feathers. The piha is parasitized by at least one species of tick in the genus Acaro. The chestnut-capped piha is mostly frugivorous, although it will eat some invertebrates. The fruits eaten by this piha are small to medium-sized and come from a variety of plant families, including Myrsinaceae, Euphorbiaceae, Caprifoliaceae, Linaceae, Lauraceae, Aquifoliaceae, and Melastomataceae. The laurels in particular seem to be a preferred fruit for the species. The piha typically picks the fruit by hover-gleaning on short sallying flights, although the species will infrequently eat fruits from a perched position. Larger fruits are occasionally bashed against a branch prior to being eaten. The nest and breeding behavior of the chestnut-capped piha has not been described. It is assumed to have similar behavior to the closely related dusky piha, and likely forms leks where males use their modified primary feathers to produce a whirring noise with their wings. In March 2000, a survey found the species was mostly paired off and frequently vocalizing, suggesting that the breeding season was about to begin. A juvenile piha collected in early June was likely only a few months old. ## Conservation The chestnut-capped piha was listed as endangered on the IUCN Red List between 2002 and 2015, when it was reclassified as a critically endangered species, due in large part to its small range and habitat destruction. Within its range, the cloud forest is being converted into pastureland and farmland, particularly for coffee and plantains. Other pieces of former habitat have been affected by gold mining and soil erosion. Additionally, some of its habitat has been replaced by invasive species or by pine and cypress plantations. While there is some evidence that the species may be able tolerate some logging in its territory, it is much less common in fragmented habitat. Three quarters of its original habitat is believed to have been lost, including 9% between 2000 and 2010 alone. Climate change is also believed to pose a future threat to the species due to the piha's very specific habitat requirements; as temperatures rise, the piha will have to move upslope to maintain a favorable climate. However, the need to move upslope will likely outstrip the forest’s ability to do so in response to the changing climate. When the species was initially described, the population was estimated to be around 2,500; however, in 2014 it was reevaluated and estimated that there may be fewer than 250 chestnut-capped pihas remaining. In 2014 it was listed as Colombia's eighth most endangered bird species, and it has been named a priority conservation species by the Alliance for Zero Extinction. Some portions of the piha's range are protected, including the 4.5 km<sup>2</sup> (1,100 acres) Reserva Natural La Forzosa where the bird was first discovered; this site had actually been declared a reserve by a local landowner prior to the species' discovery. In 2006, the American Bird Conservancy purchased the 5.3 km<sup>2</sup> (1,300 acres) Arrierito Antioqueño Bird Reserve to be managed by Fundación ProAves. Two smaller reserves, the La Serrana Municipal Reserve and the Caracolí-Guayabito Reserve, also protect portions of its habitat. Further efforts to conserve portions of the chestnut-capped piha's range and limit its conversion to agricultural usage, particularly in the Riachón River valley, as well as additional surveys to clarify its current distribution, population, and any genetic variation between the Amalfi and Anorí populations, are needed to further protect the species. ## Relationship with humans The chestnut-capped piha was featured on a Colombian \$1,500 postage stamp in 2008.	[ "## Taxonomy", "## Description", "### Voice", "## Distribution and habitat", "## Ecology and behavior", "## Conservation", "## Relationship with humans" ]	2,712	18,922
15,638,544	Shieling	1,138,807,056	Dwelling on a pasture high in the hills	[ "Agricultural buildings", "Buildings and structures in Scotland", "House types in the United Kingdom", "Huts", "Pastoral shelters", "Scottish traditions", "Stone houses", "Transhumance" ]	A shieling is a hut or collection of huts on a seasonal pasture high in the hills, once common in wild or sparsely populated places in Scotland. Usually rectangular with a doorway on the south side and few or no windows, they were often constructed of dry stone or turf. More loosely, the term may denote a seasonal mountain pasture for the grazing of cattle in summer. Seasonal pasturage implies transhumance between the shieling and a valley settlement in winter. Many Scottish songs have been written about life in shielings, often concerning courtship and love. The ruins of shielings are abundant landscape features across Scotland, particularly the Highlands. ## Etymology A "shieling" is a summer dwelling on a seasonal pasture high in the hills. The first recorded use of the term is from 1568. The word "shieling" comes from "shiel", from the forms schele or shale in the Northern dialect of Middle English, likely related to Old Frisian skul meaning "hiding place" and to Old Norse Skjol meaning "shelter" and Skali meaning "hut". ## Seasonal dwelling ### Construction A shieling, whether an isolated dwelling or in a group, is a hut or small dwelling, usually in an upland area. Shielings were often constructed of locally available dry stone, or turf. They are mostly rectangular buildings between 5.7–14 metres (19–46 ft) long and 3–8.3 metres (9.8–27.2 ft) wide, although they may have rounded corners or be roughly oval. The rectangular buildings usually had gabled roofs covered in local materials such as turf, heather, or rushes, supported on timbers. The doorway was usually in the middle of one of the long sides of the building, often on the south side; it was often just a gap in the wall, although some shielings had door jambs and lintels made of larger blocks of stone. The smaller shielings consisted of a single room; most were divided into two or three rooms. There were few or no windows. Some sources consider shielings to differ from farmsteads in lacking an enclosure, although they may be surrounded by a bank and ditch, or by a dry stone wall. The Welsh traveller and naturalist Thomas Pennant wrote the first description of Scottish shielings: > I landed on a bank covered with sheelins, the temporary habitations of some peasants who tend the herds of milch cows. These formed a grotesque group; some were oblong, some conic, and so low that the entrance is forbidden without creeping through the opening, which has no other door than a faggot of birch twigs placed there occasionally; they are constructed of branches of trees covered with sods; the furniture a bed of heather; placed on a bank of sod, two blankets and a rug; some dairy vessels; and above, certain pendent shelves made of basket‐work, to hold the cheese, the product of the summer. In one of the little conic huts I spied a little infant asleep. ### Usage The shieling system was widespread across Europe, including upland Britain and Iceland. It survives into the 21st century in Norway, Northern Sweden and the higher areas of central Europe. Farmers and their families lived in shielings during the summer to enable their livestock to graze common land. Shielings were therefore associated with the transhumance system of agriculture. They were often beside streams, which were used as pathways into the hills, or at the far end of the upland grazing land from the migrants' winter dwellings. The mountain huts generally fell out of use by the end of the 17th century, although in remote areas, such as the Isle of Lewis in the Hebrides, this system continued into the 18th century or even later. Derek Cooper, in his 1983 book on Skye, writes that the buildings on the moors were repaired each summer when the people arrived with their cattle; they made butter and cheese, and gruthim, salted buttered curds. Ruins of shielings are abundant in high or marginal land in Scotland and Northern England, as are place-names containing "shield" or their Gaelic equivalents, such as Pollokshields in Glasgow, Arinagour on the island of Coll, Galashiels in the Scottish Borders, and "Shiels Brae" near Bewcastle. Turf-built shielings have typically gradually eroded and disappeared, but traces of stone-built structures persist in the landscape. Some shielings are medieval in origin and were occasionally occupied permanently after the abandonment of the transhumance system. The construction of associated structures such as stack-stands and enclosures indicate that in these cases they became farmsteads, some of which evolved into contemporary farms. ### Scottish shieling songs Many Scottish songs have been written about life in shielings, often concerning courtship and love. Several of these are in Alexander Macdonald's 1914 Story and Song from Loch Ness-side, including "Cha teid mi Choir Odhar", "Chunacas gruagach ‘s an aonach", and "A fhlesgaich is cummaire", all from Perthshire, and "Luinneag Airidh" (a shieling lovesong). The song "Chunacas gruagach ‘s an aonach" includes the lines > "Many times often you and I, Have been at the shieling on Brae Rannoch. On the hillock of the waterfall, Where we were resting. In the bothy of the dalliance, With a brushwood screen for door. My mouth placed on your fragrant mouth, And my hand would be round you, my love." The song is similar to the famous "Bothan Àirigh am Bràigh Raithneach" (The Shieling bothy on Brae Rannoch). Shielings are mentioned in the folk song "Mairi's Wedding", in the weaver poet Robert Tannahill's song "Gilly Callum", and in the musicologist William Sharp's "Shieling Song" of 1896, and in the title of Marjory Kennedy-Fraser's tune "Island Sheiling Song". Edward Thomas wrote a poem called "The Shieling". The Scottish poet Robert Burns mentions a "shiel" in his song "Bessy and her Spinnin' Wheel" and his poem "The Country Lass". ## See also - Scottish vernacular architecture - History of agriculture in Wales - Croft - Knocking stone - Scottish Vernacular	[ "## Etymology", "## Seasonal dwelling", "### Construction", "### Usage", "### Scottish shieling songs", "## See also" ]	1,404	10,859
17,733,227	Lince (tank)	1,081,603,388	Spanish proposed main battle tank	[ "Main battle tanks of Germany", "Main battle tanks of Spain", "Main battle tanks of the Cold War" ]	The Lince (, meaning "Lynx") was a Spanish development programme for a proposed main battle tank that unfolded during the late 1980s and early 1990s. The intention was to replace the M47 and M48 Patton tanks that the Spanish Army had received under the U.S. Mutual Defense Assistance Act between 1954 and 1975, and to complement the AMX-30E tanks manufactured for the army during the 1970s. Companies from several nations, such as German Krauss-Maffei, Spanish Santa Bárbara, and French GIAT, made bids for the development contract. The main priorities were mobility and firepower, with secondary priority placed on protection; the Lince tank was to have been lighter and faster than its competitors. The vehicle's size would also have been restricted by the Spanish rail and highway network. To achieve a sufficient level of firepower and protection, given the size requirements, the Lince was to use Rheinmetall's 120 mm L/44 tank-gun and German composite armour from the Leopard 2A4. The Spanish government decided to upgrade its fleet of AMX-30Es in the late 1980s. The focus on upgrading Spain's AMX-30E's distracted attention from the Lince plan, which was eventually shelved in 1990 after Spain acquired many M60 Patton tanks, which were no longer required by the U.S., in accordance with the Treaty on Conventional Armed Forces in Europe. These tanks replaced the M47s and M48s, and fulfilled Spain's need to modernize its tank forces in the short term. No prototype of the planned Lince tank was manufactured, and no announcements were made on who would receive the contract. Four years later the Spanish government procured and locally manufactured the Leopard 2, fulfilling the long-term modernisation goal established in the Lince programme. ## Background During the 1950s the Spanish Army was supplied by the United States with 552 M47 and M48 Patton tanks as a mutual defense pact against a potential Soviet invasion of Western Europe. The first tanks were delivered in 1954, and the fleet was upgraded in the 1970s to equal the capabilities of M60 Patton tanks. Spain was, however, interested in replacing these tanks as early as the 1960s with the French AMX-30 or German . Spain eventually decided to buy the French tank and by 1975 the Spanish Army had 299 AMX-30s, designated as AMX-30Es. Of these, 280 tanks were manufactured by the local company Empresa Nacional Santa Bárbara (now Santa Bárbara Sistemas) who received the AMX-30 patent from the French company GIAT. As the first batch of production of AMX-30s ended, the French Army and Santa Bárbara began a research programme for an eventual modernisation of the AMX-30 to correct deficiencies such as mechanical reliability, armor protection and the fire control system. In fielding the AMX-30E, the army found its upgraded M47s and M48s to be outdated; its earliest M47 tank was more than 30 years old. The army required a modern tank that could complement its AMX-30Es and started looking for a replacement for its Patton fleet. ## Bidding In 1984, the Spanish Ministry of Defense declared its intent to set aside 120 billion pesetas (1.1 billion U.S. dollars) for a future tank program and attracted interest from five foreign companies. German company Krauss-Maffei and Spanish company Santa Bárbara presented a joint bid in mid-1984 that would produce a tank based on 1970s technology. The French government proposed to cooperate with Spain in designing a tank complete with new technology—France would later develop this programme on its own as the AMX-Leclerc. However, the French admitted that there would be restrictions placed on Empresa Nacional Santa Bárbara when it came to exporting the tank. The Italian government proposed a similar deal for a cooperative tank design. The American company General Dynamics and British company Vickers offered the M1 Abrams and Valiant, respectively; the Spanish government rejected their offers the following year because of the low likelihood of local production and export of the tank. By late 1985, the only offers still under consideration were those from the German-Spanish collaboration and the French and Italian governments. Krauss-Maffei's Lince bid provided the clearest technical designs. The tank would be 49 tonnes and equipped with a 120-millimeter main gun. It could fire this gun on the move and aim at targets with effectiveness in day and night operations. Fitted with a 1,200 horsepower (890 kW) engine, the Lince could travel as fast as 70 kilometres per hour (43 mph) on the roads. Although heavily based on the Leopard 2A4, the Lince was smaller and lighter, trading protection for mobility. Specifically, the Lince prioritised enhanced mobility over the irregular Spanish terrain. Furthermore, size restrictions were imposed because of the existing capabilities of Spain's railroad and highway network. Although the reduced armor conflicted with the problems that the Spanish had with AMX-30E's thin armor, the Lince used a multilayer armor similar to that of the German Leopard 2A4, providing greater protection than standard armor for a similar weight. The protection was further enhanced by the low profile turret, again similar to that of the Leopard 2A4. In early 1986, the Ministry of Defense declared that it would choose a contract within a matter of months. News sources cited said that Krauss-Maffei would most likely gain the contract, although the French might get it because of past and existing French armament contracts with Spain. Apart from producing the French-designed AMX-30, the Spanish government also had a contract for Mirage F1 fighter planes and Puma utility helicopters in 1979. In early 1987, France again offered Spain the contract to co-develop and co-produce the AMX-Leclerc. This time it added the lucrative term of joint export. Despite the offer and ongoing collaboration with the Italians, Spanish investment in the German-Spanish Lince program grew to 200 billion pesetas (1.8 billion dollars). However, the Spanish government did not announce a winner for the contract. This indecision led Krauss-Maffei to freeze its bid for the Lince. Krauss-Maffei also cited the loss of millions of dollars because of failures on the part of Santa Bárbara Sistemas, who would manufacture the Lince. ## Decline of the programme The Spanish Ministry of Defense agreed to modernise the Army's AMX-30Es in 1987 and allotted 16 billion pesetas (155 million dollars) to the programme. From July 1987, the Army upgraded its entire AMX-30E fleet to EM1 and EM2 standards. This upgraded programme posed a threat to the Lince programme. Around the same time, the Spanish government expressed interest in acquiring American M60 Patton tanks that were being retired from Central Europe, in accordance with the Treaty on Conventional Armed Forces in Europe. In October and November, the Spanish government began to negotiate for 400 to 500 M60A1 and M60A3 tanks, and planned to upgrade its acquired M60A1 tanks to M60A3 standards. In December, the United States agreed to transfer 532 M60A1 and M60A3 tanks to replace Spain's M47s and M48s. After receiving 50 of the 272 A1s, Spain cancelled procurement of these tanks and opted to receive only the 260 M60A3s. Because of the modernisation of the AMX-30, the decision to replace older Patton tanks with the M60A3 and Krauss-Maffei's criticism of the management of the indigenous tank programme, the Lince was canceled in 1989. Management issues in Santa Bárbara Sistemas also played a part, including yearly negative balances and the reduction of factory personnel. However, unlike the planned Lince, the M60s only satisfied Spain's immediate need to modernise the Army's tank fleet in the short term. They were not a long-term modernisation solution as Spain's M47s and M48s had already been upgraded to equivalents of the M60. As a result, Spain negotiated with Germany over the procurement and local production of many Leopard 2A5s; a Memorandum of Understanding was signed between the two in 1995, and the Germans lent 108 Leopard 2A4s to the Spanish Army for five years starting in 1998. In 2005, the Spanish Ministry of Defense declared intention to buy the tanks instead of renting them. The local production terms in the Memorandum allowed Santa Bárbara Sistemas to start producing Leopard 2Es in 2003, and the first platoon of tanks was delivered in December 2003. In comparison to the smaller Lince, the Leopard 2A4 weighs 55 t (61 short tons) and is powered by a 1,500 hp (1,100 kW) diesel engine. The greater weight of the Leopard 2A4 is due in part to its thicker armor, affording greater protection and balancing out the loss in mobility as compared to the Lince. ## Comparison to the alternatives ## See also - Tanks in the Spanish Army - List of armoured fighting vehicles by country	[ "## Background", "## Bidding", "## Decline of the programme", "## Comparison to the alternatives", "## See also" ]	1,969	43,708
38,899,302	Operation Royal Flush	1,156,347,516	1944 Allied military deception during World War II	[ "Operation Bodyguard", "World War II deception operations" ]	Operation Royal Flush was a military deception employed by the Allied Nations during the Second World War as part of the strategic deception Operation Bodyguard. Royal Flush was a political deception that expanded on the efforts of another Bodyguard deception, Operation Graffham, by emphasising the threat to Norway. It also lent support to parts of Operation Zeppelin via subtle diplomatic overtures to Spain and Turkey. The idea was that information from these neutral countries would filter back to the Abwehr (German Intelligence). Planned in April 1944 by Ronald Wingate, Royal Flush was executed throughout June by various Allied ambassadors to the neutral states. During implementation the plan was revised several times to be less extreme in its diplomatic demands. Information from neutral embassies was not well trusted by the Abwehr; as a result, Royal Flush had limited impact on German plans through 1944. ## Background Operation Royal Flush formed part of Operation Bodyguard, a broad strategic military deception intended to confuse the Axis high command as to Allied intentions during the lead-up to the Normandy landings. Royal Flush developed a series of political misdirections in mid-1944 to support other deceptions between June and July. It evolved from Operation Graffham, a political deception aimed at Sweden between February and March 1944. Graffham was suggested and planned by the London Controlling Section (LCS) with the aim of convincing the Swedish government that the Allies intended to invade Norway, in support of Operation Fortitude North. During the war Sweden maintained a neutral position, and had relations with both Axis and the Allied nations. It was therefore assumed that if Sweden believed in an imminent threat to Norway this would be passed on to German intelligence. Graffham was envisioned as an extension of existing pressure the Allies were placing on Sweden to end their neutral stance. By increasing this pressure the head of the LCS, Colonel John Bevan, hoped to further convince the Germans that Sweden was preparing to join the Allied nations. Royal Flush was also intended to support Operation Zeppelin, the 1944 overall deception plan for the Middle Eastern theatre. Zeppelin developed threats against Greece and Southern France between February and July. Its intention was to tie up German defensive forces in the region during the period of D-Day. ## Operation Royal Flush was planned in April 1944 by Ronald Wingate, deputy controller of the LCS. His theory was based on the idea that the Allied nations might rely on forms of help from neutral countries following any invasions. Having seen the implementation of Operation Graffham, and with the deceptions aimed at Scandinavia and the Mediterranean, he chose Sweden, Turkey and Spain as the targets. For Sweden this was the continuation of Graffham, with demands from the US, UK and Russia that the Germans be denied access to the country following an Allied invasion of Norway. In the case of Turkey this was built on existing pressure, applied from the outset of the war, to join the Allied nations. In Turkey the plan called for diplomatic pressure on 8 June 1944, following the Normandy Landings, to allow the Allied forces access to Turkey for the purposes of staging an invasion of Greece (in support of the story of Zeppelin). At the same time the Soviets would make a similar request of Bulgaria. However, it was agreed that this risked a pre-emptive invasion of Turkey by German forces. Instead, the Allies took advantage of German warships being permitted, in June, access to Turkish territorial waters to transit to the Aegean Sea. A complaint to the Turkish government emphasised the Allies' interest in the Balkans and that they did not wish to see the Germans reinforcing the region. On 3 June, Spain was approached by the US ambassador with a request to use Spanish ports for evacuating the wounded after landings in southern France. Originally. the plan had been to request access for the purposes of staging the initial invasion. However, that was toned down in light of historical resistance to any foreign occupation of Spanish soil as well as the implausibility of invading France via the Pyrenees. On 5 June the British ambassador reinforced the request, and after some discussion, the Spanish government agreed but only after an invasion had occurred and under the supervision of the Red Cross. To emphasise the change in objective, the Allies followed that up with Operation Ferdinand, which threatened an invasion in Italy. ## Impact Information from neutral countries, such as those targeted by Royal Flush, had limited impact on German plans. The complaint to Turkey had a desired effect locally, with an apology from the country's government and a commitment to breaking diplomatic ties to Germany if required. However, it failed to elicit a response from Germany. The Allies' request to the Spanish government was relayed to the Germans but identified almost immediately as deception and misdirection. In July 1944, a report by the Abwehr identified Spain and Turkey as "outspoken deception centres". To make matters worse for the Allies, the political deceptions were not as tightly controlled as the double agents. This meant that as an overall information channel they could be confusing and disjointed.	[ "## Background", "## Operation", "## Impact" ]	1,040	24,344
35,494,660	I Am Your Leader	1,168,859,347	null	[ "2012 songs", "Cam'ron songs", "Music videos directed by Colin Tilley", "Nicki Minaj songs", "Rick Ross songs", "Song recordings produced by Hit-Boy", "Songs written by Cam'ron", "Songs written by Fernando Garibay", "Songs written by Hit-Boy", "Songs written by Nicki Minaj", "Songs written by Rick Ross" ]	"I Am Your Leader" is a song recorded by American rapper and singer Nicki Minaj for her second studio album Pink Friday: Roman Reloaded (2012). The song features additional rap vocals from hip hop artists Rick Ross and Cam'ron. Production of the song was handled by Fernando Garibay & Chauncey "Hit-Boy" Hollis, with writing coming from Minaj, Garibay, Hollis, Ross, and Cam'ron. Musically, "I Am Your Leader" is a midtempo hardcore hip hop and electro hop song that contains sparse beats, minimal instrumentation, repetitive, high-pitched, off-pitch synth hooks, and a booming, static bass. Lyrically, Minaj "dishes boast-heavy verses about how she’s better than all these other bitches", according to Adam Fleischer of XXL Magazine. "I Am Your Leader" garnered praise from contemporary music critics, with the majority praising the song's production, Minaj's vocal delivery, and the appearances of Cam'ron and Ross. To promote the song, an accompanying music video for the song was released on August 24, 2012. It features Minaj inside a brightly colored playhouse dressed in eccentric clothing, while sequences show Minaj, Ross and Cam'ron in different rooms such as the bathroom, the staircase, and the dining room. Fellow rapper Tyga also makes a brief cameo appearance. Despite not being released as a single, "I Am Your Leader" peaked at number 71 on the US Hot R&B/Hip-Hop Songs chart. Minaj briefly performed a part of the song on The Today Show'''s summer concert series. ## Background Following the success of Minaj's debut album, Pink Friday, Cash Money co-CEO, Brian "Birdman" Williams announced to Billboard that Minaj was aiming to release her second album within the first quarter of 2012. In November 2011, Minaj announced on Twitter that the album would be released on February 14, 2012, though it was later delayed to April 3, 2012. The album focuses on Roman Zolanski, one of Minaj's alter egos that was first featured on Pink Friday. On May 24, 2012, a poll was posted on Minaj's official website asking fans to choose the next single(s). The poll was divided into three categories: The second category asked fans to choose between "Champion", "HOV Lane", and "I Am Your Leader". "Champion" had the most votes and won the poll; "HOV Lane" came in second, and "I Am Your Leader" came in third. On June 6, 2012, Minaj announced through her official Twitter that "Champion" would be the next urban single. ## Composition "I Am Your Leader" is a hardcore hip-hop and electro-hop song that runs for three minutes and thirty-three seconds. The production consists of a "chilled-out, humming beat punctuated on the chorus with a blunted fake-horn hook—halfway between classic-era Neptunes and Look At Me Now" according to Andrew Unterberger of Popdust. It also contains repetitive, high-pitched, off-pitch synth hooks, and a booming, static bass. "I Am Your Leader" makes use of sparse beats, frills, minimal instrumentation, and allows Minaj's rhymes to be the focal point, all of which gives the song "something of a mixtape feel" according to Joe Rivers of No Ripcord. In his review of the song, Unterberger of Popdust noted Hit-Boy's modern hip hop production, saying "Diplo and Bangladesh might have to watch their back after the up-and-comers contributions to this album." Adam Fleischer of XXL said "Nicki dishes boast-heavy verses about how she’s better than all these other bitches." ## Critical reception "I Am Your Leader" received positive reviews from critics. Andrew Unterberger of Popdust gave it a 4-star rating, complimenting Minaj's rapping as well as the guest verses of Cam'ron and Rick Ross. However, Unterberger felt that Minaj was overshadowed by the guest verses. Andrew Hampp of Billboard echoed Unterberger's sentiments, saying "The nostalgia of Cam's return trumps the overall catchiness of the song." XXL Magazine stated that "Though many of the early songs [on the album] lack real substance, the records remain generally exciting - “I Am Your Leader,” alongside Rick Ross and Cam’ron, “Beez In The Trap” with 2 Chainz, and the triumphant “Champion” featuring Nas, Drake and Young Jeezy are all memorable moments". Joe Rivers No Ripcord praised "I Am Your Leader" along with "Beez in the Trap" for being "thrilling" and making "good use of cameos". Stephen Deusner of Paste Magazine said that "On the nursery rhyming “I Am Your Leader,” [Minaj] spits yet another dick joke like a playground jeer, slyly undermining hip-hop's traditionally male-centric braggadocio. She's not only participating in phallocentric boasting; she's also inflating the convention with a Swedish penis pump until it's just shy of bursting". David Jeffries of Allmusic listed it as one of the best tracks on the album. Matthew Cole of Slant Magazine stated that "'I Am Your Leader' and 'Beez in the Trap' [are] two excellent tracks which manage to sound both bubbly and heavy as Minaj delivers her most effortlessly entertaining shit-talk to date". Ryan Dombal of Pitchfork called "Come On A Cone" and "I Am Your Leader" "two brilliantly off-kilter songs". Tom Ewing of The Guardian said that "On "I Am Your Leader", [Minaj] drops a couple of octaves to gleefully pompous effect". Kevin Ritchie of NOW Magazine named it the top track of the album. Kyle Anderson of Entertainment Weekly named it one of the best tracks on the album along with "Champion". ## Promotion ### Music video The video begins with a pink mailbox with the song's title on the front written in different fonts. It is set in an esque brightly coloured playhouse. Minaj raps her first verse in a spacious room filled with antler heads and wacky windows and is seen standing on a zebra print carpet. Minaj is then seen in a bathtub, partially clothed, wearing only Alexander McQueen “Armadillo” jewel encrusted 12-inch stiletto shoes. She wears a green, Marilyn Monroe inspired wig. This is followed by a scene with all three rappers. After the hook, Rick Ross is seen sitting on a gold banquet table reciting his rap, shirtless, while gold mannequins ascend behind him. For Cam'ron's verse the scene is located on a staircase of moving photos of the three rappers. Nicki's Young Money labelmate, Tyga also makes a brief cameo appearance in the clip. The video garnered positive reviews from critics, noting its high energy, fun and "wackiness". MTV's Rob Markman gave the video a positive review saying, "Only in a Nicki Minaj video can you find two of rap's hardest street figures performing in such a wacky setting, but it's the juxtaposition that 'I Am Your Leader' offers which makes it so fun." ### Live performances Minaj performed the song for the first time on The Today Show's summer concert series on August 14, 2012. ## Credits and personnel Recording - Recorded at: Conway Studios in Los Angeles, California. Personnel - Nicki Minaj – songwriting, vocals - Rick Ross – songwriting, vocals - Cam'ron – songwriting, vocals - Fernando Garibay – production, songwriting - Hitboy – production, songwriting - Ariel Chabaz – recording, mixing - John Rivers – recording, mastering - Jon Sher – recording and mixing assistant Credits adapted from Pink Friday: Roman Reloaded'' liner notes. ## Charts	[ "## Background", "## Composition", "## Critical reception", "## Promotion", "### Music video", "### Live performances", "## Credits and personnel", "## Charts" ]	1,688	3,742
26,920,979	Action of 24 June 1801	1,129,656,969	Minor naval engagement during the French Revolutionary Wars	[ "Conflicts in 1801", "June 1801 events", "Naval battles involving France", "Naval battles involving the United Kingdom", "Naval battles of the French Revolutionary Wars" ]	The action of 24 June 1801 was a minor naval engagement during the French Revolutionary Wars. A British ship of the line, HMS Swiftsure under Captain Benjamin Hallowell was passing westwards through the Southern Mediterranean near Cape Derna when it encountered a much larger French squadron under Contre-Amiral Honoré Ganteaume that was also returning westwards after a failed attempt to reinforce the besieged French garrison in Egypt. Although Hallowell immediately recognised the danger his vessel was in and turned to flee, the French ships were much faster and soon closed with his ship. At 14:00, three French vessels were within long gunshot and Hallowell decided that his only hope of escape lay in disabling the three ships before the rest of the French squadron could join the engagement. Turning towards the enemy, Hallowell found that his sluggish ship was unable to respond rapidly to French manoeuvres and within two hours Swiftsure was surrounded. Threatened with complete destruction and unable to escape, the British captain surrendered. The action was a rare victory for the French in the Mediterranean Sea, which had been largely under British control since the French Mediterranean Fleet had been destroyed in 1798 at the Battle of the Nile. This had trapped the French army in Egypt on the African side of the Mediterranean, and all efforts to reinforce and resupply them had ended in failure, including three separate expeditions by Ganteaume's squadron. Swiftsure was later commissioned into the French Navy and fought at the Battle of Trafalgar in 1805, where the ship was recaptured by the British and rejoined the Royal Navy. Hallowell was subsequently court martialed for the loss of his ship, but was honourably acquitted and returned to naval service. ## Background On 1 August 1798, during the Battle of the Nile, a British fleet under Rear-Admiral Sir Horatio Nelson destroyed the French Mediterranean Fleet at Aboukir Bay on the Egyptian coast. The battle completely reversed the strategic situation in the Mediterranean: British forces had evacuated the region in 1796 after the Treaty of San Ildefonso brought Spain into the war on the French side, but they were now able to return in large numbers. As French maritime lines of communication were cut, the French Armée d'Orient under General Napoleon Bonaparte became trapped in Egypt. Unable to return to Europe by sea, the army attempted and failed to pass overland through Palestine and was subsequently abandoned by Bonaparte, who returned to France with his closest advisors in the frigates Muiron and Carrère in November 1799, promising to send reinforcements to the forces that remained in North Africa. By 1801, the Armée d'Orient was on the verge of collapse. No supplies or support had arrived from France, their commander Jean Baptiste Kléber had been assassinated, and a British invasion was impending. Frustrated at his failure to assist his men in Egypt, Bonaparte ordered a squadron of ships of the line to sail from Brest in January 1801 under the command of Contre-Amiral Honoré Ganteaume. This force was instructed to sail to the Eastern Mediterranean and land over 5,000 troops at Alexandria. In February, Ganteaume's force reached Toulon, the admiral concerned that his ships would be outnumbered further east where the British expeditionary force was gathering. Bonaparte sent him back to sea to complete the operation but again he returned, driven back by bad weather and a patrolling British squadron off Sicily under Rear-Admiral Sir John Borlase Warren. On 27 April Ganteaume made a third attempt to reach Egypt, and reached Benghazi before pressure from larger British forces under Admiral Lord Keith drove his squadron back westwards. On 24 June, Ganteaume's ships were retreating along the North African coast, passing close to Cape Derna. Also in the region was the British 74-gun ship of the line HMS Swiftsure under Captain Benjamin Hallowell, a veteran of the Battle of the Nile three years earlier. Swiftsure was passing slowly along the North African coast after being detached from Keith's fleet to join Warren's squadron off Malta, escorting a small convoy en route. Hallowell's ship was understrength as more than 80 men had been removed from the ship for service in Egyptian waters and illness rendered another 59 unfit for duty, while the vessel itself was in a poor state of repair and leaking badly. Progress had been slow, and a northeasterly wind had also significantly delayed Hallowell's passage. When he learned from a passing vessel that there was a French squadron in the region, he ordered the convoy to separate and sailed for Malta alone in an effort to join Warren more rapidly and warn him of Ganteaume's return. At 03:30 on 24 June his lookouts sighted sails to the southwest. Hallowell immediately assumed that the distant ships were the enemy and he turned away from the French and tacked into the wind. By 05:30, lookouts on the nearest French ships, the ships of the line Jean Bart and Constitution had spotted the distant British vessel and were ordered to give chase. ## Battle The French ships followed Swiftsure by tacking into the wind and a complicated chase developed, with Jean Bart and Constitution maintaining the pressure on the slow moving British vessel, while the rest of Ganteaume's squadron used the prevailing wind to push far ahead of the ongoing chase before tacking at 08:00 across Hallowell's intended course. Unless Hallowell could escape the trap, his ship would be caught between the two French divisions and overwhelmed. For six hours Hallowell continued his efforts to escape, but the French ships were too fast, Ganteaume's force passing some distance ahead of the British ship and then turning back towards him so that by 14:00 Swiftsure was at serious risk of being surrounded. Hallowell determined that his only option was to attempt to drive through those ships of Ganteaume's division that blocked his passage to leeward, the ships of the line Indivisible (under Pierre-Paulin Gourrège) and Dix-Août (under Louis-Marie Le Gouardun) and the frigate Créole. At 15:00, with the detached division rapidly approaching from astern, Hallowell turned his ship towards the ships sailing ahead of Swiftsure and attempted to pass across the stern of the rearmost ship in an effort to rake and disable it, creating enough confusion to mask an escape. The manoeuvere was recognised by the French captains, and all three vessels turned to face the British ship as it approached. By 15:30 the ships of the line had opened a mutual fire, during which the faster French warships were able to easily outmanoeuvre the lumbering Swiftsure. At 16:37, after more than an hour of fruitless firing at long range, the arrival of Jean Bart and Constitution within gunshot convinced Hallowell that further resistance was hopeless and he struck his flag to signal his surrender. Swiftsure had taken significant damage to its masts, rigging and sails during the exchange of fire, a deliberate ploy by the French captains to limit the ship's movement and prevent its escape. This had minimised casualties on deck by distracting the gunfire, and as a result, only two men were killed and eight wounded, two of whom subsequently also died. French losses were more severe, with four casualties on Indivisible and six killed and 23 wounded on Dix-Août, although neither ship was significantly damaged in the action. ## Aftermath Ganteaume's fleet remained off the Cape Derna for the next six days, performing repairs to the captured vessel to make it seaworthy. Detachments of sailors were taken from all of the ships in the squadron and transferred to the prize, and on 30 June Ganteaume's force was ready to sail northwest once again, eventually reaching Toulon without further incident on 22 July. Ganteaume used the capture of Swiftsure to excuse the failure of his effort to reinforce Egypt, which was invaded and captured by a British expeditionary force in the spring and summer of 1801. While in captivity, Hallowell wrote a letter that was published in Britain praising the treatment he and his men had received while prisoners of war under Ganteaume, and he and his officers were released on parole the following month. On 18 August they faced a court martial on board HMS Genereux at Port Mahon in Menorca to investigate the loss of their ship, and were all honourably cleared of any blame. He was also praised for detaching the convoy, which otherwise might have also been lost. Hallowell subsequently returned to naval service in 1803 at the start the Napoleonic Wars, operating in the Caribbean and Mediterranean and eventually becoming a rear-admiral in 1811. Swiftsure, one of only five British ships of the line to be captured by the French during the entire war, was subsequently commissioned into the French Navy and remained in service for the next four years until recaptured at the Battle of Trafalgar in 1805.	[ "## Background", "## Battle", "## Aftermath" ]	1,909	17,448
33,657,545	Cockiness (Love It)	1,158,464,637	2012 single by Rihanna and ASAP Rocky	[ "2011 songs", "2012 singles", "Dancehall songs", "Dubstep songs", "Rihanna songs", "Song recordings produced by Bangladesh (record producer)", "Song recordings produced by Kuk Harrell", "Songs about BDSM", "Songs written by Bangladesh (record producer)", "Songs written by Candice Pillay", "Songs written by Dem Jointz", "Songs written by Rihanna" ]	"Cockiness (Love It)" is a song by Barbadian singer Rihanna, from her sixth studio album Talk That Talk (2011). The song was written by Rihanna, Candice Pillay, D. Abernathy and Shondrae Crawford, with production helmed by Mr. Bangladesh. Conceptualized by Mr. Bangladesh, the producer revealed in an interview with MTV that the song had undergone many different versions before the final cut was included on the album. He stated that while he was writing and developing the song, Rihanna was the principal artist whom he wanted to record it. "Cockiness (Love It)" is a dubstep and dancehall track. Instrumentation is provided by vocal whoops, drums and horns. The lyrics of the song revolve around declaring the singer's desire for sex. "Cockiness (Love It)" received mixed reviews from music critics. Whilst some praised the song's memorability and compositional structure, others criticized its overtly sexual lyrical content. Upon the release of Talk That Talk, the song charted in lower regions on the singles charts in South Korea, the United Kingdom, and the United States. ## Background and conception "Cockiness (Love It)" was written by Candice Pillay, D. Abernathy, Shondrae Crawford and Rihanna, with production helmed by Crawford under his stage name Mr. Bangladesh. In an interview with MTV, Mr. Bangladesh revealed that Rihanna was the principal artist who he wanted to record "Cockiness (Love It)". The producer continued to say that the song had undergone "many different guises" before the final version including on Talk That Talk (2011), saying Cockiness', it's layers of things I had sampled for a long time, never really messed with it too much." Mr. Bangladesh continued to describe "Cockiness (Love It)s development and song-writing process, saying: > I was in LA, and I had just pulled it out, chopped it up, made it a beat. My artist Candice Pillay, my other writers, Dem Jointz, they wrote the song. It wasn't 'Cockiness' at first, it was something else. They had the 'I love it' part. ... [They] came up with that part first, and that wasn't even on that track. It was just an idea. I was going to make a whole new beat out of it, what they wrote to it that day, it wasn't really all the way done. A couple days later, they revisited it and came up with the 'Cockiness'. After revealing that the song was finished, Mr. Bangladesh stated that he wanted to wait until the right artist came along to record the song. He later decided that it would be Rihanna, saying, "I was like, 'That's dope. That's Rihanna all day'. They sent the song back, and I finished producing it. I put the 'I love it' on it that they had already had ... She loved it, and that's what it was." ## Composition and lyrics As a dubstep and dancehall song, "Cockiness (Love It)" features dancehall stylised vocals and a rap bridge by Rihanna. Claire Suddath of Time Entertainment noted that the speed in which Rihanna delivers her vocal is so fast that it blends in with the composition, which she wrote "becomes the basis for the beat." The instrumentation of "Cockiness (Love It)" consists of vocal whoops, cracking drums and bawling horns. Throughout the song, Rihanna sings in a taunting nature, taking pleasure in being able to tease the listener. T'Cha Dunlevy of The Montreal Gazette compared Rihanna's "[taunting]" vocals in the lyrics "Suck my cockiness/Lick my persuasion" to the style in which Britney Spears sings on her 2009 single "If U Seek Amy" (Circus, 2008). Jason Lipshutz of Billboard magazine noted that Rihanna's vocals in the lyrics "I love it, I love it, I love it when you eat it" offer "coos" about wanting sex, whilst sarcastically writing that "we're pretty sure she's not talking about the chicken pot pie she left for dinner." James Montgomery of MTV noted that the lyrics "Suck my cockiness/Lick my persuasion", are, in his opinion, the best "come-on" line of 2011 alongside Lady Gaga's "Heavy Metal Lover" (Born This Way, 2011) lyrics "I want your whiskey mouth/All over my blond south". The song heavily samples the beginning of Greg Kinnear's performance of "Summertime" from the 2003 comedy film Stuck on You. ## Critical reception The song received mixed reviews from music critics. Andy Kellman of Allmusic praised the song and its memorability, writing Cockiness (Love It),' [is] one of the most hypnotic and wicked beats of the last decade". Priya Elan of NME described the lyrics "Suck my cockiness, [lick] my persuasion" as "cringey", but complimented the song's compositional structure, writing that it provides a "genuine elastic thrill, twisting into all sorts of jaw-dropping musical shapes". Randell Roberts of the Los Angeles Times described "Cockiness (Love It)" and another track from the album, "Birthday Cake", as the "breast and booty" of Talk That Talk but noted that they failed to capture the raunchiness that they set out to achieve. Melissa Maerz of Entertainment Weekly also wrote that "Cockiness (Love It)" and "Birthday Cake" were the most provocative songs on the album, describing them as "I-like-it-rough tracks", but criticized them for being album fillers designed to get the listener out of the bedroom and on to the dance floor. Jon Caramanica of The New York Times wrote that Rihanna appeared to be channelling Swedish singer-songwriter and rapper Neneh Cherry on "Cockiness (Love It)" in a "pseudo-melodic" impersonation. Caramanica continued to praise the song and called it a "triumph", writing that the singer "[eases] out come-ons as if she were lapping up milk". Despite raising concerns for younger audiences with regard to the song's overt sexual lyrics, a reviewer for Flavour magazine praised Mr. Bangladesh's production on "Cockiness (Love It). Pip Ellwood of Entertainment-Focus noted that "Cockiness (Love It)", along with "Birthday Cake", "leave you under no misunderstanding that Rihanna is as sexual as she's ever been throughout her career." Arwa Haider of Metro wrote that the song is "predictably filthy". Nathan S. of DJ Booth noted that "Cockiness (Love It)" is "by far the album's most explicit offering," and listed the song, along with "Watch n' Learn" as his top two songs from Talk That Talk. Lindsay Zoladz of Pitchfork Media was critical of the song, writing "Rihanna's always been singing about sex – she's just never shown such an unfortunate proclivity for cheesy lyrics and dessert metaphors. 'Suck my cockiness/Lick my persuasion,' [Rihanna] commands on the embarrassingly literal 'Cockiness (Love It)', hoping the boldness of the delivery will distract you from thinking about what a clunky line it is (it won't, though Bangladesh's beats might)." Tuyet Nguyen of The A.V. Club commented that although Rihanna evokes a "raunchy" appeal during the verses, he criticized the singer for providing "stony, deadpanned [vocals]." Simon Price of The Independent shared the same opinion as Nguyen with regard to Rihanna's vocal performance, writing, "It's a shame that [Cockiness (Love It)], like every Rihanna vocal, is delivered in a voice which sounds as bored as a sex-line worker filing her nails." Mike Diver for the BBC was critical of the song's inclusion on the album, writing "A forgettable vocal from Jay-Z on the title-track foreshadows an awful exercise in quasi-erotic wordplay on Cockiness (Love It)." ## Chart performance Upon the release of Talk That Talk, "Cockiness (Love It)" debuted on multiple world charts. The song debuted on the South Korea Gaon International Chart at number 62 on November 26, 2011, with sales of 6,918 digital downloads. In the United Kingdom, "Cockiness (Love It)" debuted at number 33 on the UK R&B Chart on November 27, 2011. It also debuted on the UK Singles Chart at number 121 in the chart issue December 3, 2011. In the United States, the song debuted on the US Billboard Bubbling Under Hot 100 Singles chart at number 17 in the chart issue December 10, 2011. ## Live performance Rihanna performed "Cockiness (Love It)" for the first time at Radio 1's Hackney Weekend on May 24, 2012, as the fourth song on the set list. She also performed the song at the 2012 MTV Video Music Awards which placed on September 6 when she opened the award show alongside ASAP Rocky and closed her performance with "We Found Love". The song was later included as part of the setlist on her Diamonds World Tour during the first act. ## Track listing - Album version 1. "Cockiness (Love It)" – 2:58 - Digital remix single 1. "Cockiness (Love It) [Remix]" (featuring ASAP Rocky) – 3:39 ## Credits and personnel Recording - Recorded at Sofitel Paris Le Faubourg, Room 538. Personnel - Songwriting – Candice Pillay, D. Abernathy, Shondrae Crawford, Robyn Fenty - Production, instruments, programming – Shondrae "Bangladesh" Crawford - Vocal engineering and recording – Kuk Harrell, Marcos Tovar - Assistant vocal recording – Jennifer Rosales - Mixing – Fabian Marasciullo - Assistant mixing – Ghazi Hourani Credits adapted from the liner notes of Talk That Talk, Def Jam Recordings, SRP Records. ## Charts ## Certifications ## Remix "Cockiness (Love It)" was officially remixed featuring a guest appearance from American rapper and music video director ASAP Rocky, rapping the first verse. The song was digitally released on September 7, 2012, as the sixth and final single from Talk That Talk. On September 4, 2012, via her Twitter account Rihanna streamed the official remix of "Cockiness (Love It)" through her MTV page. On September 6, 2012, Rihanna and ASAP Rocky performed the remix at the 2012 MTV Video Music Awards in a medley with "We Found Love". ### Chart performance The single failed to attain chart success. It peaked at number two on the Bubbling Under Hot 100. The remix has sold 54,000 digital copies in the US. ### Charts	[ "## Background and conception", "## Composition and lyrics", "## Critical reception", "## Chart performance", "## Live performance", "## Track listing", "## Credits and personnel", "## Charts", "## Certifications", "## Remix", "### Chart performance", "### Charts" ]	2,327	37,346
4,314,793	Chestnut sparrow	1,133,520,014	Species of bird	[ "Birds described in 1885", "Birds of East Africa", "Passer" ]	The chestnut sparrow (Passer eminibey) is a species of passerine bird in the sparrow family Passeridae. It is the smallest member of the sparrow family, at about 11 cm (4.3 in) long. The breeding male has deep chestnut plumage and the female and juvenile are coloured a duller grey with some chestnut markings. Like its closest relatives in the genus Passer, the Arabian golden sparrow and the Sudan golden sparrow, it is gregarious and found in arid areas. Ranging through the east of Africa from Darfur in Sudan to Tanzania, it is found in dry savanna, papyrus swamps, and near human habitation. Adults and juveniles both feed mostly on grass seeds, and fly in flocks, often with other species of birds, to find food. It nests in trees, building its own domed nests, and also usurping the more elaborate nests of weavers. ## Taxonomy and systematics This species was first described in 1880, by Gustav Hartlaub in the Journal für Ornithologie, as Sorella Emini Bey. Hartlaub gave it the specific name Emini Bey in honour of the explorer Emin Pasha, who collected the type specimen in modern South Sudan or Uganda near Lado, and it is occasionally given the eponymous common name Emin Bey's sparrow. Hartlaub's unusual spelling of its specific epithet as two words led some to spell the name emini or emini-bey. No subspecies are recognised, but one was described by British ornithologist George L. G. Van Someren in 1922 from Archers Post in central Kenya, as Sorella eminibey guasso. Hartlaub considered the chestnut sparrow's colouration and morphology to be distinct enough to allocate it to its own monotypic genus, Sorella. Although a few authors have followed Hartlaub's treatment, it is usually placed in the genus Passer. It is very similar to the two golden sparrows, from which it may have once been only clinally different. The male Arabian golden sparrow is almost entirely gold-coloured, the male chestnut sparrow is mostly chestnut, and the male Sudan golden sparrow is intermediate between the two. British ornithologist Richard Meinertzhagen considered these three species to be conspecific; however, the range of the Sudan golden sparrow overlaps with that of the chestnut sparrow without any known interbreeding in a small area of Sudan. These species are similar in their behaviour, which is adapted to the unpredictable conditions of their arid habitat. In particular, they and the Dead Sea sparrow share a courtship display in which males quiver their wings above their body. This intense display is probably an adaptation to nesting in a clump of trees surrounded by similar habitat, where such an intense display may serve important purposes in keeping a colony together. The chestnut and golden sparrows have been seen as highly primitive among the genus Passer, only distantly related to the house sparrow and the related "Palaearctic black-bibbed sparrows". In recognition of this they are sometimes placed in a separate genus or subgenus Auripasser. The courtship display of the Dead Sea sparrow was thought to have evolved separately in a similar environment from that of these species, in an example of convergent evolution. However, mitochondrial DNA phylogenies indicate that the chestnut and golden sparrows are either derived from or are the closest relatives of the Palaearctic black-bibbed sparrows. ## Description Like the other members of the sparrow family, the chestnut sparrow is a small, chunky songbird with a thick bill suited to its diet of seeds. At 10.5 to 11.5 cm (4.1–4.5 in) in length, it is the smallest member of the sparrow family. It weighs between 12 grams (0.42 oz) and 17 grams (0.60 oz). Wing length ranges from 6.0 to 6.5 cm (2.4–2.6 in) in males and from 5.7 to 6.0 cm (2.2–2.4 in) in females. The tail, bill, and tarsus lengths are about 4 cm (1.6 in), 1 cm (0.39 in), and 1.5 cm (0.59 in) respectively. The plumage of the breeding male is mostly a deep shade of chestnut in colour with black colouration on the face, wings, and tail. The breeding male is not easily confused with any other birds except the chestnut weaver, which is substantially larger and has white on its wings. The breeding male's legs and feet are horn (pale grey) in colour. The non-breeding male chestnut sparrow has white flecking on the upperparts, and much of its plumage is buff or whitish with chestnut crescent markings, until the bright chestnut of the breeding plumage is exposed by wear. The non-breeding male's bill fades to a dusky-tipped horn, similar to that of females, but without dusky tones on the cutting edge of the mandible (lower portion of beak). Females have the same plumage pattern as males, though with somewhat duller colouration. The female has a grey head; buff supercilium, chin, and throat; black and warm brown upperparts; and off-white underparts. The bill of the female is pale yellow with the tip and cutting edge of mandible dusky. Juveniles are dull grey with a brown back, a pale yellow supercilium, and a pale horn bill. Females and juveniles have hints of chestnut on their supercilium, shoulders, and throat, by which they may be distinguished from other sparrows, such as the Kenya sparrow and the other rufous sparrows, which are common in much of the chestnut sparrow's range; or the house sparrow, which also occurs in parts of its range. The basic call of the chestnut sparrow is a subdued chirp, with two recorded variations: a scolding threat call, rendered chrrrrit or chrrrrreeeerrrrrrrr and a chew chew flight call. Displaying males give a high twittering trill, rendered as tchiweeza tchiweeza tchi-tchi-tchi-tchi- see-see-see-seeichi. ## Distribution and habitat The chestnut sparrow is found in East Africa in mostly lower country from Darfur through Kordofan, South Sudan, Somalia, Uganda, and Kenya to north-central Tanzania. Its range also extends northeast into the southwest and Great Rift Valley of Ethiopia. Like the golden sparrows, it is sometimes nomadic when not breeding. Vagrants have been recorded as far from their breeding range as Dar es Salaam. It is found mostly in dry savanna and in fields and villages, but unlike its relations the golden sparrows, it is sometimes found in swamps of papyrus (certain Cyperus spp.). Its population has not been quantified, but it appears to be common across a very large range and it is assessed by the IUCN Red List as Least Concern for global extinction. ## Behaviour and ecology Chestnut sparrows are gregarious, and are only occasionally found away from flocks. They frequently associate with queleas and other weavers. Adults feed on grass seeds, and those near human habitations will also eat crumbs and other household scraps. Nestlings are fed mostly softer grass seeds, and small beetles are also recorded in their diet. ### Breeding The nesting behaviour of the chestnut sparrow chestnut sparrow has been the subject of confusion. Early reports described the chestnut sparrow's nest as being a typical sparrow nest built in a tree; later it was reported that chestnut sparrows had elaborate nests like those of weavers. In 1967, the ornithologist Robert B. Payne studied chestnut sparrows in a grey-capped social weaver colony in an acacia grove near Lake Magadi in southern Kenya, and in 1969 he reported his findings in the ornithological journal The Ibis. Payne found that chestnut sparrows only nested by usurping the nests of the social-weavers. After reporting this, and noting that the distribution of the chestnut sparrow closely coincides with that of the social-weavers of the genus Pseudonigrita, Payne suggested that the chestnut sparrow was an obligate nest parasite (not a brood parasite, like many Old World cuckoos and cowbirds). Payne also noted in his paper that "Nest parasitism is generally thought to have been a stage in the evolutionary development of brood parasitism", an idea that remains accepted, and suggested the chestnut sparrow could be evolving towards obligate brood parasitism. However, it is known that besides parasitising the nests of weavers or using their abandoned nests, the chestnut sparrow also builds its own nests. Nests built by the chestnut sparrow, like most sparrow nests, are untidy domed structures which are made of grass and lined with feathers. Its breeding season varies between different regions, following rains, and the breeding seasons of its hosts in areas where it parasitises nests; as a result it has been recorded breeding in every month of the year across its range. At Payne's study locality the breeding season of the chestnut sparrow lagged behind that of its host. The sparrows began courting when the weavers started constructing their elaborate nests. Once the breeding season began, "the first impression was of the sparrows nesting and the grey-capped social weavers unobtrusively skulking nearby". Males displayed around the new weaver nests, crouching, raising and quivering their wings in a shallow V, and giving a high, twittering trill. The males were chased by the social-weavers, but returned persistently, until joined by females. When a female came near a displaying male, the male would increase his rate of wing quivering, spread and depress his tail, and bow down his head, until his body formed an arc. This exaggerated display may be an adaptation related to pair formation in the absence of male nest-building, and it may also serve to focus attention in breeding colonies and keep the birds in a colony together, as colonies are in clumps of trees surrounded by similar habitat. During Payne's study, copulation was seen only in the acacias, around the social-weaver nests. Females would fly to displaying males and solicit copulation in typical sparrow fashion, crouching, quivering, and drooping their wings. When males saw displaying females, they would fly to them and mount them immediately. Males continued their wing quivering during copulation, and females would crouch, quiver, raise their head, and hold their tails horizontally. After a copulation the female would fly off and the male would continue displaying. During this courtship and afterwards, males and mated pairs would interfere with the social-weavers' nest building, until they drove the social-weavers out. During Payne's study period, "Chases and fights between the two species were seen nearly every minute of observation", and the male sparrows spent about a fifth of their day annoying the social-weavers. Little is recorded of incubation and fledging periods in the wild. In captivity the incubation period lasts for 18 to 19 days. Clutches typically contain three or four eggs, which are ovular, mostly coloured white or bluish-white. Some observations indicate that nestlings are fed by the female alone.	[ "## Taxonomy and systematics", "## Description", "## Distribution and habitat", "## Behaviour and ecology", "### Breeding" ]	2,456	9,034
71,179,684	7th Alabama Infantry Regiment	1,144,972,195	null	[ "Military units and formations disestablished in 1862", "Military units and formations established in 1861", "Units and formations of the Confederate States Army from Alabama" ]	The 7th Alabama Infantry Regiment was a Confederate volunteer infantry regiment from Alabama during the American Civil War. The regiment was formed at Pensacola in May 1861 shortly after the American Civil War began, enlisting for a year of service. The regiment served at Pensacola for the next several months, with several companies engaged in the Battle of Santa Rosa Island. The regiment was sent to fight Unionist guerrillas in response to the East Tennessee bridge burnings in November. Following the suppression of the guerrillas, the 7th Alabama served with the Army of Central Kentucky at Bowling Green. The regiment was disbanded at Corinth when its term of enlistment ended just before the Battle of Shiloh. Due to the unpopularity of their commander, Colonel John G. Coltart, its men refused to continue their service under him, with the majority re-enlisting in other units. ## Organization and Pensacola service The regiment was organized on 18 May 1861 at Pensacola from the eight companies of John G. Coltart's 3rd Alabama Battalion, organized on 12 April, and two mounted companies, the Wilcox Mounted Rifles and the Prattville Dragoons. S. A. M. Wood, captain of the Florence Guards, was elected colonel, Coltart lieutenant colonel, and Alfred A. Russell major. The companies of the regiment, drawn from across the state, enlisted for twelve months of service and had been sent to Pensacola to participate in the blockade of the Union-held Fort Pickens on Santa Rosa Island. By this time, the Confederate forces at Pensacola had grown to more than 5,000 men under the command of Brigadier General Braxton Bragg. The companies forming Coltart's Battalion had been at Pensacola since at least early April, and the mounted companies had arrived there by early May. The regiment initially had a strength of at least 808, the total number voting in the election of its officers. Wood received a substantial majority in the election for colonel over the Lafayette Guards' Captain James W. Jackson. Like many volunteer regiments, its officers lacked professional military experience: Wood had been a lawyer, Coltart an insurance agent, and Russell a doctor. However, the mounted companies never actually served with the regiment, being detached by Bragg to serve on picket duty along the coast and as his personal escort. At Pensacola, the regiment settled into a routine of guard duty, drilling and building fortifications with the men finding relaxation in "loafing" around the town. The regiment was quartered in tents behind Fort Barrancas. The troops at Pensacola faced rampant disease that took the lives of many men of the regiment despite attempts at sanitation. John W. James of the Louisville Blues recalled that Wood was often absent, leaving the regiment under Coltart's command. A strict disciplinarian, Coltart became unpopular among the regiment, with James describing him as "wanting in that something which inspires the confidence of men." Among the disciplinary measures were the banning of gambling and the institution of barracks cleaning details. Russell's initial inexperience with drill caused frustration among the men, but he was considered "a fine officer" in the regiment. Dissatisfied with the lack of action, the officers of the 7th Alabama unsuccessfully petitioned a few weeks after the First Battle of Manassas to have the regiment sent to the front in Virginia. Pensacola remained a largely quiet sector while the regiment was there. This was broken when Union raiders burned the privateer Judah at the navy yard before dawn on 14 September. In response, Bragg launched a 1,000-man retaliatory sortie against the Union troops on Santa Rosa Island under the command of Brigadier General Richard H. Anderson. The 7th Alabama contributed three companies, the Lafayette Guards, Madison Rifles, and Louisville Blues, to the force, which formed part of Colonel James Patton Anderson's ad-hoc 400-man 2nd Battalion together with units from the 1st Florida Infantry and 1st Louisiana Regulars in the ensuing Battle of Santa Rosa Island. Patton Anderson's battalion landed from a steamer on the night of 8–9 October along with the rest of the force on a beach four miles east of Fort Pickens. Patton Anderson was directed to advance through the waist of the island and then turn west along the south beach. This movement aimed to capture the Union pickets and isolate Fort Pickens from the camp a mile east of the fort where half of the 6th New York Infantry were located. When a Union picket gave the alarm on the morning of 9 October, the 6th New York was alerted, but their camp was captured by John K. Jackson's troops as its occupants hastily departed. After Patton Anderson's troops killed or drove away the pickets opposing them, they joined the rest of the force in looting the camp. With the element of surprise lost and dawn approaching, Richard Anderson ordered a retreat. The Confederates were able to halt the Union troops responding from Fort Pickens and burned the camp before boarding the steamer back to Pensacola. Their departure delayed by a jammed propeller on the ship, they were subjected to a heavy fire from their pursuers before the steamer finally cast off. The 7th Alabama lost at least one killed, two wounded, and six missing, two of which were captured by Company C of the 3rd U. S. Infantry. James recalled that those captured had failed to heed the order to retreat from the camp. ## Tennessee, Kentucky and disbandment As the weather turned colder, the men of the regiment began building winter quarters in late October. Meanwhile, in November the East Tennessee Unionists started a guerrilla war against the Confederates, burning railway bridges in the region. The 7th Alabama, leaving behind the mounted companies, was sent north on 11 November to assist the Confederate troops already stationed there in suppressing the uprising. The regiment was railed through Montgomery and West Point, their arrival at Chattanooga on 14 November delayed by the burned bridges. In the mountains near Chattanooga, local Confederate commander Brigadier General William Henry Carroll threatened an advance on a Unionist camp, forcing them to disperse. The 7th Alabama was transported the Tennessee River by steamboat and reached the deserted camp on 15 November. The Cherokee Grays and Dale Guards were sent to capture Unionist leader William D. Clift at his home but were unsuccessful, settling for looting the residence. The regiment captured several Unionists before camping outside of Chattanooga at Tyners Station, from which Wood dispatched scouting parties to arrest suspected Unionists. Many of the latter were released upon taking the oath of allegiance to the Confederacy, and the Carroll considered the uprising suppressed by late December when he lifted martial law in the region. In his report to Bragg, Wood took credit for Carroll's dispersion of the Unionist camp and denounced him as a "stupid, but easily controlled" alcoholic. While the regiment was at Tyners Station, Bragg issued a general order calling out its company commanders for abandoning their sick in camp when they left for Chattanooga. Private James P. Stephens of the Cherokee Grays wrote in his diary on 4 December that the men of the regiment were dissatisfied at an order from Coltart that forbade them from going out for wood and water without being accompanied by a sergeant and limiting the number of men who could be out of the lines. Stephens wrote that the Madison Rifles, Coltart's old company, were in a state of mutiny, but the situation had resolved itself by the next day. Alcohol created difficulties in the unit, with Russell striking the regimental drum major for being caught with a whiskey bottle and a civilian publicly whipped for selling whiskey to the soldiers. During this period, companies of the regiment were dispatched to Georgetown and Loudon to guard rail bridges. This duty met with resentment, with one soldier of the regiment complaining to his hometown newspaper that guarding rail bridges was a task for militiamen and that the regiment had departed Pensacola just before the action they had sought in the Union bombardment of Fort McRee. With the Unionist revolt dying down, the 7th Alabama departed Chattanooga by train on 16 December to join the Confederate Army of Central Kentucky at Bowling Green. During this period, men of the regiment were detailed to build fortifications around Bowling Green. Wood was promoted in January to command a temporary brigade in Hardee's Division that included the regiment. Coltart was promoted to colonel and Russell to lieutenant colonel on 5 February, with the position of major being left vacant as the end of the regiment's term of service approached. After the fall of Fort Donelson on 16 February, the Tennessee River was opened up for a Union advance against the critical rail junction of the Memphis and Charleston and the Mobile and Ohio Railroads at Corinth, Mississippi. Confederate army commander Albert Sidney Johnston abandoned Bowling Green and retreated to Nashville. The 7th Alabama was among the rear guard of the army and protected the evacuation of cannon from Fort Zollicoffer at Nashville. The regiment camped at Murfreesboro on 23 February and retreated further with the army until reaching Corinth where the Confederate armies in the west united in March. In the final days of March, the service terms of the companies of the regiment began to expire. A majority of the companies refused to continue serving under Coltart. Bragg wrote to Coltart that he regretted having to part with the 7th Alabama but hoped to see them in service again. Addressing the unit, Coltart blamed officers who argued that their men would not re-enlist under Coltart's command. Coltart claimed that "the truth is it is yourselves that want office and are afraid that you will not get it." Attempts were made to get the regiment to re-enlist as a unit, with Wood offering a fifty dollar bounty and thirty days of leave to those who would re-enlist for two years. He also promised them that they would be armed with Enfield rifles. Despite these incentives, there was little support for re-enlisting as a unit among the men and they were accordingly mustered out, handing over their muskets to other units. The regiment was fully disbanded by the first week of April 1862, just before the Battle of Shiloh. Most of its men promptly re-enlisted in other units, including some from Company B in Company K of the 48th Alabama in May 1862 and some from Company E in Company H of the 39th Alabama and Company B of the 4th Alabama Battalion. Wood commanded a brigade and Coltart the newly organized 26th Alabama at the Battle of Shiloh. The two mounted companies formed part of Thomas F. Jenkins' cavalry battalion at Shiloh.	[ "## Organization and Pensacola service", "## Tennessee, Kentucky and disbandment" ]	2,227	32,928
50,202,421	Distant Lights (song)	1,158,378,556	null	[ "2011 singles", "2011 songs", "Ivy (band) songs", "Nettwerk Records singles", "Songs written by Adam Schlesinger", "Songs written by Andy Chase" ]	"Distant Lights" is a song by American indie rock band Ivy. It was released as the lead single from their sixth studio album, All Hours (2011). It was issued in the United States on June 7, 2011 as a digital download by Nettwerk. The single was written and produced by Adam Schlesinger and Andy Chase. After its release, "Distant Lights" received generally favorable reviews from music critics, who complemented the track for being entirely different when compared to Ivy's previous material. However, one reviewer found the track to be unimaginative and dated. The track was made available as a free download for a short amount of time in support of the release of All Hours. ## Background and development After the release of In the Clear (2005), Ivy embarked on an extended hiatus to focus their time on their children and solo careers. Member Adam Schlesinger was busy with his side project Fountains of Wayne, while Andy Chase was working on a new band named Brookville. In 2008, they worked on a new record, even completing most of the project. However, after listening to the completed material, they found it to be "awful"; Chase stated that "it was the first time [they] doubted whether [they] even had another Ivy album left in [them]". Afraid that Ivy would become "unrecognizable" and "boring", Durand stated that "[she] really can't stand when [she sees] musicians, great songwriters, and after having kids they become so boring, [she talks] about that all day. [She doesn't] need to talk about that in [her] songs", concluding that she needed "escape". Durand was determined to create "the best album yet", and set up dates and recording sessions with Chase and Schlesinger to work on what would become All Hours. The album explored new genres for Ivy, including EDM and electronic music, something Chase stated "seem[ed] natural and ma[de] sense". ## Composition and release "Distant Lights" was written and produced by Schlesinger and Chase. According to Nettwerk, the single "is a slow-building, hypnotic and danceable track", yet manages to sound like Ivy. In a review by Lauren Stern of Pop Break, she called the single "completely different" compared to Ivy's previous material. In an interview with Jody Rosen of Rolling Stone, Durand stated that "'Distant Lights' is, in a sense, the most important song on All Hours. It's the song that created and led to the direction of this record"; in the same interview, Rosen claimed that the track had a "sleek beat" and "wistful melody" that served as the background for Durand's vocals that come off "halfway between a coo and a sigh". The single was released on June 7, 2011 on iTunes, where it came with B-side single "Lost in the Sun". It became Ivy's first single release since the 2005 recording "Thinking About You". In September of the same year, Nettwerk made the single temporarily available as a free download to promote All Hours. A remix EP was released on January 20, 2012 in the United States and France and featured the original composition, a Douze remix and a Douze dub version of the single. ## Critical reception "Distant Lights" received generally favorable reviews from contemporary music critics. Jody Rosen of Rolling Stone praised the single for being "seductive", while Frank Mojica of Consequence of Sound called the "essential" track the "perfect choice for a lead single", further stating that "'Distant Lights' is the most danceable work from Ivy yet". PopMatters writer John Bergstrom was impressed by the single, stating that "it sounds deceptively effortless". Kaitlyn Henaghan of Buzz Weekly found it to be "the obvious choice for a single, as it is extraordinarily catchy with a great, upbeat melody". Dorian S. Ham, writing for The Agit Reader, had mixed feelings towards the single, calling it "slightly worrying" and panning the "clubby beat" as being foreign to Ivy's catalog. Shawn Connelly of SecretSoundShop found the track "boring" and "outdated". ## Track listings and formats ## Credits and personnel Credits and personnel adapted from All Hours liner notes and Ivy's AllMusic discography. Personnel - Andy Chase – engineering, executive producer, mixing - Ruddy Cullers – engineering - Bruce Driscoll – programming - Dominique Durand – lead and background vocals - Philippe Garcia – photography - Josh Grier – legal advisor - Brian Hill – art direction, design - Ted Jensen – mastering - Atsuo Matsumoto – assistant mixing - Adam Schlesinger – engineering, executive producer, mixing ## Release history	[ "## Background and development", "## Composition and release", "## Critical reception", "## Track listings and formats", "## Credits and personnel", "## Release history" ]	1,014	26,585
22,357,753	Funso Ojo	1,173,463,191	Belgian footballer	[ "1991 births", "Aberdeen F.C. players", "Beerschot A.C. players", "Belgian Pro League players", "Belgian expatriate men's footballers", "Belgian expatriate sportspeople in England", "Belgian expatriate sportspeople in Scotland", "Belgian expatriate sportspeople in the Netherlands", "Belgian men's footballers", "Belgian people of Nigerian descent", "Belgian people of Yoruba descent", "Belgium men's under-21 international footballers", "Belgium men's youth international footballers", "Black Belgian sportspeople", "Challenger Pro League players", "Eerste Divisie players", "English Football League players", "Eredivisie players", "Expatriate men's footballers in England", "Expatriate men's footballers in Scotland", "Expatriate men's footballers in the Netherlands", "FC Dordrecht players", "Footballers from Antwerp", "Living people", "Men's association football midfielders", "PSV Eindhoven players", "People convicted of assault", "Port Vale F.C. players", "Royal Antwerp F.C. players", "Scottish Professional Football League players", "Scunthorpe United F.C. players", "VVV-Venlo players", "Wigan Athletic F.C. players", "Willem II (football club) players", "Yoruba sportspeople" ]	Funso-King Ayorinde Ojo (born 28 August 1991) is a Belgian professional footballer who plays as a midfielder for club Port Vale, where he is also vice-captain. A Belgium under-21 international, Ojo began his career with Dutch club PSV Eindhoven, making his debut in the Eredivisie in May 2009. He played on loan at VVV-Venlo during the 2010–11 campaign, but was allowed to leave PSV and returned to Belgium to play for Beerschot in June 2012. He joined hometown club Royal Antwerp in August 2013, and signed with Dutch Eerste Divisie side FC Dordrecht in February 2014. He helped Dordrecht to win promotion out of the play-offs at the end of the 2013–14 season, and though the club were relegated the following season, Ojo remained in the Eredivisie after signing with Willem II in June 2015. He spent two seasons with the club, making 60 top-flight appearances, before he moved to England to play for Scunthorpe United in July 2017. He was sold to Scottish Premiership club Aberdeen for a fee of around £125,000 in July 2019. He spent three seasons with Aberdeen, though spent the second half of the 2020–21 season on loan at Wigan Athletic. He returned to England on a permanent basis after joining Port Vale on a free transfer in June 2022. ## Club career ### PSV Funso-King Ayorinde Ojo was born in Antwerp on 28 August 1991 to parents of Nigerian origin. He joined the PSV Eindhoven Academy from Germinal Beerschot in the 2004–05 season. He made his debut for the first-team at the age of 15, when head coach Ronald Koeman played him in a friendly against amateur side HVCH on 19 May 2007. He was called up by Huub Stevens to the substitute bench for a competitive fixture in the 2008–09 season. Ojo played his first Eredivisie match for PSV on 5 May 2009 against Willem II. Ojo signed a contract extension four months later, which would keep him at the Philips Stadion until summer 2010, after he impressed manager Fred Rutten. Having featured just twice for PSV in the first half of the 2010–11 season, Ojo joined VVV-Venlo on loan on 8 January 2011. However he struggled to break into the starting eleven under head coach Wil Boessen, much to Ojo and Rutten's frustration. PSV signed Georginio Wijnaldum in June 2011, though Ojo would still manage to make a further ten appearances in the 2011–12 campaign. ### Beerschot On 16 April 2012, Ojo rejoined Belgian Pro League club Beerschot AC (formerly called Germinal Beerschot) on a free transfer, signing a four-year contract. Manager Adrie Koster said that he had gained technical skill in the Netherlands but would need to develop physical attributes to succeed in the Belgian leagues. On 1 September, he scored his first career goal in a 2–0 win at KV Mechelen. However he rarely featured in the second half of the 2012–13 season due to injury and a falling out with new manager Jacky Mathijssen. He became a free agent after the club entered bankruptcy in May 2013; he came close to joining Italian club Chievo, though the deal did not end up being completed. Ojo claimed that Mathijssen "did everything to break me down and blacken me and it worked". ### Antwerp On 29 August 2013, Ojo signed a two-year contract with Belgian Second Division club Royal Antwerp after impressing manager Jimmy Floyd Hasselbaink during a trial spell. He played eight games at the start of the 2013–14 season before being dropped to the reserves, and, in December Hasselbaink confirmed that Ojo was no longer welcome at the Bosuilstadion after being unwilling to play for the youth team. ### Dordrecht Ojo returned to the Netherlands and joined Eerste Divisie side FC Dordrecht. Dordrecht qualified for the promotion play-offs at the end of the 2013–14 season and Ojo scored one of the goals in a 5–3 aggregate victory over Sparta Rotterdam to secure promotion into the top-flight. He signed a new one-year contract in June 2014. Ojo underwent ankle surgery in February 2015 to remove a piece of floating bone and was ruled out of action for the rest of the 2014–15 season. He had struggled with his ankle injury since the start of the campaign, which would prove to be a poor one for the club as Ernie Brandts's side would go on to be relegated out of the Eredivisie after finishing in last place. ### Willem II Ojo remained in the Eredivisie after signing with Willem II. He became a key first-team player for Jurgen Streppel in the 2015–16 season, playing a total of 38 games. Willem II finished in the relegation play-off places, but would beat both Almere City and NAC Breda to successfully retain their top-flight status. He featured 29 times in the 2016–17 season, though struggled for form during the latter campaign. He turned down the offer of a new contract and instead decided to move on. ### Scunthorpe United On 18 July 2017, Ojo signed a three-year contract with English League One club Scunthorpe United. He had been scouted by Lee Turnbull. Ojo quickly became a key player for Graham Alexander's "Iron", forming an excellent midfield partnership with Neal Bishop, and his absence due to injury was blamed for three consecutive defeats in December. He played 47 games across the course of the 2017–18 campaign, scoring two goals, helping United to qualify for the play-offs. He played both legs of the 4–2 aggregate play-off semi-final defeat to Rotherham United. He came close to a move to Wigan Athletic, though Wigan and Scunthorpe failed to come to a deal. Manager Stuart McCall said that injuries and the team's poor form reduced his effectiveness in the 2018–19 season, and after relegation was confirmed Ojo looked to leave Glanford Park. ### Aberdeen Ojo was linked with a transfer to Scottish club Hibernian in June 2019. Hibernian manager Paul Heckingbottom stated that Ojo could leave Scunthorpe on a free transfer after they were relegated to League Two, but the proposed transfer collapsed after Heckingbottom claimed Scunthorpe "changed their mind, backtracked and made it really difficult". Later in the summer, Scunthorpe accepted offers of around £125,000 from Hibernian and Aberdeen. Ojo moved to Aberdeen, signing a three-year contract with the club. Manager Derek McInnes said that the move was decided for footballing reasons rather than money as the financial aspect of the contracts were identical. Ojo said that "we talked about football and other things and he [McInnes] touched something in me", adding that the city, state-of-the-art training ground and prospect of European football had convinced him to go with Aberdeen. He played 16 Scottish Premiership games in the 2019–20 season and also featured four times in the early rounds of the UEFA Europa League. He made seven starts and six substitute appearances in the first half of the 2020–21 campaign. On 28 January 2021, Ojo joined English League One side Wigan Athletic on loan until the end of the 2020–21 season. He made 23 appearances for Leam Richardson's "Latics", helping the club to finish one point above the relegation zone. In summer 2021, Aberdeen accepted bids from Salford City and Wrexham, though Ojo considered seeing out his contract with Aberdeen and then retiring from the game and returning to Belgium. On 20 November, Ojo was sent off for only the second time in his career after receiving a yellow card for reacting to a Dundee United supporter who pushed him as he went to retrieve the ball from the crowd at Tannadice. The supporter was arrested and later sentenced to community service after admitting assault. Ojo impressed manager Stephen Glass in the first half of the 2021–22 campaign, playing at full-back, attacking midfield, defensive midfield and out wide. However he was not retained by new manager Jim Goodwin and left Pittodrie at the end of his contract in June 2022. ### Port Vale On 28 June 2022, Ojo joined English League One club Port Vale, with director of football David Flitcroft stating that: "we think that Funso is the type of player that can conduct and orchestrate them [his teammates] on the pitch". Ojo started nine of the club's first ten league games of the 2022–23 campaign, before being sidelined with what manager Darrell Clarke described as "quite a bad hamstring" injury at the end of September. Ojo returned to the substitutes bench on 26 December and scored his first goal at Vale Park on 24 January 2023, in a 2–1 defeat to Derby County. Four days later, he was voted as the club's player of the match in a 0–0 draw at Cheltenham Town. On 25 March, he scored a "wonderful" goal from 25 yards (23 m) to help secure a 2–2 draw with Portsmouth at Fratton Park. He was sent off for violent conduct on Good Friday in stoppage-time of a 3–0 defeat at Accrington Stanley. He was named as the club's PFA Community Player of the Year for the 2022–23 season for his efforts at becoming more environmentally friendly. Andy Crosby appointed Ojo as the club's new vice-captain in July 2023, behind club captain Nathan Smith. Ojo signed a new contract the following month which would keep him at the club until June 2026. ## International career Ojo was capped by Belgium from under-15 to under-21 level, winning his first and only under-21 cap as a late substitute in a Iceland on 1 September 2011. ## Style of play Ojo is a versatile midfielder who links defence and attack by winning the ball and passing it on to more creative teammates. He has good intelligence, fitness and technical ability. Scunthorpe United manager Stuart McCall said that he was best utilised as a defensive midfielder, though can also play as a box-to-box midfielder. ## Personal life Ojo is a trained physical instructor and is also involved in real estate. He is married. He entered a not guilty plea to a charge of assault for an incident that took place following a Scottish Premiership match at Tannadice Park in November 2021. Ojo admitted he had "squared-up" to an opposition fan, and was fined £400 after being found guilty of pushing the man and knocking his glasses off, though the punch Ojo had thrown was ruled to have been in self-defence. Speaking in February 2023 as part of the English Football League's Green Football Weekend, Ojo was reported to have saved more than 500 kg of emissions from about 260 green activities, following his choice to change his lifestyle and switch to a plant-based diet. ## Career statistics ## Honours Dordrecht - Eerste Divisie play-offs: 2013–14	[ "## Club career", "### PSV", "### Beerschot", "### Antwerp", "### Dordrecht", "### Willem II", "### Scunthorpe United", "### Aberdeen", "### Port Vale", "## International career", "## Style of play", "## Personal life", "## Career statistics", "## Honours" ]	2,482	33,958
31,453,852	Science Fiction Adventures (1956 magazine)	1,160,184,578	American digest-size science fiction magazine (1956–58)	[ "Defunct science fiction magazines published in the United States", "Magazines disestablished in 1958", "Magazines established in 1956", "Science fiction digests", "Science fiction magazines established in the 1950s" ]	Science Fiction Adventures was an American digest-size science fiction magazine, published from 1956 to 1958 by Irwin Stein's Royal Publications as a companion to Infinity Science Fiction, which had been launched in 1955. Larry Shaw was the editor for all 12 issues. Science Fiction Adventures focused on longer fiction than appeared in Infinity; these were often labeled as novels, though they were rarely longer than 20,000 words. Shaw declared in his first editorial that he wanted to bring back a "sense of wonder", and he printed straightforward action-adventure stories. Two other magazines of the period, Imagination and Imaginative Tales, had similar editorial approaches, but science fiction historian Mike Ashley considers that Science Fiction Adventures contained the best fiction of the three. Robert Silverberg was a prolific contributor, under his own name and under the pseudonym "Calvin M. Knox", and he also collaborated with Randall Garrett on two stories in the first issue, under two different pseudonyms. Other well-known writers occasionally appeared, including Harlan Ellison, Cyril M. Kornbluth, Algis Budrys, and Harry Harrison. Ed Emshwiller contributed cover art for nine of the twelve issues, and one of the other three was among John Schoenherr's earliest sales. The magazine was canceled because of disappointing sales; the final issue was dated June 1958, and Infinity only lasted a few months longer. A British reprint edition commenced in early 1958, edited by John Carnell; after the American original ceased publication, Carnell kept the magazine going for 32 issues by using reprints from other sources and by printing original material. ## Publication history In 1955, Irwin Stein, the owner of Royal Publications, launched two magazines: Infinity Science Fiction and Suspect Detective Stories. Both were edited by Larry Shaw, and the first issue of each was dated November 1955. Shaw was knowledgeable about science fiction (sf), and put more of his efforts into Infinity, which established itself sufficiently for Stein to continue publication for several years. Suspect, which published action-adventure crime fiction, was less successful. Sf historian Mike Ashley describes it as having "no personality or individuality", and crime fiction historian Michael Cook finds it "adequate but not outstanding ... these were not poor stories. Just more of the same". Suspect's schedule was intended to be bimonthly, but this began to slip with the third issue, and after five issues Stein decided to scrap Suspect and start another science fiction title instead. To avoid applying for another second-class mailing permit, which would delay the launch of the new magazine, he simply retitled Suspect to Science Fiction Adventures and continued the volume numbering scheme, so that the first issue was volume 1, number 6. This led some readers to believe that the magazine was a revival of the Science Fiction Adventures edited by Lester del Rey and Harry Harrison for nine issues between 1952 and 1954, but there was no connection. The US Post Office decided that this was a new magazine, and not just a title change, and forced Stein to obtain a new mailing permit for Science Fiction Adventures, so Stein abandoned the pretence that it was the same magazine as Suspect Detective Stories, and the second issue became volume 1, number 2. SF Adventures and Infinity both began on a bimonthly schedule, which meant that they stayed on newsstands for two months at a time, helping sales. Stein was unwilling to give up this benefit completely so, in 1957, when he decided to increase the magazines' frequency, he put them both on a six-week schedule, but kept the cover date showing a single month. This led to some reader complaints: one wrote in to Infinity to say "My confusion is hopeless! Go monthly!" In 1958 Stein returned both magazines to a bimonthly schedule. At the World Science Fiction Convention in 1956, when Stein announced the launch of SF Adventures, John Carnell, the British editor of New Worlds, approached Stein to ask if he could set up a British reprint edition of Stein's magazine. Stein agreed, but it took a year to make the arrangements, so the first issue of the British Science Fiction Adventures appeared in early 1958. Towards the end of the US Science Fiction Adventure's run, Stein took two of the long stories that had been bought for SF Adventures and published them in Infinity instead, hoping to boost its sales, but Stein gave up on both magazines by the end of 1958. He had decided instead to launch two magazines, Monster Parade and Monsters and Things, to take advantage of the new interest in horror and science fiction movies. Carnell continued publication of the British version, using reprints from other titles as well as new stories, and eventually produced 32 issues. ## Contents In Shaw's editorial in the first issue, he lamented that science fiction was losing a sense of wonder, and "[was not] as much fun to read as it used to be". He claimed that by focusing on adventure fiction "carried by a good story", Science Fiction Adventures would "be an antidote for that situation". Ashley considers that Shaw intended to attract younger readers than Infinity was aimed at. Shaw's policy of printing longer stories was highlighted on the first issue's cover by a banner proclaiming "3 Complete New Action Novels", though this was misleading as the stories rarely exceeded 20,000 words. The first issue's lead story, "Starcombers", by Edmond Hamilton, was only 15,000 words, and the other two stories, both pseudonymous collaborations by Robert Silverberg and Randall Garrett, were shorter still. Ashley describes Shaw's editorial policy as "no different to that of Imagination or Imaginative Tales", two sf magazines of the day that focused on action stories, but adds that "SF Adventures contained stronger material". Ashley considers Silverberg's contributions to be among the best work of his early career; it included the "Chalice of Death" series, three stories written as by Calvin M. Knox that appeared in book form as Lest We Forget Thee, Earth in 1958. Silverberg was by far the most prolific contributor, providing over a quarter of the magazine's contents, often in collaboration with Garrett. Six of Silverberg's early novels first saw print in SF Adventures. Harlan Ellison appeared regularly, and Shaw also obtained stories from Algis Budrys, Cyril Kornbluth, Harry Harrison, and John Brunner. Most of the cover art was supplied by Ed Emshwiller; of the three covers he did not paint, one was an early effort by John Schoenherr. ## Bibliographical details The editor for all twelve issues was Larry Shaw, and the publisher was Royal Publications of New York. There were two volumes, each of six numbers; the first issue, dated December 1956, was numbered volume 1 number 6 because of Stein's attempt to make the magazine a continuation of Suspect Detective Stories, but thereafter the numbering was completely regular. The last issue was dated June 1958. Each issue was 128 pages and was priced at 35 cents.	[ "## Publication history", "## Contents", "## Bibliographical details" ]	1,462	40,036
34,830,376	Shambhala (roller coaster)	1,170,344,856	Steel hyper coaster at PortAventura Park, Spain	[ "Articles containing video clips", "Hypercoasters manufactured by Bolliger & Mabillard", "Roller coasters in Spain" ]	Shambhala: Expedición al Himalaya is a steel hypercoaster roller coaster located at PortAventura Park in Salou and Vilaseca, Spain. Manufactured by Bolliger & Mabillard, it was the tallest (76 metres (249 ft)) and fastest (134 kilometres per hour (83 mph)) coaster in Europe at the time of its opening. The height and speed records were beaten in April 2017 by Red Force (with a height of 112 metres (367 ft)), which was also opened in PortAventura World in its new theme park Ferrari Land. Among coasters with a lift hill, the height and speed records were beaten in July 2018, when Hyperion opened at Energylandia in Poland. Shambhala is named and themed after the inaccessible land in the Himalayas: Shambhala. The coaster was announced on 24 October 2011, and opened to the public on 12 May 2012. ## History Rumors that PortAventura World would be investing in a new Bolliger & Mabillard Dive Coaster emerged in late 2010. In May 2011, speculation that the park was planning to build a hypercoaster that would pass over Dragon Khan arose. Land clearing began in the summer of 2011. Shambhala was announced to the public on 24 October 2011; the layout of the roller coaster was leaked 2 days earlier. The last piece of track was installed in mid-April 2012 following a signing event and the placement of several country flags on the track. Testing of the ride began in the same month. Following the completion of testing, a ribbon cutting ceremony was held on 12 May 2012 before opening to the public the same day. Over 300 workers from countries including Germany, France, Hungary, Poland, Switzerland, and United States took part in the construction of Shambhala. At the time of opening, the roller coaster held records for tallest, longest drop, and fastest hypercoaster in Europe, though all three records have since been surpassed by Hyperion at Energylandia. These records were held by Silver Star at Europa-Park prior to Shambhala's opening. In September 2019, a video showing a rider catching a phone dropped by a rider a few rows ahead went viral. ## Ride experience After departing from the station, the train makes a 90 degree turn to the right, then begins to climb the 76-metre (249 ft) tall chain lift hill. Once the train reaches the top of the lift, the train drops back down to the ground at a 77.4 degree angle reaching speeds of up to 134 kilometres per hour (83 mph) as it passes through a tunnel and races past the drop off Dragon Khan's midcourse brakes. Following the first drop, the train then makes a slight left turn into the first of five camelback hills before dropping again and entering a figure-8-like helix, also known as an ampersand turn. On the return trip, the train goes over a very small hill (speed hill); at the same time, passing through a trim brake which isn’t activated. Immediately after, the train enters the second camelback hill, followed by a slight left turn, then crossing under Dragon Khan's first drop to enter a splashdown element. Unlike other coasters featuring a splashdown (Diamondback, Sheikra, Griffon, etc), Shambhala’s train never hits the water. The splash is created by a series of water jets that shoot up when the train passes, creating the splashdown effect. The splashdown is followed by another set of camelback hills. Following these hills, the train passes through the mid-course brake run. Finally, after making a banked downward left turn, the train passes over the final hill before entering the final brake run leading directly back to the station where the next riders board. One cycle of the ride lasts about three minutes. ## Characteristics ### Trains Shambhala operates with three steel and fiberglass trains. Each train has eight cars with two rows that seat two riders each for a total of 32 riders per train; each seat has its own individual lap-bar restraint. This configuration allows the ride to achieve a theoretical hourly capacity of 1,680 riders per hour. Riders also experience up to 3.8 times the force of gravity. The structure of the trains are colored gold and cyan, the lap bar restraints are cyan, and the seats are black. The trains are equipped with video cameras for each row of two riders, allowing riders to purchase recordings after the ride ("videoride"). ### Track The steel track of Shambhala is approximately 1,564 metres (5,131 ft) long, the height of the lift is 76 metres (249 ft), and covers an area of about 14,000 m<sup>2</sup>. The roller coaster has no inversions though it does feature five camelback hills, each at least 20 metres (66 ft) tall, a splashdown, and inclined figure eight element. Including the supports, the total weight of the roller coaster is approximately 1,600 tonnes (1,600 long tons; 1,800 short tons). 4,000 m<sup>3</sup> of cement was used for the foundations that hold up the supports and some are as deep as 18 metres (59 ft). The track is white with cyan rails while the supports are grey. ### Theme Inspired by both Nicholas Roerich stories and the Kingdom of Bhutan, Shambhala is named and themed around the story that within the Himalayas there is a lost world (Shambhala) that is impossible to access and is the source of happiness. As guests walk through the themed queue and board the train, they go on an expedition to find this land. The roller coaster is located in the China section of PortAventura Park. ## Reception Following the opening of Shambhala, Kirmes & Parks magazine named the roller coaster as the best European attraction introduced in 2012. Patrick Purcell from Mirror said that the roller coaster lived up to its hype and that, "It is also one of the smoothest roller coasters I've encountered." Sophie Castle from Travel Channel UK praised the height of Shambhala and said that, "Shambhala is definitely an opportunity that shouldn’t be missed." In 2013, Shambhala was featured on Travel Channel's television series Insane Coaster Wars: World Domination. The ride appeared in Amusement Today's Golden Ticket Awards for the first time in 2018, ranking 45th in the top steel roller coasters category. ## See also - 2012 in amusement parks	[ "## History", "## Ride experience", "## Characteristics", "### Trains", "### Track", "### Theme", "## Reception", "## See also" ]	1,408	19,406
36,175,794	Robert McLachlan (cinematographer)	1,154,333,001	Canadian cinematographer	[ "Canadian cinematographers", "Living people", "People associated with Greenpeace", "People from Vancouver", "Simon Fraser University alumni", "Year of birth missing (living people)" ]	Robert McLachlan is a Canadian cinematographer. A successful cyclist in his youth, McLachlan quit the sport to take up cinematography, and entered the field after studying at Simon Fraser University, McLachlan was mentored by Richard Leiterman. His professional career began with documentary work for Greenpeace, before he became involved in both television and feature films; his work has subsequently earned him several industry awards and award nominations. McLachlan, who was inspired by both his father's photography and his own appreciation for the films Butch Cassidy and the Sundance Kid and Walkabout to choose his career path, would go on to find recognition as the chief cinematographer for the television series Millennium, for which he was scouted specifically. McLachlan's style on this series led to several industry awards and briefly became popular in the medium, as well as leading him directly to future work on Game of Thrones. He founded the documentary production company Omni Film Productions in the 1970s, later selling his share of the company. ## Early life and education In his youth, McLachlan was an avid cyclist, accrediting this to the fact that his home town Vancouver was not cold enough for ponds to freeze over to play ice hockey on. During his teenage years, he trained upwards of six hours a day, and won several national championships in the sport. He qualified to represent Canada in the 1976 Summer Olympics, but the lack of funding for cycling in North America at the time would have necessitated him funding his own journey and leaving school to do so; McLachlan opted instead to remain in education and focus on his interest in photography. McLachlan first became interested in cinematography after viewing the 1969 film Butch Cassidy and the Sundance Kid; Nicolas Roeg's work on the 1971 film Walkabout further cemented his interest in the field. McLachlan was also motivated by his father, who was an avid photographer. An early school assignment to create a Super 8 film project, for which he received an A grade, also proved a formative influence. McLachlan studied fine art at the University of British Columbia for a year, before changing courses to attend classes at Simon Fraser University's film department. McLachlan's education focussed on the documentary style of John Grierson; however, when he began work in 1987, he was mentored by Richard Leiterman. McLachlan also cites influences outside the field of cinematography, drawing influence from the chiaroscuro, Dutch art and pre-Raphaelite movements of visual art, and the works of Andrew Wyeth and Georges de La Tour in particular. ## Career Having graduated, McLachlan and Michael Chechik founded the production company Omni Film Productions in 1979, and began to work with Greenpeace, filming documentary footage on a range of subjects. McLachlan narrowly avoided trouble on several of these shoots, finding himself arrested for filming too close to an Exxon oil tanker and scarcely missing being assaulted by trophy hunters in British Columbia. McLachlan would later sell his stake in Omni, but remains proud of their documentary work. At the time, McLachlan was unsuccessful in joining an industry union, relegating his work to advertising and small-scale productions; his first union-backed project was on the revival of the television series Sea Hunt. McLachlan found success on the Fox television series Millennium, earning several awards for his work on the show. He was head-hunted for the series by its creator Chris Carter, who had seen his work on the series Strange Luck. McLachlan was initially offered a position shooting Carter's other active series, The X-Files, then in its third season, but was unable to start work in time. He developed a distinctive style for the series, shooting it with desaturated colours and lighting scenes as though they were to be filmed in black and white; he also made use of high-intensity strobe lighting usually employed for advertising and macro cinematography. McLachlan has noted that this style briefly became popular after the series' broadcast but that other cinematographers had difficulty adjusting to it. Having worked on Millennium with director David Nutter, McLachlan was able to parley this connection into a role on the HBO fantasy series Game of Thrones. McLachlan has called working on the show's ten-person cinematography team "a major logistical challenge", noting the complexity of its out-of-sequence filming schedules as something unseen on a television series before. McLachlan has also worked on the programme Ray Donovan, and has based that series' cinematography on both film noir aesthetics and those of 1970s cinema, specifically citing The Long Goodbye, The Parallax View and All the President's Men, as well as the work of Gordon Willis. ## Accolades McLachlan has been nominated for, and won, several awards over the course of his career. He has been nominated four times for the American Society of Cinematographers awards, three times for his work on the television series Millennium and once for the television film High Noon. He has also won several Canadian Society of Cinematographers awards, including wins for the films Willard and Impolite, as well as for several episodes of Millennium and The Lone Gunmen. McLachlan's work on Game of Thrones received Emmy Award nominations in 2013 and 2015, and a Canadian Society of Cinematographers award nomination in 2015; he was also nominated by the latter society for his cinematography on the series Ray Donovan. ## Partial filmography ### Film ### Television	[ "## Early life and education", "## Career", "## Accolades", "## Partial filmography", "### Film", "### Television" ]	1,142	5,380
38,427,349	Kedok Ketawa	1,164,691,210	1940 action film	[ "1940 films", "1940 lost films", "1940s action films", "Indonesian action films", "Indonesian black-and-white films", "Lost Indonesian films", "Lost action films", "Union Films films" ]	Kedok Ketawa (; Indonesian for The Laughing Mask, also known by the Dutch title Het Lachende Masker) is a 1940 action film from the Dutch East Indies (now Indonesia). Union Films' first production, it was directed by Jo An Djan. Starring Basoeki Resobowo, Fatimah, and Oedjang, the film follows a young couple who fight off criminals with the help of a masked man. Advertised as an "Indonesian cocktail of violent actions ... and sweet romance", Kedok Ketawa received positive reviews, particularly for its cinematography. Following the success of the film, Union produced another six works before being shut down in early 1942 during the Japanese occupation. The film, screened until at least August 1944, may be lost. ## Plot In Cibodas, Banten, a young woman named Minarsih (Fatimah) is rescued from four thugs by the painter Basuki (Basoeki Resobowo). They fall in love and begin planning their life together. However, a rich man interested in taking Minarsih to be his wife sends a gang to kidnap her. Basuki is unable to repel them, but is soon joined by a masked vigilante known only as "The Laughing Mask" (Oedjang), who has almost supernatural fighting abilities. After two battles with the gang, Basuki and The Laughing Mask are victorious. Basuki and Minarsih can live together in peace. ## Production Kedok Ketawa was the first film produced by Union Films, one of four new production houses established after the success of Albert Balink's Terang Boelan revived the ailing motion picture industry of the Dutch East Indies. Union was headquartered in Prinsenlaan, Batavia (now Mangga Besar, Jakarta) and funded by the ethnic Chinese businessman Ang Hock Liem, although Tjoa Ma Tjoen was in charge of day-to-day operations. The film was shot on location in Cibodas, and featured fighting, comedy, and singing. The movie was directed by Jo An Djan and starred Oedjang, Fatimah, and Basoeki Resobowo. Other members of the cast included S Poniman and Eddy Kock. Oedjang had been a stage actor before appearing in the film, while Fatimah and Basoeki were nobles with a formal education. The Indonesian film historian Misbach Yusa Biran writes that this is evidence the picture was targeted at intellectual audiences, a manifestation of Union's stated goal of "improv[ing] the quality of Indonesian art". Following the success of Terang Boelan (1937; based on The Jungle Princess), the domestic movie-making industry began to model their productions after Hollywood works, as this was expected to ensure financial success. The Indonesian film scholars Ekky Imanjaya and Said Salim write that Kedok Ketawa was influenced by Bram Stoker's 1897 novel Dracula through its Hollywood adaptations. Neither writer gives comparisons to illustrate this influence. Kedok Ketawa was not the first contemporary film featuring a masked hero. Tan's Film had released Gagak Item (The Black Crow), with Rd Mochtar as the masked Black Crow, in 1939, and later productions, including Java Industrial Film's Srigala Item (The Black Wolf; 1941), continued the trend. As was common for contemporary productions, the soundtrack for Kedok Ketawa – performed by Poniman – consisted of kroncong songs. ## Release and reception Kedok Ketawa was released in Batavia in July 1940, with a press screening on 20 July. By September it was being shown in Surabaya. In some newspaper advertisements, such as in Pemandangan, it was referred to as Pendekar dari Preanger (Warrior from Preanger), while in others it was advertised with the Dutch title Het Lachende Masker. It was marketed as an "Indonesian cocktail of violent actions ... and sweet romance"[^1] and rated for all ages. The critic and screenwriter Saeroen, writing for Pemandangan, praised Kedok Ketawa, especially its cinematography and the beauty of its scenery; he compared the film to imported Hollywood films. An anonymous review in Bataviaasch Nieuwsblad found that the film was a mix of native and European sensibilities and lauded its cinematography. According to the review, the film surpassed expectations, but it was evident that this was a first production. Another review, in Soerabaijasch Handelsblad, considered the film among the best local productions, emphasising the quality of its cinematography and acting. ## Legacy Soon after the success of Kedok Ketawa, Saeroen joined Union Films and wrote four films for the company. These were not directed by Jo An Djan, who left Union for the competitor Populair's Film, but by the newly hired R Hu and Rd Ariffien. Union Film ultimately produced a total of seven films in 1940 and 1941 before being closed following the Japanese invasion in early 1942. Of the film's main cast, only Fatimah and Oedjang are recorded as continuing their acting career, both appearing in several further Union productions. However, in the 1950s Resobowo continued his career behind the screen, serving as art director of such films as Darah dan Doa (The Long March; 1950). Kedok Ketawa was screened as late as August 1944, but may be a lost film. Films were then shot on flammable nitrate film, and after a fire destroyed much of Produksi Film Negara's warehouse in 1952, old films shot on nitrate were deliberately destroyed. While the American visual anthropologist Karl G. Heider suggests that all Indonesian films from before 1950 are lost, J.B. Kristanto's Katalog Film Indonesia'' records several as having survived at Sinematek Indonesia's archives, and Biran writes that some Japanese propaganda films have survived at the Netherlands Government Information Service. ## Explanatory notes [^1]: Original: "... een indonesische cocktail van heftige acties ... zoete romantiek".	[ "## Plot", "## Production", "## Release and reception", "## Legacy", "## Explanatory notes" ]	1,305	40,584
36,655,124	Gaius Vettius Sabinianus Julius Hospes	1,171,237,092	2nd century Roman senator, general and consul	[ "2nd-century Romans", "Generals of Commodus", "Generals of Marcus Aurelius", "Roman governors of Africa", "Roman governors of Dacia", "Roman governors of Dalmatia", "Roman governors of Pannonia Superior", "Suffect consuls of Imperial Rome", "Vettii", "Year of birth unknown", "Year of death unknown" ]	Gaius Vettius Sabinianus Julius Hospes (fl. 2nd century) was a Roman military officer and senator. He was born into the equestrian order, possibly in North Africa. He held the traditional series of military, administrative and judicial positions of steadily increasing responsibility which aspiring upper class Romans were expected to progress through, known as the cursus honorum. He had a long and distinguished military and political career under the reigns of the emperors Antoninus Pius, Marcus Aurelius and Commodus. He was appointed a special representative of the Emperor on several occasions. He was governor successively of four turbulent Roman frontier provinces. He acquired a reputation as a capable, if brutal, military commander and suppressed a number of internal and external threats. He was used by the emperors he served under as something of a trouble shooter. He was appointed consul in AD 175 or 176 by Emperor Marcus Aurelius as a reward for his loyalty and ability during a revolt by General Avidius Cassius. Hospes received numerous awards for personal gallantry. ## Biography ### Early career Originally a member of the equestrian order, Gaius Vettius Sabinianus may have originated from Roman North Africa. At some point he was adopted by the aristocratic Vettii Sabini. He began his military career as the praefectus cohortis, a junior officer position, of II Commagenorum, a battalion sized army unit. He was promoted to the rank of military tribune, a senior officer position, in Legio I Italica. Sabinianus returned to Rome to participate in the magistracies of the cursus honorum, the sequential mixture of military and political administrative positions held by aspiring politicians in the early Roman Empire. In succession he was appointed: quaestor, a junior position administering the public treasury; plebeian tribune, a senior position with – in theory – extensive powers over the legislature; and praetor, a senior administrative and judicial position reporting directly to the emperor. He was then appointed legatus of the proconsular governor of Asia. Vettius Sabinianus’ next appointment was a special command, functioning as the imperial legate responsible for investigating the status of the Cyclades in relation to their administration by the Roman province of Asia. ### Later career At the beginning of the joint reigns of Marcus Aurelius and Lucius Verus, Sabinianus was appointed juridicus of the Italian circuit comprising Aemilia; Etruria and Liguria; Mireille Corbier states he is the earliest known juridicus for that circuit. Around 165 Emperor Marcus Aurelius raised a new legion, Legio III Italica, to fight in the Marcomannic Wars and Sabinianus was appointed its first commander as a legatus legionis, senior legionary commander. This was followed by another special appointment, as Legatus Aug. Rationibus putandis trium Galliarum or legate in control of the urban finances of the three Gallic provinces, again reporting directly to the Emperor. This appointment may reflect a growing debt problem in the province, triggered by the demands of the Marcomannic Wars. His next appointment was legatus legionis of another legion, XIV Gemina, together with military and civil jurisdiction over Pannonia Superior, following a Roman defeat in the province in about 170 and the death of the governor. After a brief period in Rome as praefect of the aerarium Saturni (state treasury), he was again posted to the frontier, this time as legatus Augusti pro praetore, imperial governor, of Pannonia Superior, where he served from around 170 to 175. Here he fought in the First Marcomannic War, taking part in several battles against Germanic tribes. For his services Marcus Aurelius rewarded him with a large share of the booty from the campaign. During the usurpation of Avidius Cassius in AD 175, Vettius Sabinianus was sent by Marcus Aurelius to take charge of the vexillations (detachments) from Illyricum and defend Rome against a possible advance by Cassius. Positioning himself in Rome, Sabinianus also had to ensure that those within the city opposed to the continued war against the Germans, headed by the family of Lucius Verus, did not take advantage of Cassius' rebellion to undermine imperial authority. As a reward for his loyalty during the crisis, Vettius Sabinianus was appointed consul by the emperor around AD 175. Becoming a consul was the highest honour of the Roman state, and as such candidates were chosen carefully by the emperor. He was then appointed proconsular curator of Puteoli, followed by a tenure as curator aedium sacrarum, curator of the temples, a senior religious position. Next he was appointed legatus Augusti pro praetore (imperial legate) of Dalmatia in AD 177, with instructions to deal with the bandits which infested the areas around modern Albania and Montenegro, which the previous governor Didius Julianus had been unable to eradicate. From 179 to 182 Vettius Sabinianus held the post of imperial governor of Tres Daciae, during which he subdued some 12,000 Free Dacians on the border of the province and settled them inside the provincial border. He was probably the governor who fought in a victorious but brutal war against the Buri until 182, which saw the creation of a five-mile wide security zone along the borders of the province. This was followed by his posting as imperial legate of the province of Pannonia Superior. The last position Sabinianus is recorded to have held, in around AD 191, was proconsular governor of Africa which, because of the reliance of the city of Rome on its grain, was considered the most important Roman governorship. ### Decorations and family Vettius Sabinianus was awarded the civic crown, the second highest military decoration to which a Roman citizen could aspire, three times. A chaplet of common oak leaves woven to form a crown, it was reserved for Roman citizens who saved the lives of fellow citizens by slaying an enemy. He was also awarded the Hasta pura, a decoration for military valour and the Vexilla twice each. He was married to the daughter of Servius Cornelius Scipio Salvidienus Orfitus, proconsular governor of Africa in AD 163/164. His grandson was Gaius Vettius Gratus Sabinianus, who was consul in AD 221.	[ "## Biography", "### Early career", "### Later career", "### Decorations and family" ]	1,379	21,590
45,393,668	Italian cruiser Carlo Alberto	1,149,453,120	Italian Vettor Pisani-class cruiser	[ "1895 ships", "Ships built in La Spezia", "Vettor Pisani-class cruisers", "World War I cruisers of Italy" ]	The Italian cruiser Carlo Alberto was the second of two Vettor Pisani-class armored cruisers built for the Royal Italian Navy (Regia Marina) in the 1890s. She was deployed overseas several times during her career, notably to the Far East and South America. The ship was used as a royal yacht by King Victor Emmanuel III of Italy in 1902, during which time she was used for radio experiments by Guglielmo Marconi. Carlo Alberto served as a training ship before the start of the Italo-Turkish War of 1911–12. During the war she supported Italian operations in Libya. The ship was virtually inactive during World War I and was converted into a troop transport in 1917–18. Carlo Alberto was stricken from the Navy List in 1920 and subsequently broken up for scrap. ## Design and description Carlo Alberto had a length between perpendiculars of 99 meters (324 ft 10 in) and an overall length of 105.7 meters (346 ft 9 in). She had a beam of 18.04 meters (59 ft 2 in) and a draft of 7.2 meters (23 ft 7 in). The ship displaced 6,397 metric tons (6,296 long tons) at normal load, and 7,057 metric tons (6,946 long tons) at deep load. The Vettor Pisani-class ships had a complement of 28 officers and 472 to 476 enlisted men. The ship was powered by two vertical triple-expansion steam engines, each driving one propeller shaft. Steam for the engines was supplied by eight Scotch marine boilers. Designed for a maximum output of 13,000 indicated horsepower (9,700 kW) and a speed of 19 knots (35 km/h; 22 mph), Carlo Alberto barely exceeded her designed speed when she reached 19.1 knots (35.4 km/h; 22.0 mph) during her sea trials from 13,219 ihp (9,857 kW). She had a cruising radius of about 5,400 nautical miles (10,000 km; 6,200 mi) at a speed of 10 knots (19 km/h; 12 mph). The main armament of the Vettor Pisani-class ships consisted of twelve quick-firing (QF) Cannone da 152/40 A Modello 1891 guns in single mounts. All of these guns were mounted on the broadside, eight on the upper deck and four at the corners of the central citadel in armored casemates. Single QF Cannone da 120/40 A Modello 1891 guns were mounted in the bow and stern and the remaining two 120 mm (4.7 in) guns were positioned on the main deck between the 152 mm (6.0 in) guns. For defense against torpedo boats, the ship carried fourteen QF 57 mm (2.2 in) Hotchkiss guns and eight QF 37 mm (1.5 in) Hotchkiss guns. The ship was also equipped with four 450 mm (17.7 in) torpedo tubes. Carlo Alberto was protected by an armored belt that was 15 cm (5.9 in) thick amidships and reduced to 11 cm (4.3 in) at the bow and stern. The upper strake of armor was also 15 cm thick and protected just the middle of the ship, up to the height of the upper deck. The curved armored deck was 3.7 cm thick. The conning tower armor was also 15 cm thick and each 15.2 cm gun was protected by a 5 cm (2.0 in) gun shield. ## Construction and career Carlo Alberto, named after King Charles Albert of Sardinia, was laid down on 1 February 1892 at the Arsenale di La Spezia in La Spezia. The ship was launched on 23 September 1896 and completed on 1 May 1898. She was deployed to South America later that year and returned to Italy on 28 February 1899. Later that year Carlo Alberto was sent to the Far East and returned on 1 June 1900. After her return the ship was assigned to the Mediterranean Fleet. Carlo Alberto served as the royal yacht for Victor Emmanuel III when he attended the Coronation of King Edward VII and Queen Alexandra of the United Kingdom in 1902. Victor Emmanuel invited Guglielmo Marconi to accompany him and conduct radio experiments en route. Originally scheduled for 26 June, the coronation was delayed by Edward's illness and rescheduled for 9 August. In the meantime, the ship took Victor Emmanuel to meetings with Tsar Nicholas II of Russia in Kronstadt. She returned to England before the coronation ceremony and then participated in the fleet review at Spithead on 16 August. On the return voyage Marconi conducted more long-range experiments with his site in Poldhu, Cornwall. The King then loaned Carlo Alberto to Marconi in September for more testing. She then ferried Marconi across the Atlantic to Glace Bay, Nova Scotia for further experiments transmitting radio messages across the ocean. After 15 December, when Marconi successfully transmitted messages from Glace Bay to Poldhu, Carlo Alberto was sent to Venezuelan waters during the Venezuelan crisis of 1902–03, when an international force of British, German, and Italian warships blockaded Venezuela over the country's refusal to pay foreign debts. She returned in early 1903 and was briefly deployed in Salonica later that year. From 1907 to 1910 she served as a gunnery and torpedo training ship. When the Italo-Turkish War of 1911–12 began on 29 September, Carlo Alberto was assigned to the Training Division. She bombarded the fortifications defending Tripoli and provided gunfire support to Italian forces at Zanzur, Zuara and elsewhere in Tripolitania. She fired enough ammunition during these missions that her guns had to be replaced in early 1912. After the war the ship was transferred to the Aegean Sea where she remained until March 1913. Obsolescent by the beginning of World War I, Carlo Alberto was not very active during the war. She spent almost the entire war based in Venice. The ship began conversion into a troop transport there in 1917. This required the removal of her armor, the addition of a new deck and internal modifications to suit her new role. The work was finished in Taranto early the next year; she was recommissioned with the new name of Zenson on 4 April 1918. The ship was discarded on 12 June 1920 and subsequently scrapped.	[ "## Design and description", "## Construction and career" ]	1,396	33,376
1,123,673	Stony Point line	1,172,563,729	Passenger rail service in metropolitan Melbourne, Victoria, Australia	[ "1888 establishments in Australia", "Railway lines in Melbourne", "Railway lines opened in 1888", "Transport in the City of Frankston", "Transport in the Shire of Mornington Peninsula", "Western Port" ]	The Stony Point line is a greater-metropolitan commuter railway line in the city of Melbourne, Victoria, Australia. Operated by Metro Trains Melbourne, it is the city's only diesel service on the metropolitan network and the tenth longest line at 31 kilometres (19 mi). The line acts as an extension of the Frankston line with services running from Frankston station to the small town of Stony Point in the south-east, serving 10 stations via Leawarra, Baxter, Hastings, and Bittern. The line operates for approximately 13 hours a day (from approximately 5:30 am to around 10:30 pm), unlike other lines on the network, which provide 24-hour service on Friday and Saturday nights. Headways of 90 to 120 minutes are operated throughout the day due to limited patronage and infrastructure constraints. Trains on the Stony Point line run as two one-car formations of V/Line Sprinters. Sections of the Stony Point line opened as early as 1888, with the line fully extended to Stony Point in 1889. Only two stations have opened since its extension in the 1880s—Leawarra and Morradoo. The line was built to connect Melbourne and Frankston with the rural towns of Baxter, Hastings, and Bittern, amongst others. The line also facilitates freight services to the Port of Hastings. Significant growth has occurred since the line's opening, with a plan to extend the Frankston line along part of the Stony Point line to Baxter. ## History ### 19th century The Stony Point line initially operated from Frankston to Baxter station, with services commencing in 1888. Extensions to Hastings, Bittern, and Stony Point were completed the following year in 1889. Branch lines were opened from Baxter to Mornington in 1889 and from Bittern to Red Hill in 1921. ### 20th century A new station was opened at Leawarra in 1906 and Morradoo in 1960. The Red Hill line was closed in 1953 with the Mornington line remaining open until 1981. A 300-metre (330 yd) long branch from Long Island Junction to Long Island was opened on 29 April 1969 to serve the adjacent steel mill. Passenger services on the entire line were withdrawn on 10 June 1981, and the line from Long Island Junction to Stony Point was closed on 22 June 1981. Services then recommenced on 26 September 1984. Upon reopening, DRC railcars were used, with two MTH carriages present in between them making up a 4 car train. Frequent breakdowns saw diesel locomotives called in to haul the consist instead. In August 1994, a T class locomotive with two MTH carriages was used, but by November 1995, weekday services were being operated by a P class with 2 MTH carriages, with an A class used on weekends with an extra MTH car. On another occasion in November 1995, an X class diesel locomotive in the V/Line Freight livery was used with three MTH carriages. These configurations were not used after V/Line was separated into passenger and freight divisions. ### 21st century Few changes occurred in the 2000s as the service settled down after a period of frequent changes to the operators, services, and rolling-stock. On a limited number of occasions, train operator V/Line underwent locomotive shortages, with additional trains leased from Freight Australia and later Pacific National appearing on the lines in their green and yellow livery. In 2008, the Stony Point line underwent major re-signalling works including the introduction of three position signalling for the first time on the line. The new signalling system was now controlled remotely by the Frankston Signal Box. In April 2008, Sprinter units were introduced on the line, originally purchased by V/Line in 1993. Two units usually operate the service, with a single unit returning to Southern Cross for servicing on a regular basis, and another sent in the opposite direction to replace it. The units are selected from the normal V/Line fleet, and are not dedicated to operate the Stony Point service. On 1 April 2015, passenger services were suspended indefinitely following a series of safety breaches where boom gates failed to drop for an approaching train. After three months of remedial works, passenger services returned to the line on 30 June 2015. ## Future ### Baxter extension In 2013, as part of Public Transport Victoria's Network Development Plan for metropolitan rail, an extension of the Frankston line to Baxter was earmarked to begin in the "long-term" (over the next 20 years). During the 2018 state election, the Liberal Party announced a project to extend electrified services to Baxter. The project would have included the removal of all crossings between Frankston and Baxter, duplication and electrification works, the construction of one (or two) new stations, and the reconstruction of stations along the corridor. The Federal Liberals announced \$450 million of joint funding for the project promised between the state and federal governments. The incumbent Andrews Labor government argued that the project was not needed, instead prioritising funding to other projects across the state. A business case commissioned by the government was completed in 2019 with no further progress being made. Again in the lead up to the 2022 state election, the Liberal opposition supported the electrification to Baxter. The second Andrews government made no commitments to the Baxter rail extension, instead continuing construction on level crossing removal works along the Frankston line. The 2022 state election resulted in another Labor victory, with the Andrews government pushing ahead with these works. ## Network and operations ### Services Services on the Stony Point line operate from approximately 5:30 am to 10:30 pm Monday to Friday, and 7:00 am to 8:30 pm on Saturdays and Sundays. Train frequency is typically every 90 to 120 minutes throughout the day due to the presence of a single track. Regular services do not run past Frankston; stations between Frankston and Stony Point are instead serviced by shuttle. Unlike the rest of Melbournes rail network, services do not run 24 hours a day on Friday nights and weekends. Freight operations typically occur twice daily, with Qube Holdings operating services to the Long Island steel mills and the Port of Hastings. Trains to Melbourne run at approximately 4:00 am and during the mid-afternoon, while trains from Melbourne run at approximately midnight and noon. Train services on the Stony Point line are also subjected to maintenance and renewal works, usually on selected Fridays and Saturdays. Shuttle bus services are provided throughout the duration of works for affected commuters. #### Stopping patterns Legend — Station status - ◼ Premium Station – Station staffed from first to last train - ◻ Host Station – Usually staffed during morning peak, however this can vary for different stations on the network. Legend — Stopping patterns - ● – All trains stop - ◐ – Some services do not stop - \\| – Trains pass and do not stop ### Operators The Stony Point line has had numerous operators with since its opening in 1889. Government operators Victorian Railways, the State Transport Authority, the Public Transport Corporation and V/Line operated the line from 1889 till the privatisation of the Melbourne rail network in 1998. On 1 July 1998, operation of the Stony Point line was transferred from V/Line. V/Line was privatised in 1999 and later returned to full government ownership in 2003. It continued to operate the service on behalf of three different Melbourne private rail operators: M\>Train, Connex, and Metro Trains. ### Route The Stony Point line forms a somewhat linear route from the Frankston station to its terminus in the small town of Stony Point. The route is 31 kilometres (19 mi) long and is predominantly single tracked, with double tracked sections only present at select stations on the line. After changing from the Frankston line at Frankston station, the Stony Point line traverses mainly flat country with few curves and fairly minimal earthworks for most of the line. Many level crossings are still present on the line with no plans to remove any as part of the Level Crossing Removal Project. After Frankston, most of the rail line goes through smaller suburbs and some industrial areas, with large sections of the line passing through more open countryside, passing by open fields and farms. ### Stations The line serves 10 stations across 31 kilometres (19 mi) of track. All stations are at ground level. ## Infrastructure ### Rolling stock The Stony Point line uses V/Line Sprinter diesel multiple unit (DMU) trains operating in a one or two-car configuration, with two doors per side on each carriage and can accommodate of up to 90 passengers in each train-set. The trains are shared with other V/Line regional train routes, and subsequently receive refuelling and servicing near Southern Cross station. The trains were originally built between 1993 and 1995 with a total of 22 constructed. Alongside the passenger trains, Stony Point line tracks and equipment are maintained by a fleet of engineering trains. The three types of engineering trains are the shunting train; designed for moving trains along non-electrified corridors and for transporting other maintenance locomotives, for track evaluation; designed for evaluating track and its condition, and the infrastructure evaluation carriage designed for general infrastructure evaluation. Most of these trains are repurposed locomotives previously used by V/Line, Metro Trains, and the Southern Shorthaul Railroad. ### Accessibility In compliance with the Disability Discrimination Act of 1992, all stations that are new-built or rebuilt are fully accessible and comply with accessibility guidelines. All stations on the corridor are fully accessible—a first in Melbourne. The stations feature ramps that have a gradient less than 1 in 14, have at-grade paths, or feature lifts. These stations typically also feature tactile boarding indicators, independent boarding ramps, wheelchair accessible myki barriers, hearing loops, and widened paths. ### Signalling The Stony Point line uses three position signalling which is widely used across the Melbourne train network. Three position signalling was fully introduced on the corridor in March 2008.	[ "## History", "### 19th century", "### 20th century", "### 21st century", "## Future", "### Baxter extension", "## Network and operations", "### Services", "#### Stopping patterns", "### Operators", "### Route", "### Stations", "## Infrastructure", "### Rolling stock", "### Accessibility", "### Signalling" ]	2,156	12,852
63,592,023	1988 Women's Cricket World Cup final	1,149,813,694	Cricket match	[ "1988 Women's Cricket World Cup", "1988 in Australian cricket", "1988 in English cricket", "Australia women's national cricket team matches", "England women's national cricket team matches", "Women's Cricket World Cup finals" ]	The 1988 Women's Cricket World Cup Final was a one-day cricket match between Australia and England played on 18 December 1988 at the Melbourne Cricket Ground in Melbourne, Australia. It marked the culmination of the 1988 Women's Cricket World Cup, the fourth edition of the tournament. Both Australia and England had previously won the competition; England won the inaugural tournament in 1973, while Australia won in both 1978 and 1982. Australia won the match by eight wickets to claim their third world title. Australia and England finished first and second in the league-stage to claim their places in the final. England batted first in the final, but were hindered by a slow outfield, and found scoring difficult. The humid conditions helped Australia's spin bowlers, Lyn Fullston and Lyn Larsen, who combined for five wickets. Jan Brittin top-scored for England with 46 runs, as they made 127 for seven. In response, Australia initially struggled, losing two early wickets for 14 runs. An unbroken partnership of 115 runs between Lindsay Reeler and Denise Annetts saw Australia to victory with more than 15 overs remaining. ## Background The 1988 Women's Cricket World Cup was the fourth Women's Cricket World Cup. The first had been held in 1973, pre-dating the first men's Cricket World Cup by two years. The 1988 tournament featured five teams; Australia, England, Ireland, the Netherlands and New Zealand. It took place between 29 November and 18 December, featuring 22 matches over 20 days. England had won the first World Cup on home soil, before Australia claimed both the next two. Neither of the first two tournaments had featured a final, but had rather been league competitions, in which the team which finished with the most points won. Australia had defeated England by three wickets in the final of the 1982 World Cup. ## Route to the final Each team played eight matches during the round-robin stage of the tournament, facing each other twice. The top two teams would progress directly to the final. Australia won all but one of their matches. Their 255-run win over the Netherlands on the opening day of the tournament remained the largest win by runs until 1997. Australia's only loss came against England, who beat them by 15 runs. Australia's opening batters, Lindsay Reeler and Ruth Buckstein, scored four of the five centuries made during the tournament; Reeler's 108 not out against New Zealand was the only one that was not scored against the Netherlands. England won six of their matches, and lost two; against Australia and New Zealand. Australia finished top of the group with 28 points, followed by England whose 24 points were four more than New Zealand in third. Ireland and the Netherlands were well behind, with 8 and 0 points respectively. ## Match ### Summary The final was held at the Melbourne Cricket Ground, in Melbourne, Australia, on 18 December. The match was broadcast live on radio and on ABC Television in Australia, and in front of a crowd of 3,326. The Melbourne Cricket Ground was a large ground, capable of seating 90,000 people; England's Jan Brittin later said: "The ground was wall-to-wall seating with no one sitting in them, which didn't lend itself to a big-match atmosphere." There had been a thunderstorm overnight, and the rain had left the outfield very wet. The England captain, Jane Powell, won the toss and decided to bat first. Her decision was primarily based on Australia's public aversion to batting second, and having to chase a target. Heather Smith of The Sydney Morning Herald suggested that, due to the wet conditions, "England may have unwittingly helped their own downfall". Carole Hodges and Wendy Watson opened the batting for England, and neither scored a run until the sixth over; the only runs attributed to England before that were wides bowled by the Australians, which The Age attributed to the "excitement of playing on the MCG for the first time". After 25 overs, England had scored 40 runs without losing a wicket, but both openers were frustrated by the slow run-rate. Watson was dismissed two overs later for 17; playing an aggressive shot, she was caught by Denise Annetts at cover off the bowling of Lyn Fullston. She had shared a 42-run opening partnership with Hodges, but John Woodcock of The Times complained that they "lacked pace between the wickets, when something very spritely was needed". England added ten more runs before Hodges was bowled by a delivery from Lyn Larsen which dislodged her off-bail. Hodges had scored 23, and England were 52 for two. Three of England's middle-order batters were dismissed for low scores: their captain, Powell, was caught behind off Larsen's bowling for one run; Karen Hicken was bowled by Fullston for five; Janet Aspinall was caught and bowled by Fullston for two. Brittin, who had come to the crease when Watson was out, remained not out; England were 74 for five. After lunch, Brittin and Jo Chamberlain scored more quickly for England, earning praise from both The Sydney Morning Herald and The Times, but after putting on 26 runs together, Chamberlain was run out for 14 after the ball deflected off the bowler. Woodcock suggested that Brittin was England's only remaining hope. Patsy Lovell was trapped leg before wicket for four runs, while Suzie Kitson remained one not out at the end of the innings. Brittin had made England's highest score, 46 not out. Woodcock said that: "It was a pity, really, that Brittin had not got in before the 27th over, with the touch she has." England scored 127 runs, a total The Sydney Morning Herald said "was never going to be enough". Throughout their 60-over innings, England scored two boundaries. In humid conditions, they especially struggled against spin bowling; Fullston took three wickets and allowed 29 runs, while Larsen took two wickets for 22. The wet outfield also slowed scoring; this dried as the match went on, giving Australia the better of the batting conditions. In the Wisden Cricketers' Almanack, Carol Salmon estimated that the slow outfield cost England between 20 and 30 runs. Aspinall, who opened the bowling for England, struggled for accuracy; conceding extras, particularly wides, had been a problem for England all tournament and the final was no exception. In spite of this, England made an early breakthrough: Chamberlain, who according to The Age "worried the Australians with her accurate medium-pacers", trapped the Australian opener Buckstein leg before wicket without scoring in the second over. Australia's next batter, Sharlene Heywood only scored five runs in nine minutes until confusion between herself and Reeler led to Heywood being run out, leaving Australia on 14 for two. Annetts joined Reeler at the crease, and early in her innings was criticised by The Age for "[dangling] a dangerously limp bat". Reeler was troubled by the quicker bowling of Kitson, and in the 14th over, England were convinced that they had dismissed her, caught behind, but the umpire turned down the appeal. Reeler claimed the ball had clipped her pads, rather than her bat, before being caught by the wicket-keeper. After the appeal, Reeler played more circumspectly for a while, before taking the offensive with "elegant driving and delicate cutting", according to The Age. In contrast to Reeler's technical style, Annetts played powerful shots, predominantly into the leg side. Reeler brought up her 50 and Australia's 100 from successive deliveries; the first a cover drive which went for a boundary, and the second an on drive. Annetts secured victory with a pull through the on side. Reeler finished with 59 runs, and Annetts with 48. The pair shared an unbroken 115-run partnership, and secured victory for Australia with eight wickets and more than 15 overs remaining. ### Scorecard - Toss: England won the toss and elected to field first - Result: Australia won by eight wickets Umpires: - Robin Bailhache and Len King Key - \* – Captain - – Wicket-keeper - c Fielder – Indicates that the batsman was dismissed by a catch by the named fielder - b Bowler – Indicates which bowler gains credit for the dismissal - c & b Bowler – Indicates that the batsman was dismissed by a catch by the bowler ## Aftermath Reeler finished the tournament as the leading run-scorer, with 448 runs, while for the second successive World Cup, Fullston took the most wickets, with 16. After the tournament, Sharon Tredrea, Australia's vice-captain and former captain, announced her retirement. She was the only player who had appeared in all four World Cups. Between them, Australia and England have won ten of the eleven Women's Cricket World Cups; only in 2000 did one of the pair fail to win, when New Zealand beat Australia in the final.	[ "## Background", "## Route to the final", "## Match", "### Summary", "### Scorecard", "## Aftermath" ]	1,935	37,788
25,642,027	Amanita aestivalis	1,025,179,162	Species of fungus	[ "Amanita", "Fungi described in 1959", "Fungi of North America", "Taxa named by Rolf Singer" ]	Amanita aestivalis, commonly known as the white American star-footed amanita, is a species of fungus in the mushroom family Amanitaceae. The fungus is distributed in the eastern United States, south to Florida, and reaches north into the southeastern provinces of Canada. The cap of the fruit body is medium-sized, 5 to 8.5 cm (2.0 to 3.3 in) in diameter and white. It sits atop a stem that is 8.5 to 16 cm (3.3 to 6.3 in) long and has a rounded bulb at its base. The entire fruit body will slowly stain a reddish-brown color in response to bruising or aging. It remains unknown whether Amanita aestivalis is a distinct species from A. brunnescens, another similar Amanita with a comparable distribution. There are several other white-bodied amanitas with which A. aestivalis may be confused, including A. virosa, A. phalloides, and A. bisporigera. ## Taxonomy, classification, and naming American mycologist Rolf Singer first described the species in 1949 based on specimens he had collected in Massachusetts, Michigan, New York and Virginia. Because this original report was published without a Latin description (contrary to the naming conventions of the International Code of Botanical Nomenclature), he later amended his description in 1959. There is some doubt as to whether A. aestivalis is a distinct species from A. brunnescens (the "brown American star-footed Amanita"), as described by George F. Atkinson in 1918. Singer claimed that the latter species could be distinguished from the former by the consistent absence of dusky brownish-gray radial stripes on the cap. However, in 1927, mycologist Louis Charles Christopher Krieger described the variant A. brunnescens var. pallida, which he said was identical to A. brunnescens except for the white or very pale cap. In his 1986 monograph on North American species of Amanita, David T. Jenkins preferred to reserve judgment on the matter. Amanita aestivalis is classified in the section Vallidae of the genus Amanita, a grouping of amanitas characterized by having spherical spores, well-developed rings, weakly reddening flesh, and "limbate" volvals (with narrow "limbs" protruding from a soft, margined bulb). The specific epithet is derived from the Latin adjective aestivalis, meaning "pertaining to the summer". Its vernacular name is the "white American star-footed Amanita". ## Description The cap of the fruit body is 5 to 8.5 cm (2.0 to 3.3 in) in diameter, and depending on its age, may range from egg-shaped to convex to somewhat flattened. Older specimens may have edges that are curved upwards. The color is white or pale tan in the center of the cap; older specimens may have areas of discolored tissue colored brownish-red shades. Sometimes, the edge of the cap has radial grooves—up to 4 mm (0.16 in) long—that mirror the position of the underlying gills. When moist, the cap is sticky to the touch; when dry, it is shiny, usually without any remnants of the thin volva. The white gills are crowded close together, and are free from attachment to the stem. They are subventricose: slightly swollen in the middle, and tapering near the ends. The stem is 8.5 to 16 cm (3.3 to 6.3 in) long by 0.9 to 1.6 cm (0.4 to 0.6 in) thick, and slightly thicker at the base than at the top. It is stuffed with whitish hyphae that resemble cotton. The surface of the stem is smooth or has delicate tufts of soft, white, woolly hairs. There is a rimmed bulb at the base of the stem, which can reach a diameter of over 3 cm (1.2 in). The ring—located on the upper portion of the stem, 1.2–1.7 cm (0.47–0.67 in) from the top—is white, membranous, and long-lasting. The volva remains closely attached to the bulb, although a portion may stretch out like a thin membrane and adhere to the base of the stem before collapsing. The flesh will slowly turn pinkish-brown to chocolate-brown when it has been injured or bruised. Young specimens do not have any distinct odor, but fruit bodies may smell slightly of onions or garlic in age. Although the edibility has not been documented for this species, some sources have noted that toxicity is suspected. ### Microscopic characteristics Viewed in deposit, like with a spore print, the basidiospores of A. aestivalis are white. Examination with a microscope reveals further details: they are roughly spherical, hyaline (translucent) and thin-walled, with dimensions of 7.8–8.8 μm. The spores are amyloid, meaning that they will absorb iodine when stained with Melzer's reagent and appear blue to blackish-blue. The spore-bearing cells, the basidia, are four-spored, thin-walled, and measure 32–60 long by 4–13 μm thick. There are no clamps present at the bases of the basidia. ### Similar species According to Singer, the species is often mistaken for A. verna in the eastern United States. A. verna, however, has ellipsoid spores. Other white amanitas within the range of A. aestivalis include the deadly toxic species A. virosa (has a more loose cottony stem), A. phalloides (the cap usually has an olive-green tint) and A. bisporigera (typically has two-spored basidia). A. aestivalis is sometimes considered a white form of A. brunnescens, but this latter species has dusky brownish gray radial stripes and usually has many fibrils (short section of hyphae) projecting from the surface, to produce a fine, hairy appearance. Further, it stains more rapidly than A. aestivalis. A. asteropus (the "European star-footed Amanita") is cream to yellow color, and differs from A. aestivalis in its reaction to chemical tests. It is only known from Europe. ## Habitat, distribution, and ecology Amanita aestivalis is a mycorrhizal species, meaning it forms a mutualistic relationship in which the vegetative hyphae of the fungus grow around and enclose the tiny roots of trees and shrubs. In this way, the plant is better able to absorb phosphorus and other soil nutrients, while the fungus receives moisture, protection, and nutritive byproducts of the plant's metabolism. Fruit bodies of the fungus grow on the ground in deciduous, coniferous, and mixed forests. A preference has been noted for oak woods containing Tsuga or Pinus species, as well as beech wood with Picea, Abies, and Betula. Fruit bodies typically appear from late June until autumn. In North America, it has been found in the states of New England, as well as Alabama, New York, and Virginia. The distribution extends north to the southeastern provinces of Canada and south to Florida. ## See also - List of Amanita species	[ "## Taxonomy, classification, and naming", "## Description", "### Microscopic characteristics", "### Similar species", "## Habitat, distribution, and ecology", "## See also" ]	1,588	25,240
429,137	Henry Percy, 2nd Earl of Northumberland	1,147,405,791	English nobleman and military commander	[ "1393 births", "1455 deaths", "Burials at St Albans Cathedral", "Earls of Northumberland", "English military personnel killed in action", "Military personnel from Northumberland", "People from Alnwick", "People of the Wars of the Roses", "Percy family" ]	Henry Percy, 2nd Earl of Northumberland (3 February 1393 – 22 May 1455) was an English nobleman and military commander in the lead up to the Wars of the Roses. He was the son of Henry "Hotspur" Percy, and the grandson of Henry Percy, 1st Earl of Northumberland. His father and grandfather were killed in different rebellions against Henry IV in 1403 and 1408 respectively, and the young Henry spent his minority in exile in Scotland. Only after the death of Henry IV in 1413 was he reconciled with the Crown, and in 1414 he was created Earl of Northumberland. In the following years, Northumberland occasionally served with the king in France, but his main occupation was the protection of the border to Scotland. At the same time, a feud with the Neville family was developing, particularly with Richard Neville, Earl of Salisbury. This feud became entangled with the conflict between the Dukes of York and Somerset over control of national government. The conflict culminated in the first battle of the Wars of the Roses, at St Albans, where both Somerset and Northumberland were killed. ## Family-background Henry Percy was the son of Sir Henry "Hotspur" Percy, and Lady Elizabeth Mortimer. Elizabeth was the daughter of Edmund Mortimer, Earl of March and Philippa, Countess of Ulster, daughter of Elizabeth de Burgh and Lionel of Antwerp, son of Edward III. Hotspur's father – the young Henry's grandfather – was also called Henry Percy, and in 1377 became the first of the Percy family to hold the title of Earl of Northumberland. Both Hotspur and his father were early and active supporters of Henry Bolingbroke, who usurped the throne from Richard II in 1399, and became King Henry IV. They were initially richly rewarded, but soon grew disillusioned with the new regime. Hotspur rose up in rebellion, and was killed at Shrewsbury on 21 July 1403. Hotspur's father, the earl, was not present at the battle, but there is little doubt that he participated in the rebellion. After a short imprisonment, he was pardoned, and in June 1404 he delivered his grandson into the king's custody at Doncaster. By May 1405, however, the earl was involved in another rebellion. His plans failed, and he was forced to flee to Scotland, taking his grandson with him. The following years were marked by an itinerant life and further plotting, while the young Henry remained in the custody of the Duke of Albany. On 19 February 1408, the first earl of Northumberland was killed in the Battle of Bramham Moor, leaving the young Henry Percy as heir apparent to the earldom. Henry remained in Scotland until the accession of Henry V in 1413, when he tried to claim his grandfather's title. His cause was aided by the king's aunt, Joan Beaufort, Countess of Westmorland, who arranged his marriage to her daughter Eleanor. It was in Henry V's interest to reconcile with the Percys, with their vast network in the north of England; on 11 May 1414, Henry Percy was restored to the Earldom of Northumberland, followed by a formal creation on 16 March 1416. ## Service to the king Northumberland served occasionally in Henry V's wars in France over the following years. He joined the king on an expedition to the Continent in 1416, and sent a minor contingent of soldiers the next year. His main task, however, was the defence of the Scottish Borders, and on 16 December 1416 he was appointed Warden of the East March. In late August 1417, the Scots invaded northern England; while Albany laid siege to Berwick Castle, the Earl of Douglas attempted to take Roxburgh Castle. Percy lifted the siege of Berwick, and forced both Albany and Douglas across the border. At the same time, he was also involved in national political affairs, and acted as steward at the coronation of Henry's queen Catherine on 24 February 1421. When Henry V died in 1422, Northumberland was appointed a member of the council appointed to govern during the minority of Henry VI. He might have been involved in an embassy to the Council of Siena in 1423, but still, his main area of responsibility lay in the border region. In the council, he seems to have belonged to Bishop Henry Beaufort's social circle, and he followed Beaufort – now cardinal – to peace negotiations at Berwick in 1429. As Warden of the East March, he was constantly occupied with peace negotiations and defence of northern England, but his efforts were constantly frustrated, and in 1434 he resigned his commission. The next year, Richard Neville, Earl of Salisbury, equally exasperated by the lack of royal support, gave up his commission as Warden of the West March. Northumberland was appointed joint warden with the earl of Huntingdon of both marches for one year, during which time, although suffering defeat by the Earl of Angus at the Battle of Piperdean, he was able to repel a siege on Roxburgh by James I of Scotland. In 1440 he was once more appointed Warden of the West March, and this time held the position until his death. ## Feud with Neville family Initially, Northumberland's relations with the other great northern family, the Nevilles, were friendly. He was already connected to the Beaufort-Nevilles through his marriage with Eleanor Neville, and in 1426 he married his sister Elizabeth to the young Ralph Neville, 2nd Earl of Westmorland. In the early 1440s, Northumberland was involved in other disputes. A conflict over land with the Archbishop of York escalated into open violence. The king intervened on the archbishop's side, though Northumberland remained in favour at court. Nevertheless, he spent less time involved in central affairs at Westminster in the later 1440s. In the early 1450s, the relationship between the Percy family and the Earl of Salisbury – Ralph Neville, 1st Earl of Westmorland's son by his second wife Joan Beaufort – started to deteriorate. What triggered the conflict was the marriage between Salisbury's son Thomas and Maud Stanhope, niece and heiress of Lord Cromwell. By this marriage Wressle Castle, which had traditionally been in the possession of the Percy family, would pass to the Nevilles. At the same time, the Neville-Cromwell wedding had led Huntingdon (now Duke of Exeter) to join the cause of the Percys, because of a territorial dispute with Cromwell. Northumberland himself, who was nearing sixty, did not take action at the time, but one of his younger sons did. Thomas Percy had been created Baron Egremont in 1449, relating to his possessions in the Neville-dominated county of Cumberland. On 24 August 1453, Thomas attacked the Neville-Cromwell wedding party at Heworth near York with a force of over 700 men. No one was killed in the skirmish, and the wedding party escaped intact. The conflict, however, continued over the following years. On 8 October, Northumberland and Salisbury were summoned to court and ordered to end the conflict, but the warnings were ignored. Instead, the collective forces of the Percy and Neville families gathered at their Yorkshire strongholds of Topcliffe and Sand Hutton respectively, only a few miles apart. Both sides had ignored royal commands to disband, and battle seemed inevitable, but eventually a truce ensued and the forces withdrew. Then, in October 1454, Thomas Percy and his brother Richard were captured by the Nevilles in a battle at Stamford Bridge. The conflict was escalating, and converging with events in national politics. ## Towards civil war Discontent was brewing in England against the personal rule of Henry VI, who had been declared of age in 1437. The main antagonists were Richard, Duke of York, and Edmund Beaufort, Duke of Somerset. Somerset enjoyed great influence over the king, but after Henry had been incapacitated by mental illness in 1453, York was appointed protector in 1454. The Nevilles were by this time closely associated with York, so the natural option for Northumberland was to side with Somerset and the king. Attempts were made to reconcile Northumberland and Salisbury in the north, but little was accomplished. In December, the king rallied sufficiently to resume control of government, and York's protectorate was terminated. With Somerset back at the centre of power, civil war seemed imminent. In May 1455, Northumberland was travelling with the king and Somerset to a great council at Leicester, when the party was intercepted by York and the Nevilles. On 22 May 1455, at the First Battle of St Albans, the royal forces clashed with the forces loyal to the Duke of York, in what has been described as the first battle of the Wars of the Roses. The battle was a complete victory for the Yorkist side, and led to another reversal of the political situation. The king was taken captive, and Somerset was killed. Northumberland was also among the casualties, and was buried at the nearby St Albans Abbey. A suggestion made by a contemporary chronicler, and supported by modern-day historians, said that the true purpose of the battle was to settle personal scores. Once York and Salisbury had killed Somerset and Northumberland respectively, the battle was effectively over. ## Estates and family The Percy estates were primarily located in the northern counties of Yorkshire, Northumberland, and Cumberland. Even though the title was restored in 1416, and the Percy estates were officially regranted, this did not mean the immediate return of all the family possessions. Protracted legal battles followed, particularly with John, Duke of Bedford. Even at the time of his death, Northumberland had not recovered all the estates once held by his grandfather. Northumberland's marriage to Eleanor Neville produced at least ten children. Henry Percy was succeeded by his son Henry Percy, 3rd Earl of Northumberland, who himself died fighting in the Wars of the Roses, at the Battle of Towton on 29 March 1461. ## Ancestry	[ "## Family-background", "## Service to the king", "## Feud with Neville family", "## Towards civil war", "## Estates and family", "## Ancestry" ]	2,136	16,889
64,628,682	Swains Lock	1,138,648,705	Lock on the Chesapeake & Ohio Canal in Travilah, Maryland, United States	[ "Chesapeake and Ohio Canal", "Locks of Maryland" ]	Swains Lock (Lock 21) and lock house are part of the 184.5-mile (296.9 km) Chesapeake and Ohio Canal (a.k.a. C&O Canal) that operated in the United States along the Potomac River from the 1830s through 1923. It is located at towpath mile-marker 16.7 near Potomac, Maryland, and within the Travilah census-designated place in Montgomery County, Maryland. The lock and lock house were built in the early 1830s and began operating shortly thereafter. Swains Lock is named after Jesse Swain and his family. Jesse Swain was lock keeper for Lock 21 beginning in 1907, and had been a canal boatman. His father had helped with the canal construction, and his grandson has lived in the house and operated an onsite concession stand into the 21st century. Some of the Swains from Jesse's generation were born on canal boats, and more recent Swains were born in the lock house. Family members lived in the house until 2006, when the house was turned over to the National Park Service. Today, the lock and restored lock house are part of Chesapeake and Ohio Canal National Historical Park. Picnic tables at the lock site are located between the Potomac River and the lock house. The lock house is one of seven lock houses on the canal that can be used for overnight stays. It is only a few miles upriver from the Potomac River's Great Falls, and is a few miles downriver from a bird sanctuary. ## Background Ground was broken for construction of the Chesapeake and Ohio Canal (a.k.a. C&O Canal) on July 4, 1828. One of the early plans was for the canal to be a way to connect the Chesapeake Bay with the Ohio River—hence the name Chesapeake and Ohio Canal. The canal has several types of locks, including 74 lift locks necessary to handle a 610-foot (186 m) difference in elevation between the two canal ends—an average of about 8 feet (2.4 m) per lock. Including walls, lift locks are 100 feet (30 m) long and 15 feet (4.6 m) wide—usable lockage was closer to 88 feet (27 m) long and 14.5 feet (4.4 m) wide. Some canal boats could carry over 110 tons (99.79 metric tons) of coal. Portions of the canal (close to Georgetown) began operating in the 1830s, and construction ended in 1850 without reaching the Ohio River. Upon completion, the canal ran from Georgetown to Cumberland, Maryland. The canal was necessary since portions of the Potomac River, especially at Great Falls, could not serve for reliable navigation because the river can be shallow and rocky as well as subject to low water and floods. The canal opened the region to important markets and lowered shipping costs. By 1859, about 83 canal boats per week were transporting coal, grain, flour, and farm products to Washington and Georgetown. Tonnage peaked in 1871 as coal trade increased. The canal faced competition from other modes of transportation, especially the Baltimore and Ohio Railroad (B&O Railroad). Starting in Baltimore and adding line westward, the B&O Railroad eventually reached the Ohio River and beyond, while the C&O Canal never went beyond Cumberland in Western Maryland. An economic depression during the mid-1870s, and major floods in 1877 and 1886, put a financial strain on the C&O Canal Company. In 1889, another flood severely damaged the C&O Canal and caused the company to enter bankruptcy. Operations stopped for about two years. Court-appointed trustees recommended by the B&O Railroad took over receivership of the canal and began operating it under court supervision, but canal use never recovered to the peak years of the 1870s. The C&O Canal closed for the season in November 1923. Severe flooding in 1924 prevented the canal from opening in the spring, and the resulting damage from the floods prevented it from opening during the entire year. The flood damage, combined with continued competition from railroads and trucks, caused the shutdown to be permanent. In 1938, the canal was sold to the United States government, and the canal was proclaimed a national monument in 1961. ## History Work on Lock 21 began in July 1829 and was completed in October 1830 at a cost of \$8,327.76 (). The lock was made from Seneca Creek Red Sandstone boated down the Potomac River from the Seneca Quarry. Construction of the lock house began in May 1831, and was finished in August 1832 at a cost of \$765.00 (). On August 7, 1830, an individual listed only as "Fuller" was recommended and approved as lock keeper (a.k.a. locktender). His annual compensation was \$50 () with the additional benefits of the use of the lock house and the right to use the canal company's land, which was typically used for farming. By June 1832, a 22-mile (35 km) section of the canal was operating between Georgetown and Seneca, which included Lock 21. Some C&O Canal records remain, allowing some of the lock keepers to be identified. Mrs. Susan Cross was lock keeper in 1836 until females were banned effective May 1 of that year. Exceptions were made, and most female lock keepers were widows or relatives of the previous keeper. Another early keeper for Lock 21 was Robert C. Fields, who is listed as lock keeper on July 1, 1839. Samuel M. Fisher replaced Fields on May 1, 1846, after an incident at the lock. Fisher was still listed as lock keeper at the end of 1850. Thomas Tarman is listed as Lock 21 tender for 1865. A map of Montgomery County, Maryland, confirms Tarman as the "L.K." (lock keeper) at a point on the canal southwest of Offutt's Crossroads. The name Offutt's Crossroads comes from Edward Offutt, who received a large land grant from Lord Baltimore in 1714. In 1881, the community was renamed Potomac because the Post Office said too many communities had "Crossroads" in their name. Today, Lock 21 (Swains Lock) has a Potomac address and is located in the Travilah census-designated place. The flood of 1889 caused damages to the entire canal estimated to be \$1 million (). In the case of the Lock 21 lock house, the upstream end wall was swept away. Repairs to the house included an addition that had a main floor one foot (0.30 m) lower than the original portion. The house's chimney was enlarged, and another was built on the downstream side. This addition made the house one of the largest lock houses on the canal. John Sipes is listed as the Lock 21 lock keeper in a 1903 newspaper article. He drowned later that year at a lock described as "Gibbs Lock", located "about three miles above the Great Falls". ### Swain family Lock 21, Swains Lock, is named after the Swain family, which has been associated with the C&O Canal since early in its existence. Earlier, the lock had been known as Oak Spring Lock. John T. Swain Sr. was involved in the construction of the C&O Canal and a boatman. Most of his children were born on canal boats. His four sons were all involved with the canal as boatmen or boat captains: John T. Swain Jr., Charles Henry "Hen" Swain, William F. "Bill" Swain, and Jesse A. Swain. The C&O Canal Company eventually transitioned to canal-owned boats—forcing the Swains to leave the shipping business. John Swain Sr. had 15 canal boats that he sold because the canal company would no longer allow them on the canal. A partial list of canal employees shows a dozen workers named Swain, and many of them were boat captains and a few were lock tenders. Jesse Swain, a boat captain and the youngest of the four sons of John T. Swain Sr., became a lock keeper at Great Falls before moving to Lock 21 in 1907. At Lock 21, Jesse and his family supplemented their income by farming on land near the lock house and by driving a wagon of children to school during the offseason. The wagon was pulled by mules and was the first school bus in Potomac. One of Jesse's sons, Otho Oliver Swain, was born on a boat, worked as a boatman, and is thought to be the author of a folk song about the canal. Jesse Swain was the last lock keeper at Lock 21. Before the canal closed to boat traffic, it began transitioning to a place for outdoor recreation. The Swain family continued living at the lock and carried on this transition after the closing by providing canoes for rent. They also ran a concession stand that sold refreshments and fishing supplies. Jesse Swain died in 1939, survived by six of his children. Jesse's son Robert Lee "Bob" Swain and his wife Virginia moved into the lock house after Jesse died, and ran the family business. Bob Swain died in 1967. At that time Frederick "Bubba" Swain and his mother Virginia took over the family business at the lock. Family members continued to live at the lock and run the concession stand until 2006, when it was turned over to the National Park Service. ## Today Today, the Swains Lock and restored lock house are part of the Chesapeake and Ohio Canal National Historical Park. Congress authorized the establishment of the park, and acquisition of adjacent land, in 1971. The National Park Service and C&O Trust spell the name of the lock as "Swains" instead of "Swain's", and the road leading to the lock is spelled as "Swains Lock Road". In 2017, it was decided to renovate the lock house and make it available to the public for overnight stays as part of the Canal Quarters program managed by the C&O Canal Trust. The Swain lock house was restored to be like a typical lock house from 1916, and is one of seven restored lock houses on the C&O Canal. Each of the seven restored lock houses in the Canal Quarters program has been restored to a different time period, and all seven are available for overnight stays. Swains Lock was once thought to be "the most heavily trafficked area on the entire canal". Until 2006, the lock had a concession stand, boat rentals, and bike rentals. It is located between waterfall and water fowl attractions—Great Falls is about 2.5 miles (4.0 km) downstream at towpath mile marker 14.4, and the Dierssen Waterfowl Sanctuary is located about 3.3 miles (5.3 km) upstream at towpath mile marker 20.0. The 40-acre (16 ha) Dierssen Waterfowl Sanctuary is a favorite of bird watchers. Both Swains Lock (Lock 21), and the Pennyfield Lock (Lock 22) have also been described as birdwatching "hot spots". The lock has restrooms, parking, picnic tables, and limited tent camping. ## See also - Locks on the Chesapeake and Ohio Canal	[ "## Background", "## History", "### Swain family", "## Today", "## See also" ]	2,411	44,571
24,097,030	Effects of Hurricane Charley in Jamaica	1,170,661,779	null	[ "2004 Atlantic hurricane season", "2004 in Jamaica", "Effects of tropical cyclones", "Hurricane Charley", "Hurricanes in Jamaica", "Tropical cyclones in 2004" ]	The effects of Hurricane Charley in Jamaica included one fatality and at least \$4.1 million in damages. Forming out of a tropical wave on August 9, 2004, Charley quickly tracked through the eastern Caribbean and attained tropical storm status on August 10. While passing south of Jamaica on August 11, the storm was upgraded to a Category 1 hurricane. During its passage of Jamaica, Charley had maximum winds of 75 mph (120 km/h), a low-end Category 1 hurricane. Turning north, the storm impacted western Cuba as a Category 3 storm before making landfall in Florida as a strong Category 4. The storm eventually dissipated on August 15. As Charley approached Jamaica, officials issued tropical storm watches and warnings before issuing a hurricane watch. Two cruise ships were diverted from docking in Jamaica, affecting 5,700 passengers. Numerous shelters were set up across the island; however, relatively few people sought refuge in them. Although it was only a Category 1 hurricane, Charley caused significant damage in southern Jamaica. Saint Elizabeth Parish sustained the worst damage. About 750 farmers reported damage, and at one point, flooding isolated 30 families. The only fatality in Jamaica occurred after a man attempted to rescue a family but was swept away by flood waters. Following the storm, search and rescue teams were deployed to flooded regions. Days later, officials allocated roughly \$7.6 million (JMD; US\$86,000) to repair damaged roads. Residents in areas that sustained severe agricultural losses also requested assistance from the government. ## Background Hurricane Charley began as a tropical wave that moved off the west coast of Africa in early August 2004. Tracking westward, the system gradually organized and was declared a tropical depression on August 9 while located roughly 115 mi (185 km) south-southeast of Barbados. The following day, the depression intensified into a tropical storm and was given the name Charley after entering the eastern Caribbean. Quickly tracking northwest, the small storm intensified. Late on August 11, as Charley traveled south of Jamaica, it attained hurricane intensity, with winds reaching 75 mph (120 km/h). Over the following days, the storm curved northeast and impacted western Cuba as a Category 3 hurricane before striking Florida as an intense Category 4 hurricane with winds up to 150 mph (240 km/h) on August 13. The weakened Charley rapidly tracked northeast before dissipating on August 15 near Long Island, New York. ## Preparations On August 10, the National Hurricane Center (NHC), based in Miami, Florida, issued a tropical storm watch for the entire island of Jamaica as Tropical Storm Charley intensified over the eastern Caribbean. Later that day, the watch was upgraded to a warning as the storm quickly approached the island. Early on August 11, a hurricane watch was declared for the island as Charley neared hurricane intensity. Late on August 11, all watches and warnings for Jamaica were changed to hurricane warnings as Charley attained Category 1 status on the Saffir–Simpson hurricane scale. The warning was later discontinued on August 12 as Hurricane Charley tracked towards Cuba, no longer a threat to Jamaica. Following the issuance of hurricane watches, Robert Pickersgill, Minister of Transport and Works in Jamaica closed both airports, Norman Manley International Airport and Sangster International Airport, on the island and shut down all ports. A total of 33 flights were canceled or delayed by the storm. Roughly 3,000 passengers from the Carnival Conquest cruise ship were diverted from their scheduled arrival in Montego Bay, resulting in millions of dollars in losses. Another cruise ship, The Triumph, carrying 2,700 passengers was also diverted. Most businesses on the island were closed on August 12. Emergency shelters were set up across the island ahead of the storm; however, press reports indicate that no one sought refuge in shelters. Residents along the coast were urged to evacuate by the Office of Disaster Preparedness and Emergency Management due to the risk of storm surge and large swells that could inundate low-lying communities. Up to 6 in (150 mm) of rain fell in eastern portions of the island, triggering mudslides. On August 11, the Jamaica Red Cross opened its Emergency Operations Center in preparation for Hurricane Charley and placed the warning level at one, the lowest warning level. Residents throughout the country stocked up on emergency supplies and non-perishable food, noted by an increase in sales at shops. In Saint James Parish, emergency officials activated all necessary agencies by August 11. Late on August 11, emergency officials quickly opened 50 shelters in the parish. In Saint Elizabeth Parish, 100 residents sought refuge in the six shelters opened throughout the parish. A total of \$1.5 million (JMD; US\$17,000) was allocated by the Ministry of Local Government for repairs after the storm. The Jamaica Red Cross alerted local branches to be prepared as Charley approached. ## Impact and aftermath On August 11, a 60 ft (18 m) yacht carrying three people was disabled roughly 58 mi (93 km) southeast of the Morant Cays. The Jamaica Defence Force Coast Guard rescued the crew members the following day and brought them to Kingston Public Hospital as they were severely dehydrated and exhausted. During the preparations, storms ahead of the hurricane knocked out power in isolated areas. After nearly completing restoration of the initial power outage, lightning struck a power line and left more residents without electricity. The community of Big Woods was significantly affected by flooding, with 30 families being isolated in the area. The only fatality from the storm also occurred in this community after a man was washed away while trying to rescue a family. The severity of damage in Big Woods prompted Jamaica Labour Party Area Council Four chairman to state that it should be declared a disaster area. Torrential rains during a two-hour span overnight triggered most of the flooding in the area, isolating many homes and inundating several. In Westmoreland Parish, severe flooding inundated several homes and damaged roadways. One home sustained significant damage after a large tree fell on it. In Kingston, high winds damaged power lines and some homes. Water supply to most regions was cut due to damage to pipelines and high water turbidity. Widespread power outages occurred due to numerous downed trees and power lines. The banana industry sustained severe losses, with trees downed and fruit damaged and numerous livestock drowned in flood waters. Initial assessments of agricultural losses from the storm reached \$300 million (JMD; US\$3.4 million). Residents requested the government for immediate assistance as families were without a source of food and income. Official assessments in four parishes placed the damage to agriculture and livestock at \$88.4 million (JMD; US\$1 million), with roughly \$73.5 million (JMD; US\$835,000) of this accounting for 750 farmers in Saint Elizabeth. Roads in Saint Elizabeth sustained substantial damage, with 32 separate roads experiencing severe impacts. Throughout the country, a total of \$7.6 million (JMD; US\$86,000) was provided to repair the roads, \$4.23 million (JMD; US\$48,000) of which was used in Saint Elizabeth alone. Widespread damage to crops also resulted in an increased price in store costs. The loss to farmers was untimely as it followed a three-month drought that was preceded by damaging hailstorms that ruined crops. Following the storm, search and rescue teams were deployed, mainly in Saint Elizabeth Parish following reports of flooding. ## See also - Hurricane Charley - Effects of Hurricane Ivan in Jamaica - 2004 Atlantic hurricane season	[ "## Background", "## Preparations", "## Impact and aftermath", "## See also" ]	1,587	28,403
49,435,034	Assassination of Ali	1,172,965,602	661 CE murder in Kufa, present-day Iraq	[ "661 deaths", "7th-century crime", "7th-century murder", "Ali", "Assassinations in the medieval Islamic world", "Deaths by blade weapons", "Deaths by person in Iraq", "Shia Islam and politics" ]	Ali ibn Abi Talib, the fourth Rashidun Caliph (r. 656–661) and the first Shia Imam, was assassinated during the morning prayer on 28 January 661 CE, equivalent to 19 Ramadan 40 AH. He died of his wounds about two days after the Kharijite Abd al-Rahman ibn Muljam struck him over his head with a poison-coated sword at the Great Mosque of Kufa, located in Kufa, in present-day Iraq. He was about sixty-two years of age at the time of his death. Ibn Muljam had entered Kufa with the intention of killing Ali, probably in revenge for the Kharijites' defeat in the Battle of Nahrawan in 658. He found two accomplices in Kufa, namely, Shabib ibn Bujra and Wardan ibn al-Mujalid. Unlike Ibn Muljam, the swords of these two missed Ali and they fled, but were later caught and killed. Before his death, Ali requested either a meticulous application of lex talionis to Ibn Muljam or his pardon, and he was later executed by Hasan, the eldest son of Ali. By most accounts, also involved in the assassination was al-Ash'ath ibn Qays, the influential Kufan tribal leader whose loyalty to Ali is often questioned in the early sources. The assassination of Ali paved the way for his archenemy Mu'awiya, who soon founded the Umayyad Caliphate. The shrine of Ali in Najaf, near Kufa, is a major destination for Shia pilgrims. ## Background The controversial policies of the third caliph Uthman resulted in a rebellion that led to his assassination in 656 CE. Ali ibn Abi Talib, the son-in-law and cousin of the Islamic prophet Muhammad, was subsequently elected caliph by the Medinans and the dissidents present there. There he received a nearly unanimous pledge of allegiance, gathering various underprivileged groups around himself. By contrast, Ali found limited support among the powerful Quraysh tribe, some of whom aspired to the title of caliph. Among the Quraysh, the caliphate of Ali was soon challenged by Aisha, a widow of Muhammad, and two of his companions, namely, Talha and Zubayr. Uthman's cousin Mu'awiya also denounced the accession of Ali when he was dismissed from his post as the governor of Syria. He now demanded retribution against Uthman's killers. Ali defeated the rebellion of Aisha, Talha, and Zubayr in the Battle of the Camel in 656, but the Battle of Siffin against Mu'awiya in 657 resulted in a stalemate when the latter called for arbitration by the Quran to avoid defeat. The strong peace sentiments in Ali's army compelled him to accept the offer, and an ill-fated arbitration committee was set up with representatives from Ali and Mu'awiya with a mandate to settle the dispute in the spirit of the Quran. However, as Ali marched back to his capital Kufa, a group of his soldiers criticized the arbitration and accused Ali of blasphemy for leaving the matter to the discretion of two men. Most of them had earlier forced Ali to accept the arbitration but now exclaimed that the right to judgment belonged to God alone. Many of them were won back by Ali, while the rest assembled near the Nahrawan Canal on the east bank of the Tigris river. Following this exodus, they became known as Khawarij (lit. 'those who leave'). The Kharijites denounced Ali as caliph, declared him, his followers, and the Syrians as infidels. They declared the blood of such infidels to be licit, and committed many murders, apparently not even sparing women. Ali crushed them in the Battle of Nahrawan in 658, but their remnants and offshoots continued to terrorize for many years. ### Ali's premonition Multiple early sources write that Ali knew about his fate long before the assassination either by his own premonition or through Muhammad, who had told Ali that his beard would be stained with the blood of his head. In particular, the Sunni historian Ibn Sa'd () quotes the prophetic tradition, "the evilest man among the ancients was he who had killed the camel of the prophet Salih and among his contemporaries, he who would kill Ali." The night before the assassination, Ali foretold that his destiny was soon to be fulfilled. As he left the house in the morning, geese followed him, cackling, and Ali remarked that they were weeping for him. ## Assassination Ali was assassinated by Abd al-Rahman ibn 'Amr ibn Muljam al-Muradi, an Egyptian Kharijite. Ibn Muljam belonged to the Himyar tribe paternally and to the Murad tribe maternally. He also had ties with the Kinda tribe. The common narrative involves also Mu'awiya and his governor of Egypt, Amr ibn al-As, as reported by the Sunni historian al-Tabari (), among others. According to this narrative, Ibn Muljam and two other Kharijites met in Mecca after the Hajj pilgrimage. Following long discussions, they concluded that Ali, Mu'awiya, and Amr were to blame for the ongoing civil war. They swore to kill all three and avenge their fallen companions at Nahrawan. Then they set the date of assassination and each chose his victim. The two other Kharijites are named variously in the sources. The one who wanted to kill Mu'awiya is introduced as al-Burak ibn Abd-Allah or al-Nazzal ibn Amir. The one who promised to kill Amr is given as Amr ibn Bakr al-Tamimi or Umar ibn Bukayr or Zadawayh. The historian Ali Bahramian finds this narrative logically flawed and questions the veracity of the plots to kill Mu'awiya and Amr, while the Islamicist Julius Wellhausen () similarly views the narrative as fabricated. For Laura Veccia Vaglieri (), another expert, this narrative is also questionable, but probably generated from a common historical tradition because the variations in the sources are minor in her view. Ibn Muljam entered Kufa with plans to assassinate Ali. There he found two local Kharijite accomplices, namely, Shabib ibn Bujra and Wardan ibn al-Mujalid. One or both of them appear in the early sources in connection to the assassination and their fates are sometimes swapped. According to al-Tabari, Ibn Muljam met in Kufa a group of the Taym al-Ribab tribe who were mourning their tribesmen killed at Nahrawan. Among them was a woman named Qatami, who impressed Ibn Muljam with her beauty. She agreed to his proposal of marriage with a wedding gift that included the murder of Ali. She then arranged for her tribesman, Wardan, to assist Ibn Muljam in his mission. For his part, Wardan enlisted the help of Shabib. The night before the assassination, the conspirators stationed themselves opposite the door from which Ali would enter the mosque. On 26 or 28 or 30 January 661 (17 or 19 or 21 Ramadan 40 AH), when Ali arrived at the mosque to lead the morning prayer, Ibn Muljam attacked and wounded Ali on the crown of his head with a poisoned sword either during the prayer, or as he was entering the mosque. Shabib's sword missed Ali and he fled and was lost among the crowd. Being a Kharijite, he was later killed for terrorizing the civilians. Wardan fled to his home where he was killed by a kinsman after confessing his involvement in the assassination. Ibn Muljam was caught at the scene by the Hashimite al-Mughira ibn Nawfal ibn al-Harith, or by Qutham ibn al-Abbas. Ali died about two days later of his wounds at the age of sixty-two or sixty-three. His death is annually commemorated by Shia Muslims on 21 Ramadan. ### Punishment of Ibn Muljam Before his death, Ali had requested that Ibn Muljam should be executed in retaliation (qisas) if he did not survive, and his wish was fulfilled by his eldest son Hasan. By other accounts, Ali instead left this decision to Hasan and recommended pardon, asked his men not to bound Ibn Muljam tightly, forbade his tribesmen from shedding Muslim blood beyond a meticulous application of lex talionis to Ibn Muljam, who were to be given good meals and a soft bed in the meantime and not exposed to public ridicule. Ibn Muljam is often counted among their ranks and highly praised in the Kharijite literature for assassinating Ali. ### Role of Ibn Qays Often connected to the assassination is al-Ash'ath ibn Qays, the influential chief of the Kinda tribe in Kufa. As a strong advocate for peace with the Syrians, his loyalty to Ali is doubted in most accounts. Mua'wiya indeed wrote to the Kufan elite after Nahrawan, offering them status and wealth in return for sabotage, whereas Ali refused to grant them any financial favors as a matter of principle. Various sources accuse Ibn Qays of threatening Ali with death, being aware of the assassination plot, or hosting and counselling Ibn Muljam in Kufa before the assassination. An exception is one of the accounts given by the Sunni historian al-Mubarrad (), in which Ibn Qays warns the caliph about the assassination. Hujr ibn Adi, an ardent supporter of Ali, is said to have accused Ibn Qays of complicity in the assassination, while the Abbasid caliph al-Mansur (r. 754–775) blamed the assassination of Ali on (some of) his companions, over a century later. ## Burial and shrine Ali's body was washed by his sons, Hasan, Husayn, and Muhammad ibn al-Hanafiyyah, and one of his nephews, Abdullah ibn Ja'far. Fearing that his body might be exhumed and profaned by his enemies, Ali was then buried secretly, which may also explain the discrepancies in the sources about his burial site. His grave was identified during the caliphate of the Abbasid Harun al-Rashid (r. 786–809) and the town of Najaf grew around it near Kufa, becoming a major site of pilgrimage for Muslims, especially Shias. The present shrine was built by the Safavid Shah Safi (r. 1629–1642), near which lies an immense cemetery for Shias who wish to be buried next to their imam. Najaf is also home to top religious colleges and prominent Shia scholars (ulama', a'lim). Most likely incorrect, there are nonetheless claims that Ali was instead buried at the Hazrat Ali Mazar in Mazar-i-Sharif, located in modern-day Afghanistan. Among many others, the assassination of Ali has been the subject of paintings by the Iranian artists Yousef Abdinejad, Farhad Sadeghi, and Masnsoureh Hossein, as well as a stage play by Bahram Beyzai. ## Aftermath During his rule, Ali found a loyal following who regarded him as the best of Muslims after Muhammad and the only one entitled to the caliphate. Nevertheless, this following remained a minority. Instead, what united Kufans after Ali was their opposition to Syrian domination, or the highhanded rule of his archenemy Mu'awiya. After the assassination of Ali in January 661, his eldest son Hasan was thus elected caliph in Kufa. Mu'awiya marched on Kufa soon after with a large army, while Hasan's army suffered desertions in large numbers, facilitated by the defection of military commanders and tribal chiefs bought by Mu'awiya. After a failed attempt on his life, a wounded Hasan ceded the rule in August 661 to Mu'awiya, who founded the Umayyad Caliphate. ## See also - Second Syria campaign of Ali - Imam Ali shrine	[ "## Background", "### Ali's premonition", "## Assassination", "### Punishment of Ibn Muljam", "### Role of Ibn Qays", "## Burial and shrine", "## Aftermath", "## See also" ]	2,570	19,971
53,145,691	1957 Philadelphia municipal election	1,161,377,106	Municipal election in Philadelphia, Pennsylvania	[ "1950s in Philadelphia", "1957 Pennsylvania elections", "1957 United States local elections", "Local elections in Pennsylvania", "November 1957 events in the United States" ]	The 1957 Philadelphia municipal election, held on November 5, involved the election of the district attorney, city controller, and the remainder of a term for one city council seat, as well as several row offices and judgeships. Democrats were successful citywide, continuing a run of victories racked up after the passage of a new city charter in 1951 despite growing divisions between factions of the party. Victor H. Blanc, the incumbent district attorney, led the Democratic ticket to victory. They held the city council seat and took two citywide offices that Republicans had won in 1953. In the judges' elections, most were endorsed by both parties but in the one race that pitted a Democratic candidate against a Republican, the Democrats were successful in seating their candidate, former Congressman Earl Chudoff. ## Background After the Democrats' electoral victories in 1951 and 1955, they hoped to further solidify their hold on city offices by ousting the few Republicans left in power. At the same time, however, they were faced with growing divisions within their own party. Democrats had won in 1951 by combining with reform-minded Republicans and independents. By 1954, however, some Democrats led by Council President James Tate tried to weaken the civil service reforms of the new charter by allowing city employees to become involved in electioneering once more. They fell just short of the two-thirds vote in Council to put their amendments on the ballot, but in 1956, Tate's faction again proposed charter amendments aimed at weakening civil service protections and this time found the required vote to put it on to the ballot for popular approval. The referendum failed in a vote that April. The rift widened by 1957 as U.S. Senator (and former Democratic mayor of Philadelphia) Joseph S. Clark Jr. joined his successor, Richardson Dilworth, in refusing to back the Democratic ticket, citing mismanagement and political cronyism. Republicans, led by City Committee Chairman Wilbur H. Hamilton, used the occasion to woo reform-minded voters by claiming their ticket was free of machine control, and that they "owe nothing to the political bosses." Meanwhile, voter interest in the off-year election was low despite extensive radio and print advertising by both parties. ## District Attorney In an arrangement that predates the 1951 City Charter, Philadelphia elects a District Attorney independent of the mayor's office. Dilworth had been elected to the office in 1951 but resigned in 1955 to run for mayor. Victor H. Blanc, a city councilman and former assistant district attorney, was elected to fill the unexpired term. Blanc was a veteran of both World Wars who, during his time on the council, led an investigation into corruption in construction at Philadelphia International Airport. In 1957, he ran for a full four-year term, but his connection with machine politics led Clark and Dilworth to withhold their endorsement of him. The Republican nominee was Emil F. Goldhaber, a local lawyer who had worked in the state attorney general's office and in private practice. He was unopposed in the primary. The split in the Democratic leadership made the district attorney's race the liveliest of the campaign, according to The Philadelphia Inquirer writer Joseph H. Miller. Blanc overcame the intra-party dissension to defeat Goldhaber, although his vote total was reduced to 56%, down from the 60% of the vote he received two years earlier. Blanc thanked the voters "who showed great faith" in him, and Goldhaber conceded by 10:30 p.m. on election night. Blanc would hold the position of district attorney until 1960, when he was appointed to the Court of Common Pleas. Goldhaber returned to private practice and was also later appointed to the bench, serving as a bankruptcy judge from 1966 to 1986. ## City Controller Under the 1951 City Charter, Philadelphia elects a City Controller to sit at the head of an independent auditing department. The Controller approves all payments made out of the city treasury and audits the executive departments. As an independently elected official, the Controller is not responsible to the mayor or the city council. The office was created as one of the good-government reforms intended to reduce the corruption that had previously plagued city government and led to the reform coalition of 1951. Republican Foster A. Dunlap had won the office in 1953, making it one of the few his party controlled in the city. The party renominated him without opposition. Democrat Alexander Hemphill was the organization-backed candidate, and he defeated political outsider George Glick without difficulty. Hemphill, who had worked with reformers in the campaigns that ultimately defeated the Republican organization in 1951, was a lawyer with a long history of involvement in Democratic politics. Unlike in the district attorney's race, the Democrats were united on the choice for city controller and Clark and Dilworth both publicly endorsed Hemphill. The result was a solid victory for the Democrats as Hemphill was elected by a thirteen-point margin. ## Other row offices The Republicans had also maintained their hold on the patronage-rich office of Register of Wills in 1953, electing attorney and former football star Robert C. Duffy, by a slim margin over the Democratic nominee, former Congressman Francis R. Smith. Duffy did not run for re-election, and the Republican nomination was contested between factions of the Republican party organization, a "regular" faction, led by Hamilton, former Sheriff Austin Meehan, and Board of Revision of Taxes President William F. Meade; and an insurgent faction led by ward leaders dissatisfied with the hierarchy's control over nominations. The establishment faction carried the day, winning the nomination for their man, Joseph P. Gorham. Democrats were more united on their choice, selecting Deputy State Insurance Commissioner Bernard J. Kelley in an uncontested primary. Kelley was victorious, reversing the Republicans' gains of four years earlier and winning by a fifteen-point margin. The story was similar in the special election for the clerk of the court of quarter sessions (a court whose jurisdiction is now exercised by the court of common pleas). In the race to replace Democrat Joseph A. Scanlon, who died earlier in the year, Democratic state representative Louis Amarando defeated Republican Herbert R. Cain Jr., by a 58% to 42% margin. As Miller wrote the next day, the "victory also demonstrated the supremacy of the [Democratic] party in Philadelphia from an organizational standpoint". ## City Council special election Voters in the 1st district also voted for city council in 1957 in a special election called after the death of Councilman Thomas I. Guerin the year before. Democratic ward leaders in the district, which covered most of South Philadelphia, nominated Emanuel Weinberg, leader of the 39th ward and a former state Deputy Secretary of Insurance. The nomination was not without controversy: Governor George M. Leader had fired Weinberg along with several other political appointees who were found, as The Philadelphia Inquirer reported, to have "enjoyed immunity from supervision and control and were permitted to pursue their private enterprises in addition to their State duties." The nomination drew criticism from reform-minded Democrats, including Clark, who said the nomination showed "contempt for the independent vote." Weinberg's nomination also disappointed Guerin's widow, Mary C. Guerin, who ran as an independent. Guerin noted that Weinberg had been fired from his state job for good reason, saying "one would suppose that Governor Leader did not fire him for being late for work." Despite the split in Democratic support, Weinberg achieved a clear victory over Guerin and their Republican opponent, John Donnelly. ## Judges and magistrates Although Pennsylvania's judges are elected in partisan elections, there had been a tradition of not challenging the re-election of incumbents, or "sitting judges." To that end, judicial candidates were typically endorsed by both major parties. The parties had followed the sitting judge tradition in 1951, but in 1953 the Democrats broke the informal pact and endorsed just three of the sitting judges. The result was an unusually intense contest for the thirteen seats available, which the Republicans won. By 1957, the old order was mostly re-established as fourteen of the fifteen judges were endorsed for re-election by both parties and returned to office without opposition. The fifteenth, 75-year-old Joseph L. Kun, was President Judge of the Court of Common Pleas and had served on the court for thirty years. In February, lawyers from the city bar association voted by a 2-to-1 margin to not endorse his re-election, calling him unqualified to hold office. Despite the bipartisan effort against him among the city's lawyers, Kun filed for re-election in both parties' primaries. Kun won the Republican nomination handily, but lost the Democratic nomination to Earl Chudoff, a member of the federal House of Representatives from Pennsylvania's 4th congressional district. In November, Chudoff won easily, taking 58% of the vote. Kun, already in poor health, retired from the profession of law and died in 1961. Chudoff remained on the bench until 1974. There were also thirteen seats open for magistrate, a local court, the duties of which are now performed by the Philadelphia Municipal Court. In the magistrate races, each political party could nominate eight candidates, and voters could only vote for eight, with the result being that the majority party could only take eight of the thirteen seats, leaving five for the minority party. The Democrats took the maximum number of eight magistracies, with incumbents Vincent A. Dean and William Cibotti leading the ticket. Republicans were held to just the five slots allotted them, with incumbent Benjamin W. Schwartz taking the most votes of his party's nominees. ## Ballot questions In the primary ballot, voters agreed to divide the 35th ward into seven wards, accounting for the increased settlement in the city's Northeast section that made the ward extremely populous. The action brought the total number of wards to 58. The measure had support from both parties and passed overwhelmingly. In the general election, two loans questions were on the ballot: \$16 million for general municipal improvements, and \$10 million for water and sewer systems. Both measures passed. ## See also - List of members of Philadelphia City Council since 1952	[ "## Background", "## District Attorney", "## City Controller", "## Other row offices", "## City Council special election", "## Judges and magistrates", "## Ballot questions", "## See also" ]	2,124	34,584
6,678,800	George N. Parks	1,169,560,808	American conductor	[ "1953 births", "2010 deaths", "American bandleaders", "American conductors (music)", "American male conductors (music)", "American music educators", "Bienen School of Music alumni", "Distinguished Service to Music Medal recipients", "Musicians from Buffalo, New York", "People from Amherst, Massachusetts", "Phi Mu Alpha Sinfonia", "University and college band directors", "University of Massachusetts Amherst faculty", "University of Massachusetts Minuteman Marching Band", "West Chester University alumni" ]	George N. Parks (May 23, 1953 – September 16, 2010) was the director of the University of Massachusetts Minuteman Marching Band at University of Massachusetts Amherst from 1977 until 2010. He also led the George N. Parks Drum Major Academy, a summer workshop program for high school drum majors that he founded in 1978. ## Early life and education Parks was born on 23 May 1953 in Buffalo, New York and grew up in Newark, Delaware. He graduated from Christiana High School in 1971, and was the Drum Major of the high school's marching band. He earned a bachelor's degree from West Chester University, where he was the drum major in the West Chester University Golden Rams Marching Band. At West Chester, Parks was initiated into the Rho Sigma chapter of Phi Mu Alpha Sinfonia. After college he earned a master's degree in tuba performance at Northwestern University. ## Career ### Drum corps Parks made his first appearance on the national scene as Drum Major of the award-winning Reading Buccaneers Drum and Bugle Corps. He helped lead the Buccaneers to two DCA Championships, in 1979 and 1980, and received numerous individual honors, including eight DCA Championship Drum Major Awards. In 1976, while working as a graduate assistant under John P. Paynter at Northwestern University, he was instrumental in bringing the first color guard/flag corp to the Big Ten. In 1993, Parks was inducted into the World Drum Corps Hall of Fame, for recognition of his work in the field of drum corps and mace technique. ### University of Massachusetts Parks became the director of the University of Massachusetts Minuteman Marching Band in 1977 at the age of 24, and built upon a strong program that had been headed by John Jenkins. Parks was a professor in the Department of Music and was the recipient of the university's Distinguished Teacher Award in 1989 and the Chancellor's Medal for Distinguished Service in 1997. The University's Alumni Association named him an honorary alumnus in 1997. At the time of his death, he was director of the band alongside Assistant Director Thom Hannum. ### George N. Parks Drum Major Academy Parks founded the George N. Parks Drum Major Academy, a summer program to train high school drum majors. Each summer, over 3,000 students attend the Band Leadership Training Seminar and Drum Major Academy. ### Other work In addition to his work at UMass Amherst and with his Drum Major Academy, Parks worked regularly with Bowl Games of America (BGA), where he assisted in the production of massed band halftime shows. He conducted BGA halftime shows at the Sugar Bowl, Orange Bowl, Gator Bowl, and the BCS National Championship Game. In 2005 and 2009, he was the director of the Bands of America Honor Band in the Tournament of Roses Parade. ## Personal life Parks and his wife, Jeanne, married in 1979 in Point Pleasant, New Jersey. They have two children, Michael and Kyle. ## Death and legacy Parks died from a heart attack on the evening of September 16, 2010. After a performance with the marching band at a Cuyahoga Falls High School football game, he collapsed while getting into a van. Paramedics were called again, and they transported him to Summa Western Reserve Hospital, where he was pronounced dead at 11:02 p.m. Earlier in the day, Parks had been complaining about neck pain, and paramedics were called. According to Gary Guenther, chief investigator for the Summit County Medical Examiner, "When they got there, they checked him out," he said. "Mr. Parks apparently said he was feeling better and refused to go to the hospital." At the time of his death, he was en route to Ann Arbor, Michigan with the band for a football game on September 18 between UMass and the University of Michigan. He was honored on Homecoming Day on October 16, 2010 by current and former band members and staff. This included a performance by the alumni band, which included approximately 1,300 participants, the largest the university had ever seen. ## Awards and honors Parks was inducted into the Massachusetts Instrumental and Choral Conductors Association Hall of Fame, the World Drum Corps Hall of Fame, The Bands of America Hall of Fame, and the Buccaneers Hall of Fame. Additionally, he received the Kappa Kappa Psi National Honorary Band Fraternity Distinguished Service to Music Medal, in the field of marching band, in October 2008. Parks was initiated into the Epsilon Nu chapter of Kappa Kappa Psi National Honorary Band Fraternity as an Honorary Member and the Delta Delta chapter of Tau Beta Sigma National Honorary Band Sorority as an Honorary Member. The George N. Parks Minuteman Marching Band Building at the University of Massachusetts Amherst, which officially opened on Homecoming Weekend in November 2011, was named in Parks' honor. The name was chosen a year before his death and announced in Parks' presence at the groundbreaking in October 2009. Following his death, Massachusetts Governor Deval Patrick named October 16, 2010 "George N. Parks Day", delivered by proclamation through state Sen. Stanley Rosenberg (himself a UMASS band alum), and instructed University of Massachusetts President Jack M. Wilson that the state flags be lowered to half-staff in Parks' honor.	[ "## Early life and education", "## Career", "### Drum corps", "### University of Massachusetts", "### George N. Parks Drum Major Academy", "### Other work", "## Personal life", "## Death and legacy", "## Awards and honors" ]	1,146	198
4,835,263	History of Dallas (1874–1929)	1,148,179,154	Aspect of history	[ "History of Dallas" ]	The history of Dallas, Texas, United States from 1874 to 1929 documents the city's rapid growth and emergence as a major center for transportation, trade and finance. Originally a small community built around agriculture, the convergence of several railroads made the city a strategic location for several expanding industries. During the time, Dallas prospered and grew to become the most populous city in Texas, lavish steel and masonry structures replaced timber constructions, Dallas Zoo, Southern Methodist University, and an airport were established. Conversely, the city suffered multiple setbacks with a recession from a series of failing markets (the "Panic of 1893") and the disastrous flooding of the Trinity River in the spring of 1908. ## Shift to industry The shift towards manufacturing and heavy industry in Dallas formed partially out of problems hurting Dallas area cotton farmers. After purchasing supplies on credit during the year, farmers owed merchants most of their crop, whose price was lowered by the high shipping costs to the port of Galveston. Worldwide cotton prices were low, due to overproduction. The Farmers' Alliance, created in 1877, hoped to help farmers by setting up a Dallas warehouse to ship cotton to St. Louis. However, bankers refused to finance the warehouse, and the venture failed within twenty months. There was little manufacturing in Dallas. The city began to light its streets with gas lamps in 1874 and began to brick over dirt lanes. In 1880, the first telephone switchboard came to Dallas, linking the water company and the fire station. In 1885, the Main Street was lit with electricity. In 1888, the Dallas Zoo opened as the first zoo in the state. In 1890, Dallas annexed the geographically-larger city of East Dallas, making it the most populous city in Texas. ## Panic of 1893 Following the national financial "Panic of 1893", numerous business failed, including five local banks. Cotton prices dipped below five cents a pound, and the lumber and flour markets weakened. By 1898 however, the city began to recover and grow again. Restored growth invigorated the skilled workers, who joined trade unions affiliated with the American Federation of Labor, which granted a charter to the Trades Assembly of Dallas in 1899 to coordinate local activity and prevent jurisdictional disputes. In 1894, Parkland Memorial Hospital opened just west of Oak Lawn. In 1903, Oak Cliff, a city across the Trinity River, was annexed. The same year, the Wilson Building, patterned after Paris' Grand Opera House, opened on Main Street in downtown. By the turn of the century, Dallas was the leading wholesale market in the entire Southwestern United States for many products. More important it became the world center for the cotton trade. It led the world in the manufacturing of saddlery and cotton gin machinery. As it further entered the 20th century, Dallas built up a major presence in banking and insurance. ## Progressive reform Progressive Era reformers sought to improve municipal government by such changes as the commission system, city planning, and zoning controls. The interests of white business and residential districts were protected, but sometimes at the expense of blacks who lived in segregated neighborhoods. Fairbanks (1999) explores the changing assumptions about city planning and government among the city's leaders. Dissatisfied with its haphazard development they endorsed centralized planning and wrote and secured the adoption of a new charter and set up a board of commissioners. The commission structure, however, caused government officials to view the city in separate parts rather than as a whole. By the 1920s supporters of comprehensive planning were calling for a program that included adoption of council-manager government, a citywide zoning policy, and public funds for improvements in parks, sewers, schools, and city streets. Voters approved the bond proposals and charter amendments in 1927 and 1930. Dallas thus achieved a more coordinated government which was theoretically more aware of the city's needs and more able to treat those needs equally for the benefit of the city as a whole. ## Self image The city's fathers originally depicted Dallas as southern in order to rationalize slavery and opposition to Reconstruction, but this discouraged Northern investment and the political support of wealthy northern migrants to the city. From the 1870s on, Dallas leaders portrayed the city as southwestern, or later as part of the "Sunbelt", in order to incorporate wealthy non-southern whites, including Jews, into society. For example, between 1852 and 1925 the seven Sanger brothers built successful mercantile businesses along developing railroad lines, including the Sanger Bros. department store, and occupied numerous city and state government posts. White blue collar workers were marginalized, and even more so the Mexican Americans, and blacks. ## Gender Women did much to establish the fundamental elements of the social structure of the city, focusing their energies on families, schools, and churches during the city's pioneer days. Many of the organizations which created a modern urban scene were founded and led by middle-class women. Through voluntary organizations and club work, they connected their city to national cultural and social trends. By the 1880s women in temperance and suffrage movements shifted the boundaries between private and public life in Dallas by pushing their way into politics in the name of social issues. During 1913–19, advocates of woman suffrage drew on the educational and advertising techniques of the national parties and the lobbying tactics of the women's club movement. They also tapped into popular culture, successfully using popular symbolism and traditional ideals to adapt community festivals and social gatherings to the task of political persuasion. The Dallas Equal Suffrage Association developed a suffrage campaign based on social values and community standards. Community and social occasions served as recruiting opportunities for the suffrage cause, blunting its radical implications with the familiarity of customary events and dressing it in the values of traditional female behavior, especially propriety. Women of color usually operated separately. Juanita Craft (1902–85) was a leader in the civil rights movement through the Dallas NAACP. She focused on working with black youths, organizing them as the vanguard of protests against segregationist practices in Texas. ## Great Trinity River Flood of 1908 The relationship between Dallas and the Trinity River was never as healthy as Dallasites hoped it would be. Dallas was established on the banks of the Trinity in hopes that navigation south to the Trinity and Galveston Bays, and ultimately the Gulf of Mexico, would eventually be possible. However, attempts to move even paddleboats up and down the river proved futile, and plans to transform the river into a canal never came to fruition. The Trinity also suffered from chronic flooding: floods occurred in 1844, 1866, 1871, and 1890, but none were as severe as the flood of 1908. On May 26, 1908, the Trinity River reached a depth of 52.6 feet (16.03 m) and a width of 1.5 miles (2.4 km). Five people died, 4,000 were left homeless, and property damages were estimated at \$2.5 million. > Now the wreckage of a shed or outhouse would move by, followed by a drowned swine or other livestock. The construction forces of the Texas & Pacific worked feverishly to safeguard the long trestle carrying their tracks across the stream. Suddenly this whole structure turned on its side down-stream, broke loose from the rest of the track at one end and swung out into the middle of the current and began breaking up, first into large sections and then into smaller pieces, rushing madly along to some uncertain destination. [Approximately half a dozen of the workmen fell into the torrent at this point; exaggerated reports of their drowning swept the city. Dallas was without power for three days, all telephone and telegraph service was down, and rail service was canceled. The only way to reach Oak Cliff was by boat. West Dallas was hit harder than any other part of the city—the Dallas Times Herald said "indescribable suffering" plagued the area. Much to the horror of residents, thousands of livestock drowned in the flood and some became lodged in the tops of trees—the stench of their decay hung over the city as the water subsided. ## Flood control Efforts to repair the damage caused by the flood and prevent future disasters began in 1911 when George Kessler, a city planner, created a plan for both the Trinity and the city. His plans included using levees to divert the river, removing railroad lines on Pacific Avenue, consolidating train depots into a central station, new parks and playgrounds, and the straightening and widening of several streets. Most of his plans went unimplemented for one or two decades, but in later years, many city officials began to see their importance. Kessler was brought back in 1920 to update his plans, and by the 1930s many had been realized. After the disastrous flood, the city wanted to find a way to control the reckless Trinity and to build a bridge linking Oak Cliff and Dallas. The city and citizens' immediate reaction was to clamor for the construction of an indestructible, all-weather crossing over the Trinity. This had already been attempted following the 1890 flood—the result was the "Long Wooden Bridge," an unstable structure which had connected Jefferson Boulevard in Oak Cliff and Cadiz Street in Dallas until being washed away in the 1908 flood. George B. Dealey, publisher of the Dallas Morning News, proposed a 1.5-mile (2.4 km) concrete bridge similar to one crossing the Missouri River in Kansas City. Soon, a US\$650,000 bond program was approved in a city election, and the new Oak Cliff viaduct (now the Houston Street Viaduct) was opened in 1912 among festivities that drew 58,000 spectators. The bridge, at the time, was the longest concrete structure in the world. ## Financial center Efforts began in 1910 to have Southwestern University in Georgetown relocate to Dallas. The school refused, but this action brought Dallas to the attention of the Methodists. They voted in 1911 to establish a university in Dallas, after the city offered \$300,000 and 666.5 acres (2.70 km<sup>2</sup>) of land for the campus. The result of this agreement, Southern Methodist University, opened in 1915 and remains operational today. In 1911, Dallas became the location of the eleventh regional branch of the Federal Reserve Bank. The city had campaigned to have it located in Dallas for years, and the bank's arrival assured Dallas's place as a major financial center. In 1912, The Adolphus Hotel was constructed in downtown Dallas. The Beaux Arts style building, at twenty-one stories and 312 feet (95 m) was the tallest building in Texas at the time. It officially opened on October 5, 1912. In August 1922, the 29-story Magnolia Petroleum Building (now the Magnolia Hotel) opened next door and took the title of tallest-in-Texas. Aviation became a popular topic in World War I. Love Field was established by the U.S. Army as an aviation training ground, and Fair Park was home to Camp Dick, another training facility. The city of Dallas purchased Love Field in 1927 to use as a municipal airport, and Camp Dick was dissolved in 1919.	[ "## Shift to industry", "## Panic of 1893", "## Progressive reform", "## Self image", "## Gender", "## Great Trinity River Flood of 1908", "## Flood control", "## Financial center" ]	2,359	9,070
29,783,143	Skin (Rihanna song)	1,153,832,747	2010 song by Rihanna	[ "2010 songs", "2010s ballads", "Contemporary R&B ballads", "Pop ballads", "Rihanna songs", "Song recordings produced by Kuk Harrell", "Songs written by Rihanna", "Songs written by Soundz" ]	"Skin" is a song by Barbadian recording artist Rihanna from her fifth studio album, Loud (2010). The song was written by Kenneth Coby, Ursula Yancy and Rihanna with production helmed by Soundz. Musically, "Skin" is a R&B song that contains influences from pop, dance-pop and dubstep genres, while lyrically, the song is about being in a relationship with someone and only wanting to feel their skin close to the protagonists. The song received generally positive reviews from critics, as part of their overall review of Loud, praising "Skins compositions as well as Rihanna's sensual vocal performance. The song was included on the set list of the Loud Tour (2011), where Rihanna retrieves a man or woman from the audience near the end of the song, and performs a lap-dance whilst on an elevated platform. "Skin" was also used in Rihanna's advertisement campaign for Armani Jeans. ## Background and composition "Skin" was written by Kenneth Coby, Ursula Yancy and Rihanna, with production helmed by Coby under his stage name Soundz. The song was recorded at Studio at the Palms Casino Resort in Las Vegas, Nevada. "Skin" is written in the key of G minor and is set in common time with a moderate groove of 62 beats per minute. "Skin" is a R&B song, that contains elements of dance-pop and dubstep, while the song is composed with bass instruments, synthesizers and an electric guitar. As commented by Robbie Daw of Idolator, the song's "real" hook is "the fuzzy electric guitar" that begins sawing through the melody about three minutes in, and continues building until it reaches "a, er, climactic solo at the very end." Rihanna's vocal range in the song spans from the low note of G<sub>3</sub> to the high note of B♭<sub>4</sub>. As noted by Emily Mackay of NME, her vocals sound "restrained" and "controlled". Throughout the song, Rihanna sounds "suspenseful" and "sultry" as she sings the lyrics "I got secrets that I wanna show you". Thomas Conner of Chicago Sun-Times wrote that the singer "teases her man" and "lets him at her" as she sings the line "You've waited long enough" before instructing "Don't hold back/you know I like it rough". ## Critical reception Of the multiple music critics who commented on the song, the majority praised "Skins musical structure and Rihanna's vocal performance. Apart from writing about the song's composition, Daw called the ballad "smoldering" and compared the last minute of the song to Sade's "No Ordinary Love" for the song's sensual content, but noted that Adu's song is not as lyrically graphic as "Skin". Jon Pareles of The New York Times commented that Rihanna's sensuality in the song is evoked though her use of sexually suggestive moaning and heavy breathing, adding to the "slow, torrid buildup". Colin Gentry of 4Music noted that Rihanna appears to be transitioning from singing songs about partying and dancing in clubs to singing about her sexual fantasies and desires, writing "Rihanna swaggers through the album as a woman on the prowl, taking her conquests from the clubs to the bedroom. Demanding to know 'why are you standing over there with your clothes on?' on sultry track Skin, the Barbadian clearly means business." Ryan Dombell of Pitchfork concurred with Stern with regard to "Skin" being the singer's most mature song to date, writing "'Skin' is her sexiest song yet, a haunted, near-dubstep stunner that wouldn't sound totally out of place on Massive Attack's Mezzanine." Ryan Burleson of Consequence commented that Rihanna's combines different emotions in the song to increase the level of provocativeness, writing "For its part, the Soundz-produced 'Skin' combines these emotions into a five-minute space-hop excursion into the boudoir, driving deep into the id with an austere, though undeniably potent amount of minor chords and bass." Andy Kellman of AllMusic chose "Skin" as one of the highlights on Loud, writing, "One song that sounds nothing like anything else in Rihanna's past is 'Skin,' a contender for anti-gravity slow jam of 2010 – a match for Trey Songz's 'Red Lipstick' and Usher's 'Mars vs Venus.'" USA Today'''s Steve Jones also put the song in his list of tracks from Loud to consider downloading. Jerry Shriver of the same publication found "down-and-dirty-ness" in the chorus of the song. James Skinner of BBC Online said that the line "I like it rough" was a little "uncomfortable in the light of her personal history". Thomas Conner of Chicago Sun-Times commented on Rihanna's sex appeal in the song, writing "the art of her seduction is oh-so slow and merciless". ## Armani Jeans campaign The song was also used in Rihanna's advertisement campaign for Armani Jeans and Emporio Armani Underwear. The advert, which launched the brand's Fall 2011 line, was directed by Johan Renck and photographed by Steven Klein. In the advert, "Rihanna wears a short blonde wig and enters a vintage car with a bag of clothing, changing in the car and visible in her underwear while a bodyguard keeps watch. She then leaves the car wearing a dark leather jacket and Armani jeans and takes an elevator out of the underground parking lot to meet her partner-in-crime or love interest". Giorgio Armani said that Rihanna was a "pleasure to work with" and said that she "perfectly embodies" the spirit of his company. The advert, which was filmed in New York City and shot in monochrome, was also used to launch Armani's e-commerce site. The advertisement received overwhelmingly positive reviews from critics, with The Huffington Post claiming that it was "sizzling". The magazine Stylist called the advert "saucy" and praised the fact that it "combines traces of metropolitan storytelling, cops 'n robbers movies with an ode to film noir, but with a lighter and ironic touch". Claiming that Rihanna is "at her steamy-best" in the "sultry" piece, the Hindustan Times said that the piece "is a must-watch, not just for its steam factor but for its visual and aesthetic sense too". Grazia also gave a positive review by saying that the advert was, among other things, "saucy" and "exciting". ## Live performances Though the song has never been performed live as part of a televised performance, the song was featured on the set list of the Loud Tour. Before she performed "Skin", Rihanna appeared on stage with a set similar to that of her performance of "S&M" remix with Britney Spears at the 2011 Billboard Music Awards, wearing a black tuxedo and pink tie to perform a cover of Prince's "Darling Nikki", before transitioning into "S&M". As "S&M" started, Rihanna removed her tuxedo to reveal a white PVC body suit. After performing "S&M", Rihanna performed "Skin" while laying on raised platform, and at near the end of the performance said "this is the part of the show when we like to have a little fun – who wants to come up here and get freaky with me?" and takes a man out of the audience and pins them down on the platform, where she provocatively and sexually gyrates and grinds him as they are lowered under the stage as the song's instrumental ends and the lights go out. Rihanna has caused controversy by occasionally opting to perform the act with a woman instead. The sexually suggestive performances of "Skin" have been met with mixed reactions from critics. A review for the Evening Herald argued that Rihanna should strip out the sex. The Daily Record praised Rihanna's Glasgow performance but argued that the lap dance at the end of the "Skin" routine was "a move that had parents covering their children's eyes". Catriona Stewart Lotte Jeffs, editor of ES Magazine, was one of the audience members who received a lap dance from Rihanna and reacted positively, saying "[i]t was a night I will never forget". ## Credits and personnel - Robyn "Rihanna" Fenty – Vocals - Kenneth Coby, Robyn Fenty and Ursula Yancy – Songwriting - Soundz – Producer - Makeba Riddick – Vocal production - Kuk Harrel – Additional vocal production - Nuno Bettencourt – guitar - Rob Katz and Bobby Campbell – Assistant Engineering - Mixed by Jayden Joshua at Larrabee Sound Studios, Los Angeles, California – Mixing - Jesus Garnica – Assistant mixing - Chad "C Note" Roper at Westlake Recording Studios, Los Angeles – Music recording - Recorded by Kuk Harrel, Josh Gudwin and Marcus Tovar at Studio, Palms Casino Resort, Paradise, Nevada – Vocal recording Credits and personnel adapted from the liner notes of Loud. ## Charts Upon the release of Loud'', "Skin" charted at number 66 on the South Korea Gaon International Chart for the issue dated November 14, 2010. ## Certifications	[ "## Background and composition", "## Critical reception", "## Armani Jeans campaign", "## Live performances", "## Credits and personnel", "## Charts", "## Certifications" ]	1,943	9,653
2,206,452	Oh Brother, Where Art Thou?	1,154,788,567	null	[ "1991 American television episodes", "The Simpsons (season 2) episodes", "Works about brothers" ]	"Oh Brother, Where Art Thou?" is the fifteenth episode of the second season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on February 21, 1991. In the episode, Grampa confesses that Homer has a half-brother named Herbert Powell, a car manufacturer. Herb permits Homer to design his company's new car, which is an overpriced monstrosity that bankrupts him. The episode was written by Jeff Martin and directed by Wes Archer. American actor Danny DeVito provided the voice of Herb. The episode features cultural references to cars such as the Edsel, the Tucker Torpedo, the Ford Mustang, and the Lamborghini Cheetah. Since airing, the episode has received mostly positive reviews from television critics. It acquired a Nielsen rating of 15.4, and was the highest-rated show on Fox the week it aired. Some fans were upset with the sad ending of the episode, so the producers decided to write a sequel, "Brother, Can You Spare Two Dimes?" with a positive ending. ## Plot Grampa suffers a mild heart attack while arguing with a cinema clerk. Thinking he might die, he confesses a long-hidden secret: Homer has a half-brother. Before Grampa married Homer's mother, he and a carnival prostitute had a son whom they left at the Shelbyville Orphanage. Determined to find his brother, Homer visits the orphanage and learns that his half-brother Herb Powell now lives in Detroit. Herb owns Powell Motors, a Detroit automobile manufacturer. Herb is overjoyed to learn Homer is his half-brother and invites the Simpsons to stay at his mansion. Bart, Lisa, and Maggie are enthralled by Herb's wealthy lifestyle and kind personality, but Marge worries wealth will spoil her children. After Herb decides that Homer, an average American, is the perfect person to design his company's new car, he gives him free rein to design it. When Herb's design team ignores Homer's outlandish suggestions, Herb encourages Homer to take command of the project and incorporate his own ideas in the final design. When the new car is unveiled with great fanfare, Herb is horrified to find it is unaffordable (costing \$82,000) and poorly designed; Powell Motors is forced into bankruptcy. The bank forecloses on Herb's mansion and he loses everything he worked for. As Herb leaves Detroit on a bus, he angrily disowns Homer as a brother. Grampa arrives and scolds Homer for ruining Herb's life. While Homer drives the family home, Bart tells him his car is great. Homer is relieved to learn at least one person likes it. ## Production "Oh Brother, Where Art Thou?" was written by Jeff Martin and directed by Wes Archer. Both Homer's mother and Herb Powell make their first appearances on The Simpsons in the episode. Some fans were upset with the sad ending of the episode, and as a result the producers decided to write a sequel in which Herb would be given a kinder fate. The resulting episode, "Brother, Can You Spare Two Dimes?", aired at the end of the third season. In that episode, Herb briefly settled in the Simpson household, despite his intense continuing antipathy toward Homer. Homer loaned Herb US\$2000, which Herb used to build an invention that translated infantile speech into comprehensible English, based on observations he made of Maggie. He proceeded to mass-produce his new product and regained his fortune. He then bought each member of the family gifts and paid Homer back with a vibrating chair, along with his forgiveness. The episode was recorded on August 13, 1990. The voice of Herb was provided by guest star Danny DeVito, an American actor who was suggested for the role by Simpsons executive producer Sam Simon. Bart's voice actor, Nancy Cartwright, writes in her autobiography My Life as a 10-Year-Old Boy that DeVito had to record his lines quickly because he had another appointment, so the staff focused on recording only his scenes instead of the whole episode at once. Cartwright was a fan of DeVito's and recalls: "This morning, at the table read, I had just filled my plate with assorted fruits when Bonnie said to my backside, 'Nancy, I want to introduce you to ...' and I turned and practically knocked over Danny DeVito, all four feet, eleven inches of him. How embarrassing!" While recording the scenes, Cartwright stood directly across the room from DeVito, which she appreciated since she got to see him in action. She thought DeVito "threw his body and soul" into his performance. While the recording took part, animation director Archer scribbled down some of DeVito's attitudes, gestures, and facial expressions on a piece of paper as he performed. In one scene of the episode, Herb tells Homer and the rest of the Simpson family to "[make] yourselves at home. We have a tennis court, a swimming pool, a screening room ..." Cartwright said of it: > This was obviously written with Danny in mind as I have no doubt that he actually has the aforementioned amenities in real life. He has earned his right to stand tall, and it wouldn't have shocked me to see him spew attitude all over us if he wanted to. But he's a hard worker and he concentrated on the job [...] As the episode came to its climax, we discovered that all the material things in the world don't mean as much to Herb as being with family. Somehow I just get the feeling that this part was tailor-made with Danny, the family man, in mind. ## Cultural references The storyline of a controversially styled car causing the company to fail echoes that of the Edsel, the Tucker 48, and the later DeLorean. The Edsel was a controversially styled car named after Henry Ford's son, Edsel, which is now considered one of the biggest car flops in history, while production of the Tucker Torpedo, which introduced many new features, was shut down amidst scandal and accusations of stock fraud in 1949. Homer wants the horns of the car he is designing to play the traditional Spanish folk corrido "La Cucaracha". The Pope is in the audience for the unveiling of Homer's new car. Herb berates his staff for suggesting that the company name a new car "Persephone" after the Greek goddess of fertility in Greek mythology, telling them "People don't want cars named after hungry old Greek broads! They want names like 'Mustang' and 'Cheetah', vicious animal names," referencing the Ford Mustang and Lamborghini Cheetah cars. The title of the episode is a reference to the name of the fictional book "O Brother, Where Art Thou?" in the 1941 film Sullivan's Travels. Herb lives in a house that looks like American architect Frank Lloyd Wright's house in Oak Park, Illinois, works in a studio that looks like the Taliesin school of architecture in Spring Green, Wisconsin, and his factory resembles the Johnson Wax Headquarters in Racine, Wisconsin, all three buildings designed by Wright. ## Reception In its original broadcast, "Oh Brother, Where Art Thou?" finished twenty-sixth in the ratings for the week of February 18–24, 1991. With a Nielsen rating of 15.4, equivalent to approximately 14.1 million viewing households, it was the highest-rated show on Fox that week. Since airing, the episode has received mostly positive reviews from television critics. The authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood, wrote that although it is "inevitable" that Homer's car will be a disaster, the "joy of this episode is anticipating exactly what sort of disaster". A member of the IGN staff wrote in a season two review that "Oh Brother, Where Art Thou?" is one of the "real winners to be found in the second season". Dawn Taylor of The DVD Journal thought the most memorable line of the episode was Homer's idea of the perfect car, "You know that little ball you put on the aerial so you can find your car in a parking lot? That should be on every car! And some things are so snazzy they never go out of style — like tail fins! And bubble domes! And shag carpeting!" DVD Movie Guide's Colin Jacobson called the episode a solid episode and said that the introduction of Homer's brother "could have been gimmicky, especially with a big-name guest star like DeVito, but the concept fared nicely". Jacobson added that he thought DeVito "brought spark to his part and made Herb fun and lively. The parts in which Homer developed his car were also hilarious and offered some of the show's best bits. The program even showed some great little moments, like the hallmark Simpson five o'clock shadow on infant Herb." Jeremy Kleinman of DVD Talk said the episode "features another great guest voice, this time by Danny DeVito as the voice of Homer's long lost brother Herb, who reenters Homer's life and solicits his 'common man' prospective in building a car. Once again, Homer's sentimentality comes through." Total Film's Nathan Ditum ranked DeVito's performance as the 10th best guest appearance in the show's history. On June 29, 2013, Porcubimmer Motors debuted a real-life version of "The Homer," the car that was designed by Homer in this episode, at the 24 Hours of LeMons race in Buttonwillow, California.	[ "## Plot", "## Production", "## Cultural references", "## Reception" ]	1,984	2,442
1,248,265	Cliff Williams	1,167,074,199	English musician (born 1949)	[ "1949 births", "20th-century English bass guitarists", "20th-century English musicians", "21st-century English bass guitarists", "21st-century English musicians", "AC/DC members", "Bandit (band) members", "Blues rock musicians", "Columbia Records artists", "English expatriates in Australia", "English expatriates in the United States", "English heavy metal bass guitarists", "English rock bass guitarists", "English rock musicians", "Living people", "Male bass guitarists", "Musicians from Merseyside", "People from Hoylake", "People from Romford" ]	Clifford Williams (born 14 December 1949) is an English musician, best known as the bassist and backing vocalist of the Australian hard rock band AC/DC. He started his professional music career in 1967 and had previously been in the English groups Home and Bandit. His first studio album with AC/DC was Powerage in 1978. Williams was inducted into the American Rock and Roll Hall of Fame as a member of AC/DC in 2003. Williams announced his retirement from AC/DC in 2016, but returned for their 2020 comeback album Power Up along with band mates Brian Johnson and Phil Rudd. His side projects include benefit concerts. ## Early life Clifford Williams was born on 14 December 1949 in Romford, Essex. In 1961, he moved with his family to Hoylake, Merseyside, where he was influenced by the local Merseybeat movement and decided to become a musician. At the age of 13, he and some friends formed a band. He listed The Rolling Stones, The Who, The Kinks, and blues musicians such as Bo Diddley as influences, and mostly learned to play bass by "listening to records and picking out notes", with his formal training limited to some lessons from a professional bassist in nearby Liverpool. He left school when he was 16 years old, working as an engineer by day and musician by night. ## Career ### Early career In 1966, Williams moved to London, where he worked at a demolition site and in supermarkets while playing in various short-lived bands. He met guitarist Laurie Wisefield (later a member of Wishbone Ash) and the two became members of a band, Sugar, which soon broke up. In 1970, Williams and Wisefield joined with singer Mick Stubbs, keyboardist Clive John, and drummer Mick Cook to form the progressive rock group Home. The band signed a recording deal with Epic Records and issued their debut LP, Pause for a Hoarse Horse, in 1971. Home was a supporting act for Jeff Beck, Mott the Hoople, The Faces and Led Zeppelin. In 1972, Jim Anderson replaced John on keyboards and Home released a self-titled album, featuring their only hit single, "Dreamer", which peaked at No. 41 in the UK album charts. Their next album, The Alchemist, followed in 1973, but did not gain chart success. When British folk singer-songwriter Al Stewart suggested that Home back him on his first American tour in March 1974, Mick Stubbs left the group. The rest of the members became the Al Stewart Band, but split up after the tour. Williams briefly played with the American band Stars before forming Bandit in 1974. Bandit's line-up included vocalist Jim Diamond and drummer Graham Broad (later in Bucks Fizz and Roger Waters's band). The group signed with Arista Records and released a self-titled album in 1977. Bandit also performed as Alexis Korner's backing band on 1977's The Lost Album before disbanding later that year. ### AC/DC Williams considered retiring from music following Bandit's breakup, but one of the group's guitarists, Jimmy Litherland, convinced him to audition for the Australian group AC/DC, who were looking for a bassist after firing Mark Evans shortly after recording their 1977 studio album Let There Be Rock. AC/DC had formed in Australia in 1973 and by mid-1977 the line-up was Malcolm Young on rhythm guitar and backing vocals alongside his brother Angus Young on lead guitar, Phil Rudd on drums and Bon Scott on vocals. Shortly after deciding to audition for the band, Williams saw AC/DC on Top of the Pops and was impressed, describing them as "outrageous". For his audition, Williams played four jam sessions with the band, and on 27 May 1977 was officially asked to join AC/DC. Angus declared the decision was partially motivated by the bassist's good looks, which the band hoped would attract more women to their concerts. As Williams was replacing an Australian musician, there were issues resulting in problems obtaining a work permit to enter the country. His first performances with AC/DC were in Australia supporting the Let There Be Rock album, with two secret gigs at Sydney's Lifesaver. The album Powerage (1978), produced by Vanda & Young, marked Williams's studio debut. Williams remained in AC/DC from that time onwards until 2016, with only a temporary departure in 1991 as he suffered a kidney infection, during which Paul Greg had to play bass for some North American concerts in the Razors Edge World Tour. In addition to his role as bassist with AC/DC, Williams also contributed backing vocals. He has said that his favourite albums with the band are Powerage and Back in Black. On 7 July 2016, Williams announced his plans to retire from the music industry following AC/DC's Rock or Bust World Tour. He cited his opinion that AC/DC was now "a changed animal" with the recent departures of several core band members; Malcolm Young could no longer contribute due to dementia, Phil Rudd could not tour due to being under house arrest, and Brian Johnson was forced into retirement due to hearing problems. In September 2016, during his last performance with AC/DC at the Wells Fargo Center in Philadelphia, Williams was brought to the front of the stage by Angus Young to take a bow in the middle of "For Those About to Rock (We Salute You)". On September 30, 2020, AC/DC officially confirmed that Williams, along with fellow band mates Brian Johnson and Phil Rudd, have rejoined the band. ### Side projects In 1984, Williams played bass and backing vocals on Adam Bomb's song "I Want My Heavy Metal", for the album Fatal Attraction. During AC/DC's hiatus in the 2000s, Williams joined Bosnian musician Emir Bukovica's band Emir & Frozen Camels. The group recorded the album San in 2002 and played in some European clubs. In 2005, Williams and AC/DC singer Johnson played in a hurricane relief event in Florida, promoted by the John Entwistle Foundation. There Williams met drummer Steve Luongo, president of the foundation and former member of the John Entwistle band. Luongo later brought Williams, Johnson, and guitarist Mark Hitt for the Classic Rock Cares charity project. The quartet composed and recorded ten tracks in the studio in 2007, and followed that with a tour to raise funds for the foundation. In 2011, Williams played on a benefit concert organized by Mark Farner. Williams said he also occasionally plays with a rhythm and blues band from Fort Myers called The Juice. ## Accolades Since Williams' introduction to the band, AC/DC has been inducted to the Australian Recording Industry Association's Hall of Fame (in 1988), and the Rock and Roll Hall of Fame (in 2003). In 1982, Williams was chosen as "Bassist of the Year" in a vote conducted by Kerrang! magazine. ## Personal life Williams married his American wife Georganne in 1980. They have two children: model and actress Erin Lucas (born 1984) and Luke (born 1986). The couple initially settled in Hawaii, but this left them feeling too isolated, and they found the school system to be lacking. In 1986, they moved to Fort Myers, Florida, at the suggestion of AC/DC bandmate and nearby resident Brian Johnson. Williams also spends time in the French city of Aix-en-Provence, where he has distant relatives. Williams' hobbies include fishing, flying, and wine. ## Style Williams' role in AC/DC was to provide steady but basic basslines which followed the rhythm guitar of Malcolm Young, consisting mostly of eighth notes. His basslines were sometimes written by Malcolm and Angus Young during composition, and at other times Williams developed them based on the other instrumental tracks. Williams has said of his playing, "It's not the [bass] line that counts. It is the feel. My favorite AC/DC tune to play is 'Down Payment Blues', because it's so simple. I play four notes throughout the song, but I get off on the whole thing—not me noodlin' away." He also said that he plays "the same thing in every song, for the most part [...] in AC/DC's music, the song is more important than any individual's bit in it". He added that "complex [bass] lines wouldn't add anything to a guitar-oriented band like [AC/DC], so [he tries] to create a bottom layer that drives what [AC/DC's] guys are doing on top". Williams had no difficulty keeping his low profile within the band, declaring, "I don't have any problem doing this, because I enjoy playing simply. I never feel angry or prisoner." Nevertheless, he very occasionally employs more melodic lines and passing notes on some songs, such as "Satellite Blues". His playing technique is mostly centred around downpicking, with the occasional use of plucking to mute the strings, which he says "adds more definition and tightens up the notes, and it gives the sound less sustain". ## Equipment In his first appearance in 1977, he used a Gibson Ripper only for the "Let There Be Rock" music video. Williams' trademark instrument is the StingRay and other basses by Music Man, strung with D'Addario (.045, .065, .085, .105) flatwounds in the studio and roundwound XLs in concert. In October 2020, Ernie Ball Music Man announced that they are releasing a Cliff Williams Signature Bass which will be a genuine replica of his 1979 Music Man StingRay bass. Williams states that despite trying other basses over the years, he always went back to Music Man's instruments, which he described as "a tremendous work horse of a bass". Other basses used include the Fender Precision Bass, a Gibson Thunderbird non-reverse, Fender Jazz Bass, the Steinberger L-series, a Gibson EB-3 and at least two LAG Custom basses. Williams used 3 Ampeg SVT-810E cabinets with 2 SVT-4PRO Heads, but if there was any interference with the wireless systems, he used cables in his live performances.	[ "## Early life", "## Career", "### Early career", "### AC/DC", "### Side projects", "## Accolades", "## Personal life", "## Style", "## Equipment" ]	2,183	26,394
5,776,396	Far Rockaway–Mott Avenue station	1,165,708,135	New York City Subway station in Queens	[ "1869 establishments in New York (state)", "1958 establishments in New York City", "Former Long Island Rail Road stations in New York City", "IND Rockaway Line stations", "New York City Subway stations in Queens, New York", "New York City Subway terminals", "Railway stations in the United States opened in 1869", "Railway stations in the United States opened in 1958", "Rockaway, Queens" ]	The Far Rockaway–Mott Avenue station (announced as Far Rockaway station) is the eastern terminal station of the New York City Subway's IND Rockaway Line. Originally a Long Island Rail Road station, it is currently the easternmost station in the New York City Subway. It is served by the A train at all times. As of 2016, this station is the busiest subway station on the Rockaway peninsula. The original surface station on this site was opened in 1869; the current elevated station began operation as a subway station on January 16, 1958. The station was renovated between 2009 and 2012. ## History ### LIRR use Until 1950 the Far Rockaway Branch of the Long Island Rail Road was part of a loop that traveled along the existing route. The line diverges from the present-day Atlantic and Long Beach Branches east of Valley Stream station in Valley Stream, New York. Eastbound trains continued south then southwest, through Five Towns and the Rockaway Peninsula, and onto a trestle across Jamaica Bay through Queens where it reconnected with the Rockaway Beach Branch; westbound trains did the reverse, using the Rockaway Beach Branch to cross the trestle, go through the Rockaways and Five Towns, and continue northeast then north to join the westbound Atlantic Branch. Far Rockaway station itself was originally built by the Far Rockaway Branch Railroad, a subsidiary of the South Side Railroad of Long Island. Construction on the line began in September 1868, and the station was opened on July 29, 1869. The station was later converted into a freight house, when a second station was moved from Ocean Point Station (a.k.a. Cedarhurst Station), remodeled, and opened on October 1, 1881. The third depot opened on July 15, 1890, while the second depot was sold and moved to a private location in October 1890. The surface station featured a large plaza and depot, serving horse-drawn carriages, taxis, and surface trolleys. The Ocean Electric Railway terminated at the station between 1897 and September 2, 1926, and the station served as the headquarters for the Ocean Electric Railway. The station also served as the terminus of a Long Island Electric Railway trolley line leading to Jamaica, via New York Avenue (now Guy R. Brewer Boulevard). Following the end of trolley service in November 1933, the depot served buses from Green Bus Lines and Jamaica Buses; the former Jamaica trolley route became Jamaica Buses' Route B (now the and buses). Around noon on April 10, 1942, the surface station was closed, and a new elevated station on the current concrete trestle was opened as part of the Long Island Rail Road's grade crossing elimination project. This station had two low-level side platforms. ### Subway use There were frequent fires and maintenance problems on the Jamaica Bay viaduct. The most notorious of these problems was a fire in May 1950 between The Raunt and Broad Channel Stations. After this fire, the LIRR abandoned the Jamaica Bay viaduct and the Queens portion of the Rockaway Beach/Far Rockaway route. On June 11, 1952, the city acquired all trackage west of Mott Avenue, incorporating it as part of the IND Rockaway Line. Service provided by the A train over the line began in June 1956, with the full western spur to Rockaway Park operational. While the remainder of the line operated, with Beach 25th Street–Wavecrest serving as the eastern spur terminal, a new Far Rockaway subway station was constructed, opening on January 16, 1958. The Far Rockaway LIRR station was moved to a grade-level station at Nameoke Street on February 21, 1958—two blocks from the original station and three blocks from the subway station—becoming the terminus of the Far Rockaway branch. The original site of the LIRR's elevated station and the bus depot, located on the northeast side of Mott Avenue, were replaced with a shopping center and parking lot, which began construction in 1960. The Far Rockaway Shopping Center, as it was called, started undergoing redevelopment in 2017 as part of the Far Rockaway rezoning; it was proposed to replace the shopping center with affordable housing. In 1981, the MTA listed the Mott Avenue station among the 69 most deteriorated stations in the subway system, despite the fact that the station had become part of the subway system just two decades earlier. From 2009 to 2012, this and eight other stations were renovated for \$117 million. At Far Rockaway, the 1950s design of the station house was replaced with metallic facades and a dome enclosure, and upgrading several features including staircases and employee areas. Elevators from the station house to the platforms were added, as were yellow tactile warning strips on the platform edges, making the station ADA-accessible. A glass artwork titled Respite was installed as part of the MTA's Arts for Transit program. The renovated station was unveiled on May 11, 2012. ## Disputed age Far Rockaway is the oldest currently operating New York City Subway station, having originally opened years ago, on July 29, 1869, as a Long Island Rail Road station. By contrast, the Gates Avenue station on the BMT Jamaica Line in Brooklyn is the oldest station to have been built specifically for rapid transit use, having opened in 1885 ( years ago). The Gates Avenue station is also the oldest continuously operating station in the subway system. The Far Rockaway station was converted from LIRR to subway loading gauges in 1958 and has only operated for years in this capacity. Therefore, by that interpretation, Far Rockaway is actually the fifteenth newest station in the subway system (behind Grand Street; Harlem–148th Street; 57th Street; the three Archer Avenue Line stations; the three IND 63rd Street Line stations; the new South Ferry station; 34th Street–Hudson Yards; and the three Second Avenue Subway stations). ## Station layout The Far Rockaway–Mott Avenue station, the Rockaway Line's eastern terminus, is built on a concrete viaduct and has two tracks and an island platform. The tracks end at bumper blocks just beyond the northeast end of the platform. The station is served by the A train at all times and is its southern terminus; the next stop to the west (railroad north) is Beach 25th Street. The former track connection to the current LIRR's Far Rockaway station has been removed, and transferring now requires a walk of three blocks. A NYCDOT municipal parking facility lies just east of the station between Beach 22nd and Beach 21st Streets, adjacent to the bus loop used by the and n33 services that terminate at the station. `The doors at the northeast end of the platform lead to stairs down to the street level fare control area. A tower and crew offices are at the southwest end. Two elevators and several staircases inside the station house lead to the platform level. A bodega called the "A Line Deli", previously called the "Last Stop Deli", is attached to the station entrance. It was originally a cafe, having been built along with the station in the 1950s.`	[ "## History", "### LIRR use", "### Subway use", "## Disputed age", "## Station layout" ]	1,535	33,487
4,493,844	Michael's Birthday	1,146,018,464	null	[ "2006 American television episodes", "The Office (American season 2) episodes" ]	"Michael's Birthday" is the nineteenth episode of the second season of the American comedy television series The Office, and the show's twenty-fifth episode overall. Written by Gene Stupnitsky and Lee Eisenberg, and directed by Ken Whittingham, the episode first aired in the United States on March 30, 2006 on NBC. The episode guest stars Nancy Carell as Carol Stills. The series depicts the everyday lives of office employees in the Scranton, Pennsylvania branch of the fictional Dunder Mifflin Paper Company. In the episode, Michael Scott (Steve Carell) is disappointed when only Dwight Schrute (Rainn Wilson) celebrates his birthday. Meanwhile, Kevin Malone (Brian Baumgartner) spends the day waiting to find out if he has skin cancer. The ice skating scenes were shot in an actual rink; Carell's talent at hockey was the reason the writers decided to set the episode there. Fischer had also learned to skate in preparation for the movie Blades of Glory, but the writers decided that there was no reason for Pam to be a good skater, so they had Pam lean on Jim. "Michael's Birthday" was watched by 7.8 million viewers and received mostly positive reviews from critics. ## Plot Michael Scott (Steve Carell) is excited to be celebrating his birthday, and tries to get the employees excited with him. Dwight Schrute (Rainn Wilson) is the only one to join in; the rest of the employees are more concerned about Kevin Malone (Brian Baumgartner), who is awaiting results from his skin cancer screening. Pam Beesly (Jenna Fischer) and Jim Halpert (John Krasinski) sneak out to buy gifts for Kevin to cheer him up. After goofing around at the store, Jim and Pam return to the office. When Michael finds out about Kevin's predicament, he gives Kevin his condolences, but is bitter that his birthday fun is ruined. Dwight and Angela Martin (Angela Kinsey) are less subtle than they think they are being when discussing their secret relationship within earshot of Ryan Howard (B. J. Novak). In an attempt to make Kevin feel better and celebrate his birthday, Michael takes the employees out ice skating. At the rink, he runs into his real estate agent Carol Stills (Nancy Carell) and her children. He entertains them, which makes Carol smile. Kevin gets the word that his screening results are negative, to the relief of everyone except Michael, who believes that negative means he has cancer, and reacts for the first time with genuine concern and compassion for Kevin. Gifts are passed out to Kevin and Michael. Pam says in an interview that Michael's birthday "was a good day", and appears to struggle to come up with an explanation for why it was good. The documentary crew suggestively intercuts this with footage of her shopping with Jim. ## Production This episode was the second episode of the series directed by Ken Whittingham. Whittingham had previously directed the first season episode "Health Care". "Michael's Birthday" was written by Gene Stupnitsky and Lee Eisenberg. The two had previously written the episodes "The Fight" and "The Secret". The ice skating scenes were shot in an actual rink. According to Jenna Fischer, Steve Carell used to play hockey, and the writers had been looking for a reason to use Carell's ice skating skills in an episode. Fischer had also learned to skate in preparation for the movie Blades of Glory, but the writers decided that there was no reason for Pam to be a good skater, so they had Pam lean on Jim. Saturday Night Live alumna Nancy Carell, who played Carol Stills, is actually Steve Carell's wife. At the rink, Michael tells Pam to be wary of breast cancer. This is the third joke that Stupnitsky and Eisenberg had aimed at Pam's breasts, after one each in "The Fight" and "The Secret". Fischer later jokingly said that "my breasts play a central role in one of tonight's scenes." Fischer also noted that, due to the slight emphasis her breasts were receiving, many fans on the internet were arguing that Fischer had breast implants. Fischer denied the rumors, but stated that she was "flattered". The Season Two DVD contains a number of deleted scenes from this episode. Notable cut scenes include Jim describing Michael's typical birthday, Dwight explaining his duties on Michael's birthday, Michael being upset when Ryan does not get him a present, Michael telling several variations of his worst birthday, and Michael making Ryan research skin cancer. ## Cultural references The cold opening features Michael trying to get various members of the office involved in a pyramid scheme, which is a non-sustainable business model that involves promising participants payment or services, primarily for enrolling other people into the scheme, rather than supplying any real investment or sale of products or services to the public. The scheme is generally considered one of various internet scams. Michael notes that he shares his birthday with Eva Longoria, and that it will be a perfect icebreaker if he ever meets Teri Hatcher. After Michael asks what Dwight is playing on the recorder, Dwight replies that it is "For The Longest Time", by "William Joel" (Billy Joel released "The Longest Time" in 1984). When Kevin mentions he might have skin cancer, Kelly starts discussing a case involving cancer on the popular medical drama Grey's Anatomy. She later says that the saddest funeral she ever saw was the one for Princess Diana. For Michael's birthday, his mother sent him a picture of James Dean. Resignedly, Michael notes that "I bet Luke Perry's friends don't treat him like this". While at the grocery store, Jim and Pam buy a copy of the American comedy movie American Pie 2. Pam later impersonates Darth Vader, a character from the science fiction movie franchise Star Wars, on the store's intercom. To show his support for Kevin, Michael makes a fake Livestrong wristband out of construction paper. Dwight later gives Michael a Wilkes-Barre/Scranton Penguins jersey with the words "From Dwight" on the back. ## Reception "Michael's Birthday" originally aired on NBC in the United States on March 30, 2006. "Michael's Birthday" received 4.0/10 in the ages 18–49 demographic in the Nielsen ratings. This means that 4.0 percent of all households with an 18- to 49-year-old living in it watched the episode, and ten percent had their television tuned to the channel at any point. "Michael's Birthday" was watched by 7.8 million viewers. "Michael's Birthday" received very positive reviews. Michael Sciannamea of TV Squad wrote that the episode was "simply the best one yet", and that it "was so brilliant and so right on that I can't give it any higher praise". Sciannamea went on to write that "the scenes at the ice rink were hysterical" and The Office "is the best sitcom on TV". M. Giant of Television Without Pity graded the episode with an "A". Lindsey Thomas of Rolling Stone magazine named the scene wherein Michael confuses the term "negative" to mean that Kevin has skin cancer as the seventeenth greatest moment in the series. Brendan Babish of DVD Verdict was moderately pleased with the entry and awarded it a "B+". He called the entry a "good episode", but noted that it was helped by "great supporting work from Dwight", who he called "as not only the best supporting character on the show, but perhaps the best in television."	[ "## Plot", "## Production", "## Cultural references", "## Reception" ]	1,574	21,604
60,533,465	Fasana-e-Azad	1,160,750,611	Urdu novel in four parts by Ratan Nath Dhar Sarshar	[ "19th-century Indian novels", "Adventure novels", "Indian novels adapted into television shows", "Novels based on Don Quixote", "Novels first published in serial form", "Novels set in Lucknow", "Novels set in the 19th century", "Picaresque novels", "Urdu-language novels" ]	Fasana-e-Azad (Urdu: فسانۂ آزاد; transl. The Adventures of Azad, also romanized as Fasana-i-Azad) is an Urdu novel by Ratan Nath Dhar Sarshar. It was serialized in Avadh Akhbar between 1878 and 1883 before it was published in four large volumes by the Nawal Kishore Press. The story follows a wandering character named Azad and his companion, Khoji, from the streets of late-nineteenth-century Lucknow to the battlefields of the Russo-Turkish War (1877–1878) in Constantinople and Russia. The work's status as a novel has been debated, but it is thought by most scholars to be one of the first novels (or a proto-novel) in Urdu. Sarshar conceived of writing Fasana-e-Azad after the success of the articles he contributed to Avadh Akhbar under the title "Zarafat" ("Wit and Humour"). Perennially popular, Fasana-e-Azad has been a subject of study by literary critics as the first Urdu novel and for its influence on the literary form's later development. It is noted for its colourful descriptions of Lucknow, its people, and its culture. ## Background Sarshar, a teacher in Kheri District of Uttar Pradesh, joined the Nawal Kishore Press (founded by Munshi Nawal Kishore) in Lucknow as an editor of Avadh Akhbar. He wrote a column for the magazine about Lucknow's feudal culture, which inspired him to write Fasana-e-Azad. On 8 August 1878, Sarshar was appointed editor of Avadh Akhbar. His first entry in a series called "Zarafat" was published in the 13 August 1878 issue, and the column appeared regularly thereafter. These columns, which eventually made up the first 500 pages of the book, satirize urban life, usually centering on a wandering figure such as Azad or a minor character. This was in keeping with the influence of Charles Dickens's The Pickwick Papers and Miguel de Cervantes' Don Quixote on Sarshar. The popularity of Zarafat led Sarsharr to continue the stories and develop them into a narrative called Fasana-e-Azad. In one piece, published on 23 September, Sarshar explained his reasons for writing the series. He said that their intention was to use humour to allow Avadh Akhbar's readers to familiarize themselves with a social culture, characterized by proper conversational style and idiomatic fluency suited to a variety of social occasions, which could be used in a variety of social gatherings. Sarshar believed that such an education would improve the country and its people; pleasure in reading humorous articles would encourage refinement and higher thought. ## Characters Fasana-e-Azad's main characters are: - Azad – the protagonist. He wanders around Lucknow, meets people from all classes with a variety of ideas, and attends the festivals of Eid, Shab Barart, Maharram and Basant. - Husn Ara – a beautiful girl, from an aristocratic family, whom Azad loves - Sihpahr Ara – Husn Ara's younger sister - Khoji – a dwarf who is Azad's companion ## Plot The novel is set in Lucknow and an imaginary Middle East during the late 19th century. Its theme follows the pattern of Miguel de Cervantes' Don Quixote, with Azad modeled on Don Quixote. Azad's faithful friend, Khoji, echoes Sancho Panza. Azad, with no family history, wanders around the city; he encounters all kinds of people and observes Lucknow's changing urban milieu. He has a keen eye for female beauty. Azad meets two sisters and falls in love with Husna Ara, the older sister. Although she loves him too, she sets a condition for their marriage: Azad must go to Turkey and fight with the Turks in their war with the Russians. Azad leaves for Turkey with Khoji, his sidekick, a dwarf with a fondness for opium and delusions about his handsomeness and martial prowess. They have a number of adventures in Turkey and Russia; several noblewomen fall love with Azad, who remains more-or-less true to Husn Ara. Azad, Khoji, and two female European admirers return to India in triumph. Azad marries Husna Ara, and the two European women become social workers. He becomes the father of twins and is well-known and respected, devoting a great deal of time to the propagation of new ideas, education, commerce and industry. When war breaks out against Afghanistan, Azad is asked by the government to aid the war effort. He goes to war, again proving himself a valiant soldier. Azad then returns home and lives a happy, useful life devoted to the advancement of his country. Fasana-e-Azad has a number of sub-plots, including the story of Husna Ara's sister, Sipahr Ara; her lover, prince Humayun Far; and the Shahsawar, his mysterious rival. ## Publication history Fasana-e-Azad consists of four volumes, with a total of about 3,000 pages (roughly 2.25 million words). The novel has been published in a number of formats. Volume One was serialized in Avadh Akhbar from August 1878 to 5 January 1880 under the title, "Zarafat". It was published in book form in January 1881 by the Nawal Kishore Press, which also published the remaining three volumes. The first instalment of Volume Two appeared in the magazine on 1 July 1880, when the title Fasana-e-Azad was first used. Further instalments, sold by subscription and separately priced, were published after 30 July as monthly supplements to Avadh Akhbar. It was published in book form in July 1882. The third volume was serialized monthly from February 1882 to January 1883 and was published in book form, with an initial print run of 200 copies and a cost of three rupees, in June 1883. Although it is unknown if the final volume was serialized, it was published in book form in 1883. ### Later editions A chapter of Fasana-e-Azad, over 15 pages long, was published by Nawal Kishore Press in 1906 as "Range Siyar". A new edition of the novel was published in 1934. Saraswati Press of Banaras published an abridged 550-page Hindi edition in 1947. The character of Khoji became so popular that Muhammad Ahsan Farooqi collected excerpts about Khoji from the novel and compiled them into a book entitled Khoji, which was published in 1952 by Raja Ram Kumar Press (a successor of Nawal Kishore Press). The New Delhi-based Jamia Book Department published an abridged edition, Fasana-e-Azad (Talkhis), in 1970. ## Reception Fasana-e-Azad was the first serialized Urdu fiction published in an Urdu newspaper. A landmark of modern Urdu fiction, it sparked unprecedented public interest and helped Avadh Akhbar solidify its reputation as one of South Asia's first commercially viable Urdu dailies. During and after publication of the novel, Sarshar became one of the Urdu community's most popular figures. The novel is regarded as one of the first modern Urdu novels, or an immediate precursor to the novel form. According to Firoz Hissain, Fasana-e-Azad's success was unprecedented in the history of Urdu literature; it was read and enjoyed by every segment of society. The novel has been described as an encyclopedia of contemporary Lucknow culture. Reviewers praised Fasana-e-Azad for its portrayals of Lucknow's marketplaces, fairs and diverse social classes, presented with a liveliness and accuracy considered unprecedented in Urdu literature. Historian Ram Babu Saksena cites the novel's realistic depiction of Lucknow's life, the "faithful and vivid portrayal of life and manners of Lucknow society" and Sarshar's "brilliants humour" as outstanding features of Fasana-e-Azad. Saksena calls Sarshar's humour "full-blooded, healthy and unrestrained", and none of his contemporaries approach his "fund of humour". Shaista Suhrawardy Ikramullah calls Khoji Sarshar's greatest achievement and an immortal character in Urdu fiction. Saksena describes Khoji as a "unique character in the whole range of Urdu literature" and as "the most original and wonderful creation of humorous art". Wah Janaab, a television series based on Fasana-e-Azad, aired on DD National in 1984. ## Status as a novel Study of Fasana-e-Azad began after Sarshar's death with the publication of articles by Brij Narayan Chakbast and Bishan Narayan Dar, two of his contemporaries. Much scholarship has focused on its relationship to the history of the novel. Asaduddin describes the general consensus that "Critics and writers call Fasana-e Azad a novel but with some reservations." Sarshar himself was the first to call Fasana-e-Azad a novel, in 1879. Ralph Russell calls it "a work which brought permanently into Urdu literature some of the major elements of the modern novel." Vaqār ʿAz̤īm's textbook on Urdu prose describes it as important in the history of the novel, saying it has had "a profound impact on our novels’ development, for which all future novelists owe Sarshar a debt of gratitude." Dubrow argues that inconsistencies the work's plot and characterization are actually common features of serialized works, which Sarshar intentionally improved to be more novelistic when he revised his columns for book publication. Mohammad Asaduddin highlights the way that Sarshar depicts ordinary life with unembellished language as an important novelistic trait. He also highlights the lack of supernatural elements which would have aligned Fasana-e-Azad more strongly with the genre of dāstān or romance. Ultimately, however, Asaduddin concludes that Fasana-e-Azad is not a "novel proper" because its plot is too unfocused and its characters too unrealistic. Plot and characters, and especially their failure to conform to Victorian standards of literary realism, are common grounds for the assessment that Fasana-e-Azad is not quite a novel. Muhammad Ahsan Farooqi attributed the many uncohesive subplots to Sarshar's "carelessness": "Sarshar had no plan and stuffed in any story wherever he wanted and ended it whenever the mood struck." According to Farooqi, the love between Azad and Husn Ara is the only thread running through the work from beginning to end. Bishan Narayan Dar wrote, "Fasana-e-Azad is not a proper novel, since its plot was not conceived according to any plan. It has neither beginning, nor middle, nor end; rather, it is a collection of unconnected snapshots of the society and culture in which Sarshar lived." Chakbast questioned how Azad's character (which he described as a "uncontrollable, carefree, itinerant, and sometimes even sinful man") could abruptly become "so chaste and refined," finding the character's development "against the law of nature." Author Shaista Suhrawardy Ikramullah also called the characters' development inconsistent.	[ "## Background", "## Characters", "## Plot", "## Publication history", "### Later editions", "## Reception", "## Status as a novel" ]	2,484	15,062
30,350,408	New York Rescue Workers Detoxification Project	1,165,755,412	American organization found in 2003	[ "2003 establishments in New York City", "Aftermath of the September 11 attacks", "Organizations based in New York City", "Organizations established in 2003", "Scientology organizations", "Scientology properties", "Scientology-related controversies" ]	The New York Rescue Workers Detoxification Project was founded in New York City in 2003 with the stated purpose of treating rescue workers for toxins inhaled from the smoke of the September 11 attacks. It has two clinics: Downtown Medical on Fulton Street, two blocks from the site of the World Trade Center, and another at Williston Park, Long Island. The project's co-founder and top fundraiser is actor Tom Cruise. It uses the Purification Rundown, a "detoxification" program invented by L. Ron Hubbard as part of Scientology's Bridge to Total Freedom. This rundown has been criticized by many doctors as pseudoscientific and medically dangerous. It was reported in October 2007 that 838 people had completed the program. The project has been supported by some public officials, and received some public funding, but received criticism for its financial ties to the Church of Scientology, for exposing rescue workers to potential medical dangers, and for discouraging their use of orthodox medicine. Sources in the Fire Department told a reporter that several participants had joined Scientology, even disconnecting from their families. ## Background ### Scientologists criticise EPA Tom Cruise explained his motivation for setting up the project in a Scientology promotional video that leaked onto the internet in January 2008. The Environmental Protection Agency had stated after the World Trade Center attack that the air was safe to breathe. The video narration contradicted this, saying, "The devastation had spread an unprecedented combination of toxins through the air — and it was lethal." Cruise is seen dismissing the EPA's all-clear: > Of course, as a Scientologist, you go, that's a lie. Outright lie. Liar. Fine. Finally you say, dammit, just go there and do it. Put it there, let's go, here's the money, let's go. Let's just get one person treated. I can't sleep another night. In an appearance on CNN's Larry King Live, Cruise said that he founded the project out of concern that 9/11 survivors would suffer leukemia, Parkinsonism, multiple sclerosis or cancer as a result of toxins in their fatty tissue. He advocated Hubbard's "research" as the only way to deal with these problems, claiming, "Doctors do not know how to diagnose chemical exposures ... You go to a doctor and now he's going to put you on more and more drugs, steroids and things that are ineffective." ### "Detoxification" in Scientology The "detoxification" program was created by L. Ron Hubbard, who set out the procedure in Clear Body, Clear Mind, one of the canonical texts of Scientology. Known as the "Purification rundown" or "Purif", it is promoted through various groups affiliated with the Church of Scientology, including Narconon drug rehabilitation and the Second Chance Program. It claims to flush poisons from the body's fat stores using exercise, saunas, and high doses of vitamins, particularly niacin. Medical professionals have judged it to be unproven, ineffective and/or potentially dangerous. A report for the Department of Health in California described the mega-doses of vitamins as "hazardous" and "in some cases lethal." Scientology's own literature reports dehydration, electrolyte disturbances including hyponatremia (low sodium level) and hypokalemia (low potassium level), and heat-related illnesses as being frequent side-effects of the program. Testimonials from some participants credit it with improvements in physical and mental health, but several families blame the Rundown for the death of a relative. The project's clients were required to attend this programme three hours each day, for between twenty-one and forty days. This was promoted as a way to treat memory loss, respiratory problems, fatigue and other problems suffered by the Ground Zero workers. ## Finances and organization From 2003 to 2007, Downtown Medical received US\$900,000 in public funding, including \$630,000 from the City of New York. The project also received private funding, the biggest supporter being Tom Cruise. Other celebrity donors included Paul Newman, Paul McCartney, Adam Sandler, Leah Remini, Will Smith and Jada Pinkett Smith. By late 2004, these donations amounted to \$2.3 million. The detoxification program has been offered for free to rescue workers, and also offered to other New York City residents, some of whom paid \$5,000. According to tax filings, the project pays on some of its money to two bodies, related to the Church of Scientology, that promote the Purification Rundown. These are the Association for Better Living and Education (ABLE), which receives 5% of all contributions, and the Foundation for Advancements in Science and Education (FASE). The Executive Director of the Church of Scientology was involved in creating the Foundation and later described it as a "front group". In one year, \$173,300 of Downtown Medical's income went to Dr. Steven Lager, a Scientologist. As of 2007, the director of the project was Jim Woodworth, a former drug addict who credits his recovery to the Purification Rundown. He was formerly the executive director of HealthMed, a Sacramento, California, group which promotes Hubbard's approach to detoxification. ## Endorsements and criticism The project had a mixed response from public officials. Margarita López, a former member of the New York City Council, endorsed the program and helped it to win public funding. Subsequently, she received nearly \$115,000 in campaign contributions from Scientologists. Another councillor, Joseph Addabbo, Jr., also supported the project, telling reporters, "The project seems to work. I've seen it firsthand." Mayor Michael Bloomberg spoke out against Addabbo and López for their connections with the program, saying that Scientology is "not science, and we should only fund those programs that reputable scientists believe will stand the light of day". Another supportive member of the City Council was Hiram Monserrate. Monserrate went through the program himself, and drafted official proclamations honoring both Tom Cruise and L. Ron Hubbard. Describing himself as a Christian, he distanced himself from Scientology but said he believes in the Purification Rundown. Another councillor (and chair of the Public Safety Committee), Peter Vallone, Jr., vocally criticized the detoxification project and argued that public money should not be spent on it. He accused Monserrate of crossing the line between "cult and state". The project's publicity included favorable quotations from Senator Charles Schumer and from Michael Balboni, New York's deputy secretary for Public Security, though Schumer later withdrew his support and Balboni denied ever making the statement. Council speaker Christine C. Quinn denounced the program as meritless. U.S. Representative Carolyn B. Maloney wrote a letter supporting the project. Dr. Bob Hoffman of the New York City Poison Control Center warned that the Purification Rundown is potentially dangerous, calling it "hocus pocus". Mayor Doreen Ehrbar of Williston Park took part in the opening ceremony for the Long Island clinic. Neither the police nor the fire department officially supported the project. The Uniformed Firefighters Association initially supported it, but withdrew when the connection to the Church of Scientology was revealed. Firefighter Union President Patrick Bahnken said his members' lives had benefited from the program, and that it had involved no religious rhetoric. Deputy Fire Commissioner Frank Gribbon of the FDNY told The New York Times, "while we are aware some members of the department have availed themselves of the program, we in no way endorse it.” Officials at the department raised concerns that firefighters were giving up existing medications in order to take part. The department's deputy chief medical officer Dr. David Prezant said, "It's not our job to say you can't go. All we can do is say there's no proven evidence it works." Actress and radio show host Janeane Garofalo drew criticism by allowing actress Leah Remini, then a Scientologist, to promote the project on her Air America Radio show. ## Outcomes It was reported in October 2007 that 838 people had completed the program. The clinic displayed towels with colored stains, as evidence that toxic material had been sweated out in the saunas. According to its Director, Jim Woodworth, during the Purification Rundown firefighters had passed odd-colored bowel movements and sweated out mercury, aluminium and magnesium. The Fire Department's chief medical officer, Dr. Kerry Kelly, criticized the lack of objective evidence, saying, "I have trouble believing in these purple-stained towels." An investigation by the New York Press asked a number of independent doctors about the evidence for the Purification Rundown. None of them endorsed the program's effectiveness and some explicitly described it as dangerous. Several said that no peer-reviewed research on the rundown had been published in any medical journal. Some apparently supportive studies have been published, but these lack control groups and have other scientific failings. According to Deputy Fire Commissioner Frank Gribbon, doctors investigating the program on behalf of the Fire Department concluded that it was not detoxifying. University of Georgia bioterrorism expert Cham Dallas also denied that the procedure could detoxify, saying "It sounds great and they mean well, but it just doesn't work." In 2007, James Dahlgren and colleagues published a small-sample pilot study assessing the project. Dahlgren is a doctor who promotes the Purification Rundown as a method of detoxification. The study claimed to find evidence both of elevated levels of polychlorinated biphenyls (PCBs) and polychlorinated dibenzofurans (PCDFs) in the rescue workers and improvement during the regime. Two scientists from Cambridge Environmental, Inc. published a thorough critique of the study. They questioned the premise that WTC rescue workers needed detoxification, citing studies that had found that their blood concentration of toxins was no greater than normal. > [W]ith few exceptions, people's body burdens of PCBs and other 'dioxin-like compounds' are determined almost exclusively by the food we eat, not by the air we breathe. Firefighters may occasionally receive on-the-job exposures to PCBs and PCDFs, but these would be from having fought PCB-containing electrical transformer fires, not from 9/11. The paper argues that the project never properly tested its outcomes and concludes that application of the "potentially dangerous" Purification Rundown to the health problems of 9/11 workers is "unconscionable". Many of the participants spoke favorably of the program and reported improved physical and mental health. Others said they were just taking advantage of the free saunas. One Fire Department lieutenant was quoted describing colleagues as desperate for help with the distress they felt in the aftermath of the attacks, to the point that they would try anything. Fire Department officials raised concerns about the project, saying that firefighters were being required to give up inhalers, pills and other orthodox medication. Two weeks into the program, one firefighter passed out and was taken to an emergency room with severe asthma, later saying that he had been asked to stop using his inhaler. According to the clinic's associate medical director, Dr. Kawabena Nyamekye, participants were being helped off medication at their own insistence, not at the request of Downtown Medical. A former worker at Downtown Medical told reporters that staff were discouraged from calling for an ambulance even in an emergency, and that one of them had been required to break off contact with her boyfriend because he had left Scientology. A spokesman responded that the clinic had "a clear policy of calling 911 when needed." ## See also - Purification Rundown - Narconon - Clear Body, Clear Mind - All About Radiation - Dianazene	[ "## Background", "### Scientologists criticise EPA", "### \"Detoxification\" in Scientology", "## Finances and organization", "## Endorsements and criticism", "## Outcomes", "## See also" ]	2,418	6,829
19,083,743	Cyclone Bondo	1,170,556,124	South-West Indian cyclone in 2006	[ "2006 in Madagascar", "2006–07 South-West Indian Ocean cyclone season", "Cyclones in Madagascar", "Cyclones in Seychelles", "Intense Tropical Cyclones", "Tropical cyclones in 2006" ]	Intense Tropical Cyclone Bondo was the first of a series of six tropical cyclones to impact Madagascar during the 2006–07 South-West Indian Ocean cyclone season. Bondo developed on 15 December in the central Indian Ocean, west of Diego Garcia. After strengthening into a moderate tropical storm on 18 December, the storm rapidly intensified while moving westward, taking advantage of favorable atmospheric conditions. Within 18 hours of being named, Bondo intensified to tropical cyclone status, or the equivalent of a minimal hurricane. The Météo-France office on Réunion (MFR) estimated peak 10-minute sustained winds of 205 km/h (125 mph), although the American-based Joint Typhoon Warning Center estimated stronger 1-minute winds of 250 km/h (155 mph). While near peak intensity, Bondo passed just south of Agaléga island, before weakening slightly and moving through the Farquhar Group of islands belonging to the Seychelles, becoming the strongest cyclone to affect that island group in decades. Bondo turned southwestward, and after brushing the northern coast of Madagascar, the cyclone made landfall near Mahajanga on 25 December. The storm continued southward, and was last tracked by the MFR on 28 December. Due to its small size, Bondo's winds did not exceed 100 km/h (62 mph) on Agaléga, despite passing close by near peak intensity. In the Seychelles, Bondo severely damaged buildings and vegetation on Providence Atoll. High waves caused flooding elsewhere in the archipelago. In Madagascar, Bondo killed 11 people when it struck the island's west coast. The storm's high winds, reaching 155 km/h (96 mph) in Mahajanga, damaged buildings and left around 20,000 people homeless. ## Meteorological history An area of convection, or thunderstorms, persisted west of Diego Garcia in the central Indian Ocean on 15 December. That day, the Météo-France meteorological office in Réunion (MFR) classified the weather disturbance as Tropical Disturbance 3. Over the next two days, the disturbance became more organized, with increasing convection over the center. This was due to the system moving into an area of lower wind shear. On 18 December, the MFR upgraded the system to Moderate Tropical Storm Bondo. On the same day, the Joint Typhoon Warning Center (JTWC) began issuing advisories on Bondo, designating it Tropical Cyclone 05S. Steered by a ridge to the south, Bondo moved westward into an area conducive for strengthening, including low wind shear, warm waters of around 29 °C (84 °F), and favorable outflow. Within 18 hours of being named, Bondo intensified to tropical cyclone status, or the equivalent of a minimal hurricane, and continued to rapidly intensify. Late on 19 December, the JTWC estimated peak 1-minute winds of 250 km/h (155 mph). Early on 20 December, the MFR estimated peak 10-minute winds of 205 km/h (125 mph), making Bondo an intense tropical cyclone. At 02:30 UTC that day, Bondo passed about 20 km (12 mi) south of Agaléga, one of the Outer Islands of Mauritius. Despite the close approach at peak intensity, the cyclone's small size spared the strongest winds from affecting the island. Increasing wind shear and an eyewall replacement cycle caused Bondo to weaken, beginning on 20 December. On the same day, the track shifted to the west-northwest. On 21 December, Bondo passed over Providence Atoll and Farquhar Atoll, part of the Outer Islands of Seychelles. It was the most intense tropical cyclone in several decades to strike that part of the Seychelles. On 22 December, Bondo weakened to a moderate tropical storm as its track shifted to the southwest. The storm re-intensified due to warmer waters, regaining tropical cyclone intensity late on 23 December near the northern tip of Madagascar. On the next day, the JTWC estimated a secondary peak intensity of 215 km/h (135 mph), while the MFR estimated a secondary peak of 140 km/h (85 mph). Land interaction and drier air caused the storm to weaken slightly. Around 12:00 UTC on 25 December, Bondo made landfall in northwestern Madagascar near Mahajanga as a severe tropical storm. The storm weakened to a tropical disturbance while continuing southward through the country. On 26 December, Bondo emerged into the Mozambique Channel. The MFR continued tracking the disturbance for two more days, by which point Bondo was located off the southwest coast of Madagascar. ## Preparations and impact Cyclone Bondo first affected the small island of Agaléga. The Mauritius Meteorological Service warned for the potential of storm surge, high winds, and heavy rainfall. While passing nearby, wind gusts did not exceed 100 km/h (62 mph). However, rainfall from the storm occurred on Agaléga, reaching about 287 mm (11.3 in) over 24 hours. Due to its proximity to the equator, the Farquhar Atoll is rarely affected by tropical cyclones. Bondo was the first cyclone to affect Farquhar since Tropical Storm Honorine in 1974. The MFR described Bondo as "shaking the immemorial peacefulness of the islets of the Farquhar Archipelago and wreaking havoc on the northernmost ones." On 21 December, officials in Seychelles evacuated 35 of its 43 residents. The remaining eight stayed on Providence Atoll in a concrete bunker, unable to be evacuated due to limited time and resources. Bondo destroyed most of the buildings and about 60% of the coconut trees on Providence, decimating the island's copra industry. The island's human population was evacuated following the storm and not returned, due to the inability for emergency evacuations. The storm killed native pigs, birds, hens, and cats on Providence, while also wrecking vegetation. The cyclone also produced 1.8 m (5.9 ft) tides higher than normal in the Inner Islands of Seychelles, along with 3 m (9.8 ft) waves. Rough seas caused flooding, beach erosion, and coastal damage on Mahé, Praslin, and La Digue. One person was injured on Mahé. In northern Madagascar, Cyclone Bondo produced gusty winds and heavy rainfall. Eleven people were killed as a result of Bondo and another was reported as missing. A total of 20,001 people were left homeless. One of the fatalities took place in Mahajanga after a wall collapsed on a man. Another fatality occurred offshore after a man went missing while taking his family canoeing. Roughly 300 people were affected in the city of Mahajanga alone. The city recorded 179 mm (7.0 in) of rainfall in 24 hours, as well as peak wind gusts of 155 km/h (96 mph). Bondo knocked out the power, water, and phone service in Mahajanga, hampering rescue efforts. ### Aftermath In the Seychelles, officials reinforced buildings to withstand future storm damage, following Cyclone Bondo. The improvements failed to withstand the winds from a stronger storm, Cyclone Fantala, which affected the same group of islands in 2016. In conjunction with the International Red Cross, rescue teams in Madagascar were deployed to the hardest hit regions on 27 December. These teams traveled by road to the region while a third team was set to arrive by helicopter several days later. Bondo was the first in a series of six storms to affect Madagascar in the 2006-07 season, followed by Severe Tropical Storm Clovis, which struck southeastern Madagascar in January; Cyclones Favio and Gamede, which brushed the island in February, Indlala in March, and Jaya in April. In late-February, 2007, the Government of Norway provided \$800,000 in relief funds for the combined effects of Cyclones Bondo, Favio and Clovis. On 15 March, the United Nations announced a funding program after three other storms had struck Madagascar. The goal was to provide roughly \$9 million to about 300,000 of the millions of affected population. However, upon the announcement, only \$3 million of this fund had been allocated. Following the widespread damage from Cyclone Indlala in March, 2007, the Government of Madagascar launched an appeal to the United Nations for \$246 million in relief funds for damage wrought by all five cyclones. The appeal ultimately raised 76% of its target, which was spent on food, shelter, and other emergency items. ## See also - Cyclone Kamisy (1983) – another strong cyclone that also affected northern and northwestern Madagascar	[ "## Meteorological history", "## Preparations and impact", "### Aftermath", "## See also" ]	1,862	29,839
55,329,808	Score (Carol Lloyd album)	1,156,788,120	null	[ "1979 debut albums" ]	Score is the debut album by American recording artist Carol Lloyd, released on December 31, 1979, through Casablanca Records and Earmarc Records. Following Lloyd's signing with Earmarc, a new label division of Casablanca, she began recording material for the record throughout the latter half of 1979. A disco album, Score was one of the first projects to be released from the label, which specialized solely in disco music. All six of the tracks on the record were produced by Michael Forte and Bruce Weeden, with the former individual also contributing lyrics to four of the aforementioned songs. Lloyd released "Score" and "Shake Me, Wake Me" as singles to promote the album, with the latter receiving heavy airplay from disc jockeys, entering Billboard's Dance Club Songs chart at number 89, and being noted as a standout track from Score; the album was similarly well received by music critics. In the 2010s, Score was reissued by the Essential Media Group in two different formats, with the most recent one in 2016 featuring three bonus tracks. ## Background American recording artist Carol Lloyd was first signed to Earmarc Records in August 1979, the new division of Casablanca Records headed by vice president of special projects, Marc Paul Simon. Earmarc Records would consist solely of artists releasing music in the disco genre, with Lloyd, the Duncan Sisters, Van Hinton, and Ricardo DeCampos to be among the first four artists signed to the newly founded company. The entire album was recorded and mixed at Alpha International Studios in Philadelphia throughout the latter half of 1979. Various collaborators helped out in creating Score, including saxophonist Mark Adler, design agency Gribbitt!, and drummer Robert Sonsini; also, mastering of the album's track took place at Sterling Sound Studios. Several decades later, the Essential Media Group record label reissued Score in a digital format on May 11, 2010. It was distributed through the iTunes Store in the United States and features "remastered" versions of all six songs to appear on the album. The same label reissued "Score" with B-side "Shake Me, Wake Me" on May 27, 2014. One more reissued version of Score occurred on October 21, 2016; the previously unreleased "Expanded Edition" of Score included three bonus tracks that were exclusive to the digital release of the album. It included the 7" and 12" versions of "Shake Me, Wake Me" plus the 12" version of "Score", extending the number of the tracks on the record from six to nine. ## Singles Lloyd's first commercial release with the label would be her single "Score", which would take place in September 1979. Serving as the album's lead single and the singer's debut single, "Score" was distributed in both 7" and 12" gramophone vinyl formats. It featured album track "Dream Dancer" as the B-side track, except on initial promotional printings where "Shake Me, Wake Me" was used instead. Michael Forte wrote and produced the track with Bruce Weeden serving as an additional producer; both Forte and Weeden also produced all of the album as well. The staff at Billboard would later include it in their "Top Single Picks" column on September 29 of the same year and listed it as a recommended track for readers of the magazine. A cover of Four Tops's "Shake Me, Wake Me (When It' Over)", although "When It's Over" was omitted from the title, followed as the album's second and final single and was distributed in December 1979. It also was released in various versions alongside album and B-side track "Sundown to Sunrise", which was written by Bob Alan and Debra Barsha. It received heavy airplay by disc jockeys and was similarly featured in the "Top Single Picks" column by Billboard. The success of "Shake Me, Wake Me" allowed it to enter the Dance Club Songs chart, compiled by Billboard, where it peaked at number 89 on January 5, 1980. ## Reception Score received generally favorable reviews from music critics. James Arena, who wrote Legends of Disco: Forty Stars Discuss Their Careers, compiled a list of various "somewhat noteworthy disco tracks" released in between the 1970s and 1980s; ultimately, he recommended the readers to listen to "Score", "Showdown", and "Shake Me, Wake Me" from the album as they were all "significant products of the disco era by important artists and worthy of a spin". Barry Lederer, a columnist for Billboard, referred to "Shake Me, Wake Me" as the "one exceptional cut" on Score. Referring to American vocalist Barbra Streisand's cover of the song in 1975, he claimed that Lloyd's version made the "already popular Streisand classic even better". ## Track listing All tracks on Score produced by Michael Forte and Bruce Weeden. ## Personnel Credits adapted from the liner notes of the vinyl edition of Score. - Carol Lloyd – vocals - Mark Adler – alto saxophone - Mike Bonghi – assistant engineer - Ron Caesar – bass - John Demartino – keyboards - Danny Diangio – keyboards - Michael Forte – arranging, guitar, production - Geoff Genovese – creative director and consultant - Gribbitt! – design and graphics - Leza Holmes – backing vocals - Renee Johnson – backing vocals - Larrey Labes – bass - Kenny Lipman – tenor saxophone, clarinet - Howard Menken – photography - Derick Murdock – bass - Marc Paul Simon – art direction, design - Jack Skinner – mastering - Robert Sonsini – drums - The Ultimate Players – strings, horns - Ron Vitola – assistant engineer - Larry Washington – percussion - Bruce Weeden – guitar, recording, mixing - Garfield Williams – drums - Sharon Williams – backing vocals - Jerry Williamson – assistant engineer ## Release history	[ "## Background", "## Singles", "## Reception", "## Track listing", "## Personnel", "## Release history" ]	1,306	4,286
31,077,026	Netball in the Cook Islands	1,149,511,643	Overview of the ball sport in the nation	[ "Netball in the Cook Islands" ]	The Cook Islands compete as a part of netball's Oceania region. More than 1,000 players have registered to play the sport. Participation in the game grew during the 1970s. Much of this is possible because of the national governing organisation, the Cook Islands Netball Association which is a member of Oceania Netball Federation. Because of the level of organisation and the game's development, the country has participated at several international events including the Pacific Games, the Commonwealth Games, the World Games, the Oceania Netball Tournament, the World Youth Netball Championship, and the International Challenge Men's and Mixed Netball Tournament. A demonstration of the Cook Islands success can be found by looking at the national team: It is one of the top ranked in the world. Netball has grass roots support and plays an important part in the life of women on the islands. There are over 15 netball clubs. Beyond club competitions, the game is played at schools and at national festivals like the Manea Games. The game's reach extends beyond traditional gender boundaries and is also being played by some Cook Islander men. Netball has benefited from several high visibility players and administrators, who have helped to develop the game internally and internationally. ## About the Cook Islands The Cook Islands are an island nation, with a population of 23,400 people as of September 2010. As of 2006, there were 15,324 total residents of the Cook Islands. Of these, 7,822 were male and 7,502 were female. The most populated islands and regions were Raratonga with 10,226 residents of whom 5,008 were female, Aitutaki with 1,975 total residents of whom 989 were female, Mangaia with 631 total residents of whom 324 were female, Atiu with 558 residents of whom 275 were female, Pukapuka with 419 total residents of whom 184 were female, Mauke with 372 total residents of whom 178 were female, and Manihiki with 344 total residents of whom 153 are female. ## Netball history and development Because of a favourable climate, sport is played year round in the Cook Islands. Most sports, including netball, cricket, tennis, boxing, golf, soccer, squash and rugby union, are of European origin. The most developed and popular of them is netball, a sport in which the Cook Islands has participated on a global stage. The two most important international sport competitions that the Cook Islands participate in are the Commonwealth Games and the South Pacific Games. The Cook Islands was a major force behind the creation of the South Pacific Mini Games, participation in which has played an important role in the country's modern sporting history. Since the 1970s, the popularity of netball on the islands grew and the Cook Islands has made an effort to host these events as a way to improve facilities. During the 1970s, the Cook Islands began bidding to host international sporting events. Meanwhile, the popularity of netball grew. The sport's popularity is partly due to the influence of New Zealand, where Cook Island players have competed for New Zealand's national team. One such player was Margharet Matenga, who joined the Silver Ferns in 1979. Another was Anna Noovao, who was the captain of the New Zealand side in 1992. New Zealand encouraged the sport in the Cook Islands during the 1980s by hosting coaching and umpiring clinics. There are a number of athletes from the Cook Islands who reside overseas. This is especially true of netball. Some commentators state that living abroad has provided these athletes with access to facilities and levels of higher competition that they cannot get at home. In 1991, the Government of the Cook Islands identified the lack of funding for sport facilities as a key reason why the nation has not succeeded at international competitions. It believed that investing in sporting infrastructure would enable the nation to be more globally competitive. Netball was not recognised as an Olympic sport until 1995. While official recognition as an Olympic sport did not mean that it was played at the Olympics, it did mean that the national association and the Cook Islands government could then access Olympic funding to help cover costs for facilities, travel, coaching, umpire training and other grass roots development efforts. The Cook Islands Netball Association is the governing body for the sport in the Cook Islands, and historically, the sport has been administered by women. Most netball courts are owned by the local village or club. With the exception of National Auditorium, all courts are outside. In 1990, the Cook Islands Netball Association had 15 clubs affiliated with it, all based in the southern islands group, including Ngatangia/Matavera, Avatiu/Nikao, Arorangi, Titikaveka, Takuvaine, Tupapa, Outer Islands. The South Pacific Mini Games is a sporting event televised by a local Cook Islands television station. Sports contested at the games included netball. These games were televised, with funding to buy the rights being provided by the West German Government and the Government of the Cook Islands. In 2008, the first live broadcast of a netball game happened on television in the Cook Islands when the Silver Ferns played the Aussie Diamonds on 29 September. The Manea Games are an annual eleven-day sport festival. The fifth version of the festival was held in 2008 at Aitutaki. The 2011 edition of the games were held in Mangaia. Sports represented at the games include netball, athletics, cricket, darts, soccer, rugby sevens, table tennis, tennis, touch rugby, volleyball and traditional games. The games are taken very seriously across all sports. Girls competing at netball compete with the hope of one day competing at the international level. In 1992, the government detailed its national sport objectives. These objectives included promoting youth activity in order to improve quality of life, encourage young people to participate in national celebrations, develop and organize local sport, and foster a sense of competition and national unity in the sporting community across the village, national and international sphere. While not specifically mentioning netball, it did acknowledge the importance of the sport in terms of international prestige. One of the strategies to help meet those objectives was to strengthen national sporting bodies like the netball association. This worked; by 2009, there were more than 1,000 players registered with the Cook Islands Netball Association. ## Grass roots netball There are at least three netball courts on the island of Atiu, which has a population of around 650. The netball and tennis rivalries between villagers on the island is fierce, and they built the netball facilities to help them win. The island has nine tennis courts, which used more often for playing netball, volleyball and soccer than tennis. There are a number of netball teams affiliated with schools on Atiu. Each has its own colours: Teenui wears blue on top and white on the bottom;Tengatangi and Mapumai wears green on top and white on the bottom; Ngatirua wears black on top and bottom; and Areora wears red on top and white on the bottom. The Girls' Brigade, Girl Guides and Junior Missionary Volunteers also have their own uniforms and colours. Netball is played on the island of Aitutaki. Other sports played on the island include rugby union, rugby sevens, association football, cricket, volleyball, darts, tennis, badminton, ping pong and athletics. Netball plays an important role on the social life of Cook Island women. For their social activities, rather than go to bars, they play netball and go to church. Netball games are most often played on Saturdays during the winter months from April to August, though games can be played throughout the year. Female players who make the national team are treated like minor celebrities. Traditionally, on village feast days, several sport competitions are held including netball, rugby and dance. The Cook Islands Golden Oldies Netball Association is a local league that is part of a network of leagues in various sports aimed at seniors. Belonging to these teams offers seniors a chance to travel that they might not be able to afford otherwise because of the high cost of transportation from the Cook Islands to other locations. ## Men's netball Unlike some countries, the growth of men's netball is hampered by cultural bias against it; when parents see their boys playing it, they actively discourage them from continuing. Despite this, the Cook Islands also has a men's national team that has competed in the 2006, 2009 and 2011 International Challenge Men's and Mixed Netball Tournament. The popularity of netball is growing amongst men on the island, as sport is an important way of villages keeping in touch with each other. At the Easter sports day, organised by the Christian Youth Organization, traditional roles are exchanged and boys play netball while girls play rugby. During this sporting event, the boys cross dress and wear the uniforms that are traditionally worn by women. ## People Many people have been important in the push to develop the game in the Cook Islands and raise the profile of the national netball team on the global stage. They include Anna Noovao, who was the captain of the 1992 New Zealand side, Margharet Matenga, who was the first Cook Islands player to play for New Zealand's national team, and Mamia, who was the secretary of the Cook Islands Netball Association for six years. Mamia was an umpire and an umpire examiner for the Oceania region. She attended South Pacific Games in Micronesia, the Commonwealth Games in Malaysia, and the Olympic Games in Sydney. Mamia was a national representative for teams that had competed in the South Pacific Games during the 1980s. Tina Browne was president of the Cook Islands Netball Association. Elizabeth Tou was coach of the national team from 2005 to 2007. She represented the country as a player at Pacific Games, Commonwealth Games and the World Championships. ## International The Cook Islands Netball Association is a member of the Oceania Netball Federation. The nation's participation in the international netball community has raised the islands' visibility globally. The Cook Islands won the netball competition at the first South Pacific Games, now Pacific Games, held in 1981. The national team had its first win in the tournament in 1983, when it beat Fiji. In 1986, the government provided to help the team travel to the 1986 Commonwealth Games in Scotland. The 1987 Netball World Championships were also held in Scotland, and the Cook Islands team came in sixth. At the World Games 1989 in Germany, the team came fourth. In the 1990 Oceania Netball Tournament, the team defeated New Zealand, Tonga and Fiji to come in second behind Australia. In January 2011, the national team was ranked eleventh in the world. At the 1992 World Youth Cup in Samoa, the Cook Islands U-21 team defeated several high-profile international teams including Wales, Samoa, and England. The Cook Islands' defeat of Canada, 114–13, in that tournament was a record for the highest score in the tournament. The Cook Islands also has a national team that competes in the international Golden Oldies netball tournament. In 2004, a team from the Cook Islands competed in the International Schoolgirls Netball Challenge. The country hosted the 2008 World Youth Championship, and the 2009 International Challenge Men's and Mixed Netball Tournament. In 2011, a New Zealander, Margaret Foster, was appointed as head coach of the development squad. One of her goals was to improve the team's fitness levels. In the lead up to the 2009 World Youth Championship, there was considerable anxiety over the facilities, and whether they would be up to world standards. The Prime Minister of the Cook Islands reconfirmed that his government would deliver a new venue. Because of this, the International Netball Federation reaffirmed their support for hosting the event in the Cook Islands. The Chinese government offered to step in and loan the country to help pay the costs for constructing the facility. The loan was controversial as some organisations felt the country had misplaced priorities. During the planning and preparation period in the lead up to the 2009 World Youth Championship, the government sought to increase the size of the loan for the facility to . The opposition leader Norman George was unhappy with how the government handled the whole situation regarding new sporting facilities to be built for the World Youth Netball Championships and the 2009 Pacific Mini Games. ### Competitive history The table below contains a sample of the Cook Islands results in international competitions. The table below contains sample of Cook Islands results in individual international matches.	[ "## About the Cook Islands", "## Netball history and development", "## Grass roots netball", "## Men's netball", "## People", "## International", "### Competitive history" ]	2,645	23,006
39,766,679	Life Is People	1,153,115,486	null	[ "2012 albums", "Bill Fay albums", "Dead Oceans albums" ]	Life Is People is the fourth studio album by English singer, pianist and songwriter Bill Fay, released by Dead Oceans in August 2012. Fay had been without a record label after being dropped by Deram Records following the release of his second album, Time of the Last Persecution in 1971, and could not secure a release for his third album Tomorrow, Tomorrow & Tomorrow. To support himself, Fay took various jobs outside of the music industry, while continuing to record music at home. In 1998, Fay's first two albums were reissued on compact disc by British record label See for Miles Records, prompting a revival of interest in his work, and Tomorrow, Tomorrow & Tomorrow was finally released in 2005. Fay was persuaded to return to the studio to record a new album by American record producer Joshua Henry, who was a fan of Fay's Deram albums after he had heard them played by his father. Fay and Henry assembled a group of musicians that included guitarist Ray Russell and drummer Alan Rushton, who had both played on Time of the Last Persecution. Recording took place across ten days at Snap Studios in North London with engineer Guy Massey. It was released to critical acclaim, featuring on several critic's year-end lists and reaching number 56 on the UK Albums Chart. Fay donated the proceeds from the album to the humanitarian aid organisation Médecins Sans Frontières. ## Background and recording Bill Fay released his first two albums, Bill Fay (1970) and Time of the Last Persecution (1971), on the Deram Records label. The recordings did not perform well and Fay was dropped from Deram soon after the release of his second album. After failing to secure another recording contract, Fay took various jobs including fruit picking, working in a factory and in a supermarket. Fay continued to write songs and entered the studio with a group of musicians in the late 1970s and early 1980s. Tapes of the resulting album, Tomorrow, Tomorrow & Tomorrow, were sent to twelve record companies but the album did not receive a release. In 1998, British record label See for Miles Records re-issued Bill Fay and Time of the Last Persecution on compact disc, reviving interest in Fay's work. Wilco singer Jeff Tweedy, who sang Fay's "Be Not So Fearful" during the 2002 Wilco documentary I Am Trying to Break Your Heart, Current 93's David Tibet, Okkervil River's Will Sheff, R.E.M. guitarist Peter Buck, Jim O'Rourke and Nick Cave declared themselves fans of Fay's music. In 2004, Wooden Hill Records released a collection of demos entitled From the Bottom of an Old Grandfather Clock, and Tomorrow, Tomorrow & Tomorrow was eventually released in 2005 on David Tibet's Durtro label. After Wilco began covering "Be Not So Fearful" during their live sets, Jeff Tweedy persuaded Fay to join the band onstage to sing a duet on the song at a concert at Shepherd's Bush Empire in 2007. Tweedy offered Fay an opportunity to record an album with Wilco in Chicago, but Fay declined. Another collection of demos, Still Some Light, was released in 2010 by Tibet's Coptic Cat label. In 2012, Fay was approached by American record producer Joshua Henry, who convinced Fay to record a new album. Henry, who was familiar with Fay's work through his father's record collection, originally planned to reproduce some of Fay's unused home recordings at London's Abbey Road Studios. Fay compiled a CD of his unreleased music and sent it to Henry, who played it to Dead Oceans founder Chris Swanson. Swanson liked the songs and Fay signed a contract with the label to record and release the album. A band of musicians including guitarist Ray Russell and drummer Alan Rushton, who had both played on Time of the Last Persecution, was assembled and recording eventually took place across ten days at Snap Studios in North London with engineer Guy Massey. The first song recorded for the album was "Be at Peace With Yourself", which had previously appeared in demo form on Still Some Light. ## Music and lyrics Life Is People is a singer-songwriter album that contains twelve tracks with a total running time of 58 minutes. Eleven tracks were written by Fay. The piano ballad "Jesus, Etc." is a cover version of a Wilco song originally written by Jay Bennett and Jeff Tweedy, which first appeared on their 2002 album Yankee Hotel Foxtrot. "This World", which was described by Grayson Currin of Pitchfork Media as one of the album's key songs, features additional vocals from Tweedy that were recorded at the Loft studio in Chicago. Life Is People's lyrics were described by Thom Jurek as "bittersweet reflections on wasted life, loss, death, grief, environmental apocalypse, and human frailty ... balanced by themes that affirm tolerance, healing, love, and spiritual redemption." Currin described the songs as "pleas for redemption in a world drunk on its promise, coupled with a reassuring contentment for simply having lived this life." The song "City of Dreams", the lyrics of which refer to a street sweeper, was written by Fay 15 years before it was recorded. The album's title is derived from the song "Cosmic Concerto (Life Is People)", which refers to a comment made to Fay by his father while they were observing passers-by during a childhood visit to the seaside. "Be at Peace With Yourself", which begins with "liturgical" organ and piano, features a gospel choir and was described as the album's "centerpiece". ## Release News of a new Bill Fay album was announced on 31 May 2012 by Dead Oceans, and the first new song appeared when "Never Ending Happening" premiered on National Public Radio's All Songs Considered program on 26 June. A promotional video for "Be at Peace With Yourself", produced by Dan Huiting, was released on 9 July. Life Is People was made available for streaming in its entirety by Paste magazine on 20 August, and was released by Dead Oceans the following day on compact disc, double vinyl LP and digital download. A bonus track, "Home Was the Place", was included in the iTunes release. A promotional video for "This World", directed by Califone singer Tim Rutili, was premiered on 27 August. The video contained Super 8 film images projected onto people's faces, including that of Jesus Lizard frontman David Yow. Life Is People entered the UK Albums Chart during the week ending 1 September 2012 and peaked at number 56. In the United States, the album reached number 15 on the Heatseekers Albums chart. Fay donated the proceeds of the record to the humanitarian aid organisation Médecins Sans Frontières, known for its work in war-torn regions and developing countries. ## Reception At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, Life Is People received an average score of 86, based on 21 reviews, indicating "universal acclaim". In his review for AllMusic, Thom Jurek stated that "Fay performs these songs as if they were living things, independent of his inner world. His reverence for them makes the listening experience one of great emotional depth. Life Is People brims with compassion, vulnerability, and tenderness. It is not a comeback record but a late continuation, a great work of art." Drew Litowitz of Consequence of Sound wrote that "little has changed. Fay's songs sound as if they've simply been hanging out in the ether for all these years, just waiting to be put to tape...Life Is People makes a strong argument for why Fay deserves recognition, and not just by those in the know." The Daily Telegraph's Neil McCormick called the album a "belated triumph" which "unfolds with the assurance of an old master still burning with the desire to tell his tales", saying that it was "so much stronger than the latter-day works of many of Fay's contemporaries." Critic Tom Hughes of The Guardian was less complimentary, noting that the album was "not without a few syrupy moments, and it would be a push to recommend it over the old records" but concluded that "there are some fine songs here." Andy Gill, writing for The Independent, said that "Fay has finally created the masterpiece that will secure his reputation" and added that Life is People was "truly, the album of a lifetime." Daniel Paton of musicOMH said that "Life Is People may not quite be the masterpiece so many people dearly want it to be...that being said, there are moments here so sublime and moving that could only have come from Fay." Pitchfork reviewer Grayson Currin remarked that "Life Is People and the tale that accompany it are strong enough...to at last make [Fay's] reputation among many match his legacy among few", saying that "at the risk of overstating the case, Life Is People—the work of a 69-year-old family man, and the work of a lifetime—confirms its maker's own thesis." Critic Maria Schurr of PopMatters wrote that "one half of Fay's Life Is People proves worthy of such a long wait...those who Life Is People touches are unlikely to hear a more inspiring album this year." Prefix magazine's Matthew Fiander stated that while it "does have its missteps...Life is People may not be the best Bill Fay, but hearing this there is no doubt about one thing: it's great to have him back. And hopefully this record is just the start of that return." Life Is People was featured in several publications' end of year lists, ranking at number three on Mojo's list of the best albums of 2012, number six on Uncut's list and number 19 on BBC Music. Nicky Wire of Manic Street Preachers named it one of his favourite records and as an influence on the band's album Rewind the Film (2013). ## Track listing All songs written by Bill Fay except where noted. ## Personnel Credits are adapted from the album's liner notes. Musicians - Bill Fay – piano, vocals - Ray Russell – electric guitar, nylon-string guitar - Alan Rushton – drums, percussion - Matt Deighton — electric guitar, acoustic guitar, backing vocals - Mikey Rowe — piano, Wurlitzer, Rhodes, mellotron, Hammond B3, celeste, vibraphone - Matt Armstrong – bass guitar - Tim Weller — drums, percussion - Ian Burdge – cello - Jeff Tweedy – vocals on "This World", acoustic guitar on "cosmic concerto" - London Community Gospel Choir – choir - Vulcan String Quartet – strings Technical personnel - Joshua Henry – record producer - Guy Massey — recording, mixing, mastering - Ben Mclusky – engineering assistance - Steve Rooke — mastering - Steve Gullick – photography	[ "## Background and recording", "## Music and lyrics", "## Release", "## Reception", "## Track listing", "## Personnel" ]	2,285	31,232
79,967	New Jersey Route 59	1,145,967,429	State highway in Union County, New Jersey, US	[ "State highways in New Jersey", "State highways in the United States shorter than one mile", "Transportation in Union County, New Jersey" ]	Route 59, at 0.15-mile (0.24 km) long, is the shortest state highway in New Jersey, United States. The route consists entirely of a short block of Lincoln Avenue from Union County Route 610 (known locally as South Avenue) in Cranford to New Jersey Route 28 (known locally as North Avenue) along the Cranford–Garwood border. The route functions as an underpass under the Raritan Valley Line of NJ Transit, under which it crosses about halfway down the block, along the municipal border. Route 59 was originally a proposed alignment of Route 22, which was supposed to head from an intersection with current day New Jersey Route 159 in Morris County at the Pine Brook Bridge before heading through several counties, terminating at an intersection with New Jersey Route 27 in Rahway. Most of the route was not constructed, and a portion in Garwood and Cranford was re-designated Route 59 in the 1953 New Jersey state highway renumbering on January 1, 1953. ## Route description Route 59 begins at a four-way intersection with Union County Route 610 (CR 610; South Avenue) in the community of Cranford. Route 59 heads northwestward, passing a couple of businesses in both directions. The route crosses under the NJ Transit-owned Raritan Valley Line at which point the border of Cranford and Garwood runs along the center of the road. The route continues to the northwest, passing businesses before ending at a signalized T-intersection with Route 28 (North Avenue). The pavement ends at the intersection through a state-constructed bridge carrying the intersection over a small creek is angled such that a road could continue northwest. Throughout the entire length of the route, it is four lanes wide (two in each direction). ## History The alignment of Route 59 was designated as part of the proposed State Highway Route 22 in the 1927 renumbering, which was proposed to run from the Pine Brook Bridge over the Passaic River at State Highway Route 6 in Fairfield Township. (This intersection is where New Jersey Route 159 currently crosses the bridge.) The route was to continue through parts of Morris, Essex and Union counties, including intersections with State Highway Route 10 at Livingston, U.S. Route 22 (also State Highway Route 29) at Mountainside, State Highway Route 28 at Garwood (where Routes 28 and 59 currently meet), and terminate in the community of Rahway at State Highway Route 27. Most of this route was not constructed, except a portion from State Highway Route 28 (North Avenue) in Cranford to South Avenue in Garwood. This portion was renumbered as Route 59 in the 1953 New Jersey state highway renumbering on January 1, 1953 so as not to duplicate U.S. Route 22. ## Major intersections ## See also	[ "## Route description", "## History", "## Major intersections", "## See also" ]	598	29,420
626,839	Herdwick	1,083,106,406	Breed of sheep	[ "British products with protected designation of origin", "Cumbria", "Sheep breeds", "Sheep breeds originating in England" ]	The Herdwick is a breed of domestic sheep native to the Lake District in North West England. The name "Herdwick" is derived from the Old Norse herdvyck, meaning sheep pasture. Though low in lambing capacity and perceived wool quality when compared to more common commercial breeds, Herdwicks are prized for their robust health, their ability to live solely on forage, and their tendency to be territorial and not to stray over the difficult upland terrain of the Lake District. It is considered that up to 99% of all Herdwick sheep are commercially farmed in the central and western Lake District. The wool of a Herdwick has unique qualities relating to durability. Thick bristle type fibres will often protrude from garments made from the wool, forming a protective layer in blizzards—most likely the same qualities that protect the sheep in similar conditions. Herdwicks have been known to survive under a blanket of snow for three days while eating their own wool. Severely threatened by the 2001 outbreak of foot-and-mouth disease in England and Wales, the breed has survived due to the intent to preserve this unique animal as a crucial part of traditional Lakeland agriculture. Still far fewer in number than most commercial breeds, Herdwicks survive largely due to farming subsidies. ## History ### Early history The root word of the breed's name, herdvyck, "sheep pasture", is recorded in documents dating back to the 12th century. The origin of the breed itself is unknown, but the most common theory is that the ancestors of Herdwick sheep were introduced by early Norse settlers. According to this, it was brought to the region somewhere between the 10th and 11th centuries during the Viking invasions of western England. Although a piece of local folklore once suggested that it came from a wrecked Spanish Armada ship, it appears that the Herdwick was an important breed in the Lake District by the end of the 12th century. For centuries, the husbandry of Herdwick sheep has been a large factor in shaping the culture and terrain of the Lake District. Topographically, grazing by sheep continues to keep the hillsides of fells largely treeless, and the ubiquitous dry stone walls of the valleys were built to protect grazing land and to confine livestock. Linguistically, many words of Lakeland speech relate to sheep husbandry. The ancient Yan Tan Tethera counting system for sheep is a survival of Brittonic counting systems. #### Beatrix Potter In the later years of her life (over 50), the children's author Beatrix Potter was involved with keeping and breeding Herdwicks, even acting as president of the breed association for a time. Between 1930 and 1938 she won a number of prizes for Herdwick ewes at shows across Cumbria. Upon her death in 1943, she bequeathed fifteen farms—a total of approximately 4,000 acres (16 km<sup>2</sup>) to the National Trust and, as per her instruction, all continue to graze Herdwick flocks. ### Modern history In the modern era, the main industry of the Lake District has shifted from agriculture to tourism. The subsequent influx of tourists to the District has at times conflicted with traditional life, including the raising of Herdwicks. One Lake District farmer summed the problem up as, "We get 100,000 visitors across our land every year... If just one in a thousand forgets to shut a gate or can't be bothered, that's a hundred times we have to go out and round up our sheep." In the late 20th century, the keeping of Herdwicks became economically unviable without outside support; open market prices for Herdwick fleeces sometimes drop as low as a penny a kilogram (which is about the weight of wool from a single sheep). Without direct monetary guarantees for wool prices from the National Trust, it actually costs farmers a considerably larger amount of money to shear their Herdwicks than they would receive in compensation; the majority of farmers once burned their fleeces as waste products. The Trust now acts as a wool merchant itself, thus being able to bargain for better prices directly with the British Wool Marketing Board and operate a Herdwick wool trademark. Most farmers survive through the sale of lambs, as well as both National Trust and European Union farm subsidies. Lake District farmers in particular receive subsidies for operating in a designated Less Favoured Area from the England Rural Development Programme. Those who agree to maintain their land in accordance with sustainable farming practices also receive additional subsidies. Ninety-five percent of all 50,000 or so Herdwicks live within 14 miles of Coniston, Cumbria, and this makes them particularly vulnerable to outbreaks of disease. The outbreak of foot-and-mouth disease in 2001 led to the destruction of many flocks, and to fears for the survival both of the breed and of the typical Lakeland sheep farming industry. Of the estimated 100,000 Herdwick sheep present before the outbreak, a full 25% were lost. They were not easily replaceable because long-standing herds are hefted so the introduction of new stock to the fells would have required extensive fencing. The call for vaccination rather than culling to preserve what is considered a part of the traditional identity of the fells and moors was led by parties such as the Duke of Westminster, Earl Peel, Lord Barnard and Lord Lonsdale, who wished to save the hill sheep on their lands. Many Lake District residents saw the breed as an indispensable icon of the region. Longtime resident and writer for The Guardian A. Harry Griffin expressed this feeling: > There are other mountain sheep on the Lakeland fells, notably Swaledales and Rough-Fells, but the hardy Herdwick is the sheep most likely to be seen in and around the Duddon valley, the Coniston fells, the Buttermere fells and, through Borrowdale or Wasdale, up to the highest land in England, the Scafells. More than the old drystone walls that quarter the fells, the packhorse bridges or the whitewashed farmsteads, the little grey Herdwick sheep typify the Lakeland. > > If they and their shepherds go, that is the end of the Lakeland where I have climbed, walked, skied and skated for nearly 80 years; of the Lakeland I have written about nearly all my life. The destruction of entire flocks meant that the shepherds were forced to undergo the process of again heafing (the local term for hefting) their new sheep to the hills. Normally, ewes teach this behaviour to their lambs, but with no more ewes left acquainted with a particular heaf the behaviour had to be taught all over again to new ewes, inevitably involving much rounding up of flocks that had strayed over the often inaccessible fells. Unheafed sheep might also cause overgrazing by wandering if they replaced the original Herdwicks. The Cumbria Hill Sheep Initiative was set up to "reassess the position and circumstances" in the aftermath of the disease; tough government restrictions in order to prevent another outbreak are still in place. In 2008, an Oregon sheep farmer began importing semen from Herdwick rams into the United States to begin a breeding programme using artificial insemination and designed to bring the breed to the country for the first time. In 2013, Lakeland Herdwick meat received a Protected Designation of Origin from the European Union. ## Characteristics Herdwicks are a dual-purpose breed, producing strongly flavoured lamb and mutton and a coarse, grey wool. The slowly maturing breed is one of the most hardy of all the British hill sheep breeds, withstanding the cold and relentless rain of the Lake District at heights upwards of 3,000 feet (about 1,000 metres). Most Herdwicks spend winter on the fells, from approximately December to April. They are normally left to graze freely on the hillsides (without any additional feed), but each ewe tends to stay in her heaf (the local term for heft), the same small area of fell. Due to the rough conditions on fells, lambing losses can be as high as 25%. This ability to thrive unassisted is part of the reason fell farmers so highly value Herdwicks over much higher-producing lowland breeds. A Herdwick's grey fleece is not easily dyed and is coarse, so it is best suited to use as carpet wool. The wool is also an excellent natural insulator; it is possible to buy sheets of fireproofed wool to fit as loft insulation. Herdwick lamb and mutton has a very distinct taste, and was eaten at Queen Elizabeth II's 1953 coronation banquet. Herdwick ewes also commonly produce desirable market lambs and mules by cross-breeding with Suffolk, Cheviot, Charollais and Texel sheep. Herdwick lambs are born black and, after a year, they lighten to a dark brown colour (the sheep are called hoggs or hoggets at this stage). After the first shearing, their fleece lightens further to grey. Rams are horned and ewes polled. For shows and auctions, Herdwicks traditionally have their wool ruddied up (the local term for raddled) with dye. Rams are also ruddied when put out with the ewes to show which have been mated and the dye is also one method (called a smit) of marking sheep for ownership. Before chemical dyes became available, this dye was made from either iron ore or graphite mixed with grease. For many years the legal method of identifying a particular shepherd's sheep were notches cut out of a sheep's ear, called lug marks—now replaced by ear tags.	[ "## History", "### Early history", "#### Beatrix Potter", "### Modern history", "## Characteristics" ]	2,050	6,822
7,981,475	Jack-Tor	1,145,604,220	null	[ "2006 American television episodes", "30 Rock (season 1) episodes" ]	"Jack-Tor" is the fifth episode of the first season of the American situation comedy 30 Rock, which aired on November 16, 2006 on the NBC network in the United States, and on November 8, 2007 in the United Kingdom. The episode was written by Robert Carlock and was directed by Don Scardino. Guest stars in this episode include Katrina Bowden, Lonny Ross, Keith Powell, Maulik Pancholy, Teddy Coluca, Donald Glover, Doug Moe, and Matthew Stocke. The episode focuses on Jack Donaghy's (Alec Baldwin) pressure on the writers of TGS with Tracy Jordan to integrate General Electric products into the show, which forces Liz Lemon (Tina Fey) to integrate Jack himself into a self-referential sketch about product placement. Frank Rossitano (Judah Friedlander) and James "Toofer" Spurlock (Keith Powell) trick Jenna Maroney (Jane Krakowski) into thinking that her job is in danger, and Liz wonders if Tracy Jordan (Tracy Morgan) might be illiterate when he refuses to read cue cards. ## Plot Jack tells Liz and the writers of TGS Tracy Jordan that he wants them to insert General Electric (GE) products into the show. The writers express their reluctance in doing product placements for GE (even though during the scene the cast talk about how great Snapple's White Green Tea tastes), but Liz agrees on the condition that Jack appears in the sketch. The next day, Liz watches a video containing outtakes from Jack's product placement video, where she discovers that he repeatedly forgot his lines after 142 takes. After realizing that he needs help, Liz encourages Jack to go through with the sketch, which he ultimately is able to shoot. Tracy decides that he is going to take a break from rehearsals after he is called back on stage to read his cue cards. When Tracy appears to be ignoring his cue cards, Jenna informs Liz of the situation, and realizes that Tracy might be illiterate, citing an earlier promo cue card mishap ("The Aftermath") as an example. Liz confronts Tracy about the problem; he admits that he is illiterate and agrees to get help. Liz later notices Tracy reading a newspaper, and learns that he was using the ploy to get out of work. Liz tells Tracy that she is not going to take it anymore, and forces him to go through with the sketch. Jenna tells Pete that she wishes to insert a music number called "Muffin Top" into the show, which she claims is a big hit overseas. As a prank, Frank and Toofer tell her that several people are going to be fired. Believing them, Jenna tries to seduce an NBC executive whom she sees talking to Jack. Liz later notifies Jenna that no one is going to be fired, and that the executive is actually an extra on the show. Jenna aims to get back at the pair, and although Toofer admits that he was too smart for Jenna's tactics, Frank is seen running around naked outside Jack's balcony. Jenna finally gets her chance to perform "Muffin Top", unaware that the show has already ended and the number was scratched at the last moment, thanks to Liz. ## Production In an effort to improve ratings, "Jack-Tor" was the first episode of 30 Rock to air on a Thursday night, which is advertised by NBC as "Comedy Night Done Right". 30 Rock was also one of several sitcoms to have a "super-sized" episode, which NBC employed as a sweeps stunt, and to initiate a mostly comedy lineup. Instead of the usual 30-minute episodes, "Jack-Tor" was increased to 40 minutes. Despite the increased length of the episode, Jack McBrayer, who plays Kenneth Parcell, received credits but did not appear in the show, except for a brief non-speaking cameo at the very end when Jenna is singing "Muffin Top". Fey said that there was "such a big ensemble" in the episode that he was crowded out. Fey said that she thought "McBrayer is fantastic", and that she is "planning to use him lots and lots". Executive producer Lorne Michaels also praised McBrayer, saying "we're very high on him. He's obviously the breakout performer on the series. We like him, the network likes him, viewers like him, everybody likes him." Star Wars is frequently referenced in 30 Rock, beginning with the pilot episode where Tracy Jordan is seen shouting that he is a Jedi. Liz Lemon admits to being a huge fan of Star Wars, saying that she had watched it many times with Pete Hornberger, and saying she dressed up as the Star Wars character Princess Leia during four Halloweens. Fey, a fan of Star Wars herself, said that the weekly Star Wars joke or reference "started happening organically" when the crew realized that they had a Star Wars reference "in almost every show". Fey said that from then on "it became a thing where [they] tried to keep it going", and that even though they could not include one in every episode, they still had a "pretty high batting average". Fey attributed most of the references to Robert Carlock, who she described as "the resident expert". In this episode, Star Wars is referenced when Frank mentions a "friend in accounting" named Lando Calrissian, a prominent Star Wars character. ## Reception "Jack-Tor" brought in an average of 5.2 million American viewers upon its original broadcast in the United States, achieving a 2.4/6 in the key 18- to 49-year-old demographic. The 2.4 refers to 2.4% of all people of ages 18–49 years old, and the 6 refers to 6% of all people of ages 18–49 years old watching television at the time of the broadcast. 30 Rock's timeslot change, from Wednesday to Thursday, which was aimed at improving ratings, was a success compared to the previous episode, "Jack the Writer"; it was watched by approximately 4.61 million American viewers, and only received a rating of 1.7/5 in the key adults 18–49 demographic. Overall, however, the move was thought to be a failure. Joal Ryan of E! reported that the "sparse crowd" of 5.2 million viewers was a large decrease from the ratings 30 Rock achieved on Wednesdays, where it averaged 6.3 million viewers per episode. Matt Webb Mitovich of TV Guide said that while the storyline of Liz being forced to integrate GE products into the show was a "good idea", it "missed the bull's-eye". He also felt that the storyline of putting Jack on TGS with Tracy Jordan was "fun", but thought "that for some reason fell a bit flat". Tom Shales of The Washington Post felt that "30 Rock had "consistently and considerably improved since its premiere". He praised Alec Baldwin, whose performance he described as "rare and rich [...] perilously close to perfect, beyond improving". Shales said that it was "painful to report" that Jack McBrayer was absent in the episode, saying he was "the show's brightest discovery", and his "performance has been a bittersweet beauty". Rob Canning of IGN said that 30 Rock's was "one new comedy we do not want to see taken off the air". He said that "Jack-Tor" had him "laughing from every angle", and may have "begun a debate as to which character is more fun to watch – Jack Donaghy or Tracy Jordan?". He said that the outtakes of Jack's sketch were "one of the best parts of the episode", and that Tracy was evolving into his own "uniquely hilarious character". Overall, he felt that Jack was winning the "comedy showdown". Robert Carlock, the writer of the episode, was nominated for his work for a Primetime Emmy Award for Outstanding Writing in a Comedy Series.	[ "## Plot", "## Production", "## Reception" ]	1,661	23,916
37,807,230	Everything Has Changed	1,170,848,133	2013 single by Taylor Swift featuring Ed Sheeran	[ "2010s ballads", "2012 songs", "2013 singles", "American folk songs", "Big Machine Records singles", "Ed Sheeran songs", "Folk ballads", "Male–female vocal duets", "Music videos directed by Philip Andelman", "Pop ballads", "Republic Records singles", "Song recordings produced by Butch Walker", "Songs written by Ed Sheeran", "Songs written by Taylor Swift", "Taylor Swift songs" ]	"Everything Has Changed" is a song written and recorded by American singer-songwriter Taylor Swift featuring English singer-songwriter Ed Sheeran. Taken from Swift's fourth studio album, Red, it was released as the sixth single from the album on July 14, 2013. A music video for the song was released earlier on June 6, 2013. Produced by Butch Walker, "Everything Has Changed" is a guitar-led folk-pop ballad. Its lyrics are about wanting to know a new lover better. The song received mixed reviews from critics, who either complimented or criticized the production. "Everything Has Changed" peaked at number 32 on the US Billboard Hot 100 and was certified double platinum by the Recording Industry Association of America (RIAA). It reached the top 10 on the charts in Ireland, Scotland, and the United Kingdom, and was certified platinum in the UK. Swift included it on the set list of the Red Tour (2013–2014). A re-recorded version, "Everything Has Changed (Taylor's Version)", was released as part of Swift's re-recorded album Red (Taylor's Version) on November 12, 2021. ## Background and composition Swift released her third studio album, Speak Now, in October 2010. She wrote the album by herself and co-produced it with Nathan Chapman. Speak Now was similar to Swift's previous album, Fearless (2008), in its country pop production style. On her fourth studio album, Red (2012), Swift wanted to experiment with other musical styles. To this end, she approached different producers other than Chapman, beyond her career base in Nashville, Tennessee. Swift wrote "Everything Has Changed" with Sheeran on a trampoline in Swift's backyard. It was produced by Butch Walker, a prominent contemporary hip hop producer. Swift initially worked with Walker and Sheeran on separate songs, but brought "Everything Has Changed" to Walker because she "knew he would approach it from an organic place, which is where [Sheeran] comes from". She chose Walker as a new collaborator on Red because she admired his "emotionally charged" production. "Everything Has Changed" is a midtempo ballad driven by guitar. Critics described it as a folk-pop song. The track extensively uses syncopation at the sixteenth-note level, which musicologist James E. Perone deemed a trademark style of Swift's music and reminiscent of her self-titled debut album (2006). Perone commented that "Everything Has Changed" incorporates hip-hop influences with the deep bass drum beats in its production. Lyrically, the song is about two new lovers wanting to get to know each other better. Both Swift and Sheeran provide lead vocals, alternating between the verses. ## Release and commercial performance "Everything Has Changed" is track number 14 on Red, which was released on October 22, 2012, by Big Machine Records. On June 8, 2013, Swift and Sheeran performed the song on the season finale of the seventh series of Britain's Got Talent. It was included on the set list of Swift's the Red Tour (2013–2014), with Sheeran. At the July 22, 2023, show in Seattle, she performed "Everything Has Changed" as a "surprise song" for the Eras Tour (2023–2024). In April 2013, Swift announced that "Everything Has Changed" would be released as a single in the United Kingdom. It was released in the UK on July 14, and then the United States two days later. In the US, "Everything Has Changed" peaked at number 32 on the US Billboard Hot 100. On Billboard airplay charts, it peaked at number eight on the Adult Pop Songs, number 11 on Adult Contemporary, and number 14 on Mainstream Top 40. The Recording Industry Association of America (RIAA) certified the song double platinum for surpassing two million units based on sales and streaming. Elsewhere, "Everything Has Changed" entered in other English-speaking territories, including Ireland (5), Scotland (7), the UK (7), New Zealand (22), Australia (28), and Canada (28). The song was certified gold in New Zealand, and platinum in Australia and the UK. It is Swift's most-downloaded collaborative single in the UK, selling 373,400 downloads as of July 2021. ## Critical reception "Everything Has Changed" received mixed reviews from music critics. Perone gave the song a positive review, calling it a pleasant track that "should not be overlooked". Mesfin Fekadu of the Associated Press considered "Everything Has Changed" a highlight on Red, praising Swift and Sheeran's falsetto vocals. In the Los Angeles Times, Randall Roberts called it a "powerful collaboration" and picked it as one of the album's "well-constructed pop songs Taylor-made for bedroom duets". Phil Gallo from Billboard considered the song "Swift at her most plaintive". Another Billboard article reviewing Red gave the song a mixed review, criticizing the lyrics as clichéd but complimenting Sheeran's harmony vocals. Jon Caramanica from The New York Times considered Swift's songwriting on "Everything Has Changed" not as strong as on her past songs, but still maintained "her ear for the awkward and tentative rhythms of romantic bonding". Robert Cospey of Digital Spy gave the song a three stars out of five rating, praising the song's musical style as "cutesy" but felt that "their exchanges leave us with a warm and fuzzy feeling that is all too rare these days". Sian Rowe, a writer from NME was upright critical, deeming it inferior to respective singer-songwriters' material and "disappointing in every way". Bernard Perusse from the Edmonton Journal considered it a weak song. Tony Clayton-Lea from The Irish Times deemed the track Swift's "desperate attempt" to reach out to new audiences. Also from The Irish Times, Eoin Butler gave the single a two-out-of-five rating, calling it a "typically slushy ballad". ## Accolades ## Music video A music video for "Everything Has Changed" was released on Swift's Vevo channel on YouTube on June 6, 2013. It was directed by Philip Andelman and filmed in Oak Park, California at Medea Creek Middle School and San Antonio, Texas. The video begins with two children who initially appear to be Swift and Sheeran when they were much younger, meeting each other on a bus to elementary school. Throughout the video, the two children engage in many activities at school together, including painting their faces with crayons, pretending to be a princess and knight, and dancing with each other in the empty school gym. At the end, Swift and Sheeran appear and are revealed to actually be the parents of their child counterparts, arriving at the school to pick them up and take them back to their respective homes. Jason Lipshutz from Billboard labelled the video as "impossibly adorable", while Ray Rahman from Entertainment Weekly compared the video's synopsis to Forrest Gump, but "much more gentle than that". The two actors who starred in the "Everything Has Changed" video appeared together again in the music video of "The Joker and the Queen" (2022), a song by Sheeran featuring Swift. To this extent, some media publications deemed "The Joker and the Queen" a sequel to the "Everything Has Changed" video. ## Personnel Adapted from Red album liner notes - Taylor Swift – lead vocals, songwriter - Ed Sheeran – featured vocals, songwriter - Butch Walker – producer, guitars, keyboards, percussion, drums, backing vocals - Jake Sinclair – recording, bass guitar, backing vocals - Justin Niebank – mixing - Drew Bollman – assistant mixing - Hank Williams – mastering - Joann Tominaga – production coordinator - Patrick Warren – string arrangement, composition - Gary Lightbody – background vocals ## Charts ### Weekly charts ### Year-end charts ## Certifications ## Release history ## "Everything Has Changed (Taylor's Version)" Swift re-recorded "Everything Has Changed", subtitled "(Taylor's Version)", with Sheeran for her second re-recorded album, Red (Taylor's Version), released on November 12, 2021, through Republic Records. Prior to the release, on August 23, 2021, Sheeran shared a clip on social media showing him in the studio, re-recording the track and another collaboration with Swift for Red (Taylor's Version) titled "Run". "Everything Has Changed (Taylor's Version)" entered on the charts of Canada, Singapore, and the United States, and peaked at number 59 on the Billboard Global 200 chart. ### Personnel Adapted from Red (Taylor's Version) liner notes - Taylor Swift – lead vocals, background vocals, songwriter - Ed Sheeran – lead vocals, background vocals, songwriter, acoustic guitar - Butch Walker – producer, engineer, bass, drums, guitar, keyboard, percussion, background vocals - Christopher Rowe – vocals engineer - Robert Sellens – vocals engineer - Bryce Bordone – engineer - Serban Ghenea – mixer - Gary Lightbody – background vocals ### Charts	[ "## Background and composition", "## Release and commercial performance", "## Critical reception", "## Accolades", "## Music video", "## Personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications", "## Release history", "## \"Everything Has Changed (Taylor's Version)\"", "### Personnel", "### Charts" ]	1,937	10,407
14,487,552	No Way Out (2004)	1,166,769,030	World Wrestling Entertainment pay-per-view event	[ "2004 WWE pay-per-view events", "2004 in California", "Events in California", "February 2004 events in the United States", "Professional wrestling in California", "WWE No Way Out", "WWE SmackDown" ]	The 2004 No Way Out was the sixth No Way Out professional wrestling pay-per-view (PPV) event produced by World Wrestling Entertainment (WWE). It was held exclusively for wrestlers from the promotion's SmackDown! brand division. The event took place on February 15, 2004, at the Cow Palace in Daly City, California. The event is best remembered for its final match, which saw Eddie Guerrero defeat WWE Champion Brock Lesnar to win the title, his top wrestling achievement before his death in 2005. No Way Out grossed over US\$450,000 ticket sales from an attendance of approximately 11,000 and received 350,000 pay-per-view buys, and was instrumental in helping WWE increase its pay-per-view revenue by \$11.9 million compared to the previous year. Like the event, the DVD received favorable reviews. ## Production ### Background No Way Out was first held by World Wrestling Entertainment (WWE) as the 20th In Your House pay-per-view (PPV) in February 1998. Following the discontinuation of the In Your House series, No Way Out returned in February 2000 as its own PPV event, thus establishing it as the annual February PPV for the promotion. The 2004 event was the sixth event in the No Way Out chronology and was held on February 15 at the Cow Palace in Daly City, California. While the previous year's event featured wrestlers from both the Raw and SmackDown! brands, the 2004 event featured wrestlers exclusively from the SmackDown! brand, which made it the first brand-exclusive No Way Out event. ### Storylines The event consisted of eight professional wrestling matches with wrestlers involved in pre-existing scripted feuds, and storylines. Wrestlers were portrayed as either villains or fan favorites as they followed a series of tension-building events, which culminated in a wrestling match or series of matches. All wrestlers belonged to the SmackDown! brand – a storyline division in which WWE assigned its employees to a different program. After winning a 15-man Royal Rumble match on the January 29 episode of SmackDown!, Eddie Guerrero earned the right to challenge for the WWE Championship at No Way Out against the champion Brock Lesnar in a singles match. Outside the storyline with Guerrero, Lesnar was involved in a staged rivalry with Goldberg, a member of the Raw brand. The feud between Lesnar and Goldberg began at the Royal Rumble. Lesnar interfered in the Royal Rumble match attacking Goldberg, which caused Goldberg to be eliminated from the match. On January 26 and January 29 Goldberg and Lesnar conducted promos on respective episodes of Raw and SmackDown!, in which they insulted each other. On the February 2 episode of Raw, Sheriff Steve Austin gave Goldberg the option of attending No Way Out by giving him a front-row ticket. On the February 5 episode of SmackDown!, the storyline between Guerrero and Lesnar was enhanced when they began a brawl after an in-ring interview segment. On the February 5 episode of SmackDown!, General manager Paul Heyman scheduled a triple threat match between Big Show, Kurt Angle and John Cena for No Way Out. The winner of that match would face the WWE Champion at WrestleMania XX for the title. The rivalry continued to develop on the February 12 episode of SmackDown!, when Angle was scheduled to team with Guerrero to face Big Show and Lesnar, but was found unconscious backstage. Cena then replaced Angle in the match and defeated Big Show and Lesnar with Guerrero. In February, WWE Cruiserweight Champion Rey Mysterio produced "Crossing Borders", which was No Way Out's official theme song. In this storyline, Chavo Guerrero became jealous of the attention Mysterio garnered as a result of recording the song. Therefore, Heyman promoted a match between the two at No Way Out for the Cruiserweight Championship during the February 5 episode of SmackDown!. On the February 12 episode of SmackDown!, Mysterio was accompanied by Jorge Páez, a professional boxer and childhood friend of Mysterio who appeared in his "Crossing Borders" music video, to his match against Tajiri. Mysterio defeated Tajiri but was attacked by Guerrero and Chavo Guerrero, Sr. after the match until Paez intervened and helped Mysterio. ## Event ### Sunday Night Heat Before the event began and aired live on pay-per-view, Tajiri, Sakoda and Akio defeated Último Dragón, Billy Kidman, and Paul London in a 6-Man Tag Team Match on Sunday Night Heat. ### Main Show After Sunday Night Heat, the pay-per-view began with a handicap match that saw the WWE Tag Team Champions Rikishi and Scotty 2 Hotty defend their titles against Basham Brothers (Doug Basham and Danny Basham) and Shaniqua. During the match Hotty attempted a worm on Shaniqua, but Shaniqua countered by clotheslining Hotty. The challengers had the advantage until Hotty clotheslined the Bashams, causing them to flip over the top ring rope and into ringside. Afterwards, Rikishi delivered a Samoan drop. Rikishi then covered Shaniqua to retain the championships. Next was a singles match, in which Jamie Noble was blindfolded as he faced his storyline girlfriend Nidia. Nidia would take advantage of Noble's inability to see by performing antics that caused him to fall. Eventually, Noble was able to apply the guillotine choke on Nidia. Noble won the match after he forced her to submit with this move. The third contest was a tag team match, in which World's Greatest Tag Team (Shelton Benjamin and Charlie Haas) faced the APA (Bradshaw and Faarooq). At one point, Bradshaw performed a clothesline on Haas. Benjamin then delivered a superkick to Bradshaw and pinned him to gain the win for his team. After the match, Goldberg was seen arriving at the arena and being escorted to his seat by arena security. In the ring, SmackDown! General Manager Paul Heyman gave a promotional in-ring segment on how SmackDown! was the better program over Raw. Brock Lesnar would come down to the ring to promote his match and to insult Goldberg. As part of the storyline, Goldberg immediately jumped over the barricade into the ring, where Lesnar performed a spear on Goldberg. However, he recuperated and delivered a Jackhammer to Lesnar. Goldberg was then escorted out of the arena by security. This altercation was followed by a match between Hardcore Holly and Rhyno. Before the match began, Holly and Rhyno brawled on the entrance ramp, before they entered the ring. Once there, Holly executed a superplex, though, as they recuperated, Rhyno delivered a Gore that caused Holly to roll out of the ring. Afterwards, Holly delivered an Alabama slam for the pinfall. In the fifth match Rey Mysterio (managed by Jorge Páez), defended his WWE Cruiserweight Championship against Chavo Guerrero (managed by his father Chavo Guerrero, Sr.) During the fight, Mysterio performed a 619 on Guerrero, leading to an attack by Paez on Guerrero, Sr. The referee ordered Paez backstage. Both fighters wrestled inconclusively until Mysterio delivered a second 619. During the second sequence of the move, Guerrero grabbed Mysterio's legs and achieved a position with his shoulders spread so as to win both a pinfall and the WWE Cruiserweight title. The following match was the triple threat match between Big Show, John Cena and Kurt Angle, with the winner facing the WWE Champion at WrestleMania XX. For the duration of the match, The Big Show, who stood at 7 feet 2 inches (2.18 m) and weighed 500 pounds (230 kg), used his body size to his advantage as he squashed, or easily and quickly performed moves on, Cena and Angle. Thereafter, Cena delivered an FU, while Angle threw Big Show out of the ring with an Angle Slam. Angle then applied an ankle lock on Cena, forcing him to submit. As a result, Angle won a WWE Championship match at WrestleMania XX. The main event featured Brock Lesnar defending the WWE Championship against Eddie Guerrero. Lesnar used his size advantage over Guerrero throughout the match. As Lesnar attempted an F-5, he knocked down the referee. Lesnar then attempted to take advantage of the referee's state, as he went to retrieve the WWE title belt to hit Guerrero. Meanwhile, Goldberg came down into the ring and delivered a spear to Lesnar. As Goldberg retreated, Guerrero countered Lesnar's second F5 into a DDT on the title belt while the referee regained consciousness. Guerrero kicked the belt out of the ring to prevent the referee from seeing it and performed his Frog splash to pin Lesnar and win the WWE Championship from him. ## Reception The Cow Palace arena usually can accommodate 13,000, but the capacity was reduced to 11,000 for No Way Out 2004. This event grossed over \$450,000 from an approximate attendance of 11,000 which was the maximum allowed. It also received 350,000 pay-per-view buys. No Way Out helped World Wrestling Entertainment earn \$43.7 million in revenue from pay-per-view events versus \$31.8 million the previous year; Linda McMahon, then CEO of WWE, confirmed this statement on June 21, 2004, in a quarterly financial report. The event received mostly positive reviews. Canadian Online Explorer's professional wrestling section described the event as "Smackdown! us our money's worth last night but they also set up what's probably going to be the best match at Wrestlemania." Kevin Sowers from PWTorch described the main event between Eddie Guerrero and Brock Lesnar as "one to remember for a long time." The event was released on DVD on March 16, 2004. After its release, the DVD received a rating of 8.5 out of 10 points by IGN. ## Aftermath At WrestleMania XX, Eddie Guerrero defeated Kurt Angle via pinfall and retained the WWE Championship. John "Bradshaw" Layfield (JBL), portraying a new character after the semi-retirement of his tag team partner Faarooq, challenged Guerrero for the WWE Championship and defeated him at The Great American Bash to win the title. Guerrero failed to recapture the title from JBL in a steel cage match on the July 15 episode of SmackDown!. After Guerrero's death in November 2005, WWE held tribute shows on Raw and SmackDown! During these programs, No Way Out was the main highlight of Guerrero's career, as it was where he won his only world championship. John Cena began a rivalry with Big Show over his WWE United States Championship and, at WrestleMania, Cena defeated Big Show to win the title. Goldberg and Lesnar continued their rivalry, leading to a match promoted at WrestleMania, in which Goldberg defeated Lesnar. After their match, Goldberg and Lesnar left the company, although Lesnar would make his return in April 2012 and Goldberg made his return in October 2016. Rey Mysterio and Chavo Guerrero's storyline over the WWE Cruiserweight Championship also continued, culminating in a battle royal match at WrestleMania XX involving other wrestlers. Guerrero last eliminated Mysterio to retain his title in this match. After the Draft Lottery, a mock sports draft lottery in which wrestlers switched programs, Rico was drafted to SmackDown!, while Shelton Benjamin was drafted to Raw, in the process splitting up The World's Greatest Tag Team. Afterward, Charlie Haas and Rico won the WWE Tag Team Championship from Rikishi and Scotty 2 Hotty on the April 22 episode of SmackDown!''. ## Results	[ "## Production", "### Background", "### Storylines", "## Event", "### Sunday Night Heat", "### Main Show", "## Reception", "## Aftermath", "## Results" ]	2,454	43,964
48,417,387	Russian monitor Admiral Lazarev	1,082,695,008	Russian lead ship of Admiral Lazarev class	[ "1867 ships", "Admiral Lazarev-class monitors", "Maritime incidents in 1912", "Ships built at the Baltic Shipyard" ]	The Russian monitor Admiral Lazarev was the name ship of her class of monitors built for the Imperial Russian Navy in the late 1860s. She was assigned to the Baltic Fleet upon completion and remained there for her entire career. Aside from one accidental collision in 1871, her service was uneventful. The ship was reclassified as coast-defense ironclad in 1892 and often served as a training ship. There was an unsuccessful proposal to convert her into an aircraft carrier in 1910. Admiral Lazarev was stricken from the Navy List in 1907 and sold for scrap in 1912. She sank while under tow to Germany later that year. ## Design and description The Admiral Lazarev-class monitors were significantly larger than their predecessors, the Charodeika class, and had an overall length of 262 feet (79.9 m), a beam of 43 feet (13.1 m) and a maximum draft of 21 feet (6.4 m). The ships were designed to displace 3,505 long tons (3,561 t), but turned out to be overweight and actually displaced 3,820 to 3,881 long tons (3,881 to 3,943 t). They were fitted with a plough-shaped ram. Their crew consisted of between 269–274 officers and crewmen. The Admiral Lazarev-class ships had a single two-cylinder horizontal direct-acting steam engine that drove a single propeller, using steam provided by four rectangular fire-tube boilers. The engine was designed to produce a total of 2,020 indicated horsepower (1,510 kW) which gave a lightly loaded Admiral Lazarev a speed of 10.4 knots (19.3 km/h; 12.0 mph) from 2,004 ihp (1,494 kW) when she ran her sea trials in October 1871. They had a range of about 1,200–1,500 nautical miles (2,200–2,800 km; 1,400–1,700 mi) at a speed of 9 knots (17 km/h; 10 mph) and were fitted with a light fore-and-aft sailing rig to steady them and aid in maneuvering. ### Armament The monitors were originally designed to be armed with six 20-caliber Obukhov 11-inch (279 mm) rifled muzzle-loading guns, a pair in each Coles-type turret. Around 1874–1875 the guns were replaced by three 17-caliber, 11-inch rifled guns, based on a Krupp design. During the Russo-Turkish War of 1877–1878, a 9-inch mortar was fitted to attack the thin deck armor of enemy ships, but accuracy was poor and it was later removed, probably in the early 1880s. A more powerful, 22-caliber, 11-inch gun was installed aboard Admiral Lazarev and her sister ship Admiral Greig during the 1880s. Light guns for use against torpedo boats were added to the Admiral Lazarev class during the Russo-Turkish War when a pair of 4-pounder 3.4-inch (86 mm) guns were mounted on the roofs of the fore and aft gun turrets and a 44-millimeter (1.7 in), 4-barreled Engstrem quick-firing (QF) gun. By the early 1890s, Admiral Lazarev's light armament consisted of two 2.5-inch (64 mm) Baranov QF guns, five 47-millimeter (1.9 in) QF Hotchkiss guns, replacing the 4-pounders, and a pair of 37-millimeter (1.5 in) QF Hotchkiss five-barreled revolving cannon. The monitors could also carry 12–15 mines intended to be used to create a secure anchorage. ### Armor The hull of the Admiral Lazarev-class monitors was completely covered by wrought iron armor that was 4–4.5 inches (102–114 mm) thick amidships and thinned to 3 inches (76 mm) aft and 3.5 inches (89 mm) forward of the main belt. The turrets had 6 inches (152 mm) of armor, except around the gun ports, where it thickened to 6.5 inches (165 mm). The conning tower was 5 inches (127 mm) thick and the deck armor was in two layers with a total thickness of 1 inch. ## Construction and service Admiral Lazarev was named for Admiral Mikhail Lazarev, who circumnavigated the globe, taking part in the discovery of Antarctica, and later became commander of the Black Sea Fleet. The monitor was ordered on 24 May 1865 from the Carr and MacPherson Shipyard, Saint Petersburg, although the formal keel-laying was not until 29 May 1867. Construction was delayed by changes to the design and late deliveries of components. She was launched on 21 September and then transferred to Kronstadt for fitting out as the shallow waters around Saint Petersburg prevented deep-draft ships from being completed. This added more delays as the dockyard there lacked the equipment to efficiently fit out the ships, and she officially entered service in 1872 at the cost of 1,289,300 rubles. The ship was assigned to the Baltic Fleet upon completion, but she was not fully equipped until around 1872. Admiral Lazarev was accidentally rammed by the monitor Admiral Spiridov in Kronstadt harbor on 22 October 1871 and had a 7-square-foot (0.65 m<sup>2</sup>) hole punched in her hull below the waterline by the latter's ram. A large amount of water flooded in and Admiral Lazarev took on an eight degree list as it leaked through the poorly sealed watertight bulkheads, but nearby ships were able to pump out the water before she capsized. The accident prompted an investigation that concluded that the quality control of the riveting and caulking of the watertight bulkheads needed to be improved and it recommended testing that by flooding the interior compartments during construction. That recommendation was not followed until after the loss of the Russian coast defense ship Gangut in a similar incident in 1897. In the meantime Admiral Lazarev was fitted with an improved bilge system for evaluation, designed by Lieutenant Stepan Makarov, that connected all of the ship's pumps to the main bilge drain. This proved successful and it became a standard feature of later Russian ships. The ship had her boilers replaced in 1881–1882 and again around 1900–1903, possibly with cylindrical boilers. She was reclassified as a coast-defense ironclad on 13 February 1892 and frequently served with the Artillery Training Detachment of the Baltic Fleet. During the Russo-Japanese War of 1904–1905, Admiral Lazarev was deployed to Libava, Latvia, to reinforce the defenses there. The ship was stricken on 14 August 1907 although one naval architect proposed a conversion into a flush-decked aircraft carrier in July 1910. The turrets and superstructure would be removed and replaced by a full-length flight deck, measuring 251 by 49 feet (77 by 15 m), supported on stanchions above the original deck. The aircraft would be stowed below the flight deck and a small navigation bridge fitted there as well. The funnel would be split and redirected to exhaust on each side outboard of the flight deck. This may have been the first serious proposal by a designer for an aircraft carrier that utilized most of the features of modern carriers. Although perfectly feasible given the low take-off and landing speeds of the aircraft of the day, the proposal was not accepted, possibly because it would have been relatively expensive at a time when the Naval Ministry was struggling to finance the Gangut-class dreadnought battleships and other modern ships. Admiral Lazarev was sold to German shipbreakers. She sank in the Baltic Sea in October 1912 while under tow.	[ "## Design and description", "### Armament", "### Armor", "## Construction and service" ]	1,692	22,756
13,719,903	Thomas de Dundee	1,168,646,824	Roman Catholic bishop	[ "1325 deaths", "13th-century Scottish Roman Catholic bishops", "13th-century births", "14th-century Scottish Roman Catholic bishops", "Bishops of Ross (Scotland)", "Clergy from Dundee", "People of the Wars of Scottish Independence", "University of Bologna alumni" ]	Thomas de Dundee, also called Thomas Nicholay, was a Scottish prelate who held the bishopric of Ross during the First War of Scottish Independence. Coming from a family of Dundee burgesses, he was educated as the University of Bologna, before entering into career in the church. He obtained benefices in the diocese of Glasgow and the diocese of Brechin, as well as in Ross, and served as the chaplain to a cardinal before being appointed Bishop of Ross by papal provision in 1295. After some delay, he was able to take up his position and held it until his death in early 1325. ## Biography ### Family background Thomas was the son of a burgess of Dundee named Nicholas. Detailed knowledge of Thomas' father is lacking, but one "Nicholas son of Robert" is found as a burgess of Dundee in a Lindores Abbey document dated between 1237 and 1243. Another relevant Nicholas, "Nicholas the Chaplain", is found in 1281 residing in a Dundee tenement located next the tenement of Radulf de Dundee. It is possible both names referred to the same person, but at any rate either could have been Thomas' father. Another Dundee burgess family in the period produced prominent churchman, the family of Hervey de Dundee, Bishop of Caithness. There is no proof that the two families were kindred, although in the early 1310s Thomas was recorded as assisting Hervey's brother Radulf de Dundee obtain a loan for his daughter's marriage portion. Thomas' father was prosperous, wealthy enough to send Thomas to the University of Bologna in Italy. Thomas was recorded as Magister ("Master"), i.e. possessing a Master's degree, at Bologna in 1286. He probably studied there alongside the aforementioned Radulf de Dundee, as well as one Michael de Dundee, whose exact family origin cannot be determined. ### Early career Documents dating to 18 February and 24 April 1293, have Thomas as Subdean of Glasgow Cathedral. On the former date he was at Scone acting as proctor for the cathedral chapter of Glasgow at an arbitration conducted by Robert Wishart, Bishop of Glasgow. Thomas had this role because the dean, Thomas Wishart, was absent, having travelled to Bologna. The arbitration agreement was settled at Glasgow on the latter date. Perhaps soon after or soon before, Thomas inspected charters of Paisley Abbey on behalf of Laurence de Ergadia, Bishop of Argyll. Here he is called Thomas Nicholay ("Thomas, son of Nicholas"). The reports confirm that he was the Glasgow subdean but the date of the inspection can be fixed no more precisely than some time between 1286 and 1295. In 1295 he is found at the papal court acting as the commensalis ("table companion") and chaplain of Cardinal Hugh Aycelin (Hugh Seguin), the Dominican Cardinal-Bishop of Ostia. Hugh was probably making use of Dundee's training as a lawyer. At this time Thomas is said to be Dean of Brechin Cathedral. The last known dean, William, is attested in 1269, and another dean was in possession by 24 May 1275, but the name of this dean is not known. This person is probably not Thomas as it is unlikely that he was Dean of Brechin and Subdean of Glasgow at the same time. ### Election and appointment as Bishop of Ross It is possible that Thomas was still at the papal court when the cathedral chapter of the diocese of Ross were carrying out their elections for the successor of Robert de Fyvie. Two separate elections took place in the period between 17 November 1292 and 18 November 1295, and it appears that the chapter elected both the cathedral precentor, Adam de Darlington, as well as Thomas de Dundee, who then held a canonry in the diocese. Both Adam de Darlington and Thomas de Dundee resigned their rights to this episcopal see, but nevertheless Cardinal Hugh Aycelin used his influence to secure Thomas papal provision as bishop on 18 November. In the following year Adam de Darlington was compensated by being appointed Bishop of Caithness, the bishopric which adjoined Ross to the north. Perhaps because of the political troubles in Scotland at the time, there is a two-year gap between Thomas receiving provision to the see and gaining its "temporalities", i.e. gaining actual possession of the office. Scotland's king, John de Balliol, had been in a conflict of authority with the King of the English, who deposed King John in 1296. It was not until 31 July 1297 that the temporalities of the see were released to Thomas by King Edward I of England, probably after a meeting between Thomas and King Edward at London. According to one source King Edward had been told by Pope Boniface VIII to install Thomas as bishop, Edward proceeded to judge the matter for himself. After doing so, and having received Thomas' oath of fealty, King Edward ordered John de Warrene, the Earl of Surrey, to install Thomas into his episcopal temporalities. ### Episcopate Thomas had taken up his diocese in Scotland by 17 August 1298. On this date his seal was attached to a document which recorded the losses suffered by Scone Abbey following the Scottish rebel defeat by the English crown at the Battle of Falkirk. In the first few years of the 14th century Thomas witnessed three charters of Coupar Angus Abbey in the company of Robert Wishart, Bishop of Glasgow, a known opponent of the English crown. He witnessed another charter relating to that abbey, between 1300 and 1302, by John de Soules, who issued it as Guardian of Scotland acting in King John Balliol's name. After the resurgence of English power in Scotland in 1304 Thomas can be found co-operating with King Edward's officials. In the autumn of 1305 King Edward planned a council of advisors to assist his new governor, John of Brittany, and Bishop Thomas was thought trustworthy enough to be included in this council. It appears that Bishop Thomas remained pro-English and pro-Balliol after the rising in 1306 of Robert de Brus, Earl of Carrick. Bruce had himself crowned king on 25 March (becoming King Robert I of Scotland). Bishop Thomas' positions mirrored those of William II, Earl of Ross. On 7 December 1307 King Edward II of England was seeking Bishop Thomas' support against King Robert. However, the realities of de Brus power in this part of Scotland were pushed home in the following year. On 13 December 1307 King Robert secured the submission of Bishop Thomas' temporal protector, Earl William. After this submission Bishop Thomas acted as one of the sureties for Earl William's future loyalty. The other guarantor was David de Moravia, Bishop of Moray). Record of Bishop Thomas' activity in the following years is scarce. The sources do not name him as an attendee of the St Andrews parliament of 17 March 1309, a parliament at which many of the Scottish clergy declared their support for King Robert. However, very few prelates or churchmen were mentioned individually, so that it is not possible to conclude anything about Bishop Thomas' attendance. He may have attended most or all of the assemblies and parliaments of the following decade, but only for the parliament held at Scone on 3 December 1318 is he specifically recorded as being present. On 29 October 1312 he attached his seal to a treaty between King Robert and the King of Norway. Thomas was the recipient of a papal mandate issued on 1 June 1317 authorising him to give dispensation for the wrongful marriage between King Robert's brother Edward de Brus and a daughter of Earl William of Ross. He is found on 1 November 1321 arranging to pay a loan which had been granted by Coupar Angus Abbey to Radulf de Dundee, a loan that had been granted all the way back in 1312. His probable last occurrence in the sources concerned a conflict with Kinloss Abbey regarding the prebendal parish church of Avoch. The parish of Avoch lay within Thomas' diocese, but the Abbot of Kinloss claimed the primary right to possess it. A papal mandate was issued on 5 January 1325 to William de Lindores, the Chancellor of Ross, commanding him to judge the dispute. Bishop Thomas was almost certainly alive on that date, but he was dead by 17 April, when Roger, canon of Abernethy, received papal provision to the bishopric of Ross, said to be vacant by Thomas' death.	[ "## Biography", "### Family background", "### Early career", "### Election and appointment as Bishop of Ross", "### Episcopate" ]	1,817	37,848
49,263,584	Ocute	1,120,285,902	Native American paramount chiefdom	[ "Former Native American populated places in the United States", "Former chiefdoms in North America", "Indigenous culture of the Southeastern Woodlands", "Native American tribes in Georgia (U.S. state)", "South Appalachian Mississippian culture" ]	Ocute, later known as Altamaha or La Tama and sometimes known conventionally as the Oconee province, was a Native American paramount chiefdom in the Piedmont region of the U.S. state of Georgia in the 16th and 17th centuries. Centered in the Oconee River valley, the main chiefdom of Ocute held sway over the nearby chiefdoms of Altamaha, Cofaqui, and possibly others. The Oconee valley area was populated for thousands of years, and the core chiefdoms of Ocute emerged following the rise of the Mississippian culture around 1100. Ocute was invaded by the expedition of the Spanish conquistador Hernando de Soto in 1539. At that time, Ocute was locked in a longstanding war with the rival paramount chiefdom of Cofitachequi in present-day South Carolina. The chiefdom remained a significant regional power into the 17th century, although Altamaha eclipsed Ocute as the primary center, leading the Spanish to refer to the paramountcy as La Tama. In the 1660s the chiefdom fragmented due to slave raids by the English-allied Westo people, though several of its towns relocated to Spanish Florida and formed part of the Yamasee confederacy. ## Description and location Ocute was a sizable paramount chiefdom, a political organization in which multiple chiefdoms are subsumed under one political order. The core area comprised three chiefdoms located in the Oconee River valley in the Georgia Piedmont: Ocute, Altamaha, and Cofaqui. Each included a main town and mounds along with various associated settlements, with the chief of Ocute being paramount. Charles M. Hudson and his colleagues locate the main town of Ocute at the Shoulderbone mound site, northwest of Sparta, Georgia. However, subsequent archaeological research has found that this site's population had declined by the mid-16th century, weakening its identification with Ocute, but it remains the best fit of the currently known sites. Altamaha was located downstream to the south at the Shinholser site. Cofaqui was to the north, evidently at the Dyar site near Greensboro. The people of Ocute spoke a language later known as Yamasee, apparently a Muskogean tongue that may have been similar to Hitchiti. Another chiefdom possibly associated with Ocute, Ichisi, was located to the southwest, along the Ocmulgee River at the Lamar Mounds and Village Site. Further southeast were smaller chiefdoms including Toa and Capachequi. The Guale lived on the Georgia coast to the southeast, downstream from Ocute. Northwest of Ocute was the much larger paramount chiefdom of Coosa; also to the north was a chiefdom at the Savannah River headwaters whose name is unknown. To the east lay a vast uninhabited area on both sides of the Savannah River which Spanish chroniclers referred to as the "desert of Ocute" or the "wilderness of Ocute". Beyond the wilderness were Ocute's great enemies, the chiefdom of Cofitachequi in present-day eastern South Carolina. In earlier times the Savannah River area had been densely populated and home to sizable chiefdoms, though it was entirely abandoned by about 1450, apparently due to the conflict between Ocute and Cofitachequi. Judging by the organization of other paramount chiefdoms such as Coosa and Cofitachequi, Hudson argues that Ocute's power may have extended beyond the core Oconee province. He suggests Ocute's sphere included Ichisi, as well as the Guale and the unknown chiefdom at the Savannah River headwaters. Ocute and Ichisi were both located on tributaries of the Altamaha River, home to the Guale, and alliances to the north and south would have given Ocute relative parity with their enemies, Cofitachequi. Hudson also entertains the possibility that Toa, perhaps on the Flint River, was included. ## Archaeology and early history The area first saw substantial population around A.D. 150, during the Middle Woodland period. At least three mound centers – Cold Springs, Little River, and Lingerlonger – developed, along with smaller settlements. The inhabitants had similar ceramics styles and there is little evidence of corn agriculture in this period. During the Late Woodland period, the mound sites were abandoned and the population dispersed. Inhabitants developed simple pottery known as Vining Stamped ware, and primarily lived in small, corn-farming homesteads in and around the Oconee valley. Around 1100 the Mississippian culture took hold in the Oconee province. Inhabitants abandoned the old homesteads for new settlements near the river, taking advantage of the rich floodplain soils well suited for corn. Ceramics styles shifted to "complicated stamped" pottery, and the residents established mound centers, starting by reoccupying the Middle Woodland period Cold Springs mound. This was apparently the first chiefdom in the Oconee valley, although the town evidently relocated to the Dyar site around 1200 and then to the Scull Shoals site in about 1275. Also around 1275, a second, probably independent chiefdom developed at the Shinholser site 55 miles south. This local phase of Mississippian culture is known as the Savannah period. A third chiefdom arose around 1325. Located at a new mound center, the Shoulderbone site, it was almost exactly equidistant to the other two. Hudson identifies this site with Ocute. The Shoulderbone site is 8 miles east of the Oconee River along a key trail to the Savannah River, suggesting its location may have been chosen to trade with or defend against people to the east. For a time, the Oconee province interacted with the Savannah Valley chiefdoms. These chiefdoms thrived in the 14th and 15th centuries, but were abandoned entirely by 1450, with at least part of the population moving west into the Oconee province. It appears that increasing enmity with the South Carolina paramount chiefdom eventually known as Cofitachequi was a major factor driving the abandonment of the Savannah. This created the "wilderness of Ocute", which served as a buffer zone against Cofitachequi. From about 1350, farmsteads expanded rapidly and the people adopted more complex coiled ceramics, marking the start of the Lamar phase of the culture. The agricultural expansion and the formation of the eastern buffer zone may signal that all the Oconee polities were integrating into a paramount chiefdom in this period. ## De Soto expedition By 1500, the population had expanded considerably. There were at least five mound centers (although the Shoulderbone site's population had declined dramatically) and several hundred smaller towns and other settlements. Ocute enters the historical record in the chronicles of the expedition of Spanish conquistador Hernando de Soto, which came through the chiefdom in 1539 on its way to Cofitachequi. They had learned about Ocute from two young men they had captured in Apalachee in present-day Florida. De Soto came to the chiefdom of Ichisi on March 25, 1539, and told the locals he would be merciful if their chief submitted. He visited two small towns and entered the main town of Ichisi, at the Lamar Mounds and Village Site, on March 30. The chief of Ichisi cooperated fully, and informed the Spanish about the nearby paramount chief, Ocute. De Soto erected a wooden cross on one of the mounds before heading to Ocute. On April 3, the Spanish approached the chiefdom of Altamaha, led by a chief named Zamuno, who always bore arms in case of attack by Cofitachequi. It is unclear if De Soto entered the main town at the Shinholser site. Zamuno exchanged gifts with De Soto and asked if he should pay tribute directly to him, instead of to his overlord at Ocute. De Soto replied that the previous relationship should stand. De Soto erected a cross and left behind a cannon somewhere in the chiefdom. He summoned the paramount chief of Ocute, and then visited his main town, apparently at the Shoulderbone site, on April 9. He received gifts and set up another cross, and the army rested for two days. On April 12, De Soto visited another subject chiefdom, Cofaqui, which was governed by a young noble named Patofa on behalf of his elderly uncle. Patofa reiterated his compatriots' policy of amity and gave the army provisions and porters. De Soto then determined to set out for Cofitachequi. The people of Ocute explained that the great wilderness separated them, and that no one alive had ever crossed it due to the war, despite what De Soto's guide had claimed. Nevertheless, the army departed on April 13. A party from Ocute initially joined the Spanish to raid Cofitachequi, but De Soto sent them home upon realizing there was no easy way through the wilderness. ## La Tama and later history The paramount chiefdom changed substantially in the late 16th century. A large impetus was apparently the founding of Spanish St. Augustine in 1565, which caused Indian polities to realign in response to the new regional power center. Ocute's population dispersed from the mound centers in favor of decentralized farmsteads, and some began migrating into Spanish Florida. The mounds themselves were no longer used after about 1580. However, the total population continued increasing until about 1600. In this period, Altamaha eclipsed Ocute as the paramount town; contemporary Spanish records refer to the province as "La Tama", derived from Altamaha. The Spanish sent several expeditions to La Tama between 1597 and 1628, beginning with a Franciscan mission that hoped to proselytize the province. The mission was warmly received in Altamaha, where the people nominally accepted Christianity. At Ocute, however, the chief threatened to kill them if they proceeded, invoking De Soto's invasion, and Altamaha also became hostile, so the mission returned to Spanish territory. A military venture in 1602 found La Tama to be a fertile, populous province, and the chief of La Tama visited Spanish Governor Pedro de Ibarra in Guale in 1604. The Spanish determined La Tama would be a valuable region to colonize, but never realized their plans to do so. In the 1620s, the Spanish sent five military expeditions to investigate rumors of mines and other Europeans in the interior, but only two reached La Tama, in 1625 and 1627. The first crossed the Wilderness of Ocute but was turned back at Cofitachequi due to the old war, while the second was allowed into Cofitachequi. After this, Spanish expansion efforts focused on the Timucua and Apalachee provinces west of St. Augustine rather than Georgia. ## Decline and the Yamassee confederacy By around 1630, European diseases struck the province, and the population began to decline precipitously. In 1661 and 1662, Guale and Tama were raided by the Westo, a group allied to the English who used flintlock muskets and were heavily involved in the Indian slave trade. Many La Tama people were enslaved, and the rest abandoned the Oconee valley entirely. Some survivors scattered to the nearby Muskogean and Escamacu chiefdoms, while others fled to the provinces of the Guale, Apalachee, and Timucua in Spanish Florida. Thereafter, they were among the peoples who became known as the Yamasee, who numbered between 700 and 800 in Florida in 1682. In the Guale and Timucuan Mocama provinces, La Tama refugees established four towns descended from the ancient interior Georgia chiefdoms: Altamaha, Okatee (Ocute), Chechessee (Ichisi), and Euhaw (apparently descended from Toa); Altamaha remained the leading town. Within the Yamassee confederacy, these towns formed the Lower Yamassee, while Guale towns and some others formed the Upper Yamassee. The Yamaseee shifted alliances and later relocated to present-day South Carolina in 1685. They remained a significant power in the Southeast until the British settlers defeated them in the Yamasee War of 1715–1717, after which they integrated into the multiethnic settlements in Spanish Florida.	[ "## Description and location", "## Archaeology and early history", "## De Soto expedition", "## La Tama and later history", "## Decline and the Yamassee confederacy" ]	2,655	10,487
1,218,177	George Ingram	1,153,513,114	Recipient of the Victoria Cross	[ "1889 births", "1961 deaths", "Australian Army officers", "Australian Army personnel of World War II", "Australian World War I recipients of the Victoria Cross", "Australian carpenters", "Australian recipients of the Military Medal", "Burials in Victoria (state)", "Military personnel from Melbourne", "People from Bendigo", "People from Caulfield, Victoria" ]	George Morby Ingram, VC, MM (18 March 1889 – 30 June 1961) was an Australian recipient of the Victoria Cross, the highest decoration for gallantry "in the face of the enemy" that can be awarded to members of the British and Commonwealth armed forces. Ingram became Australia's final recipient of the Victoria Cross during the First World War following his actions during an attack on the village of Montbrehain in France. Leading a platoon during the engagement, he instigated several charges against a number of German strong points that eventuated in the seizure of ten machine guns and sixty-two prisoners, as well as inflicting high casualties. Born in the Victorian town of Bendigo, Ingram was apprenticed as a carpenter and joiner upon leaving school. Joining the militia at the age of fourteen, he later settled in Melbourne where he worked as a building contractor. Following the outbreak of the First World War, Ingram enlisted in the Australian Naval and Military Expeditionary Force and served on New Guinea before receiving his discharge in early 1916. Enlisting in the Australian Imperial Force on the same day, he embarked for the Western Front. He was decorated with the Military Medal following his actions as a member of a bombing section during an attack on Bapaume. Commissioned as a second lieutenant in June 1918, Ingram returned to Australia in 1919 where he was discharged soon after. Re-settling in Melbourne, he was employed as a foreman for a building contractor company. Enlisting for service in the Second World War, he was allotted to the Royal Australian Engineers and achieved the rank of captain before being placed on the Retired List in 1944. Ingram died in 1961 at the age of 72. ## Early life Ingram was born in Bendigo, Victoria, on 18 March 1889 to George Ronald Ingram, a farmer, and his wife Charlotte (née Hubbard). Initially educated at the Lilydale State School, he left school at age fourteen and was apprenticed as a carpenter and joiner. Joining the militia at this time, he was attached to No. 7 Company of the Australian Garrison Artillery and in 1906 attended a military exhibition in New Zealand as a member of the Australian contingent. Completing his apprenticeship, Ingram moved to Caulfield, Melbourne, where he entered into business as a building contractor. On 19 January 1910, Ingram married Jane Francis Nichols in a Congregational ceremony at East Prahran. ## First World War On 10 December 1914, Ingram enlisted as a private in the 3rd Battalion, Australian Naval and Military Expeditionary Force at South Yarra. Initially posted for service on the newly captured German territory of New Guinea, he returned to Australia 6 December 1915, and was discharged on 19 January with the rank of corporal. That same day, he enlisted in the Australian Imperial Force and was allotted to the 16th Reinforcements of the 24th Battalion as a private. In October, Ingram embarked with the unit from Melbourne aboard HMAT Nestor. Arriving in France, he was appointed acting corporal and joined the 24th Battalion in January 1917. On the night of 15/16 March 1917, Ingram took part in the battalion's attack on the village of Bapaume during the German withdrawal to the Hindenburg Line. Posted to a bombing section during the engagement, he became involved in a fight with German troops who outnumbered his unit. Making effective use of their grenades, the unit was able to hold off the German attack. Later during the assault, the German forces returned in large numbers, forcing the bombing section to retreat. Ingram, in conjunction with two others, covered the party's withdrawal which thus minimised casualties. For his actions during the battle, Ingram was awarded the Military Medal, the citation noting his "... great courage and initiative ...". The announcement of the award was published in a supplement to the London Gazette on 11 May 1917. Promoted to temporary sergeant on 18 March, Ingram fell ill in April and was hospitalised in Britain until June when he was deemed fit to return to his battalion. He was hospitalised once again in September after dislocating his knee, and upon returning to his unit on 10 October he was made company sergeant major. It was at this time that the Australian focus for the remainder of the year was to be the Ypres sector in Belgium, and as such the 24th Battalion participated in the Battle of Passchendaele. During this time, Ingram was recommended for a commission in the 24th Battalion as a second lieutenant, which was confirmed on 20 June 1918. Three days later, however, he was once again admitted to hospital suffering from an illness, and as such was unable to assume his duties as an officer until 12 July when he returned to the battalion. ### Victoria Cross On 4 October 1918, the 24th Battalion took part in the attack that captured the Beaurevoir sector in France, and was, therefore, expecting to have a rest the following day when the unit was unexpectedly ordered to take part in another attack. The assault was to commence at 06:05 from the village of Remicourt, and lead to the capture of Montbrehain by the 21st and 24th Battalions with tanks to provide support. The action was to prove the final engagement for the Australian infantry during the war, and it was during this attack that Ingram was to earn the Victoria Cross; the sixty-fourth, and final, Australian to do so during the First World War. At the designated time, the two infantry battalions commenced the attack under the cover of an artillery barrage. The advance was heavily counter-attacked by German machine gun and artillery fire, but the Australians managed to continue despite the late arrival of the tanks. Approximately 100 yards (91 m) from the German trenches, the 24th Battalion's B Company—in which Ingram was commanding a platoon—became the object of severe sniper and machine gun fire, halting the unit's advance. Under the cover of a Lewis Gun, Ingram dashed ahead of his men and led them against the German strong point. After a fierce fight, the platoon succeeded in capturing nine machine guns and killing all forty-two Germans who had occupied the line; Ingram accounting for at least eighteen of them himself. Soon after, the company came under heavy fire from an old quarry occupied by over one hundred German soldiers who possessed as many as forty machine guns. Severe casualties were sustained as they began to advance for attack, including the company commander who fell seriously wounded. Taking command of the attack, Ingram rallied the men and rushed forward. Jumping into the quarry, he charged the first post himself, shooting six German soldiers and capturing a machine gun. The German forces were soon overcome, and thirty troops subsequently surrendered. While his men were clearing up the remaining German positions, Ingram scouted ahead in search of machine gun nests in the village. He soon located one positioned in a house, which had been firing through the cellar ventilator. Managing to enter the house, he shot the gunner through the ventilator. He fired several more shots into the cellar before rushing to the head of the cellar stairs. By thus cutting off any means of escape, a further thirty Germans were taken prisoner. The battle for Montbrehain raged until 20:00 that night, during which time the line had been linked up and consolidated. The casualties of the 24th Battalion had been so high that two companies of the 27th Battalion had to be attached for support; the 24th Battalion left the frontline for the last time on 6 October. The full citation for Ingram's Victoria Cross appeared in a supplement to the London Gazette on 6 January 1919, it read: > War Office, 6th January, 1919. > > His Majesty the KING has been graciously pleased to approve of the award of the Victoria Cross to the undermentioned Officers, Non-commissioned Officers and Men: — > > Lt. George Morby Ingram, M.M., 24th Bn., A.I.F. > > For most conspicuous bravery and initiative during the attack on Montbrehain, East of Peronne, on 5th October, 1918. When early in the advance his platoon was held up by a strong point, Lt. Ingram, without hesitation, dashed out and rushed the post at the head of his men, capturing nine machine guns and killing 42 enemy after stubborn resistance. > > Later, when the company had suffered severe casualties from enemy posts, and many leaders had fallen, he at once took control of the situation, rallied his men under intense fire, and led them forward. He himself rushed the first post, shot six of the enemy, and captured a machine gun, thus overcoming serious resistance. > > On two subsequent occasions he again displayed great dash and resource in the capture of enemy posts, inflicting many casualties and taking 62 prisoners. > > Throughout the whole day he showed the most inspiring example of courage and leadership, and freely exposed himself regardless of danger. Ingram was promoted to lieutenant on 24 October, and was training away from the frontline with his battalion when the Armistice was signed on 11 November 1918; thus ending the war. On 25 February 1919, Ingram was decorated with his Victoria Cross by King George V in the ballroom of Buckingham Palace. Boarding a troopship bound for Australia soon after, he arrived in Melbourne on 5 March and was discharged from the Australian Imperial Force on 2 June. ## Later life Following his discharge, Ingram re-settled in Melbourne and gained employment as a general foreman with E. A. & Frank Watts Pty Ltd, building contractors. In 1926, Ingram's marriage with his wife Jane was dissolved upon his instigation on the grounds of desertion on her behalf. On 10 February the following year, he married Lillian Wakeling (née Hart), a widow, at the Methodist parsonage, Malvern; the pair were later to have one son. On 11 November 1929, Ingram attended the Victoria Dinner for recipients of the Victoria Cross in Melbourne. Following the completion of Melbourne's Shrine of Remembrance in 1935, Ingram was chosen as a member of its permanent guard. There had been two hundred and fifty applications for the position, of which only fourteen were appointed; Ingram being one of the earliest. Following the outbreak of the Second World War, Ingram once again volunteered his services and enlisted in the militia on 17 November 1939. Posted to a unit in the Royal Australian Engineers, he achieved the rank of captain before being placed on the Retired List on 6 May 1944. Ingram's wife Lillian died in May 1951, and on 24 December of the same year he married another widow, Myrtle Lydia Thomas (née Cornell), in a ceremony at Brunswick Methodist Church; the couple later had a son, Alex. In 1954, Ingram attended the dedication of the Shrine of Remembrance by Queen Elizabeth II and the Duke of Edinburgh on 28 February following an expansion on the monument to encompass Australia's contributions to the Second World War. Two years later, he joined the Australian contingent of Victoria Cross recipients who attended the parade in London's Hyde Park to commemorate the centenary of the institution of the Victoria Cross. Ingram died of coronary vascular disease at his home in Hastings, Victoria, on 30 June 1961, and was buried at Frankston Cemetery. He is commemorated by a street name in Canberra. On 27 May 2008, the Victoria Cross, Military Medal and campaign medals awarded to Ingram were sold at auction by Sotheby's of Melbourne for A\$478,000. The medals were sold on behalf of Ingram's son, Alex, who was concerned about the security of the group and was experiencing financial strain. The purchaser, rumoured to be media mogul Kerry Stokes, indicated that the Victoria Cross would be donated to the Australian War Memorial in Canberra. This subsequently took place, and Ingram's medals are displayed in the Memorial's Hall of Valour.	[ "## Early life", "## First World War", "### Victoria Cross", "## Later life" ]	2,522	15,030
22,486,367	Fatbeard	1,140,033,022	null	[ "Piracy in Somalia", "Piracy in fiction", "Somalia in fiction", "South Park (season 13) episodes" ]	"Fatbeard" is the seventh episode of the thirteenth season of the American animated television series South Park. The 188th overall episode of the series, it originally aired on Comedy Central in the United States on April 22, 2009 and in the United Kingdom on April 24, 2009. It was the mid-season finale, marking the final South Park episode for six months. In the episode, Cartman misinterprets news reports about piracy in the Indian Ocean to mean the return of the classic era of swashbuckling pirates, and misleads a handful of South Park boys to voyage to Mogadishu to start a pirate crew. The episode was written and directed by series co-founder Trey Parker, and was rated TV-MA L in the United States for strong to extreme language. "Fatbeard" was a reference to increasing international media attention to piracy in the Indian Ocean, and the script depicted the pirates in a sympathetic light. The crew of the USS Bainbridge, the Arleigh Burke-class guided missile destroyer which participated in the rescue of the hijacked MV Maersk Alabama, contacted the South Park creators to praise them for the episode. "Fatbeard" received generally positive reviews and was seen by 2.59 million households in its original broadcast, making it the most-watched Comedy Central production the week it aired. ## Plot Having misunderstood the news about an upsurge of piracy in the Indian Ocean, Cartman excitedly tells his friends the classic era of piracy has returned, and asks the boys to join him in becoming a pirate in what he describes as a responsibility-free life in a warm tropical paradise. Sensing an opportunity to get rid of Cartman once and for all, Kyle encourages him to go, even offering to help pay for his plane ticket. Although Butters, Ike, Clyde and Kevin are the only students who agree to join his crew (alongside Gordon, whom Cartman kicks out due to being ginger), an undaunted Cartman uses his mother's credit card to book a trip to Somalia via Expedia. After a long flight from Denver International Airport to Cairo and a 49-hour bus ride across Africa, the boys arrive in Mogadishu dressed as stereotypical pirates. Once there, however, they are shocked to find themselves in a desolate land, the complete opposite of their expectations. They quickly find the pirates, who are shocked that anyone would knowingly venture into their base. The pirates decide to ransom the boys to the first European vessel they find, although Cartman and the boys do not understand because the pirates are speaking Somali. The boys confidently go with them, believing they are being taken to a pirate ship, but are once again disappointed when they are taken to a small motorboat. Eventually, the pirates find a French cruise ship and demand a ransom of five thousand euros in exchange for the boys' lives. Meanwhile in South Park, Kyle happily claims partial credit for sending Cartman to Somalia and expects things will be better without Cartman around. But when his parents discover a farewell letter from Ike, Kyle realizes his brother has run off with Cartman to Somalia, and he sets off for Mogadishu to bring his brother home. Back in Somalia, the ransom is paid and the boys are surrendered. Once on board, however, Cartman assumes control of the schooner and orders the crew to get onto the lifeboat. Although the captain initially refuses, Kevin brandishes a toy lightsaber, frightening the French crew into abandoning ship. Cartman and the boys return to Mogadishu with the captured vessel, giving several bundles of euros to the pirates. The pirates are initially shocked, but begin to respect Cartman. Unimpressed by their lack of "pirate" traits, he in turn leads them in raiding ships via a traditional sea shanty called "Somalian Pirates, We", and starts fashioning them into a stereotypical pirate crew. Meanwhile, the French crew is rescued by an oil tanker, and the U.S. Navy is deployed by NATO and the United Nations after getting word from the cargo ship captain that the pirates now have "advanced weaponry" (which was really just Kevin's toy lightsaber, that the French crew thought was real). Kyle arrives in Mogadishu but is immediately taken captive by the pirates and held hostage. He pleads with Cartman to let him and his brother leave, but Cartman refuses, believing that Kyle is simply jealous of his new pirate life. Meanwhile, an English-speaking pirate named Guleed asks Butters and Ike why they decided to become pirates. When they say that they left because they were tired of things like school, chores, homework, and being yelled at by adults, Guleed responds by telling them that he doesn't want to be a pirate, and only became one because he is desperately poor: he dreamed of going to school and his mother was suffering from AIDS that could not be treated, while his father was killed attempting to find food for his family. Butters and Ike end up realizing how close-minded and complacent they've been and that a life of piracy is one of hardship and suffering rather than fun and adventure like normal life can be. They then tell Cartman that they want to return home, but he refuses to give up his delusions of grandeur and threatens the boys with death by calling the real pirates to hold them at gunpoint. However, Cartman's vision is quickly disrupted when a U.S. Navy ship hired by NATO appears off the coast carrying snipers, who kill all of the Somali pirates, with its commander stating 'do not hit the white ones' within seconds. This leaves Cartman dumbfounded and annoyed, as he quips, "The fuck?". ## Production "Fatbeard" was written and directed by series co-creator Trey Parker. It originally aired on Comedy Central in the United States on April 22, 2009 and was the mid-season finale, marking the final South Park episode until October 2009. "Fatbeard" is based on real-life piracy in the Indian Ocean, which began receiving increasing international media attention in 2008 until its demise in 2012/2013. The episode began production two weeks before its airdate, with the intention to broadcast it on April 15, 2009. The writing team had developed the idea for Cartman mistaking Somali piracy for classic piracy amid the pirate hijacking of the MV Maersk Alabama at the time. Captain Richard Phillips was taken hostage in the event, and Parker and Stone decided to hold the episode indefinitely, although animation had begun. Realizing the severity of the situation — if Phillips were killed and the South Park episode seemed to mock the situation — they decided to resume work on the episode "Pinewood Derby", which had been in production for a while, as the creators had no idea to where to go with its story. When Phillips was rescued over the weekend, they wanted to resume work on "Fatbeard", but as animation work on the episode proved difficult, including new sets depicting Somalia, it was decided it would be unfeasible. The episode's ending was unusual, as many episodes of South Park tend to resolve the episode's events; in "Fatbeard", the main characters don't return home and are shown at the end still in Somalia. An alternate ending made it to the animatic stage, in which Cartman, in a self-referential manner, congratulates the show on the conclusion of the season and invites the season's celebrity parodies (among those the Jonas Brothers and Kanye West). The ending, which Parker likened to that of a variety show, was something he felt was funny in writing but didn't succeed visually. While most South Park episodes feature Parker and Stone providing almost all the voice acting, "Fatbeard" included several French-speaking actors providing the lines of the cruise ship crew. Outside voice actors were also brought in for the role of the Somali pirates, including Abdi Fatah Adawe, Dahir Ali, Abdullahi Prime, and Julien Zeitouni. The week after its original broadcast, in response to requests by fans, the full 90-second version of episode's sea shanty song, "Somalian Pirates, We" was made available for download on South Park Studios, the official South Park website. Shortly after "Fatbeard" was originally broadcast, the site also featured six different types of T-shirts and hooded sweatshirts based on the episode. ## Themes The ending, in which the pirates are each shot to death by American snipers, reflects the resolution of the pirate hijacking of the MV Maersk Alabama in April 2009, where U.S. Navy SEALs rescued the captain after three snipers simultaneously killed three pirates with one shot each. They are portrayed in a particularly sympathetic light when they are killed during the ending. Travis Fickett of IGN said, "It's one of those moments where South Park feels the need to give voice to a side the media is ignoring—and points out that things aren't quite as cut and dry [sic] as we might like." The episode has also been described as a commentary on the way in which Americans tend to take their relative wealth and comfort for granted. A U.S. Navy SEAL ordering another to "not hit the white ones" has also been described as an indictment of the American approach to foreign policy. ## Cultural references Ike indicates he will "puke my balls out through my mouth" if he has to hear anything more about Susan Boyle, the Scottish amateur singer who gained worldwide attention around the time of the episode's airing for her performance of the song "I Dreamed a Dream" from Les Misérables on the show Britain's Got Talent. The Boyle reference in particular received a great deal of media attention the week "Fatbeard" first aired. Cartman says that Jewish people, Mexicans, and ginger-haired people are not allowed to be pirates. The French schooner crew members are portrayed as pretentious cowards, a stereotype of the French based on the government's surrender during World War II. The schooner itself strongly resembles the French luxury yacht Le Ponant, which was seized by Somali pirates in April 2008. Cartman refers to Blackbeard, the famous English pirate from the 17th and 18th centuries, from whom the episode derives its name. Much of the décor and music in the episode is influenced by the Pirates of the Caribbean theme park ride and associated film franchise. Kevin wields a toy lightsaber, the Jedi weapon from the Star Wars films; this is also a reference to the sixth season episode "The Return of the Fellowship of the Ring to the Two Towers", in which he dresses as an Imperial stormtrooper while the rest of the boys are in The Lord of the Rings attire. ## Reception In its original American broadcast, "Fatbeard" was watched by 2.59 million overall households, according to the Nielsen ratings, making it the most-watched Comedy Central production of the week. The episode received generally positive reviews. Carlos Delgado of If magazine, who gave the episode an A− grade, particularly praised the Cartman and Ike characters and called the ending "perfect". Delgado said of the show's creators, "These guys see episode potential in nearly everything that passes through the news desk. And because South Park can be made in like a week—and I’m talking start to finish, from concept to finished product—they end up being the most socially conscious and timely show on television today." Ken Tucker of Entertainment Weekly praised the episode and the Somali pirate song, and complimented the show for presenting the pirates as sympathetic human beings. Sean O'Neal of The A.V. Club said the portrayal of Somali pirates was a predictable storyline, but said he enjoyed the episode because of the pacing: "Rather than a cobbled-together collection of gags, everything progressed very organically." IGN writer Travis Fickett said the episode was amusing but not exceptional. Fickett enjoyed the takeover of the French vessel and the extent to which Cartman's delusion about pirates takes him, but he said the pirate plot "isn't entirely in good taste (and) it never really gathers a full head of steam". The crew of the USS Bainbridge, the Arleigh Burke-class guided missile destroyer which participated in the rescue of Richard Phillips from the hijacked MV Maersk Alabama, contacted the creators of South Park to commend them on the episode. Ensign Jonathan Sieg, the Bainbridge public relations officer, wrote: "Pretty much everyone onboard our ship — from Captain to seaman — is a huge fan of South Park, and when we heard about the episode Fatbeard, as you can imagine, we were thrilled and very interested to watch." Sieg requested copies of the episode because the streaming online video was difficult to watch on the ship, and the South Park staff in return sent them a care package including several copies of the episode. On the official South Park Studios FAQ, they wrote back, "No, sir, thank you. We were honored to read that, and making an episode about you kicking pirate booty was our pleasure." ## Home release "Fatbeard", along with the thirteen other episodes from South Park's thirteenth season, were released on a three-disc DVD set and two-disc Blu-ray set in the United States on March 16, 2010. The sets included brief audio commentaries by Parker and Stone for each episode, a collection of deleted scenes, and a special mini-feature Inside Xbox: A Behind-the-Scenes Tour of South Park Studios, which discussed the process behind animating the show with Inside Xbox host Major Nelson.	[ "## Plot", "## Production", "## Themes", "## Cultural references", "## Reception", "## Home release" ]	2,811	44,620
37,116,923	Ach, lieben Christen, seid getrost, BWV 114	1,107,327,777	Chorale cantata by Johann Sebastian Bach	[ "1724 compositions", "Chorale cantatas", "Church cantatas by Johann Sebastian Bach" ]	Johann Sebastian Bach composed the church cantata Ach, lieben Christen, seid getrost (Ah, dear Christians, be comforted), BWV 114, in Leipzig for the 17th Sunday after Trinity and first performed it on 1 October 1724. Bach created the work as part of his second annual cantata cycle when he was Thomaskantor (director of music) in Leipzig. That cycle was planned as a cycle of the chorale cantatas for all occasions of the liturgical year. Ach, lieben Christen, seid getrost is based on a hymn of penitence by Johannes Gigas (1561). An unknown poet kept three stanzas in their original form, which Bach set as an opening chorale fantasia, a central fourth movement with the soprano accompanied only by the continuo, and a four-part closing chorale as movement 7. The poet reworded the other stanzas as arias and recitatives, including references to the prescribed gospel about the healing of a man with dropsy. Bach scored the cantata for four vocal parts, and a Baroque instrumental ensemble of a horn to reinforce the chorale tune, a transverse flute, 2 oboes, strings and continuo. ## History and words Bach composed the cantata in his second year as Thomaskantor (director of music) in Leipzig for the 17th Sunday after Trinity. That year, Bach composed a cycle of chorale cantatas, begun on the first Sunday after Trinity of 1724. The prescribed readings for the Sunday were from the Epistle to the Ephesians, the admonition to keep the unity of the Spirit (), and from the Gospel of Luke, healing a man with dropsy on the Sabbath (). The cantata is based on a song of penitence, "Ach, lieben Christen, seid getrost", in six stanzas by Johannes Gigas (1561), sung to the melody of "Wo Gott der Herr nicht bei uns hält". The hymn is only distantly related to the readings, concentrating on the thought that the Christians sin and deserve punishment, but may be raised to joy in a "seliger Tod" (blessed death). An unknown poet kept the first, third and sixth stanza as movements 1, 4 and 7 of the cantata. He derived movements 2 and 3, aria and recitative, from stanza 2, movement 5, another aria, from stanza 4, and the last recitative from stanza 5. In movement 3, he deviated from the song text, expanding in connection to the gospel that sin in general is comparable to the dropsy, "diese Sündenwassersucht ist zum Verderben da und wird dir tödlich sein" (this sinful dropsy leads to destruction and will be fatal to you), and alluding to Adam's fall, caused by self-exaltation in the forbidden quest to be like God, "Der Hochmut aß vordem von der verbotnen Frucht, Gott gleich zu werden" (Pride first ate the forbidden fruit, to be like God). Bach first performed the cantata on 1 October 1724, only two days after the first performance of his chorale cantata Herr Gott, dich loben alle wir, BWV 130, on the feast of Michael, the archangel, 29 September 1724. ## Music ### Structure and scoring Bach structured the cantata in seven movements. The chorale tune is used in movements 1, 4 and 7, as a chorale fantasia, a chorale sung by a solo voice, and a four-part closing chorale. These three movements frame two sets of aria and recitative. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of horn (Co) to double the soprano, flauto traverso (Ft), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo. The title of the autograph score reads: "Dom: 17 post Trin: / Ach lieben Xsten seyd getrost / a 4 Voc: / Corno / 2 Hautbois / 2 Violini / Viola / con / Continuo / di / Sign:JS:Bach". In the following table of the movements, the keys and time signatures are taken from the Bach scholar Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for brass, woodwinds and strings, while the continuo, playing throughout, is not shown. ### Movements #### 1 In the opening chorale fantasia, "Ach, lieben Christen, seid getrost" (Ah, dear Christians, be comforted), Bach expresses two thoughts of the text, comfort and fear, by contrasting themes that appear simultaneously in the instruments: an assertive theme is derived from the melody and played by the two oboes and first violins, an "anxious" one in the second violins and the continuo. The soprano sings the melody as a cantus firmus, doubled by the horn, while the lower voices are set partly in expressive imitation, partly in homophony. They are treated differently to reflect the meaning of the text. The Bach scholar Klaus Hofmann compares the movement to the opening of the cantata Jesu, der du meine Seele, BWV 78, written three weeks earlier: both "a sort of chaconne" in G minor, with a "French style" bass as "the expression of mourning and lamentation". #### 2 The first aria is set for tenor with a virtuoso flute, "Wo wird in diesem Jammertale" (Where, in this valley of suffering). It contrasts again the anxious question "Wo wird ... vor meinen Geist die Zuflucht sein?" (Where ... is the refuge of my spirit?) and the trusting "Allein zu Jesu Vaterhänden will ich mich in der Schwachheit wenden" (However, to Jesus' fatherly hands I will turn in my weakness), The anxious question returns in the da capo form. #### 3 The first recitative, "O Sünder, trage mit Geduld" (O sinner, bear with patience), begins secco, but expresses the contrasting words "erhebst" (exalt) and "erniedrigt" (humbled) from the Gospel as an arioso. #### 4 The chorale stanza, "Kein Frucht das Weizenkörnlein bringt" (The grain of wheat bears no fruit), is set for the soprano, accompanied only by the continuo. In its "starkness of the unembellished chorale", it is the centerpiece of the cantata. #### 5 The alto aria, "Du machst, o Tod, mir nun nicht ferner bange" (You make me, o death, no longer fearful now), is the only movement of the cantata in a major key. A shift to minor on the words "Es muß ja so einmal gestorben sein" (One day, indeed, one must die) is even more striking. #### 6 A final recitative "Indes bedenke deine Seele" (Therefore, consider your soul) invites to turn body and soul to God. #### 7 The cantata ends with a four-part setting of the chorale melody, "Wir wachen oder schlafen ein" (Whether we wake or fall asleep), expressing "confidence in God". ## Recordings The listing is taken from the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are marked by green background.	[ "## History and words", "## Music", "### Structure and scoring", "### Movements", "#### 1", "#### 2", "#### 3", "#### 4", "#### 5", "#### 6", "#### 7", "## Recordings" ]	1,665	2,172
58,280,141	German torpedo boat T2	1,159,588,361	German torpedo boat of the Type 35 class (1935–1946)	[ "1938 ships", "Type 35 torpedo boats" ]	The German torpedo boat T2 was one of a dozen Type 35 torpedo boats built for the Kriegsmarine (German Navy) during the late 1930s. Completed in 1939, she was not combat ready until mid-1940, when she spent several months escorting minelayers as they laid minefields. The boat returned to Germany after being damaged and supported operations in the Baltic Sea after the start of Operation Barbarossa in June 1941. T2 returned to France at the end of the year, escorting a commerce raider through the English Channel. She then escorted a pair of battleships and a heavy cruiser through the Channel back to Germany in early 1942 in the Channel Dash. The boat was placed in reserve upon her return and was transferred back to France in 1943, where she helped to escort blockade runners through the Bay of Biscay. In mid-1943, she returned to the Baltic and briefly served as flagship of a submarine flotilla before being assigned to the Torpedo School. T2 was sunk in an air raid in July 1944, but was refloated several months later. She was never repaired and eventually scrapped in 1946. ## Design and description The Type 35 was an unsuccessful attempt by the Kriegsmarine to design a fast, ocean-going torpedo boat that did not exceed the 600-long-ton (610 t) displacement limit of the London Naval Treaty for ships that counted against the national tonnage limit. The boats had an overall length of 84.3 meters (276 ft 7 in) and were 82.2 meters (269 ft 8 in) long at the waterline. After the bow was rebuilt in 1941 to improve seaworthiness, the overall length increased to 87.1 meters (285 ft 9 in). The ships had a beam of 8.62 meters (28 ft 3 in) and a mean draft of 2.83 meters (9 ft 3 in) at deep load. They displaced 859 metric tons (845 long tons) at standard load and 1,108 metric tons (1,091 long tons) at deep load, exceeding the planned limit. Their crew numbered 119 officers and sailors. Their pair of geared steam turbine sets, each driving one propeller, were designed to produce 31,000 shaft horsepower (23,000 kW), using steam from four high-pressure water-tube boilers which would propel the boats at 35 knots (65 km/h; 40 mph). They carried enough fuel oil to give them a range of 1,200 nautical miles (2,200 km; 1,400 mi) at 19 knots (35 km/h; 22 mph). As built, the Type 35 class mounted a single 10.5 cm (4.1 in) SK C/32 gun on the stern. Anti-aircraft defense was provided by a single 3.7 cm (1.5 in) SK C/30 anti-aircraft gun superfiring over the 10.5 cm gun and a pair of 2 cm (0.8 in) C/30 guns on the bridge wings. They carried six above-water 533 mm (21 in) torpedo tubes in two triple mounts and could also carry 30 mines (or 60 if the weather was good). Many boats exchanged the 3.7 cm gun for another 2 cm gun, depth charges and minesweeping paravanes before completion. While the full extent of any modifications to T2 are unknown, photographic evidence shows the ship was fitted with a quadruple mount for 2 cm guns in lieu of the single 3.7 cm gun and an additional 2 cm weapon positioned on the bow before her loss in mid-1944. She is not known have been fitted with radar. ## Construction and career T2 was ordered on 16 November 1935 from Schichau, laid down at their Elbing, East Prussia, shipyard on 14 November 1936 as yard number 1381, launched on 7 April 1938, and commissioned on 2 December 1939. The boat was working up until June 1940, when she began convoy escort duties in German waters. Now assigned to the 5th Torpedo Boat Flotilla, T2, her sister ships T7 and T8, and the torpedo boats Kondor, Falke, and Jaguar escorted minelayers as they laid a minefield in the southwestern North Sea on 7–8 August and again on 14–15 August. Newly assigned to the 1st Torpedo Boat Flotilla with Kondor and her sisters T1 and T3, T2 escorted a minelaying mission in the English Channel on 6–7 September. Five days later, T2, the torpedo boat Seeadler, T1, and T3 were ordered to proceed to France. They were attacked enroute by a Bristol Blenheim light bomber that dropped a bomb 10 meters (33 ft) to one side of T2. Splinters from the bomb badly damaged the torpedo boat and wounded six men. She stopped in Vlissingen, Netherlands, for emergency repairs and then sailed to Wilhelmshaven, where she arrived on 25 September. Permanent repairs at Schichau's shipyard in Elbing lasted until May 1941, and T2 was working up until July, when she began escorting convoys in the Skaggerak. Together with her sisters T5, T8, and T11, the boat supported Operation Beowulf in mid-September. T2, T5, T7, T8, and T11 were among the escorts for the Baltic Fleet, a temporary formation built around the battleship Tirpitz, as it sortied into the Sea of Åland on 23–29 September to forestall any attempt by the Soviet Red Banner Baltic Fleet to breakout from the Gulf of Finland. Afterwards, T2 became part of a decoy force used to distract the defenders. The ship was briefly refitted in November. On 2 December, T2 and her sister T12 rendezvoused with the commerce raider Thor in the Schillig Roads; they were joined by T4, T7, and the torpedo boat T14 the following day, and then began to escort Thor through the Channel. Delayed by heavy fog, the ships did not reach Brest, France, until the 15th, while Thor continued onwards into the Atlantic. On the morning of 12 February 1942, the 2nd and 3rd Torpedo Boat Flotillas (with T2, T4, T5, T11, T12 and T13, T15, T16, and T17 respectively) rendezvoused with the battleships Gneisenau and Scharnhorst and the heavy cruiser Prinz Eugen to escort them through the Channel to Germany in the Channel Dash. T2's gunners claimed to have shot down one British aircraft during the operation. Upon her arrival in Germany, T2 was reduced to reserve until she was ordered to France in March 1943. Although escorted by T2, T5, Kondor, and the torpedo boats T22 and T23, the Italian blockade runner Himalaya failed in her attempt to break through the Bay of Biscay when she was spotted by British aircraft and forced to return by heavy aerial attacks on 9–11 April. On 5–8 May, the 2nd Torpedo Boat Flotilla with T2, T5, and the torpedo boats T18 and T22 laid three minefields in the Channel. T2 transferred to the Baltic and served as flagship of the 25th U-boat Flotilla from 10 July to September. The next month, she was assigned to the Torpedo School. In April 1944, the four oldest of the sisters, including T2, were assigned to a training unit as they lacked radar and a reinforced anti-aircraft armament. This arrangement did not last long as the German situation in the east deteriorated and they began convoy escort duties throughout the Baltic a few months later. On 29 July 1944, the boat was sunk by American bombers attacking Bremen. T2 was refloated on 4 September and was towed to Swinemünde on 9 December and then to Elbing for repairs on 31 January 1945. Advancing Soviet forces forced her to be towed back west, unrepaired, the following month. The hulk was reported at Brunsbüttel in May and was broken up at Cuxhaven in 1946.	[ "## Design and description", "## Construction and career" ]	1,794	29,413
61,601,014	Jimmy Lee (album)	1,169,938,466	null	[ "2019 albums", "Albums produced by Raphael Saadiq", "Columbia Records albums", "Concept albums", "Raphael Saadiq albums" ]	Jimmy Lee is the fifth studio album by American R&B singer, songwriter, and producer Raphael Saadiq. It was released on August 23, 2019 by Columbia Records. Recorded at Saadiq's personal studio in North Hollywood, it follows the critical success of his 2011 album Stone Rollin''' and a period of years spent working on other musical projects, particularly those associated with African-American culture. Departing from the upbeat retro stylings of Saadiq's previous albums, Jimmy Lee explores themes of stress, addiction, family dysfunction, financial burden, mortality, and mass incarceration, particularly in the context of African-American life. It uses murkier, more modern R&B sounds and a song cycle of personal narratives, inspired in part by the singer's older brother, who died from a heroin overdose when Saadiq was young, and after whom the album is titled. Saadiq, who played bass, guitar, and percussion, was joined in its recording by drummer Chris Dave, producer Brook D'Leau, engineer Gerry Brown, vocalist Taura Stinson, and rapper Kendrick Lamar, among others. While performing modestly on record charts, Jimmy Lee received widespread acclaim and earned Saadiq some of the best reviews of his solo career. Critics applauded its ambitious sonic qualities and the singer's navigation through the complexities of its lyrical tragedies. Saadiq toured the US in early 2020 to further support the album, accompanied by singer-songwriter Jamila Woods as his opening act. ## Background Jimmy Lee is Saadiq's fifth album as a solo artist and his first in eight years, following the critically acclaimed Stone Rollin' (2011). In between albums, he had worked on various projects and recordings, including executive production of the Solange album A Seat at the Table (2016), score composition for the TV series Insecure, and co-writing of the Mary J. Blige song "Mighty River" (2017), which received an Academy Award nomination for its inclusion in the film Mudbound. According to Pitchfork writer Ann-Derrick Gaillot, these ventures left Saadiq's "fingerprints ... all over the past few years of Black American culture" and seemed to have "emboldened" him for Jimmy Lee. The album is named after and inspired in part by Saadiq's brother, who died in the 1990s of a heroin overdose after contracting HIV. He was one of four siblings in Saadiq's family to die tragically young. As Dylan Hicks chronicles for City Pages, "brother Alvie was murdered in a dispute with a family member when Raphael was a boy; Jimmy Lee Baker, much older than Raphael, had a long struggle with heroin that eventually led to a fatal overdose; another brother, Desmond, a suicide, also battled chemical dependency; a sister, Sarah, was killed after backing her car into a police chase." ## Writing and recording When asked about writing the album, Saadiq told Entertainment Weekly in August 2019 that he first considered his own struggle with dieting and eating healthy before arriving at a deeper concept. "I would do it for a while but then I'd just fall off track", he explained. "Then I started thinking about people who are addicted to drugs, like my brother, and how much people wanted him to stop, and I figured I couldn't even stop doing some of the things I was doing when it came to food." After contemplating his brother's self-destruction with drugs, Saadiq elaborated on it further to write more songs, considering his own brushes with drugs, the experiences of his friends, and visits with his mother to a Kaiser Permanente facility, where he recalled seeing long lines for prescription drug pickups. "People don't realize that addiction can take over your entire life", he went on to tell the magazine. "This is a world epidemic. I stayed in that space and I didn't come back out until I was done [recording the album]." Saadiq recorded and produced Jimmy Lee at Blakeslee Recording Co., his personal studio in North Hollywood. For certain songs, he collaborated with multi-instrumentalist Ali Shaheed Muhammad, rapper Kendrick Lamar, and producer Brook D'Leau, among others. According to Jem Aswad of Variety in August 2019, "unusually for contemporary R&B, Saadiq's songs seem mostly to have been written on guitar or bass (he excels on both), giving them a rootsy core that's rare in most popular music today." ## Music and lyrics The music of Jimmy Lee is a significant departure for Saadiq artistically, abandoning the upbeat retro stylings of his previous solo albums and the psychedelic, Dylanesque influences of Stone Rollin' in particular. Instead, it features a wide range of R&B styles produced in modern fashion, albeit still employing soul and funk sounds from the 1970s. From that period, Aswad cites influences in the socially conscious recordings of Marvin Gaye, Curtis Mayfield, and Stevie Wonder, while Damien Morris from The Observer says the album strives to be a modern version of Gaye's What's Going On (1971) or Prince's Sign o' the Times (1987). Detroit Metro Times journalist Jerylin Jordan observes elements of Motown and gospel music in Jimmy Lee's "danceable neo-soul stylings". Gospel is overtly represented on "Belongs to God", while Saadiq's vocals throughout the album are characterized by gospel-style shouts, along with crooning and whispered singing. The album's soul songs have uniform rhythms overall, although "Kings Fall", "My Walk", and "I'm Feeling Love" feature dissonance in the form of clashing electronic sounds and erratic vocals, reflecting themes of distress in their narratives. Saadiq sings over rough-sounding synthesizer sounds in a bluesy, soulful cadence on "My Walk", which is "his biggest musical departure, and also the album's most frankly autobiographical track", says Gaillot. According to Nashville Scene writer Stephen Trageser, Jimmy Lee's literary narratives about cycles of poverty, addiction, and incarceration are placed in the framework of "futuristic soul" and "warped, swirling beats", resulting in a tone that Greg Kot describes as murky throughout. Composed as a song cycle, the album follows characters who are variously affected by stress, addiction, family dysfunction, inadequate love, loneliness, chronic financial burden, despair, AIDS, death, mass incarceration, and drug criminalization's relationship to African-American men. Jordan describes it more broadly as a collection of "wise and prolific hypotheticals suited for those touched by addiction and anyone who might find themselves confronted with temptation". Perspectives from the addict are told on the blues-inspired "Kings Fall" and the groove-oriented neo soul song "I'm Feeling Love". "Kings Fall", which also takes after the Motown soul of Saadiq's The Way I See It (2008), draws on Jimmy Lee's reputation as a much-loved and charming drug addict around Saadiq's childhood neighborhood in Oakland, reflected in lyrics such as "I used to be everybody's hero / Shakin' hands and kissing babies". Another Motown-influenced track, "Rikers Island", is a protest song. ## Marketing and sales Columbia Records released Jimmy Lee on August 23, 2019. "Something Keeps Calling" and "Glory to the Veins" were released as singles on June 6 and July 5, respectively. In interviews leading up to the album's release, Saadiq spoke about his relationship with Jimmy Lee and the role of heroin addiction in his brother's life. According to Mix magazine's Lily Moayeri, while Jimmy Lee is a kind of concept album, Saadiq had not perceived an overriding theme "until he started promoting the album and had to respond to what listeners were taking away from it". Commercially, Jimmy Lee charted in the US at number 25 on Billboard magazine's Top Album Sales in the week of September 7, 2019, its only week on the chart. Saadiq further supported the album with a concert tour of the US, accompanied by a live band. Beginning on January 23, 2020, at the House of Blues in San Diego, the 27-show Jimmy Lee Tour featured DJ Duggz in the role of concert DJ and singer-songwriter Jamila Woods as the opening act. ## Critical reception Jimmy Lee was met with widespread critical acclaim. At the aggregate website Metacritic, which assigns a weighted average rating out of 100 to reviews from professional publications, the album received a score of 90, based on eight reviews. It is Saadiq's highest-scoring solo work and the 63rd-scoring album of the 21st century, according to the website's data in April 2020. Reviewing for Q in October 2019, Steve Yates hailed Jimmy Lee as "a dark album for darker times" and declared, "at 53, Saadiq is still ahead of the curve." In The New York Times, Alex Pappademas claimed, "As a solo artist, Saadiq has long been a master without a masterpiece for consensus to point to. Jimmy Lee could change that through sonic ambition alone." Adriane Pontecorvo, for PopMatters, said of the album, "Saadiq puts his artistic skills to use in full, reaching new emotional and technical heights while delving into heartbreaking lows. Jimmy Lee shows why, even though he so often stays behind the scenes these days, his is one of the most compelling voices in modern-day soul music." In Paste, Saby Reyes-Kulkarni was impressed by Saadiq's "truly remarkable combination of dexterity and ease" in maneuvering through "a complicated tangle of feelings", considering his love and idolization of Jimmy Lee growing up. Some reviewers were more reserved in their praise. While not finding the album entirely successful in its ambition, Damien Morris of The Observer called the songs "brutally honest, occasionally impressionistic", and "beautiful", highlighting the "astonishing, soul-scraping laments" of "This World Is Drunk" and "Kings Fall". Reviewing in his Substack-published "Consumer Guide" column, Robert Christgau said that only "My Walk" has a "surefire hook" on what is nevertheless a "one-of-a-kind album" that places the "slick modernist R&B" style of Saadiq's 1990s group, Tony! Toni! Toné!, "in a tragic vision of black life that's devoid of street and hood – of realities turned hip hop commonplaces that too often ignore the complexities". In a year-end list for the Chicago Tribune, Kot ranked Jimmy Lee as the second best album of 2019, behind Woods' Legacy! Legacy! In a year-end essay for Slate, Ann Powers also named it one of her favorite albums from 2019, as well as proof that the album format is not dead but rather undergoing a "metamorphosis". She added that concept albums had reemerged through the culturally-relevant autobiographical narratives of artists such as Saadiq, whose "masterful Jimmy Lee'' had the R&B Jedi master using all of his wisdom as a serious soul nerd to create a tragic but ultimately transcendent saga from the real travails of his very broken family". ## Track listing - The vinyl edition ends "Rearview" with two minutes of silence and the hidden track "Angel". ## Personnel Credits are adapted from AllMusic. - Raphael Saadiq – bass guitar, guitar, percussion, additional synthesizer programming - Taura Stinson – background vocals - Chris Dave – drums - Rob Bacon – guitar - Thomas McElroy – additional synthesizer - Daniel Crawford – additional synthesizer - Lemar Carter – drums - Sir Dylan – piano, recording engineering - Ernest Turner – piano - Brook D'Leau – drums - Charlie Bereal – guitar - Jairus Mozee – guitar - Ali Shaheed Muhammad – congas - Kelvin Wooten – upright piano, B-3 Organ - Gerry "The Gov" Brown – recording engineering - Hotae Alexander Jang – recording engineering, mix engineering - Charles Brungardt – recording engineering, mix engineering - Steve Rusch – recording engineering - Dave Kutch – mastering ## Charts ## See also - African-American family structure - Progressive soul - Race and health in the United States - Race in the United States criminal justice system	[ "## Background", "## Writing and recording", "## Music and lyrics", "## Marketing and sales", "## Critical reception", "## Track listing", "## Personnel", "## Charts", "## See also" ]	2,611	29,783
4,620,378	Gospić massacre	1,152,921,671	1991 mass killings of civilians in Gospić, Croatia	[ "1990s murders in Croatia", "1991 crimes in Croatia", "1991 in Croatia", "1991 murders in Europe", "Croatian war crimes in the Croatian War of Independence", "History of Gospić", "History of the Serbs of Croatia", "Massacres in 1991", "Massacres in Croatia", "Massacres in the Croatian War of Independence", "Massacres of Serbs", "October 1991 events in Europe" ]	The Gospić massacre was the mass killing of 100–120 predominantly Serb civilians in Gospić, Croatia during the last two weeks of October 1991, during the Croatian War of Independence. The majority of the victims were ethnic Serbs arrested in Gospić and the nearby coastal town of Karlobag. Most of them were arrested on 16–17 October. Some of the detainees were taken to the Perušić barracks and executed in Lipova Glavica near the town, while others were shot in the Pazarište area of Gospić. The killings were ordered by the Secretary of Lika Crisis Headquarters, Tihomir Orešković, and the commander of the 118th Infantry Brigade of the Croatian National Guard, Lieutenant Colonel Mirko Norac. The killings were publicised in 1997, when a wartime member of Autumn Rains paramilitary spoke about the unit's involvement in killings of civilians in Gospić in an interview to the Feral Tribune. No formal investigation was launched until 2000, after three former Croatian intelligence and military police officers informed the International Criminal Tribunal for the former Yugoslavia about the killings. Five, including Orešković and Norac, were arrested in 2001 and tried. Orešković, Norac and Stjepan Grandić were found guilty of the crime and sentenced to 14, 12 and 10 years in prison respectively in 2004. ## Background In August 1990, an insurrection took place in Croatia centred in predominantly Serb-populated areas, including parts of Lika, near the city of Gospić, which also had a significant ethnic Serb population. The areas were subsequently named SAO Krajina and, after declaring its intention to integrate with Serbia, the Government of Croatia declared it to be a rebellion. By March 1991, the conflict escalated into the Croatian War of Independence. In June 1991, Croatia declared its independence as Yugoslavia disintegrated. A three-month moratorium followed, after which the decision came into effect on 8 October. As the Yugoslav People's Army (JNA) increasingly supported SAO Krajina and the Croatian Police was unable to cope with the situation, the Croatian National Guard (ZNG) was formed in May 1991. The development of the military of Croatia was hampered by a UN arms embargo introduced in September, while the military conflict in Croatia continued to escalate—the Battle of Vukovar started on 26 August. By the end of August the fighting intensified in Lika as well, including in Gospic where fighting to control the city continued through much of September. Although Gospić was controlled by Croat forces, it remained under Serbian artillery bombardment after the battle. The fighting resulted in heavy damage to the town and the flight of the bulk of its population after which only about 3,000 residents remainined. Before the war, Gospić had a population of 8,000, including 3,000 Serbs. Many Serbs previously living in the town fled but Croatian authorities urged them to return through television and radio broadcasts. As the civilian population started to return in late September, Gospić chief of police Ivan Dasović proposed that a list of the returning Serbs should be drawn up, ostensibly for security purposes. According to Ante Karić, President of the Lika Crisis Headquarters (krizni stožer), Dasović feared that the returning Serbs might harbour a fifth column, undermining defence of the town. Karić reportedly opposed the move, but the list was compiled on 10 October. A similar list of Serbs returning to nearby Karlobag was prepared on 16 October. Gospić police were subordinated to control by the Lika Crisis Headquarters by dint of an order issued by the then Minister of the Interior Ivan Vekić as were the 118th Infantry Brigade of the ZNG and the military police based in Gospić. In addition, a paramilitary volunteer group, nicknamed "Autumn Rains", controlled by Tomislav Merčep, was deployed to Gospić in September; this unit was formally subordinate to the Ministry of the Interior. ## Killings The Secretary of the Lika Crisis Headquarters, Tihomir Orešković, and the commanding officer of the 118th Infantry Brigade Lieutenant Colonel Mirko Norac, called a meeting of their subordinates and ordered the arrest of Serb civilians, their subsequent detention in the Perušić barracks, and killings. Sources disagree on the exact date of the meeting. According to Dasović, the meeting took place on 15 October, at approximately 9:00 p.m., which he attended along with several other officials. Other sources, including the subsequent criminal inquiry and trial witnesses, indicated the meeting was held on 16 or 17 October. The courts processing the case, including the Supreme Court of Croatia, determined that the meeting took place on 17 October and that Orešković and Norac ordered those in attendance to execute civilians that had been arrested based on the prepared lists. The killing of civilians in Široka Kula by Serbian paramilitaries, which took place on 13 October, was used as a pretext for the executions. Most of the arrests occurred on 16–17 October, both in Gospić and Karlobag. The civilians, especially Serbs, were led away at gunpoint from bomb shelters starting on 16 October. Two days later, residents of Gospić witnessed civilians being loaded aboard eleven military lorries at the town's cattle market, never to be seen again. At least ten civilians were killed at Žitnik in the Gospić area known as Pazarište on 17 October. The killings continued at Lipova Glavica near Perušić on 18 October, where 39 or 40 people were executed by firing squad after being held in the Perušić barracks, where a battalion of the 118th Infantry Brigade was based at the time. Three additional Serb civilians were arrested in Gospić and Karlobag on 25 October. They were also shot and their bodies retrieved in the Ravni Dabar area on 3 December. Many of the victims were prominent Serbian intellectuals including doctors, judges and professors. Like the rest of murdered Serbs, they were loyal to the Croatian state and refused to join the Republic of Serbian Krajina, making their executions all the more heinous. The Croat victims of the massacre are believed to have been dissenters who opposed the state's Anti-Serb measures. ## Aftermath The massacre in Gospić was the most significant such atrocity committed by Croats during the war. Sources disagree on the total number of fatalities in the Gospić massacre, with estimates ranging from nearly 100 to 120 killed. The official figures indicate that a total of 123 persons went missing in the area of Gospić between 1991–95. Ten victims were dumped in a septic tank and covered with layers of clay and stone rubble in Gospić, later discovered by International Criminal Tribunal for the former Yugoslavia (ICTY) investigators in May 2000, arousing complaints from the mayor of Gospić and street protests by Croatian veterans. Twenty-four additional corpses had been burnt and disposed of near Duge Njive, a village east of Perušić, but retrieved by the 6th Brigade of the JNA on 25 December 1991, examined and reburied in Debelo Brdo, 15 kilometres (9.3 miles) away from Udbina. Eighteen were buried in a mass grave while six others were buried individually, but these were disinterred and reburied elsewhere by relatives. The mass grave was excavated in December 2000 as a part of a criminal investigation. The victims' homes were looted in the immediate aftermath by the Autumn Rains unit. In 1992, several members of the unit were briefly imprisoned by Croatian authorities, but released without charge. In September 1997, the now defunct Croatian newspaper Feral Tribune published a detailed eyewitness account by Miroslav Bajramović, one of the Autumn Rains troops, who claimed to have been involved in carrying out the massacre. In his interview, Bajramović stated that the unit was ordered to ethnically cleanse Gospić. He also claimed they were occasionally ordered by Tomislav Merčep, who had been an ally of Croatian President Franjo Tuđman, to "terminate" prisoners, and that Vekić was fully aware of their task. Bajramović and three other members of the unit identified in the interview were arrested, while Vekić denied Bajramović's claims and Croatian government officials denied any responsibility in the matter. In turn, the ICTY requested information on the four. Tudjman blamed the massacre on Serbs and foreign agents. He briefly arrested a Croatian militia leader connected to the killings, but later released him and assigned him to the Interior Ministry. By 1998, two Croatian intelligence officers and a military police officer, Milan Levar, Zdenko Bando and Zdenko Ropac, approached the ICTY offering information concerning the events. Levar, who was later murdered, was particularly valuable as a witness as he claimed to have witnessed the deaths of about 50 people in the Gospić area. Ranko Marijan, the Justice Minister in a new government, criticised his predecessors and the police for their failure to pursue the case, but the authorities failed to protect Levar, who was murdered by car bomb on 30 August 2000. The investigation of the killings in Gospić was a contributing factor in the criticism of the government's efforts by seven active duty and five retired Croatian generals who issued the Twelve Generals' Letter making their grievance public. That led to sacking of the seven active duty officers, including by President Stjepan Mesić. The group included Norac, who had held the rank of major general since September 1995. ### Trial of Orešković et al. A formal inquest of the killings in Gospić was launched in late 2000 and warrants for the arrest of Orešković, Norac, Stjepan Grandić, Ivica Rožić and Milan Čanić were issued in February 2001. Norac evaded arrest for two weeks, convinced that the authorities intended to extradite him to the ICTY. Relatives of Grandić, Rožić and Čanić, aided by residents of Gospić, attempted to prevent the police from arresting the three by surrounding the police vans sent to transport the defendants to custody. The opposition to the prosecution culminated in a 150,000-strong street protest in Split on 11 February. The protests were repeated in Zagreb, where 13,000 protesters appeared. Norac surrendered on 21 February after he received assurances that he would be tried in Croatia rather than by the ICTY. A formal indictment was brought forward on 5 March, charging the five with the killing of 50 civilians in Gospić and Karlobag. The case was tried in Rijeka County Court, and included the testimony of 120 witnesses in the Rijeka court, 18 survivors of the 1991 attacks in Gospić who testified in Belgrade, and two Croatian nationals who fled to Germany fearing for their own safety. One of these two, surnamed Ropac, refused to testify because he distrusted government assurances regarding his safety. In March 2003, the Court found the defendants guilty; Orešković was sentenced to 15 years in prison, while Norac received a sentence of 12 years in prison. Grandić was imprisoned for a term of 10 years. Rožić and Čanić were acquitted due to lack of evidence against them. The case was ultimately appealed all the way to the Supreme Court of Croatia in 2004, which upheld the first-instance convictions of Orešković, Norac and Grandić, as well as the acquittals of Rožić and Čanić. A BBC News analysis claimed the trials indicated a willingness on the part of the Croatian government to deal with war crimes committed by its nationals, following a long period of inactivity described by Rijeka County Court judge Ika Šarić as a "conspiracy of silence". Bajramović and four other members of his unit were convicted in an unrelated case of killing and abuse of Serb and Croat civilians committed in Poljana near Pakrac in 1991. They received prison sentences ranging from three to twelve years. As of 2013, Merčep is on trial charged with command responsibility in war crimes committed in Poljana. ## See also - List of massacres in Croatia	[ "## Background", "## Killings", "## Aftermath", "### Trial of Orešković et al.", "## See also" ]	2,676	494
63,554,537	Khalili Imperial Garniture	1,147,205,424	Trio of enamel artworks	[ "1893 works", "Japanese art", "Khalili Collections", "Works in vitreous enamel", "World's Columbian Exposition" ]	The Khalili Imperial Garniture is a trio of cloisonné vases created for a Japanese Imperial commission during the Meiji era. The items were exhibited at the World's Columbian Exposition in Chicago, United States, in 1893, where they were described as "the largest examples of cloisonné enamel ever made". The decoration of the vases represents virtues and the seasons, and also has an allegorical meaning about Japan's role in a changing world and its alliance with the United States. After being exhibited, the vases were separated from each other for more than 120 years, eventually reunited in 2019 in the Khalili Collection of Japanese Art, a private collection assembled by the British-Iranian collector and scholar Nasser D. Khalili. ## Creation and exhibition During Japan's Meiji era (1868 to 1912), the government actively promoted Japanese arts and crafts abroad by exhibiting the best examples in the world's fairs that were held in America and Europe. The first world's fair to exhibit Japanese art works in its Fine Arts section was the World's Columbian Exposition and among them was this garniture with a central incense burner. It had been inspected by the Emperor who approved it for the exhibition. The three vases are decorated with enamel and silver wire on a copper surface. At the exposition they were described as "the largest examples of cloisonné enamel ever made". The eight feet, eight inches (264 cm) height quoted in the 1893 catalogue includes their pedestals made of keyaki wood. The height of the tall vases is 172 cm (five feet, eight inches). The incense burner is topped by an eagle in bronze. A team of craftsmen, led by Shirozayemon Suzuki of Yokohama and Seizayemon Tsunekawa of Nagoya, took more than four years to construct the three items. The painting was done by nihonga artist Araki Kanpo (1831–1915) who was a member of the Japanese Imperial Household's art committee and of the Royal Society of Arts, London. Kanpo was later recognised in 1900 as an Imperial Household Artist. Viewing the garniture in Tokyo before its shipping to Chicago, the Anglo-Irish scholar Francis Brinkley predicted that the exposition would not display it in the Palace of Fine Arts because of its political symbolism. Despite this prediction, it was displayed prominently in the East Court of the Palace as the ethnologist Hubert Howe Bancroft describes in his Book of the Fair. ## Decoration and symbolism The idea for the design is credited to "Mr. Shin Shiwoda, Special Counsellor for the Arts of the Japanese Commission for the World's Columbian Exposition". The three vases depict a dragon, chickens, and eagles, respectively representing the virtues of wisdom, honesty and strength. The imagery also has a geographical meaning, with the dragon representing China, the eagles Russia, a rising sun for Japan, chickens for the Korean Islands and the bronze eagle on the central censer representing the United States. The handles of the censer are shaped like chrysanthemums, the symbol of the Japanese Imperial family. The general design also includes the four seasons of the year, with opposite sides of one vase showing autumn and winter scenes. The eagle's appearance on a winter background, driving other birds before it, represents Russia's advance into East Asia. The dragon representing China is depicted among summer clouds, heading towards autumn. The reverse of this vase depicts plover over waves. Japan's rising sun appears in a spring scene, suggesting "gladness and general revival". The neck of each vase features a striped red and white pattern with inlaid silver stars. The stars and stripes decorated with chrysanthemums and vines symbolise partnership between Japan and the United States. The Japan Weekly Mail of 15 April 1893 gave this interpretation of the design: > "Russia swooping down upon Korea finds her aggressive designs thwarted by China and Japan, while the Stars and Stripes wave their protecting folds over all; the American eagle spreads its wings above a scene where Korea, rescued and reviving on the threshold of spring, passes into the sunshine and bloom of Japan's early summer; the national flags of the United States and her Oriental friend intertwine everywhere overhead." The garniture was thus a political statement about how Japan saw its new status in the world, as a land of new beginnings that was emerging as the major regional power, allied with the United States against an encroaching Russia. Events in the two decades after the World's Columbian Exposition unfolded similarly to what was depicted allegorically by the garniture. The First Sino-Japanese war ended with Japan defeating China and gaining control of the Korean peninsula, preventing Russia's advance into that territory. Japan's victory in the Russo-Japanese war made it the first Asian nation to defeat a Western power. ## Collection Among the eight collections assembled, published, and exhibited by London-based collector, scholar and philanthropist Nasser Khalili is a collection of Japanese decorative art of the Meiji era, considered to be only equalled by the collection of the Japanese imperial family. The complete garniture is now part of that collection. Khalili acquired the first vase, depicting eagles, in Los Angeles in the early 1990s. He displayed it at a 1999 exhibition of Meiji art in Wilmington, Delaware in 1999. The incense burner depicting chickens was owned by Hirose Atsushi and displayed at the Tokyo National Museum before being bought by Khalili in 2000. The other vase, depicting a dragon, was considered "lost". In January 2019 it was found to have been the centerpiece of the main dining room of Spenger's Fresh Fish Grotto in Berkeley, California, one of the oldest restaurants in the San Francisco Bay area. Frank Spenger, son of the restaurant's founder, had acquired the vase at the 1894 California Midwinter Fair. On 17 February 2019, Khalili bought it for \$110,000 at an auction of Spenger family items, thus reuniting the garniture after more than 120 years. ## Gallery	[ "## Creation and exhibition", "## Decoration and symbolism", "## Collection", "## Gallery" ]	1,274	2,623
25,075,425	The Camel (Parks and Recreation)	1,146,026,598	null	[ "2009 American television episodes", "Parks and Recreation (season 2) episodes" ]	"The Camel" is the ninth episode of the second season of Parks and Recreation, and the fifteenth overall episode of the series. It originally aired on NBC in the United States on November 12, 2009. In the episode, Leslie and the parks department bicker as they work on a proposal for a new town hall mural, while Ron and Andy share an awkward moment at Andy's new shoe-shine job. The episode was written by Rachel Axler and was directed by Millicent Shelton. The title refers to the figure of speech that a camel is a "horse made by a committee", and refers to the final mural proposed by the parks department. "The Camel" included references to several Indiana celebrities, including Greg Kinnear, John Mellencamp, Larry Bird, Michael Jackson and David Letterman, all of whom have a place in the mural representing Leonardo da Vinci's The Last Supper. Stand-up comedian Kirk Fox made a guest appearance as Joe, from the Pawnee sewage department. According to Nielsen Media Research, "The Camel" was seen by 4.67 million viewers, a drop from the previous week. The episode received generally positive reviews, with particular praise for the Ron and Andy subplot, and the jokes involving Jerry's "murinal". ## Plot The Pawnee council decides it will replace the town hall's "Spirit of Pawnee" mural, which has been repeatedly vandalized because of its racist overtones. When each Pawnee department is asked to propose a new mural, Leslie (Amy Poehler) becomes determined for the parks department to win, especially after she is taunted by "Sewage" Joe (Kirk Fox) in the sewer department. Everyone in the parks department is told to come up with a possible mural. Tom (Aziz Ansari) pays a local artist (Doug Anthony Jones) to make a painting for him, and he is initially unsatisfied with the result, a colorful abstract painting. When presenting it to the staff, however, he suddenly experiences his first emotional reaction to a work of art. Ann (Rashida Jones), who acknowledges a lack of creative talent, presents a rendering of a park that is widely panned by the others. April (Aubrey Plaza) presents a dark and bizarre piece made of garbage she found in a dumpster. Donna (Retta) presents a version of The Last Supper with famous people from Indiana. Jerry (Jim O'Heir) presents a beautiful pointillist photomosaic of city hall, but everyone laughs at him and dismisses his entry when he accidentally calls his mural a "murinal". Leslie proposes a picture of a historic Pawnee bakery fire, which she thinks will win because it is dark and depressing. When the parks department casts votes for the best mural, they each vote for their own artwork. As a compromise, Leslie creates a mural using pieces of everybody's artwork, but the result is an ugly and confusing mess. Leslie enlists the help of Mark (Paul Schneider), who draws a bland but skillful sketch of an old man feeding pigeons in the park. Mark himself admits the sketch is dull, but claims it will win because it has mass appeal. Nobody in the parks department likes it except Ron (Nick Offerman), but Leslie insists on entering it so they will win, much to everybody's disappointment. While waiting to present the sketch, Leslie sees how much fun other departments had in making their mural, and she decides to enter the parks department's original mural after all. The town council committee are confused by the proposal, but the parks department have fun presenting it and break into laughter. In the end, the town decides not to spend any money on a new mural and simply renames the old one "The Diversity Express". The parks department is nevertheless proud of their work, which they hang in their conference room; Ron also hangs Mark's sketch in his office. In a B plot, Andy (Chris Pratt) is doing well in his new job as the Pawnee shoeshiner, and Ron pays for a shine. Ron is impressed when Andy actually eases the pain from his bunion, and he later purposely scuffs his shoe so he can get a second shine. Andy is initially flattered, but starts to grow uncomfortable when Ron returns for a third shoeshine. This time, Ron makes an involuntary noise that sounds like a sexual moan, seriously embarrassing both men. After a day of avoiding each other, Ron and Andy discuss the noise and decide it would be best to simply pretend it never happened. ## Production "The Camel" was written by Rachel Axler and directed by Millicent Shelton. It derives its title from the figure of speech that a camel is "a horse made by a committee". When the parks department puts together a mural proposal using elements of six different pieces of art, which Mark refers to in the episode as a camel. The episode features a guest appearance by stand-up comedian Kirk Fox as Joe, Leslie's nemesis from the Pawnee sewer department. Within a week of the episode's original broadcast, a deleted scene from "The Camel" was made available on the official Parks and Recreation website. In the 90-second clip, Ann tries to get out of helping with the mural, April looks through a dumpster for inspiration and Ron defends "cookie cutter art" by saying, "There's nothing wrong with a cookie cutter. You know what you get with a cookie cutter? Perfectly shaped cookies!" ## Cultural references Leslie indicates she had a dream involving American actress Gina Gershon. For her mural, Donna proposes a recreation of Leonardo da Vinci's painting The Last Supper with Indiana natives in place of the apostles. Actor Greg Kinnear was chosen to replace Jesus, with the Apostles replaced by John Mellencamp, Larry Bird, Michael Jackson, David Letterman and a NASCAR race car, among others. Jerry presents for his mural a work of pointillism, a style of painting in which small distinct dots of color create the impression of a wider image. When proposing her somber mural, Leslie claims tragedy often succeeds in awards, and specifically cites the Academy Awards which honor the film industry. As an example, Leslie uses The English Patient, the 1996 Best Picture winner during the 69th Academy Awards. Upon first receiving his painting, Tom says, "It looks like a lizard puking up Skittles", a reference to the multi-colored candies. Leslie, upon the idea of putting the best parts of each design into a new mural, says it is like having Michelangelo, Andy Warhol, Jackson Pollock and Jim Davis do one painting. When Mark tries to get out of helping with the mural, he uses the excuse, "I was gonna go to Arby's and watch Frontline", a reference to a fast food restaurant chain and a Public Broadcasting Service public affairs program. Ron names his bunion Paul, after the mythological lumberjack Paul Bunyan. ## Reception In its original American broadcast on November 12, 2009, "The Camel" was seen by 4.67 million viewers, according to Nielsen Media Research. It drew a 2.1 rating/6 share among viewers aged between 18 and 49, about a five percent drop from the previous week's episode, "Ron and Tammy". The episode received generally positive reviews. Matt Fowler of IGN said "The Camel" was a particularly funny episode, and that the parks department's collaboration on the mural allowed "each character being able to instill their own level of brand-specific insanity into the mix". Fowler also praised the sewer department jokes, the "murinal" scene involving Jerry and the fact that no department ended up winning the mural contest, which Fowler called a commentary on "the futility of local government in their attempts to accomplish anything". The Star-Ledger television columnist Alan Sepinwall declared "The Camel" one of the episodes he would suggest to newcomers seeking to become familiar with Parks and Recreation. Sepinwall said the Ron and Andy subplot "made me laugh as hard as I have in a very long time", and said the episode had a good mix of funny, sweet and ridiculous moments, and said the ensemble cast was starting to work extremely well together. The A.V. Club writer Leonard Pierce said the episode included great lines, strong personality-driven comedy and good character moments, specially Tom's emotional reaction to his painting. Pierce said the Andy and Ron subplot was "so well played that it threatens to usurp the mural storyline". Sandra Gonzalez particularly praised the "murinal" jokes about Jerry's mural, as well as Ron's claim that he ran a sheet metal factory when he was nine, and that "Child labor laws are ruining this country." Time magazine television critic James Poniewozik said make jokes connected in "The Camel", including the Andy shoeshine plot and the "unexpectedly glamorous" sewage department. But he particularly praised the character development in the main plot, in which "each in their own way sticks to the purity of their uniquely screwy ideas". Brad Sanders of the Indiana Daily Student praised the entire cast, particularly Offerman and Pratt, who he said provide the show's two best characters. Sanders said the fact that the episode included a "hilarious subplot" involving both of them "was more evidence that the writers have been listening to the fans". GQ writer Dan Fierman said Parks and Recreation appeared to be "approaching early Simpsons-levels in its absurdity and comic pacing". He suggested this could be due to the use of Mike Scully, a veteran comic writer with the animated series, as a consulting producer on Parks and Recreation. In an article reflecting on the Parks and Recreation second season, which became critically acclaimed following poor season one reviews, Slate magazine writer Jonah Weiner said the plot of "The Camel" "can be read as something of a Season 2 mission statement". Weiner compared Leslie's decision to submit the quirky collage rather than the safer bet as reflective of the Parks and Recreation writing staff's apparent decision "to ride their zaniest whims rather than tamp them down for something more readily recognizable as a hit sitcom". ## DVD release "The Camel", along with the other 23 second season episodes of Parks and Recreation, was released on a four-disc DVD set in the United States on November 30, 2010. The DVD included deleted scenes for each episode.	[ "## Plot", "## Production", "## Cultural references", "## Reception", "## DVD release" ]	2,122	27,681
57,787,188	Siddhantasara	1,140,163,009	1889 book of history of philosophy by Manilal Dwivedi	[ "1889 non-fiction books", "Analytic philosophy literature", "Gujarati-language books", "History books about philosophy", "Works by Manilal Dwivedi" ]	Siddhantasara (; transl. The Gist of Principles) is a 1889 Gujarati book on the history of philosophy by Indian writer and philosopher Manilal Dwivedi. It is a historical critique of the world's religious philosophies. The book deals with the evolution of religious sentiment and attempts to establish the superiority of the Advaita philosophy over other religious philosophies. Siddhantasara received positive reviews and became a landmark in the history of Gujarati literature but was also criticised because of the logical lapses and inconsistencies in the author's arguments. Manishankar Bhatt (known as Kavi Kant) published his review as a book titled Siddhantasaranu Avalokan (Analysis of Siddhantasara). Siddhantasara is considered by critics to be Manilal's most important work, and has been seen as a response to the cultural agenda and reform activities of colonial India at the time. ## Background In 1888, Manilal had planned to write two books in Gujarati. The first of these was a book expounding on practical expressions of Hindu philosophy. The second was a detailed treatise on the theoretical aspects of Advaita philosophy, in the context of a comparative study of Hinduism on the one hand and all other religions of the world on the other. On 9 September that year he finished writing the first book, called Pranavinimaya, and it was published in December. Pranavinimaya was based on mesmerism. On 5 October, Manilal began writing the second book, Siddhantasara. Progress was interrupted by illness, but the book was completed in March 1889 and published from Bombay in June 1889. The book had a subtitle Sarvamanya Ekdharmana Tatva Suchavvano Prayatna (Towards a Philosophy of Universal Religion). In the preface to Siddhantasara, Manilal clarifies his aim in writing the book: > There are many systems of thought — like religion and philosophy — in this world, but I believe that all these are the transformations of the same eternal principles. The path of arriving at these eternal principles is the Advaita philosophy of ancient India. I believe that this needs no proof, as it is its own proof. My attempt here is to establish these principles. On the title page, Manilal described the work as "an outline of the history of thought in India terminating with an attempt to point out the basis of a universal religion". Manilal explained that his "attempt [was] to search for truth, which is not bound by any sectarian or ideological considerations", and suggested that this search for truth would be conditioned by his own beliefs. ## Contents The book is divided into eleven chapters. Chapter One discusses religious ideas, and emphasizes the need for a standard religion acceptable to all. The final chapter presents a comparison of Indian and Western ideas on religion, and describes in detail the claim of the Aryan religion, based on Advaita philosophy, as the most acceptable religious philosophy. The intervening chapters present a history of Indian religious-philosophical traditions, including detailed discussion of the Vedas, the Upanishads, the Sutras, the Smritis, the Six Systems of Hindu philosophy, Buddhism, Jainism, Charvaka philosophy, the Puranas, and the Tantras. In the first chapter, Manilal rejects the idea of the Genesis creation narrative as told in the Old Testament, and argues that the universe is eternal; that is, with neither beginning nor end. Manilal claims that the Vedas are the source of all religious ideas, wherein lies the origin of a universal religion. He claims that the Vedas were "divinely inspired" texts, and that they are therefore eternal. He attempts a logical explanation of the ritual practices described in the Vedas, their emphasis on Karma Marga, and their ideas of multiple gods and goddesses and of idol worship. Manilal's theological conclusions are that Āryāvarta (ancient India) is the source of all religions; that Advaita Vedanta is the original and universal religion, with other religions as its mere derivatives; and that Advaita Vedanta is the supreme religion, in which lies moksha (emancipation). ## Methodology Manilal seeks to demonstrate that, in their original form, all religions contain aspects of Advaita philosophy at their core. To this end, he presents the history of the world's religions and explores the characteristics of each. He attempts to explain the significance of old customs, and to prove that the myths and exaggerations of the Puranas are purposeful. In reply to Max Müller's criticism of the Puranas, he presents a detailed interpretation of the dashavatara of Vishnu (the ten incarnations of the Hindu god Vishnu) in the Puranas, rejecting Darwin's theory of evolution. As a metaphorical explanation of the relationship between the Vedas, the Puranas and the Upanishads, he writes: "The Vedas are the box of history of philosophical thoughts; the Upanishads are the key to open it to obtain the contents, and the Puranas are the lamps enabling us to see those contents fully." Dhirubhai Thaker, Manilal's biographer, characterised Manilal's method as beginning with logical reasoning, which is then abandoned as the discussion proceeds in favor of an abrupt statement of personal conviction presented as self-evident. He writes that "there is a force of conviction in [Manilal's] style which is so vigorous that an average reader is not able to detect the gimmick, but it hardly escapes the notice of a critical reader". ## Reception and criticism Siddhantasara is considered Manilal's most important work. With its publication, Manilal was recognised as one of the major philosophical and religious thinkers of his time. The work also generated prolonged controversy among intellectuals over the logical lapses and inconsistencies in the author's arguments. Most critics contend that, in his over-enthusiasm to prove a thesis, Manilal takes certain facts as self-evident, twists them to suit his purpose, presents evidence from obscure sources or, in the absence of evidence, resorts to sophistry. The historian Vijay Singh Chavda [gu] wrote: "This work was the outcome of Manilal's long and thoughtful study of the fundamental principles of Sanatan Hindu Dharma and he placed them in their proper historical context". Thaker sees the publication of Siddhantasara as an event in Gujarat, saying that it corrected the impression among the educated class that the Puranas were merely fanciful stories. The cultural historian Tridip Suhrud sees Siddhantasara as an "interesting response to both the colonial cultural agenda and the reform movements". ### Kant's critique Gujarati poet Manishankar Bhatt (known as Kavi Kant) reviewed Siddhantasar at length. His chapter-by-chapter comments were published in Jnanasudha, a journal edited by Ramanbhai Neelkanth, from 1894 to 1896. They were written in the form of love-letters addressed by Kant to his imaginary beloved, Kanta. Through these letters, Kant exposed Manilal's verbal and logical gimmicks in a light, ironic style. Manilal responded to Kant's comments in his own monthly literary magazine, Sudarashan. In June 1895, Kant met Manilal for the first time, by chance, at the residence of a common friend in Baroda. As Thaker notes, on that occasion Kant was influenced by Manilal's personality and philosophy. After this meeting, Kant's views underwent change. He ceased criticizing Manilal, and expressed admiration for him in his letters. In one letter, he wrote of Manilal's view of the Puranas: > His method of treatment is correct. He has been able to establish that the writers of the Puranas were, to large extent, conversant with the Vedas and the Upanishads, and that their objective was not to create superstition in the mind of the people, but to teach them truth of religion in a simple popular form. In the final installment of his letters, which appeared in August–September issue of Jnanasudha, Kant wrote: "I respectfully welcome this work of Manilal despite several contradictions, much one-sided reasoning and similar other faults ... Speaking for myself, I look upon him as my guru for attracting my attention to several praiseworthy traits of our ancient religion". Kant's critique of the Siddhantasara was later published as a book entitled Siddhantasaranu Avalokan (Analysis of Siddhantasara).	[ "## Background", "## Contents", "## Methodology", "## Reception and criticism", "### Kant's critique" ]	1,808	180
25,145,911	Isle of the Dead (video game)	1,173,330,891	null	[ "1993 video games", "Adventure games", "Cancelled Atari Jaguar games", "DOS games", "DOS-only games", "First-person shooters", "Merit Studios games", "Point-and-click adventure games", "Single-player video games", "Sprite-based first-person shooters", "Video games about zombies", "Video games adapted into comics", "Video games developed in the United States", "Video games set on fictional islands", "Video games with 2.5D graphics" ]	Isle of the Dead is a point-and-click first-person shooter horror video game developed by Rainmaker Software and published by Merit Software in 1993 for IBM and compatibles. The game centers around Jake Dunbar, the sole survivor of a plane crash, on a mysterious tropical island inhabited by zombies under the control of a mad scientist. Dunbar can interact with non-player characters to acquire weapons and obtain items through adventure game commands. Originally planned to be a hack-and-slash game, Isle of the Dead was made to have the feel of horror pulp comics. A minicomic was included with the game on release. Reception to the game was negative, both on release and in retrospectives, with criticism given to its graphics, in-game map, and structure. Publications, such as Computer Gaming World, have called it one of the worst video games of all time. ## Gameplay and plot Isle of the Dead is a first-person shooter and point-and-click adventure game. The plot follows the player character, Jake Dunbar, who is the only survivor of a plane crash on a tropical island filled with zombies that are being controlled by a mad scientist. The goal of the game is to escape the island and save the damsel in distress. After retrieving items from the wreckage, Dunbar explores the beach and moves further inland by hacking at the undergrowth with a machete. Dunbar can also interact with non-player characters and acquire guns, although ammunition is scarce and limited. Items can be stored and accessed in an inventory screen. The game switches from 3D to 2D when obtaining items, using an adventure game interface as well as commands such as "Look", "Get", and "Use". Instant-death traps also appear in the game; in one of these, a gun blows up in Dunbar's face if it is not lubricated. Quitting the game causes Dunbar to commit suicide by gunshot. ## Development and release Isle of the Dead was developed by Rainmaker Software and published by Dallas, Texas-based company Merit Software. The game's concept and design was created by A. Sean Glaspell; it was programmed by Bruce J. Mack and Bryan Kelsch and featured art by Myk Friedman. While the intention was to create a hack-and-slash game, programmer Bryan Kelsch disliked how the game gave the player tasks without reason. Because of this, the programming teams added a script with narrative hooks, attempting to turn the game into a "good hack and slash game, but with a strong plot". Kelsch said the game was intended to have the feel of horror pulp comics, so a minicomic was included with the game. Isle of the Dead was later shown at the 1993 Consumer Electronics Show. The game was released 1993; a port for the Atari Jaguar CD was in development but never released. ## Reception Previewing the game at the Consumer Electronics Show, Computer Gaming World, while not impressed with it graphically, thought that it made up for this with its "enthusiasm, gore, and the spicy addition of a little gratuitous T&A". Isle of the Dead received negative reviews upon release. Sandy Petersen, writing for Dragon in their "Eye of the Monitor" column, criticized its tedious difficulty and felt fighting the zombies was dull and too difficult. Petersen gave the game zero out of five stars in the magazine's rating scale, advising readers to avoid playing it. Peter Olafson, of Compute!, while negative towards the graphics, compared the mood of Isle of the Dead to EC Comics horror magazines. Chris Lombardi, writing for Computer Gaming World, argued the game was designed to be campy, but otherwise described it as the worst video game he had seen among adventure games and games with 3D graphics. In their 15th anniversary issue, Computer Gaming World rated Isle of the Dead the 32nd worst game of all time, noting its "crude graphics, weak sound, and a weak 3D engine". Multiple publications compared the game to other first-person shooters such as Wolfenstein 3D, while Sandy Petersen considered it was much less competently made. Electronic Games, on the other hand, gave a positive review, saying that the game was not intended to be taken seriously. Retrospective reviews for Isle of the Dead were also negative. Kurt Kalata from Hardcore Gaming 101 said that Rainmaker Software took the worst elements of point-and-click adventures and first-person shooters and turned them into "an overtly shlocky mess", criticizing the lack of feedback when taking damage and the death animations throughout the game. Kalata, however, believed that the developers were going for a "Z-grade Troma-style game" and almost succeeded at doing so. PC Gamer's Richard Corbett, in his "Saturday Crapshoot" column, criticized its structure and the in-game map for being unhelpful. Corbett later called it one of the weirdest shooters of the 1990s. Adam Smith of Rock Paper Shotgun called Isle of the Dead one of the worst games he had ever played, saying that it doesn't get anything right thematically or gameplay-wise.	[ "## Gameplay and plot", "## Development and release", "## Reception" ]	1,054	27,181
17,496,484	Skaugum Tunnel	1,173,069,043	Tunnel in Norway	[ "2005 establishments in Norway", "Asker", "Railway tunnels in Viken", "Tunnels completed in 2005", "Tunnels on the Asker Line" ]	The Skaugum Tunnel (Norwegian: Skaugumtunnelen) is a 3,790-meter (2 mi) long railway tunnel in Asker, Norway, on the Asker Line. The tunnel runs between Asker Station and Solstad and was built as part of the first stage of the Asker Line, between Asker and Sandvika. Construction started in February 2002 and the tunnel opened on 27 August 2005. The tunnel was built by Mika for the Norwegian National Rail Administration using the drilling and blasting method with one crosscut. During construction there was one blasting accident. Since the tunnel opened, there have been problems with leaks damaging the infrastructure. The tunnel has double track, is electrified and allows for a maximum speed of 160 kilometers per hour (99 mph). The cost to build the tunnel, excluding the infrastructure, was 450 million Norwegian krone (NOK). The tunnel has accelerated intercity and regional traffic west of Oslo and freed up capacity for the Oslo Commuter Rail on the old Drammen Line. ## Specifications The Skaugum Tunnel is a 3,790-meter (12,434 ft) long tunnel with a cross-section varying between 105 and 115 square meters (1,130 and 1,240 sq ft). It carries the double-tracked Asker Line between Asker Station and Solstad. The tunnel runs mostly through Cambrian-Silurian sedimentary slate, nodular limestone and shale, with local occurrences of Permian igneous rock. The line is electrified at and allows for maximum speeds of 160 kilometers per hour (99 mph). The tunnel has frost isolation 300 meters (980 ft) into the tunnel from each end and frost fans which ensure that the air stays put in the middle of the tunnel to hinder cold air from reaching in past the frost isolation. ## History The Asker Line runs from Lysaker Station via Sandvika Station to Asker Station, in the municipalities of Bærum and Asker. The line was built to increase the traffic on the west corridor. Traditionally, the only railway west of Oslo was the Drammen Line, which has limited capacity, and a mix of local, regional, intercity and freight trains. This caused many delays and poor utilization of tracks, as some trains make many stops and others only a few. The Asker Line allows regional and intercity trains to by-pass the local stations east of Asker, by running local trains and freight trains on the Drammen Line, while faster trains run on the new track. The Asker Line was built in two stages: the first from Asker to Sandvika was built from 2001 to 2005, and the second stage, from Sandvika to Lysaker, between 2007 and 2011. The other two tunnels on the Asker Line are the 3.8-kilometer (2.4 mi) long Tanum Tunnel and the 5.5-kilometer (3.4 mi) long Bærum Tunnel. Work on geological surveys in the area started prior to 2001, with surveys being performed by the Geological Survey of Norway. The contract to build the tunnel and all other earthwork on the section from Solstad to Hønsveien was awarded to Mika, with the tunneling costing NOK 425 million. The tunnel was built using the drilling and blasting method using two points of entry, the entrance on the Asker side and from a crosscut at Skaugum. Work started in February 2002 and was concluded in May 2005. Construction involved blasting 450,000 cubic meters (16,000,000 cu ft) of earthwork and drilling 275 kilometers (171 mi) of holes for pre-injection. The construction used 14,000 cubic meters (490,000 cu ft) of gunite, 14,000 cubic meters (490,000 cu ft) of concrete, 24,000 bolts, 35,000 cubic meters (1,200,000 cu ft) of water- and frost protection, 25,000 cubic meters (880,000 cu ft) of noise- and frost isolation and 9.4 kilometers (5.8 mi) of cable conduit. Near the entrance at Asker, the tunnel is closest to the surface, and is between 2 and 3 meters (6 ft 7 in and 9 ft 10 in) below the basements of residential houses. During the construction of this part, the construction was as slow as 8 to 10 meters (26 to 33 ft) per week, of which half the time was used for injections to choke the tunnel. During the construction there was an accident where a worker driving a wheeled loader was only 20 to 30 meters (70 to 100 ft) from a blasting. He became disabled, but did not receive any compensation because he was working for the contractor as a sole proprietor, not as a wage earner. The Norwegian Labour Inspection Authority criticized Mika for improper safety routines and required them to improve them, but concluded that no criminal offenses had been committed. A concern from people living along the tunnel was that they would be subject to low-frequency noise. Originally the municipalities of Asker and Bærum had demanded that residents be subject to a maximum of 27 decibel A-weighting (dBA), but the National Rail Administration appealed the requirements and was permitted to allow up to 32 dBA. In March 2004, a test was done in the tunnel to insure that the requirements would be met, as low-frequency sound is difficult to predict. Measurements after the opening of the tunnel showed background noise of 30 dBA, that no-one was subject to 32 dBA or higher, and that it was nearly impossible to measure the passing of trains. Among the major concerns were leaks; during the construction on the Romerike Tunnel, there was a one-year delay and severe cost overruns due to improper construction methods. One of the main aims in the Skaugum Tunnel project was therefore to avoid similar leaks, and the criteria were set to 4 liters (0.88 imp gal; 1.1 U.S. gal) per minute per 100 meters (330 ft). This was achieved by using sufficient time for the pre-injection, as well as continuous pregrouting through the entire tunnel. However, water still dripped into the tunnel, which caused several types of damage. In some places, it dripped onto the track causing it to rust, while in other places it fell onto electrical equipment. There were also issues with water running down the walls and collecting in the cable conduit, and the limestone in the water mixing with the ballast. By 2011, the emergency lighting system had to be replaced because of the high humidity. The National Rail Administration has stated that savings made by the specifications in the water and frost protection methods have caused high maintenance costs because the small leaks which are present have done a lot of harm. In addition, areas with leaks suffer from icing. This has been part of a trend where older tunnels are nearly maintenance-free, while newer tunnels have incurred high maintenance costs. Laying of tracks, signaling, power supply and other infrastructure was done by Baneservice. The cost for the entire section from Asker to Sandvika was NOK 70 million. The work was done in February and March 2005. The opening of the tunnel and the rest of the section from Asker to Sandvika took place on 27 August 2005.	[ "## Specifications", "## History" ]	1,561	35,380
3,978,011	Soccer kick	1,152,708,603	Fighting kick performed against a downed opponent	[ "Banned sports tactics", "Kicks", "Mixed martial art techniques", "Wikipedia Did you know articles that are good articles" ]	A soccer kick, also known as a soccer ball kick or PK (penalty kick) in puroresu and shoot fighting, and as tiro de meta in vale tudo, is a reference to a kick that is similar to kicks used in association football. It is the colloquial term for a kick performed against a prone, kneeling, rising or supine opponent by a fighter who is in a standing or semi-standing position, to any part of a downed opponent. The technique is banned under the Unified Rules of Mixed Martial Arts; however, other rulesets, including the ones used by Pride Fighting Championships do permit them. Soccer kicks have been regularly discussed as to potential damage. There has been a regular debate on the usage of them within MMA. Some MMA fans and fighters support them while a fight doctor and politicians have opposed them. ## Description A soccer kick is performed when a fighter is standing to the side or in front of an opponent on the ground and kicks the grounded opponent's head. This is done in a style similar to an association football player kicking a football. Most practitioners aim to use their shins for the point of impact rather than the foot. While soccer kicks are usually delivered to the head, kicks to other parts of the body in a similar style are also referred to as soccer kicks. ## In mixed martial arts Dr. Johnny Benjamin stated his belief that soccer kicks could cause serious injury, based on the assumption that an MMA fighter would be able to generate the same amount of force in a soccer kick as a professional association football player. Some MMA fans argue that no-one has ever been seriously injured from a soccer kick and stated that there were already equally dangerous moves allowed in MMA. Dr. Johnny Benjamin argued that soccer kicks could result in broken necks and paralysis if performed with the wrong positioning and high velocity. In 2000, the Unified Rules of Mixed Martial Arts were written with the intention of making the sport of MMA appear more acceptable in a wider society. Under those rules, soccer kicks were explicitly banned and classed as a foul defined as "kicking the head of a grounded opponent". It is noted that while soccer kicks to grounded opponents are fouls, axe kicks, downward strikes with the back of the heel, are not considered fouls if done to any part of a grounded opponent. In the years after the banning of soccer kicks under the Unified Rules, a number of fans and MMA fighters have argued for them to be permitted under the Unified Rules along with face and foot stomps. Their justification is that soccer kicks and stomps being disallowed hindered fighters who were used to using them under other MMA rule sets. Mauricio Rua, who mostly used soccer kicks to earn victories in Pride, argued that elbows caused more pain than soccer kicks and claimed that soccer kicks were safer than elbows. Rua also argued that elbows were more dangerous than soccer kicks and yet were allowed under the unified rules. Opponents of soccer kicks argued that they needed to be banned in order for the sport of MMA to move forward. They also argued that in the face of opposition to the sport from politicians such as John McCain, soccer kicks had to be banned in order to ensure that the sport was not viewed as illegal "human cockfighting" and could be sanctioned as legal in the United States by Athletic Commissions. Although a soccer kick is a foul when delivered to the head in the Unified Rules of Mixed Martial Arts which prevail in North America, the technique was commonly employed in Pride Fighting Championships in Japan. Fighters Wanderlei Silva and Mauricio Rua were notable practitioners of the soccer kick in MMA. Under the Unified Rules, some MMA fighters attempted to use tactics with the "kicking the head of a grounded opponent" rule, which defined a fighter as grounded if they had any part of their body apart from their feet on the ground. This meant that fighters, such as Jon Jones, would often try to provoke illegal soccer kicks by putting their hand on the ground or as a way to avoid strikes such as the soccer kick after a failed takedown. However, in 2013, referees were encouraged to interpret the rules that if a fighter is deliberately intending to provoke an illegal soccer kick and one was used, then the referee could decide that it was a legal move. There are still MMA organizations such as Japanese-based Rizin Fighting Federation that allow soccer kicks to the head of downed opponent. ONE Fighting Championship previously had an "open attack" rule, which required fighters to get permission from the referee to use soccer kicks. In 2012, the company changed its rule set to the rules used by Pride Fighting Championship allowing fighters to use soccer kicks without asking for permission from the referee. ONE banned soccer kicks entirely in August 2016 as part of the company's worldwide expansion plans. Their CEO Chatri Sityodtong stated that despite studies showing that soccer kicks are the same as a normal head kick because you cannot generate any more pivotal force, the technique invites "bad publicity". ## In professional wrestling In professional wrestling, some wrestlers use the soccer kick is as a finishing move. A number of professional wrestlers prior to the 1980s professional wrestling boom were taught to use wrestling moves and strikes legitimately. This was due to the likelihood of attacks on the wrestlers from fans. This included the soccer kick, which pro-wrestler CM Punk stated was the easiest tactic to use when a fan tried to get in the ring to confront a wrestler. High-profile users of soccer kicks as a finishing move includes Katsuyori Shibata, and Randy Orton. In Japan within a 1977 puroresu match between Antonio Inoki and Great Antonio, Inoki started to shoot on Great Antonio after Great Antonio refused to sell Inoki's offence. Inoki used a takedown on Great Antonio and then used soccer kicks and head stomps to legitimately knock out Great Antonio. ## In video games In the 2010 video game, EA Sports MMA, soccer kicks were included in the game. In the 2012 video game UFC Undisputed 3, soccer kicks are included in the game in the Pride mode. This mode was intended to replicate Pride Fighting Championships. This was different compared with the normal UFC mode which does not include soccer kicks due to UFC following the Unified Rules. The soccer kick has also been used in professional wrestling video games. It was used in the 1999 Nintendo 64 game, WWF WrestleMania 2000. ## See also - Stomp (strike)	[ "## Description", "## In mixed martial arts", "## In professional wrestling", "## In video games", "## See also" ]	1,321	24,966
973,104	Æthelbert of York	1,000,101,371	8th-century Archbishop of York	[ "780 deaths", "8th-century archbishops", "Archbishops of York", "Year of birth unknown" ]	Æthelbert (died 8 November 780) was an eighth-century scholar, teacher, and Archbishop of York. Related to his predecessor at York, he became a monk at an early age and was in charge of the cathedral's library and school before becoming archbishop. He taught a number of missionaries and scholars, including Alcuin, at the school. While archbishop Æthelbert rebuilt the cathedral and sent missionaries to the Continent. Æthelbert retired before his death, and during his retirement built another church in York. ## Early life Æthelbert, was the teacher and intimate friend of Alcuin, whose poem on the saints and prelates of the Church of York, Versus de Patribus Regibus et de Sanctis et Pontificibus Ecclesiæ Eboracensis, is the principal source of information concerning Æthelbert's life. He was a kinsman of his predecessor Ecgbert, who was brother to Eadberht, King of Northumbria. Æthelbert's family placed him in a monastery as a young child, where he was a pupil in the school founded at York by Ecgbert. Ecgbert ordained Æthelbert as a priest put him in charge of the school. Æthelbert was instrumental in forming a library at York, which was probably the largest contemporary collection of books to be found in Europe outside of Rome. Alcuin mentions several Latin and Greek classical authors, as well as the Fathers and other Christian writers that formed the 8th century canon. Æthelbert, in his search for books, travelled far, and we know that he visited Rome among other places. Alcuin's poem Versus lists 41 different authors, including some who wrote in Hebrew. He taught both the trivium as well as the quadrivium, plus how to figure the dates of church festivals and natural science. ## Archbishop In 766 Æthelbert succeeded Ecgbert as archbishop; he was consecrated 24 April 767, the feast day of his predecessor Wilfrid. This may have been deliberate and a sign that Æthelbert wished to revive Wilfrid's ambitions for the archiepiscopal see. Æthelbert received his pallium from Pope Adrian I in 773. Alcuin was appointed head of the cathedral school after Æthelbert became archbishop. Much of Alcuin's description of Æthelbert's time as archbishop has the flavour of a panegyric, as Alcuin praised Æthelbert as a model bishop suitable for other bishops to use as a role model. Æthelbert rebuilt York Minster, which had been destroyed by fire in 741, giving Eanbald and Alcuin the job of overseeing the construction. Alcuin wrote that it had bright windows and ceilings and that the liturgical vessels and altars were decorated with precious metals and gems. The new building also had 30 altars as well as upper apartments. Æthelbert dedicated one of the altars to Saint Paul and it was located on the location where Edwin, the first Christian king of Northumbria, was baptized. Æthelbert sent out missionaries to the pagans of Northern Europe, among them Alubert and Liudger, who went to northern Germany. Liudger had earlier been a pupil at the school in York, and went on to become the first Bishop of Munster. Æthelbert was the recipient of letters from one of the missionaries – Lull, the Archbishop of Mainz, assuming that Lull's correspondent "Coena", who is an archbishop and who was being asked for the works of Bede, is actually Æthelbert, as most historians seem convinced of. Books were sent to the missionaries from the York library. In 774, Æthelbert called a council which deposed Alhred the King of Northumbria and sent the ex-king north into exile with the Picts. The cause of the deposition may have been related to missionary work. The historian D. P. Kirby feels that Æthelbert was not a supporter of Alhred prior to his deposition. Alhred was replaced with Æthelred, who was replaced in 778 by Ælfwald, the son of Oswulf. Kirby sees Æthelbert's withdrawal of support as instrumental in the deposition of Æthelred, noting that Ælfwald was closely related to Æthelbert, unlike both Alhred and Æthelred. Kirby also notes that medieval chroniclers noted that Æthelbert is said to have not "spared evil kings". ## Retirement and death Æthelbert retired some time before his death, consecrating Eanbald as his successor. The exact date this occurred is unclear. Alcuin gives a date corresponding to July 778, but it could be 777 too. Eanbald's position may have just been as an associate bishop, with Æthelbert remaining in office until his death while sharing the office with Eanbald. During his retirement, he had constructed a new church dedicated to Alma Sophia. He lived long enough to consecrate the new church, ten days before his death on 8 November. ## See also - Accord of Winchester	[ "## Early life", "## Archbishop", "## Retirement and death", "## See also" ]	1,134	6,951
2,797,895	And Then We Kiss	1,172,239,781	2005 promotional single by Britney Spears	[ "2005 singles", "2005 songs", "Britney Spears songs", "Jive Records singles", "Number-one singles in Israel", "Song recordings produced by Mark Taylor (record producer)", "Songs about kissing", "Songs written by Britney Spears", "Songs written by Mark Taylor (record producer)", "Songs written by Paul Barry (songwriter)" ]	"And Then We Kiss" is a song by American singer Britney Spears. It was written by Spears, Mark Taylor and Paul Barry, while production was handled by Taylor. The song did not make the final track listing of Spears' fourth studio album, In the Zone (2003), and was later remixed by Junkie XL for inclusion on Spears' first remix album, B in the Mix: The Remixes (2005). It was also included on the extended play released to promote the remix album, titled Key Cuts from Remixed (2005). The Junkie XL remix of "And Then We Kiss" was released as a promotional single in Australia and New Zealand on October 31, 2005. The original version produced only by Taylor leaked online in September 2011. The Junkie XL remix of "And Then We Kiss" is a Eurotrance song with influences of techno and usage of dance-rock guitars, synthesizers and symphonic strings. The lyrics speak about a kiss and the different sensations that a woman experiences, including trembling, crying and moaning. Junkie XL explained that he wanted to make the song a 2006 version of Depeche Mode's "Enjoy the Silence". The Junkie XL remix of "And Then We Kiss" was well received by music critics, with some noticing its potential to be a radio or club hit. The song failed to appear on any major record charts, however, it peaked at number 15 on the US Billboard Hot Dance Airplay. ## Background "And Then We Kiss" was written by Spears, Mark Taylor and Paul Barry, while produced by Taylor. The song was recorded in the same sessions as "Breathe on Me", and was originally intended for In the Zone (2003). This version produced by Taylor features an electronica vibe reminiscent of Madonna's Ray of Light (1998), and contains a flamenco guitar with prominent lead vocals by Spears. "And Then We Kiss" was set to be included as a UK and Japan bonus track on Britney & Kevin: Chaotic (2005), but was replaced with "Over to You Now" for unknown reasons. The song was remixed by Junkie XL and released on her remix album B in the Mix: The Remixes (2005). In the album credits, both Taylor and Junkie XL were listed as producers of the song. All instruments, including guitar, bass guitar, synths and drums, were played by Junkie XL. Audio mastering was done by Chaz Harper at Battery Mastering. In September 2005, it was announced by Billboard that the remix would serve as the music for the ad campaign behind Spears' fragrance, Fantasy. The Junkie XL Remix was released as a promotional single from B in the Mix: The Remixes on October 31, 2005, in Australia and New Zealand, as "And Then We Kiss". The version of the song produced by Taylor remained unreleased for years, until a new mix of the song labeled as the original version leaked online on September 2, 2011. After suggestions that it may be a fake, Taylor confirmed its authenticity to Bradley Stern of Muumuse.com on September 5, 2011. The Junkie XL Mix appears in the 2007 video game Dance Dance Revolution Supernova 2 for the PlayStation 2 in North America. ## Composition "And Then We Kiss" is four minutes and twenty-eight seconds long. It is a Eurotrance song with influences of techno and usage of synthesizers. The song blends dance-rock guitars and symphonic strings and closes with an orchestral overtone. Its lyrics talk about a kiss and the different sensations that the protagonist experiences, including trembling, crying and moaning. At the beginning she sings the lines "Lying alone / touching my skin" which suggest that the whole song may actually be a fantasy. Spears's vocals are much less prominent than on the original version. In an interview with About.com, Junkie XL said he wanted to turn the song "into a 2006 version of Enjoy the Silence with really electronic chunky beats and nice melodic guitar lines. Besides the fact that [Britney]'s singing on it, it could be a track off my album because it's the same vibe. I'm really happy with the end result and so are they." ## Reception The Junkie XL Remix of "And Then We Kiss" received positive reviews from music critics. Jennifer Vineyard of MTV noted "And Then We Kiss" had "the potential to be a radio or club hit — if Jive were actively promoting [B in the Mix]". Barry Walters of Rolling Stone said the remix "brings a simpatico blend of symphonic strings and dance-rock guitars" in its melody, while Spence D. of IGN noted Junkie XL makes "the remix an understated swatch of atmospheric neo-goth poing and staccato rhythms." A reviewer of Yahoo! Shopping considered the song "dreamy". Kurt Kirton of About.com said that the remixes of "And Then We Kiss", "Toxic", "Touch of My Hand", "Someday (I Will Understand)" and "...Baby One More Time" "hold their own"; Gregg Shapiro of the Bay Area Reporter, however, said "the many flaws in Spears' reedy, cold and mechanical voice are brought to the forefront" in the remixes. MTV writer Bradley Stern praised Junkie XL, writing, "the sublime remix found producer Junkie XL taking the (still) unreleased studio version of "And Then We Kiss" [...] and smoothing it over into one of Britney's most lush, mature musical moments of all time." "And Then We Kiss" was not officially released as promotional single in the United States, therefore it was not eligible at the time to appear on Billboard's Hot 100. Even so, promotional vinyls were sent to radio stations, who started to play the song unofficially and it managed to garner enough airplay to appear on the Hot Dance Airplay chart of Billboard in early 2006. It debuted at number 25 on the chart issue dated February 25, 2006, reaching a new position of 23 on the following issue. After five weeks on the chart, "And Then We Kiss" reached a peak of 15, on the chart issue dated March 25, 2006. The song spent a total of eleven weeks on the chart, making its last appearance on the week of May 6, 2006. Despite being released in Australia and New Zealand, "And Then We Kiss" failed to appear on major charts of both countries. ## Track listing - Digital download 1. "And Then We Kiss" – 4:28 - 12" vinyl 1. "And Then We Kiss" (Junkie XL Remix) – 4:28 2. "And Then We Kiss" (Junkie XL Remix Instrumental) – 4:28 3. "And Then We Kiss" (Junkie XL Undressed Remix) – 4:41 4. "And Then We Kiss" (Junkie XL Undressed Remix Instrumental) – 4:41 ## Credits and personnel - Britney Spears — lead vocals, songwriting - Michael Taylor — songwriting - Paul Barry — songwriting - Mark Taylor — producer - Junkie XL — producer, remixer, all instruments - Chaz Harper — audio mastering Credits and personnel adapted from B in the Mix: The Remixes album liner notes. ## Charts ### Weekly charts ### Monthly charts ### Year-end charts	[ "## Background", "## Composition", "## Reception", "## Track listing", "## Credits and personnel", "## Charts", "### Weekly charts", "### Monthly charts", "### Year-end charts" ]	1,572	30,620
36,506,774	Parable of the Sunfish	1,062,641,402	Anecdote by Ezra Pound about empirical learning	[ "History of biology", "History of science", "Literary theory", "Philosophy of biology", "Philosophy of science", "Works by Ezra Pound" ]	"The Parable of the Sunfish" is an anecdote with which Ezra Pound opens ABC of Reading, a 1934 work of literary criticism. Pound uses this anecdote to emphasize an empirical approach for learning about art, in contrast to relying on commentary rooted in abstraction. While the parable is based on students' recollections of Louis Agassiz's teaching style, Pound's retelling diverges from these sources in several respects. The parable has been used to illustrate the benefits of scientific thinking, but more recent literary criticism has split on whether the parable accurately reflects the scientific process and calls into question Pound's empirical approach to literature. ## The Parable The text of the parable below is excerpted from Pound's ABC of Reading. > > A post-graduate student equipped with honors and diplomas went to Agassiz to receive the final and finishing touches. The great man offered him a small fish and told him to describe it. > > > > Post-Graduate Student: "That's only a sunfish." > > > > Agassiz: "I know that. Write a description of it." > > > > After a few minutes the student returned with the description of the Ichthus Heliodiplodokus, or whatever term is used to conceal the common sunfish from vulgar knowledge, family of Heliichtherinkus, etc., as found in textbooks of the subject. > > > > Agassiz again told the student to describe the fish. > > > > The student produced a four-page essay. Agassiz then told him to look at the fish. At the end of three weeks the fish was in an advanced state of decomposition, but the student knew something about it. ## Context ### ABC of Reading Pound opens ABC of Reading with the following pronouncement: > The proper METHOD for studying poetry and good letters is the method of contemporary biologists, that is careful first-hand examination of the matter, and continual COMPARISON of one 'slide' or specimen with another. No man is equipped for modern thinking until he has understood the anecdote of Agassiz and the sunfish. In the parable, a graduate student is sent to noted biologist Louis Agassiz to complete his education, and Agassiz asks the student three times to describe a sunfish specimen. The student replies with, in turn, the common name of the fish, a brief summary of the species, and a four-page essay on the species. Agassiz finally tells the student to "look at the fish" and "[a]t the end of three weeks the fish was in an advanced state of decomposition, but the student knew something about it." The text of the parable itself spans 131 words over sixteen lines and is often reproduced in full when cited. Pound contrasts this empiricism against knowledge gained through increasingly abstract definitions. As an example, Pound relates what might happen if a European is asked to define "red". After the initial response that red is a color, Pound imagines asking for a definition of color and having it described in terms of vibration, with vibration then defined in terms of energy, and that successive abstractions eventually reach a level where language has lost its power. Returning to empiricism, Pound reminds the reader that the progress of science increased rapidly once "Bacon had suggested the direct examination of phenomena, and after Galileo and others had stopped discussing things so much, and had begun really to look at them". Pound provides several other examples of the same contrasting ideas throughout the first chapter, ranging over topics as diverse as chemistry, Chinese writing, and Stravinsky. At the end of the chapter he summarizes his argument by claiming abstraction does not expand knowledge. ### Literary essays Pound subsequently refers to the parable in two essays: "The Teacher's Mission" and "Mr Housman at Little Bethel". Both were republished in The Literary Essays of Ezra Pound and reference Agassiz without including details of the parable. "The Teacher's Mission" in particular provides a straightforward explanation of how Pound wished the parable to be interpreted. #### "Mr Housman at Little Bethel" In January 1934, Pound published a critique of A. E. Housman's The Name and Nature of Poetry in the Criterion. As part of the critique, Pound offers an emendation to Housman's claim that "the intelligence" of the eighteenth century involved "some repressing and silencing of poetry". Pound replies that the root cause was the tendency towards abstract statements, which came about in part because eighteenth century authors "hadn't heard about Professor Agassiz's fish." #### "The Teacher's Mission" Also in 1934, Pound published an essay critiquing existing methods for teaching literature in general and university-level instruction methods in particular. He identifies the root of the problem as abstraction and uses the word "liberty" as an example of a term where a specific, concrete meaning has been lost. Pound finds this situation "inexcusable AFTER the era of 'Agassiz and the fish'" and demands an approach to general education that "parallels ... biological study based on EXAMINATION and COMPARISON of particular specimens." ## Interpretation and criticism ### Agassiz Science historian Mary P. Winsor provides extensive commentary on Agassiz's initial assignments for his students. The solution to the "riddle", as she calls it, lies in a similar anecdote given by Agassiz in his Essay on Classification: > Suppose that the innumerable articulated animals, which are counted by tens of thousands, nay, perhaps by hundreds of thousands, had never made their appearance upon the surface of the globe, with one single exception: that, for instance, our Lobster (Homarus americanus) were the only representative of that extraordinarily diversified type,—how should we introduce that species of animals in our systems? Agassiz provides several potential solutions: the species of lobster could have a single genus "by the side of all the other classes with their orders, families, etc.", or a family with one genus and one species, or a class with one order and one genus, etc. Agassiz concludes a single species is sufficient to derive the entirety of the hierarchy: at the time, this would have been "a distinct genus, a distinct family, a distinct class, a distinct branch." The point of the sunfish is not observing characteristics that distinguish individuals, species and genus, but rather characteristics that are held in common higher up the taxonomic hierarchy. Scudder's observation that finally satisfies Agassiz is that the sunfish has bilateral, paired organs; a characteristic that Winsor notes is common to all vertebrates. ### Pound Pound, echoing Cooper, opens ABC of Reading by stating that the correct method for the study of poetry is "the method of contemporary biologists" and that "No man is equipped for modern thinking until he has understood the anecdote of Agassiz and the fish." Commentators have summarized Pound's position with the term empiricism, but have divided over whether the parable endorses or indicts the idea. The simplest interpretations in scientific writing, history of science, and literary criticism take the parable at face value, accepting empiricism and observation as legitimate techniques. For example, when writing about stellar atmospheres, Dimitri Mihalas states that "it is specimens, not facts, that are the ultimate empirical currency that we must use if we wish to purchase a valid theory" before beginning a discussion of Pound's sunfish. Moving from acceptance of empiricism to an understanding of its limitations, Christopher Tilley emphasizes in his comments on "scientific archeology" that Pound's student "was not simply learning about 'reality', the sunfish, but a way of approaching that reality – a discourse bound up in a particular thought tradition (empiricism)". Robert Scholes reaches a similar conclusion, noting that the student "seems to be reporting about a real and solid world in a perfectly transparent language, but actually he is learning how to produce a specific kind of discourse, controlled by a particular scientific paradigm". Author Bob Perelman takes the suspicion of empiricism one step further in his 1994 The Trouble With Genius: Reading Pound, Joyce, Stein, and Zukofsky. Perelman discusses the parable as one of two anecdotes in ABC of Reading that frame Pound's discussion of Chinese ideograms. The former describes attendance at two hypothetical concerts: one of Debussy and another of Ravel. Pound states that a person who attended both concerts knows more about the composers than someone who has only read "ALL of the criticisms that have ever been written of both". Perelman considers the contradiction between "everyone" and "knowledge" to be the key to Pound's thinking: only a gifted or lucky few are able to apprehend the truth (whether by attending the concert or observing the specimen); the rest can only make do with "a fog of clichés, received ideas, second-hand and second-rate opinions, written darkness." With regard to the parable, Perelman observes the lack of "scientific institutions, pedagogic procedures, or communicable terminologies" where any mediating written descriptions ("sunfish", "diplodokus") only serve to obscure knowledge. Knowledge ultimately resides within Agassiz rather than the world, and "[w]hat looks initially like a commitment to empiricism has led instead to an authoritarian idealism." Two critics have also commented on the parable's implications in describing the nature of knowledge in terms of the decay of Pound's fish. Celeste Goodridge notes that Marianne Moore's 1934 review of Pound's Cantos uses a detailed metaphor of a grasshopper wing to describe the conversations therein. In Goodridge's opinion, Moore's "microscopic examination" both undercuts the work as well as "pays homage, in its precision, to Pound's reverence for 'the applicability of scientific method to literary criticism.'" Goodridge then reproduces the parable in full and comments, "Agassiz teaches Pound that all knowledge is necessarily fragmented and does not constitute a whole." Knowledge of the fish cannot begin until decay has commenced, reducing the specimen to its constituent parts. Peter Nicholas Baker reaches a fundamentally different conclusion. He begins the discussion of the parable by first quoting Pound on the topic of genius: > The genius can pay in nugget and in lump gold; it is not necessary that he bring up his knowledge into the mint of consciousness, stamp it either into the coin of conscientiously analyzed form-detail knowledge or into the paper money of words before he transmit it. Baker finds the most striking feature of the parable to be the absence of description of the fish. Baker asks: "Do readers of this anecdote learn about the fish, or rather about a certain kind of authoritarian teaching practice?" Baker claims that Pound's images of coining metal are just as unrealistic as his ideas regarding science and the scientific method. The reader, following Pound's student, reaches knowledge through intuition alone; the decomposing fish, so far as epistemology is concerned, has become "transparent".	[ "## The Parable", "## Context", "### ABC of Reading", "### Literary essays", "#### \"Mr Housman at Little Bethel\"", "#### \"The Teacher's Mission\"", "## Interpretation and criticism", "### Agassiz", "### Pound" ]	2,279	817
43,430,482	The Boat Race 1864	1,154,814,629	null	[ "1864 in English sport", "1864 in sports", "March 1864 events", "The Boat Race" ]	The 21st Boat Race, an annual side-by-side rowing race between crews from the Universities of Oxford and Cambridge along the River Thames, took place on 14 March 1864. Umpired by Joseph William Chitty, Oxford won by nine lengths in a time of 21 minutes 4 seconds, the fastest winning time since the event was held on The Championship Course in 1845. The race, whose start was moved in order to avoid interruptions from river traffic, was witnessed by the Prince of Wales. ## 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 and followed throughout the United Kingdom and worldwide. Oxford went into the race as reigning champions, having won the 1863 race by ten lengths, with the overall record tied on ten victories each. The location of the start of the race was moved to approximately 400 feet (122 m) upstream of Putney Bridge in order to reduce interruptions to the race from steamers. Indeed, both boat club presidents had issued a caution to the steamer captains, indicating that the race would be conducted on the ebb tide should any interruption take place which would risk the steamers becoming grounded at Mortlake. The finish was moved the corresponding distance upstream to maintain the traditional length of the race. Oxford rowed in the same boat as the previous race, which was constructed by J. and S. Salter while Cambridge utilised a new vessel built for them by Taylor of Newcastle. Oxford were coached by George Morrison who had rowed in the 1859, 1860 and 1861 races and was non-rowing president for the 1862 race. The race was umpired by Joseph William Chitty who had rowed for Oxford twice in 1849 (in the March and December races) and the 1852 race, while the starter was Edward Searle. ## Crews The Cambridge crew weighed an average of 11 st 11.5 lb (74.9 kg), 4 pounds (1.8 kg) per rower more than their Dark Blue opposition. Cambridge's crew, however, was tall, averaging over per rower. Oxford's crew contained three rowers from the previous years race in William Awdry, F. H. Kelly and W. B. R. Jacobson. The Cambridge boat also saw three participants from the 1863 race: bow John Hawkshaw, number five Robert Kinglake and cox Francis Archer (who had also coxed the Light Blues in the 1862 race) returned. ## Race The weather on the day of the race was sunny with a mild breeze. The Prince of Wales, future King of the United Kingdom Edward VII was in attendance; as a result, the start time was moved forward to enable the Prince to leave for another engagement. Oxford were pre-race favourites, and won the toss, electing to start from the Middlesex station, handing the Surrey side of the river to Cambridge. The Cantabrigians made the better start, and soon led by a third of a length. However, by Finch's field, Oxford had recovered to draw level and started to leave the Light Blues behind. Half a mile into the course, the Dark Blues held a half-length lead which they extended to a length by Craven Cottage. With a clear water advantage, they crossed in front of Cambridge and were three lengths ahead by the Crab Tree pub, extending to "four or five lengths" by Hammersmith Bridge. They were so far ahead at Barnes Bridge their advantage in lengths was impossible "to be accurately counted". Misinterpreting the position of the finish line, the Oxford crew stopped rowing early, but once aware of their mistake, rowed on to the finish, winning by nine lengths in a time of 21 minutes 4 seconds. It was their fourth consecutive victory and was, at the time, the fastest winning time in the history of the event.	[ "## Background", "## Crews", "## Race" ]	882	278
34,992,141	Strang School District No. 36	1,067,335,118	null	[ "1929 establishments in Nebraska", "National Register of Historic Places in Fillmore County, Nebraska", "School buildings completed in 1929", "School buildings on the National Register of Historic Places in Nebraska", "Schools in Fillmore County, Nebraska" ]	Strang School District No. 36, or the Strang Public School, is a historic school located in Fillmore County, Nebraska, in the village of Strang. The school is one of the two sites listed on the National Register of Historic Places in the village of Strang. The school building is a small, two-story, brick public schoolhouse, which was built to replace the schoolhouse that was previously located on that site. The schoolhouse was built between 1929 and 1930, and replaced the previous schoolhouse, which burned down in 1928. The schoolhouse still retains all original building materials. The school served high school students from 1930 to 1951, and still functions as a school today, serving grades K–8. The NRHP listing also includes a flagpole located outside the schoolhouse, and five pieces of playground equipment. ## History and education In October 1928 a fire destroyed the small school that had previously been located in Strang. Classes were held in two local churches and the Belle Prairie Township Hall for the remainder of that year, while the townspeople held a series of meetings to discuss the construction of a new schoolhouse. Later in 1928, plans for the new schoolhouse were drawn up and approved, and construction on the new Strang Public School began in 1929. The majority of the people that worked on constructing the school were local townspeople. The first classes in the new school were held in February 1930. The schoolhouse was constructed in a "fireproof" fashion, as to prevent another accident. The new schoolhouse was constructed to hold students from first through twelfth grades, from Strang and the surrounding communities. Primary students attending classes were located on the second floor and secondary students classes were held on the first floor. Since construction, there have been no projects undertaken to refurbish or restore the original building, as to protect its historical importance. In 1951, due to a decline in enrollment, the school reduced to serving just students in grades K through 8, and has remained this way since. In fall of 2001, the school had an enrollment of just eight students. By the fall of 2004 (the last published figures available), that number had fallen to just five. ## Architecture The Strang Public School is a near perfect example of what is considered a typical twentieth-century "fireproof" schoolhouse in Nebraska, and is constructed somewhat symmetrically. The school was constructed in a simplified version of the Renaissance Revival style, consisting of two stories, with a flat roof. ### Exterior The building is constructed in a rectangular shape, symmetrical on the exterior, and measures 32 feet (9.8 m) by 66 feet (20 m). The approximate height measurements are not provided by the Register. Large, six over six paned windows are located in the front and the back of the building on both floors. Similar windows are also located on the south side of the building, but only on the top floor. There are no windows located on the north side. The entire exterior of the building is constructed from brick. The roof is flat and constructed of roofing cement, with a parapet located around it, with a section of a chimney that sticks out of the south end of the roof. The most prominent feature of the exterior of the building is the large, central pavilion, with a stepped gable parapet wall. ### Interior The first level of the building contains two classrooms, both of which have a cloakroom, a set of three swivel doors, and a large slate chalkboard that covers one of the walls. The first story also contains two bathrooms, four small storage closets, and a central hall, as well as a large stairwell leading up to the second floor. The second story contains three classrooms, with the same features as those downstairs, along with an office and three small storage rooms. A metal fire escape door is located in the center of the west wall of the second story. The schoolhouse also has a partial basement, which contains a large storage room, a coal room, and a disused coal furnace. ## Geography and facilities The Strang Public School is positioned at the intersection of Main Street and Sharon Street, on the southern edge of Strang, originally planned as a convenient location for the teachers and students coming from surrounding communities. The campus consists of the main schoolhouse, five historic pieces of playground equipment, a flagpole located in front of the building, a basketball/tennis court located north of the school building, and a large playing field west of the schoolhouse. The entire property is contained inside a 300 by 300 foot square plot of land. A flagpole is located outside the main entrance to the school building, and is included in the NRHP listing as a contributing feature. A set of gym bars, a tether ball pole, a swing set, a "slippery slide", and a merry-go-round are located on the south and west sides of the property, and are all listed as contributing features. A fenced tennis and basketball court is located on the north side of the property, and a large track and playing field are located on the west side of the property, but none of these features are included in the listing. ## Significance Strang School District No. 36 was added to the National Register of Historic Places on June 25, 1992. On its nomination, Strang School District No. 36 was cited as being significant under criteria C, with the statement: "as a multi-story, brick, "fireproof" school building, an example of a type, period, and method of construction representative of school buildings constructed in many communities in Nebraska, particularly in Fillmore County, during the first quarter of the twentieth century". The school's listed year of significance was 1930, the year it was constructed. The school is considered significant to the surrounding community by Fillmore County, due to its importance to education an historic qualities, being one of the oldest buildings in the area. ## See also - National Register of Historic Places listings in Fillmore County, Nebraska	[ "## History and education", "## Architecture", "### Exterior", "### Interior", "## Geography and facilities", "## Significance", "## See also" ]	1,260	2,984
10,738,631	Delaware Route 8	1,159,882,244	State highway in Kent County, Delaware, United States	[ "State highways in Delaware", "Transportation in Kent County, Delaware" ]	Delaware Route 8 (DE 8) is a state highway located in Kent County in the U.S. state of Delaware. It runs from Maryland Route 454 (MD 454) at the Maryland border in Marydel east to an intersection with DE 9 in Little Creek. The route passes through rural areas of western Kent County before heading through Delaware's capital city, Dover, on Forrest Avenue and Division Street. East of Dover, the road passes through more rural areas. DE 8 intersects DE 44 in Pearsons Corner; DE 15, U.S. Route 13 Alternate (US 13 Alt.), and US 13 in Dover; and the DE 1 toll road at a partial interchange east of Dover. The road was built as a state highway west of Dover by 1924 and east of Dover by 1931. The DE 8 designation was given to the road by 1936. ## Route description DE 8 begins at the Maryland border in the community of Marydel, where the road continues northwest into the town of Marydel, Maryland, as MD 454. From the state line, the route heads southeast on two-lane undivided Halltown Road, passing a few homes and businesses. The road leaves Marydel and curves northeast through a mix of farmland and woodland with some residences. In the community of Pearsons Corner, DE 8 intersects the eastern terminus of DE 44, where it turns to the east past businesses and the name changes to Forrest Avenue upon crossing Pearsons Corner Road. From here, the route runs through more rural areas with some development. This area of Kent County is home to many Amish farms, homes, and businesses. DE 8 crosses into the city of Dover, where it passes to the north of Dover High School before it widens to a five-lane road with a center left-turn lane. The road runs past homes and businesses in the western part of Dover, intersecting Kenton Road and DE 15. The name changes to Forest Street upon crossing DE 15 and the route continues east onto West Division Street at the point Forest Street splits to the southeast to lead to Loockerman Street and downtown Dover. At this point, DE 8 narrows to a two-lane road. The route crosses the Delmarva Central Railroad's Delmarva Subdivision line at-grade and continues past a mix of homes and businesses to the north of the downtown area. The road intersects US 13 Alt. and passes to the south of the Delaware State University Downtown campus before a junction with State Street, where the name becomes East Division Street. The route comes to an intersection with Kings Highway SW north of the Delaware Governor's Mansion and the name changes to Kings Highway NE. DE 8 crosses the St. Jones River and Kings Highway NE splits to the north, with DE 8 once again becoming East Division Street. The road heads between businesses to the north and residential neighborhoods to the south, widening to four lanes. DE 8 intersects US 13 in a commercial area and continues through the residential eastern part of Dover as a two-lane road. The name changes to North Little Creek Road and the route heads through less dense areas of homes with some farmland. At the eastern edge of the city, the roadway has a partial interchange with the DE 1 toll road, providing access to northbound DE 1 and from southbound DE 1. After this interchange, the road leaves Dover and continues east through open agricultural areas, crossing the Little River. DE 8 reaches its eastern terminus at an intersection with DE 9 on the northern border of the town of Little Creek. DE 8 has an annual average daily traffic count ranging from a high of 21,663 vehicles at the DE 15 intersection to a low of 858 vehicles at the Little Creek border near the eastern terminus. The portion of DE 8 between DE 44 and DE 15 is part of the National Highway System. ## History By 1920, what is now DE 8 existed as an unimproved county road. The route was completed as a state highway between the Maryland border in Marydel and Dover by 1924. By 1925, the road was proposed as a state highway between Dover and Little Creek. This state highway was completed by 1931. DE 8 was assigned to its current alignment between the Maryland border in Marydel and DE 9 north of Little Creek by 1936. On September 5, 2002, a partial interchange opened at the DE 1 toll road in Dover, utilizing existing emergency vehicle ramps. This interchange was included in the initial plans for the highway but was dropped due to low traffic volumes. As part of building the interchange, the Delaware Department of Transportation purchased development rights to adjacent land parcels in order to prevent additional development in the area of the interchange. In 2012, the Interdenominational Ministerial Alliance pushed for the city of Dover to rename the Division Street portion of DE 8 to Martin Luther King Jr. Boulevard after civil rights leader Martin Luther King Jr. However, local merchants opposed the renaming. The Dover city council instead voted to rename Court Street, Duke of York Street, and William Penn Street near Delaware Legislative Hall to Martin Luther King Jr. Boulevard. ## Major intersections ## See also	[ "## Route description", "## History", "## Major intersections", "## See also" ]	1,086	10,046
1,542,886	Through Being Cool	1,148,754,990	null	[ "1999 albums", "Albums produced by Steve Evetts", "Equal Vision Records albums", "Saves the Day albums" ]	Through Being Cool (typeset as "Through Being Cool") is the second studio album by American rock band Saves the Day, released on November 2, 1999, by Equal Vision. The songs on Through Being Cool were written while the band members attended New York University. The album was recorded in 11 days and represented the band's transition from a melodic hardcore sound to a more pop punk style. It was produced by Steve Evetts at Trax East Recording Studio in South River, New Jersey. The band's members dropped out of college to tour alongside Snapcase, New Found Glory, Hot Water Music, and Face to Face, among others. A music video was filmed for the song "Shoulder to the Wheel." Eventually selling 50,000 copies, the success of Through Being Cool helped Saves the Day to sign with Vagrant Records. It was named one of Alternative Press' 10 most influential albums of 1999. To celebrate the album's 15th anniversary, the band played the album front-to-back on tour and Equal Vision re-pressed the album on vinyl. Vocalist Chris Conley considers it "the most important record that we did." ## Background Saves the Day formed in late 1997. Their debut album, Can't Slow Down, was released through Equal Vision in August 1998. The album helped the band to gain fans, mainly in the New Jersey area. The band promoted the album with two tours helping to expand its fan base. Initially, they were heckled at each appearance. Drummer Bryan Newman said that the group was "totally out of place" among the other bands on the tour. Saves the Day had three different lineup changes while touring in support of Can't Slow Down, leaving vocalist Chris Conley and Newman as the only original members remaining. Saves the Day's guitarist, Justin Gaylord, had left at the end of their first full tour of the United States. Dave Soloway, who had driven the band to their gigs during high school, was added to the band as Gaylord's replacement. Conley described Soloway as a kid who "came from bluegrass and his family would sit around singing folk songs and stuff at home." Guitarist Ted Alexander was the band's roadie, and spent so much time with the band that they eventually "just gave him a guitar". Sean McGrath, bassist on the band's first album, was kicked out of the band and the group sought a replacement. Around the time, Saves the Day was playing gigs with local bands, one of which Eben D'Amico was in. Conley called him a "sick" bassist and eventually asked him if he would like to join Saves the Day. With this lineup, the band entered Shoulder to the Wheel studios in March 1999 and recorded an acoustic EP, I'm Sorry I'm Leaving. The EP was released in mid-1999 on Immigrant Sun Records, and only 500 copies were pressed. ## Recording Through Being Cool was recorded with producer Steve Evetts in June 1999 at Trax East Recording Studio in South River, New Jersey. Evetts always kept the band "in line" and was "definitely the guru of the whole thing", according to Newman. Unfortunately, the experience of recording in a studio nearly led to Newman having a breakdown, as he was not used to the environment; he later noted that the entire process "was intense". Recording and mixing was done over a total of eleven days. The band, attempting to finish the album, pulled all-nighters, relaxing in the control room, and sleeping in the lounge. In an interview with Alternative Press, Conley that while other people might have thought the group was trying to rush through production, he and his band members were actually "just having a blast". The recording sessions also included two additional half-day sessions, which were booked due to Conley losing his voice recording the vocals. Eventually, when it came time to track the album, Conley and the band were "really psyched" at how the songs were sounding. Evetts also engineered the album, while Alan Douches mastered it at West West Side. ## Composition Saves the Day wrote the material for Through Being Cool while attending New York University (NYU). Conley said, "I had written all the songs while at NYU, writing lyrics during Psychology 101 and writing the guitar parts over at Bryan’s apartment on 7th Street and 2nd Avenue." The music was credited to Conley and Saves the Day, except for "Do You Know What I love the Most?" by Alexander and Saves the Day, and "The Vast Spoils of America (From the Badlands Through the Ocean)" by Soloway and Saves the Day. The band rehearsed in Conley's parents' basement and slept over at the home, "working all weekend long." During these sessions, they refined what Conley had written and recorded demos of their progress. The album has a more pop punk sound compared to Can't Slow Down, which was a melodic hardcore-driven record. Allmusic reviewer Vincent Jeffries described the record's sound as "emocore". Conley explained that the shift in sound came from the music he was listening to. He liked several hardcore bands, but had played their albums "to death" and wanted to look for other sources of inspiration. While working on Through Being Cool, Conley listened to the Foo Fighters' The Colour and the Shape (1997), Weezer's Pinkerton (1996), and Joni Mitchell's Blue (1971), among others. ## Artwork Dan Sandshaw, the head of Equal Vision, said that there was a debate over the artwork for the album. Conley was unsure about what do with the artwork, and went along with Newman and Soloway's ideas. The cover artwork that was eventually chosen depicts the band as social outcasts, sitting on a couch during a high school party. The album booklet continues the outcast theme. Sandshaw felt that cover would give the wrong impression to hardcore fans, and Newman regretted it after the album was released. Conley said people told the band that they had sold out because the cover art featured their faces. The band, and Luke Hoverman, designed the concept with Frank Davidson providing the layout. The photographs were taken by Hoverman with assistance from Lenny Zimkus. The CD art features Gabe Saporta kissing a girl, while the back cover has actor James Ransone passed out on a couch. ## Release and touring When the band gave the finished album to Sandshaw, he said that the Equal Vision staff "couldn't stop listening to it" and were determined to get the band "the exposure they deserved." Sandshaw thought it was going to be a game-changing album. Dropping out of college to give the album live exposure, the band built a big fan base along the east coast. In October and November 1999, Saves the Day went on tour with Snapcase and Kid Dynamite. Through Being Cool was released on November 2 on Equal Vision Records. The band played a release show with The Get Up Kids, At the Drive-In, and Midtown. In January 2000, the band toured alongside Piebald and New Found Glory, and then with Snapcase in late January until early February. Saves the Day also played in February with Hot Water Music. In February, the band filmed the music video for "Shoulder to the Wheel" with director Darren Doan. The video was filmed at Soloway's parents' house and featured the band's friends. The group played songs to get people into the mood before miming along to "Shoulder to the Wheel". The video was released to television stations on April 7. The band was uncomfortable with Doan's ideas during the making of the video, and Newman said the group "hated it as soon as [they] saw it". The band went on a North American tour in 2000 with H<sub>2</sub>O between March and May. On this trip, the band got into an accident with their van that almost ended their career. They rejoined the tour on the Seattle date. By the time this run had ended, the album had sold nearly 50,000 copies – a massive number for Equal Vision. In an issue of CMJ New Music Report dated May 2000, it was announced that due to the success of Through Being Cool, Saves the Day had signed with Vagrant Records. Rich Egan, founder of Vagrant, became their manager. Egan "fell in love" with the band because their lyrics were "so honest, so cut and dried." The band performed on a few Warped Tour dates in early August. Following this, the band played shows with Face to Face, New Found Glory, and Alkaline Trio in late August to early October. They again joined Face to Face from late October to mid November. ## Reception AllMusic reviewer Vincent Jeffries noted that, for Through Being Cool, the band went for a "punchier production," using it to foreground Conley's "romantic teen declarations". According to Jeffries, while some songs may have had issues, such as being too "obvious, sappy, or both, Conley pulls it together with plain-spoken honesty", and highlighted "Third Engine" as an example of this. While noting that their first album sounded like Lifetime, Aubin Paul wrote that the band "found themselves" with Through Being Cool. At the same time, Paul argued that part of the album were derivative, highlighting in particular one song that he felt was "almost identical" to the Samiam song "Capsized". In a retrospective review for Consequence of Sound, Megan Ritt wrote that "Shoulder to the Wheel" and "Rocks Tonic Juice Magic" had not "really aged at all" and sounded as "vital" today as they did when they were first released. Ritt opined that "Banned from the Back Porch" "rock[ed] pretty hard," making listeners want to "thrash a little harder in the mosh pit" while Jeffries noted the song sounded similar to metal. ### Legacy Alternative Press writer Colin McGuire argued that Through Being Cool influenced a new wave of pop-punk bands, such as Fall Out Boy, My Chemical Romance, and Taking Back Sunday. Alternative Press also included the album on their list of the most influential albums of 1999. Tris McCall of NJ.com cited the album as "every third-wave emo band's inspiration [...] [sending] a shockwave through the pop-punk underground." NME listed the album was one of 20 Pop Punk Albums Which Will Make You Nostalgic. BuzzFeed included it at number 5 on its list of 36 Pop Punk Albums You Need To Hear Before You F——ing Die. The album was included in Rock Sound's 101 Modern Classics list at number 60, with the notation that "pop-punk has not been the same since [1999], and this record play[ed] a major role in that change." Fall Out Boy's vocalist Patrick Stump listed the album at number 10 on his list of 10 Records That Changed My Life. Stump revealed that he would not "have been in Fall Out Boy if it weren't for this record". The album's artwork was included by Fuse.tv as one of 20 Iconic Pop Punk Album Covers. Journalists Leslie Simon and Trevor Kelley included the album in their list of the most essential emo releases in their book Everybody Hurts: An Essential Guide to Emo Culture (2007), while Stereogum listed "Rocks Tonic Juice Magic" as one of 30 Essential Songs From The Golden Era of Emo. Saves the Day performed the album in its entirety at a secret show in Brooklyn in September 2013. On September 4, 2014, Saves the Day and Say Anything announced a co-headlining U.S. tour with support from Reggie and the Full Effect. On the tour, Saves the Day played Through Being Cool, Say Anything played ...Is a Real Boy (2004), and Reggie and the Full Effect played Under the Tray (2003). The tour lasted from November 14 to December 21. Equal Vision remastered Through Being Cool and repressed the album on vinyl for its 15th anniversary. The idea for the tour came about from a conversation between Conley and Say Anything's frontman Max Bemis. The two were discussing the past and Bemis mentioned that ...Is a Real Boy was going to be 10 years old in the same year Through Being Cool turned 15. In an interview with Alternative Press for the album's 15th anniversary, Conley thought the album had stood up well and that it was "pretty fresh-sounding" and considered it "the most important record that we did". ## Track listing ## Personnel Personnel per booklet. Saves the Day - Chris Conley – vocals - Bryan Newman – drums - Eben D'Amico – bass - Ted Alexander – rhythm guitar - David Soloway – lead guitar Production - Steve Evetts – producer, engineering - Alan Douches – mastering - Saves the Day, Luke Hoverman – design concept - Frank Davidson – layout - Luke Hoverman – photography - Lenny Zimkus – assistant photography - Megan Delany – styling	[ "## Background", "## Recording", "## Composition", "## Artwork", "## Release and touring", "## Reception", "### Legacy", "## Track listing", "## Personnel" ]	2,778	36,477
67,437,431	Leonel Gómez Vides	1,139,178,439	Salvadoran political activist (1940–2009)	[ "1940 births", "2009 deaths", "People from Santa Ana, El Salvador", "Salvadoran human rights activists", "Salvadoran male writers" ]	Leonel Eugenio Gómez Vides (December 31, 1940 – November 25, 2009) was a Salvadoran political activist. Born into a wealthy family, Gómez worked on land reform issues on behalf of the poor. Following an assassination attempt in 1981, Gómez lived in exile in the United States for a number of years. While in exile, Gómez developed close relationships with American political figures such as Joe Moakley and Bill Walker. He returned to El Salvador in 1989 and helped broker the 1992 Chapultepec Peace Accords that ended the country's civil war. Gómez died in 2009 of a heart attack. ## Early life Gómez was born on December 31, 1940, in Santa Ana, El Salvador. He grew up in the coffee-farming region around the city, in a well-off family he once described as being descended from "conquistadors, priests, and pirates". The family plantation, Gómez recalled, "covered about 100 city blocks". As a teenager, Gómez attended several secondary schools and the University of Pennsylvania in the United States, but returned to El Salvador before graduating to take over the family's plantation after his father died. A good marksman, Gómez at one point served as the coach of the Salvadoran army Olympic rifle team. His deeds in the 1969 Football War against Honduras earned him lasting respect from some military officers. He was also a medal-winning motorcycle racer, winning the Central American championship in 1961. Gómez was married twice, to Eugenia B. Gómez and Teresa Arene; both marriages ended in divorce. Gómez and his first wife had two daughters. ## Political activist Gómez spent his adult life in a variety of roles as a political activist. Early in his career, he was involved in organizing peasant unions among El Salvador's campesinos, becoming a prominent figure in the Salvadoran Communal Union. Gómez eventually became the general manager and deputy director of ISTA (Instituto Salvadoreño de Transformación Agraria), the Salvadoran land reform agency. Author Thomas Anderson described Gómez as "the real organizer of the land-reform movement". Gómez came to know American poet Carolyn Forché through his cousin, the poet Claribel Alegría. He introduced Forché to El Salvador and served as a mentor during her extensive time in the country just before the Salvadoran Civil War began in 1979. As fighting worsened, Gómez battled corruption within ISTA and organized a June 1980 strike to press the issue. Since he was an advocate for land redistribution from large plantations to peasant co-operatives, Gómez alienated some members of his family, who considered him a class traitor. The historian Robert Wesson described him as a "maverick member of the upper classes". Gómez was viewed with suspicion by elements of both the left and right, as his political loyalties were hard to pin down, but nevertheless retained some trust from members in all factions. Fermán Cienfuegos, a guerilla leader, recalled that the FMLN affectionately nicknamed Gómez El Gordo. In 1981, Rodolfo Viera, his superior at ISTA, was murdered alongside two American advisors at the Sheraton hotel in El Salvador. Gómez narrowly avoided being murdered himself, as he was also supposed to attend the dinner at which Viera was killed, but had not received his invitation in time. He was arrested and accused of secretly being the communist guerrilla Comandante Santiago (whose real identity was actually Carlos Consalvi). Gómez was released, only to narrowly escape death squads sent the next day by hiding under a pile of garbage. Gómez subsequently spent time in exile in the United States. Working as an activist, Gómez was unable to persuade the US government to end its support for the authoritarian Salvadoran regime. However, he became known as an expert on the Salvadoran military. Gómez helped arrange public attention and pressure on the Salvadoran government with his extensive network of contacts in Washington, D.C. For instance, Gómez testified before the US Senate Subcommittee on Inter-American Affairs on March 11, 1981: > In conclusion, I ask you: Is this the kind of government you want to support? I ask you to think about the corruption, the bloodshed, the killings that have been perpetuated by the Salvadoran army time after time... What more do you need to know? How long will you have to wait until the American people rise up and tell you what everyone already knows? While in exile, Gómez developed close relationships with politicians such as Senator Pat Leahy, Congressman Joe Moakley, and future Representative Jim McGovern, then working as an aide to Moakley. Moakley and Gómez first met shortly after the American invasion of Panama; Gómez was initially skeptical about the sincerity of a fresh American effort to end the fighting in El Salvador. ### Return to El Salvador Returning to El Salvador in late 1989, Gómez at first lived in the American embassy compound for his safety, thanks to his friendship with the American ambassador, Bill Walker. Walker warned Salvadoran leaders that Gómez was not to be harmed at the risk of severe fallout in Washington. Gómez introduced Walker to political leaders in El Salvador, such as ARENA chief Roberto D'Aubuisson and Vice Minister of Defense Orlando Zepeda. Congressman Moakley subsequently hired him to help investigate the 1989 murders of Jesuits in El Salvador, as part of a US congressional commission, the Moakley Commission. Academic and historian Teresa Whitfield has described Gómez's role as "a back-channel bridge builder and conduit of information," a function which "was as useful to all concerned as it was unique." Journalist Stephen Kinzer described him as "one of the best-informed people in El Salvador," noting his "macho bravado". Gómez's work for the Moakley Commission led to a number of key breakthroughs, significantly increasing the pressure on El Salvador's government to come to a negotiated settlement with the rebels. In June 1991, working "quietly behind the scenes," he devised a meeting between Moakley, Walker, and the FMLN, that would be seen as a "turning point" in the peace process. Cienfuegos, a FMLN leader, had been skeptical that the American government was sincere about any peace agreement that included a governing role for the FMLN. Gómez arranged for Moakley to visit Santa Marta, a rebel-held area, in a sign of good faith, since there were fears of kidnap and the war was ongoing. Gómez's work played an important role in reaching the 1992 Chapultepec Peace Accords which ended the Salvadoran war. ## Later life In later years, Gómez became an analyst and commentator on organized crime in El Salvador. He also continued with labor organizing work, and raised charitable funds for libraries, orphanages, and campesinos in El Salvador. Gómez died of heart failure in a hospital in San Salvador on November 25, 2009. At his death, McGovern commented: "It's amazing to me that Leonel died of natural causes and wasn't murdered, given the hornet's nests he stirred up time and time again". Forché expressed a similar sentiment in her 2019 memoir What You Have Heard Is True, which centers on her friendship with Gómez. In 2019, Gómez was remembered by his brother-in-law as someone "accused of being a communist by the right and a CIA agent by the communists".	[ "## Early life", "## Political activist", "### Return to El Salvador", "## Later life" ]	1,619	5,350
51,158,262	Plant epithet	1,162,637,012	Name used to label a person or group with some perceived quality of a plant	[ "Biology and culture", "Onomastics", "Pejorative terms for people" ]	A plant epithet is a name used to label a person or group, by association with some perceived quality of a plant. Vegetable epithets may be pejorative, such as turnip, readily giving offence, or positive, such as rose or other flowers implying beauty. Tree and flower forenames such as Hazel, Holly, Jasmine and Rose are commonly given to girls. Tree surnames such as Oakes (Oak) and Nash (Ash) are toponymic, given to a person in the Middle Ages who lived in a place near a conspicuous tree. A few plant surnames such as Pease and Onions are metonymic, for sellers of peas and onions respectively. Finally, plant surnames are sometimes emblematic, as in the name Rose, used as a family emblem. ## Vegetable insults Plant epithets may be pejorative, used humorously and sometimes offensively. Some plant epithets are used directly as insults, as when people are called turnips, potatoes, or cabbages. When the England football team lost to Sweden under Graham Taylor, The Sun newspaper led with the headline "Swedes 2 Turnips 1", swede being a pun on a particular vegetable, and turnip being an insult. In English, the collective term vegetable is also pejorative. Plant epithets are used around the world, but the choice of plants and their meanings vary. Thus in China, "stupid melon" is used as an insult. In Britain, coconut is sometimes used by black people to insult other people of colour; the term indicates betrayal, as coconuts are brown on the outside but white on the inside. Trembling or quaking like an aspen leaf means shaking with fear; this may be descriptive or pejorative, and is recorded from around 1700 onwards, starting with Edward Taylor's Poems. In 2022, the British prime minister Liz Truss was described as "Lettuce Liz" and "The Iceberg Lady", her short term in office compared unfavourably to the shelf life of a lettuce. ## Flower and tree names In contrast to vegetable epithets, flower and tree names are generally positive. "English rose" has traditionally been used to describe an attractive English woman with a fair complexion. An early documented usage is in Basil Hood's 1902 comic opera Merrie England, while in modern times, the actress Gemma Arterton has been so described. Flower and tree names are used in many countries for girls; examples in English include Bryony, Daisy, Iris, Hazel, Heather, Holly, Hyacinth, Jasmine, Lily, Rose, and Violet. Forms of the generic term flower are also popular in English as in other languages, including for example Fleur, Flora, Florence and Flores. English flower names are less common for boys, but include Hawthorn; in the form of May, the same flower is used as a girl's name. Laurel, for a victor's wreath made of the sweet bay or laurel, with feminine forms such as Laura, is used for both boys and girls. ## Plant surnames People acquired plant surnames in the Middle Ages for different reasons. Toponymic surnames were given to people who lived by a significant feature such as a large isolated tree, a group of trees, or a wood: or, very often, in a village beside such a feature. Metonymic surnames, on the other hand, denoted a person's profession, and include Pease, for a seller of peas, and Onions, for a seller of onions (though some people with that surname got it from the Old Welsh name Enniaum). Plant or Plante itself may be a metonym (gardener), as with Plantebene (a grower of beans, 1199) and Planterose (a grower of roses, 1221), a metaphor meaning a branch of a family, or a toponym, as with de la Plaunt (1273) and de Plantes (1275, 1282), from a place in France such as le Plantis (Orne), or from a planted place such as a vineyard or orchard. Toponymic surnames include Oak, with variants such as Oake, Oke, Oakes, Noke and Roke since 1273, Ash, with variations such as Ashe, Asche, Aish, Esch and Nash since 1221, and Birch or Birchwood, since 1182. Hazel is recorded in many toponymic surnames (sometimes via villages named for the tree), including Hazel itself from 1182, Hazelwood/Aizlewood, Hazelton, Hazelhurst, Hazelgrove, Hazelden and Heseltine. Surnames such as Hollies and Hollin(g)s, since 1275, mean a person who lived by a holly or holm oak tree. Surnames such as Plumtree, Plumpton, and Plumstead denote people who lived in places by a plum tree or orchard. Similarly, Appleby, Appleton, Applegarth and Appleyard name people who lived by an apple orchard, or in villages in Cheshire, Cumbria, Kent and Yorkshire which were named for their apple orchards. Surnames including Apps, Asp, Epps and Hesp record that a person lived by an aspen tree, the letters often being swapped over. A third source of plant names is their use as emblems, as in the surnames Rose, Royce, and Pluckrose, all meaning a person who used the rose as their family emblem. The English royal Plantagenet dynasty appears to have derived its name from the use of a sprig of broom or planta genista as an emblem. "Plantegenest" (or "Plante Genest") was a 12th-century nickname for Geoffrey Plantagenet, Count of Anjou and duke of Normandy; Richard of York, 3rd Duke of York adopted Plantagenet as his family name in the 15th century, perhaps to emphasise his status as a patrilineal descendant of Geoffrey. Plant surnames are found in other languages. For example, in Sweden, where "Lind" means the Lime or Linden tree, the 100 most common surnames in 2015 included at 17 Lindberg (Lime-hill), at 21 Lindström (Lime-stream), at 22 Lindqvist (Lime-twig), at 23 Lindgren (Lime-branch), and at 99 Lindholm (Lime-island). Other tree names in the top 100 were 46 Björk (Birch), 56 Löfgren (Leaf-branch), 66 Björklund (Birchwood), 77 Ekström (Oak-stream), 79 Hedlund (Heathwood) and 87 Ek (Oak). Many of these names are toponymic; however, suffixes like -gren and -qvist are often metaphorical, meaning an offshoot of a family. From around 1686, Swedish soldiers started to adopt military surnames; short monosyllabic tree-names like Al (Alder), Alm (Elm) and Ek (Oak) were popular. In France, the surnames Laplante (the plant) and Levigne (the vine) denote the owner of a vineyard, or may be toponymic. Tree names also occur in France, where for example the surname Chene (oak) is not uncommon in Loire-Atlantique and Maine-et-Loire. ## See also - Animal epithet	[ "## Vegetable insults", "## Flower and tree names", "## Plant surnames", "## See also" ]	1,606	20,622
62,402,219	Šērūʾa-ēṭirat	1,172,983,012	Assyrian princess of the Sargonid dynasty	[ "7th-century BC people", "7th-century BC women", "Ancient Assyrians", "Ancient Mesopotamian women", "Ancient princesses", "Sargonid dynasty" ]	Šērūʾa-ēṭirat (Akkadian: [] Error: : no text (help) Šērūʾa-ēṭirat or Šeruʾa-eṭirat, meaning "Šerua is the one who saves"), called Saritrah (Demotic: , sꜣrytꜣr) in later Aramaic texts, was an ancient Assyrian princess of the Sargonid dynasty, the eldest daughter of Esarhaddon and the older sister of his son and successor Ashurbanipal. She is the only one of Esarhaddon's daughters to be known by name and inscriptions listing the royal children suggest that she outranked several of her brothers, such as her younger brother Aššur-mukin-paleʾa, but ranked below the crown princes Ashurbanipal and Shamash-shum-ukin. Her importance could be explained by her possibly being the oldest of all Esarhaddon's children. Šērūʾa-ēṭirat lived into Ashurbanipal's reign, although her eventual fate is unknown; she may have been married to the Scythian king Bartatua and have become the mother of his successor Madyes; a later Aramaic story has her play a central role in attempting to broker peace between Ashurbanipal and Shamash-shum-ukin on the eve of their civil war in 652 BCE and disappearing after Ashurbanipal kills his brother. ## Biography Esarhaddon, who reigned as king of Assyria from 681 to 669 BCE, had several daughters, but Šērūʾa-ēṭirat is the only one known by name. Her name frequently appears in contemporary inscriptions. At least one other daughter, though unnamed, is known from lists of the royal children and Šērūʾa-ēṭirat is explicitly designated as the "eldest daughter", meaning there would have been other princesses. Because lists of the royal children are inconsistent in order, it is difficult to determine the age of Šērūʾa-ēṭirat relative to her male siblings. She is usually listed after the crown princes Ashurbanipal (who was set to inherit Assyria) and Shamash-shum-ukin (who was set to inherit Babylon) but ahead of the younger brothers Aššur-mukin-paleʾa and Aššur-etel-šamê-erṣeti-muballissu. As such, she seems to have ranked third among the royal children, despite there being more than two sons. She was older than Ashurbanipal and one theory in regards to her high status is that she might have been the oldest of Esarhaddon's children. Šērūʾa-ēṭirat's name is listed among the names of her brothers in a document concerning the foods and potential gifts of the New Year's celebration and she is also named in a grant by Ashurbanipal. She also appears in a medical report on the royal family from 669 BCE. She is known to have performed sacrifices to the god Nabu together with the male children and to have been present at events and ceremonial banquets alongside her male siblings. She also appears in a text from the reign of Esarhaddon or Ashurbanipal wherein Nabu-nadin-shumi, the chief exorcist in Babylonia, writes to the princess to say that he is praying for her father and for her. ### Marriage to Bartatua Esarhaddon's questions to the oracle of the Sun-god Shamash mention that Bartatua, a Scythian king who sought a rapprochement with the Assyrians, in 672 BCE asked for the hand of a daughter of Esarhaddon in marriage. Šērūʾa-ēṭirat may have married Bartatua, though the marriage itself is not recorded in the Assyrian texts. The close alliance between the Scythians and Assyria under the reigns of Bartatua and his son and successor Madyes suggests that the Assyrian priests did approve of this marriage between a daughter of an Assyrian king and a nomadic lord, which had never happened before in Assyrian history; the Scythians were thus brought into a marital alliance with Assyria, and Šērūʾa-ēṭirat may have been the mother of Bartatua's son Madyes. Bartatua's marriage to Šērūʾa-ēṭirat required would have required that he pledge allegiance to Assyria as a vassal, and in accordance to Assyrian law, the territories ruled by him would be his fief granted by the Assyrian king, which made the Scythian presence in Western Asia a nominal extension of the Neo-Assyrian Empire. Under this arrangement, the power of the Scythians in Western Asia heavily depended on their cooperation with the Assyrian Empire, due to which the Scythians henceforth remained allies of the Assyrian Empire until it started unravelling after the death of Esarhaddon's successor Ashurbanipal. ### Letter to Libbāli-šarrat Although Šērūʾa-ēṭirat is mentioned in several royal inscriptions, she is most known for her letter to her sister-in-law Libbāli-šarrat, wife of her brother, the crown prince Ashurbanipal, written around . In this letter, Šērūʾa-ēṭirat she respectfully reprimands Libbāli-šarrat for not studying and also reminds her that though Libbāli-šarrat is to become the future queen, Šērūʾa-ēṭirat still outranks her as she is the king's daughter (a title that would have been rendered as marat šarri, "daughter of the king", in Akkadian) whilst Libbāli-šarrat is only the king's daughter-in-law. Translated into English, Šērūʾa-ēṭirat's letter reads: > Word of the king's daughter to Libbāli-šarrat. > Why don't you write your tablet and do your homework? For if you don't, they will say: "Is this the sister of Šērūʾa-ēṭirat, the eldest daughter of the Succession Palace of Aššur-etel-ilani-mukinni, the great king, mighty king, king of the world, king of Assyria?" > Yet you are only a daughter-in-law — the lady of the house of Ashurbanipal, the great crown prince designate of Esarhaddon, king of Assyria. The opening of the letter ("word of the king's daughter") is striking. The opening "this is the word of the king" was usually only used by the king himself. The letter suggests that shame would be brought on the royal house if Libbāli-šarrat was unable to read and write. Some scholars have interpreted the letter as a sign that there was sometimes social tension between the denizens of the ancient Assyrian royal palace. ### Later years The title of Šērūʾa-ēṭirat after Esarhaddon's death was ahat šarri ("sister of the king")., although the role she played in the court of her brother Ashurbanipal once Esarhaddon was dead and her eventual fate are both unknown. ### Legacy A later Aramaic story based on the civil war between her brothers Ashurbanipal and Shamash-shum-ukin (652–648 BCE) gives Saritrah (Šērūʾa-ēṭirat) a central role in the negotiations before the civil war started around 652 BCE. In the story, Šērūʾa-ēṭirat attempts to broker peace between Sarbanabal (Ashurbanipal) and Sarmuge (Samash-shum-ukin). When this fails and Sarbanabal kills Sarmuge, Saritrah disappears, possibly into exile. If Šērūʾa-ēṭirat's married Bartatua she was likely the mother of his successor Madyes, who brought Scythian power in Western Asia to its peak. After the Neo-Assyrian Empire started unravelling following Ashurbanipal's death, Madyes was assassinated by the Median king Cyaxares, who expelled the Scythians from Western Asia. ## See also - Scota	[ "## Biography", "### Marriage to Bartatua", "### Letter to Libbāli-šarrat", "### Later years", "### Legacy", "## See also" ]	1,891	33,811
2,105,618	El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)	1,173,518,874	null	[ "1997 American television episodes", "Adaptations of works by Carlos Castaneda", "Television episodes written by Ken Keeler", "The Simpsons (season 8) episodes" ]	"El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)", () also known as "The Mysterious Voyage of Our Homer", is the ninth episode of the eighth season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on January 5, 1997. In the episode, Homer eats several hot chili peppers and hallucinates, causing him to go on a mysterious voyage. Following this, he questions his relationship with Marge and goes on a journey to find his soulmate. "El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)" was written by Ken Keeler and directed by Jim Reardon. The episode explores themes of marriage, community, and alcohol use. Homer's voyage features surreal animation to depict the elaborate hallucination. The episode guest stars Johnny Cash as the "Space Coyote". ## Plot Marge becomes suspiciously cautious by trying different tactics to distract Homer from some event. She tries to mask an odor by smoking cigarettes in the house, but after stepping outside Homer smells the scent of Springfield's annual chili cook-off. Marge finally admits trying to dissuade Homer from going due to his drunken antics at the previous year's cook-off. She agrees to let him attend after he promises to not drink. At the cook-off, Homer shows an extraordinary ability to withstand hot foods, but is burned by Chief Wiggum's fiery chili made with Guatemalan insanity peppers, and is caught by Marge while attempting to cool his tongue with beer; she believes he was intentionally getting drunk. While quenching the heat with water, Homer nearly drinks melted candle wax by mistake before Ralph Wiggum warns him not to. Homer realizes he can use the wax to coat and protect his mouth, enabling him to swallow several insanity peppers whole. After winning the chili-eating contest, Homer hallucinates wildly from the peppers. During his trip, he meets his spirit guide in the form of a coyote, who advises him to find his soulmate and questions Homer's assumption that Marge is his. Helen Lovejoy, the gossipy preacher's wife, tells Marge about Homer's antics; thinking they are alcohol-induced, an upset Marge drives home without him. The next day, Homer awakes on a golf course. He returns home to find Marge angry with him for his embarrassing behavior at the cook-off. Homer makes note of their fundamental personality differences and questions if they truly are soulmates. Roaming the streets at night, he thinks a lonely lighthouse keeper is his soulmate, but finds the lighthouse is operated by a machine once he arrives there. Seeing a ship approaching, Homer destroys the lighthouse's huge bulb, hoping its passengers will befriend him after their ship crashes ashore. An apologetic Marge arrives, having known exactly where Homer would go. They reconcile after realizing they really are soulmates despite their differences. After fixing the light, the ship runs aground nearby and spills its cargo of hotpants. Springfield's citizens happily retrieve them as Marge and Homer embrace. ## Production The episode was pitched as early as the third season by George Meyer, who was interested in an episode based on the books of Carlos Castaneda. Meyer had wanted to have an episode featuring a mystical voyage that was not induced by drugs, and so he decided to use "really hot" chili peppers instead. The staff, except for Matt Groening, felt it was too odd for the show at that point. Bill Oakley and Josh Weinstein resurrected the story, and decided to use it for season eight. Most of the hallucination sequence was animated completely by David Silverman. Silverman did not want the risk of sending it to South Korea, as he wanted it to look exactly as he had imagined it, including rendered backgrounds to give a soft mystical feel to the scene. The coyote was intentionally drawn in a boxier way so that it looked "other-worldly" and unlike the other characters. During Homer's voyage, the clouds in one shot are live-action footage, and 3D computer animation was used for the giant butterfly. During the same hallucination, Ned Flanders' line was treated on a Mac computer so that it increased and decreased pitch. The Fox censors sent a note to the writers, questioning Homer coating his mouth with hot wax. The note read: "To discourage imitation by young and foolish viewers, when Homer begins to pour hot wax into his mouth, please have him scream in pain so kids will understand that doing this would actually burn their mouths." The scream was not added; however, they did add dialog from Ralph Wiggum, questioning Homer on his action. Reardon also created a "wax-chart" for Homer for the animators to follow during the sequence when Homer's mouth is coated with candle-wax. Homer waking up on a golf course is a reference to something that actually happened: a friend of the producers blacked out and woke up on a golf course. He had to buy a map from 7-Eleven to find out where he was. He discovered that not only was he in a different town, he was also in a different state. He walked several miles to return to a friend's house, which was the last place he remembered being the night before. ### Casting Johnny Cash and Bob Dylan were the writers' top two choices to play the coyote; the writers had wanted to use one of The Highwaymen as the voice of the spirit guide. Dylan had turned the show down many times, having previously been offered a role in the season seven episode "Homerpalooza". Cash was offered the role, which he accepted. Matt Groening described Cash's appearance as "one of the greatest coups the show has ever had". ## Cultural references The main plot of the episode is based on the works of Carlos Castaneda, with some of the Native American imagery being similar to that used in Dances with Wolves. The lighthouse keeper actually being a computer is a reference to the episode of The Twilight Zone called "The Old Man in the Cave", in which a man in a cave turns out to be a computer. The main theme from The Good, the Bad and the Ugly is used during the scenes when Homer walks into the chili festival, and the song "At Seventeen" by Janis Ian plays in the background as Homer walks through Springfield looking for his soul-mate. The scene at the end of Homer's hallucination, when the train is heading towards him, is a reference to the opening titles of Soul Train. Homer's record collection features albums by Jim Nabors, Glen Campbell, and The Doodletown Pipers. ## Reception and legacy In its original broadcast, "El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)" finished 34th in ratings for the week of December 30, 1996 – January 5, 1997, with a Nielsen rating of 9.0, equivalent to approximately 8.7 million viewing households. It was the highest-rated show on the Fox network that week. The authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood, said: "Homer's chili-induced trip is brilliant, complete with the surreal tortoise and Indian spirit guide." The episode was placed eighth on AskMen.com's "Top 10: Simpsons Episodes" list, and in his book Planet Simpson, Chris Turner named the episode as being one of his five favorites, although he found the ending too sentimental. In 2019, Time ranked the episode seventh in its list of 10 best Simpsons episodes picked by Simpsons experts. In 2011, Keith Plocek of LA Weekly's Squid Ink blog listed "El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)" as the best episode of the show with a food theme. IGN ranked Johnny Cash's performance as the 14th-best guest appearance in the show's history. Cash also appeared on AOL's list of their 25 favorite The Simpsons guest stars, and on The Times' Simon Crerar's list of the 33 funniest cameos in the history of the show. Andrew Martin of Prefix Mag named Cash his third-favorite musical guest on The Simpsons out of a list of ten. Fred Topel of Crave Online named it the best episode of the entire series. The episode was later adapted for the Simpsons Level Pack in the 2015 video game Lego Dimensions as the exclusive level for Homer Simpson. In The A.V. Club, Oliver Sava writes that "The spirit quest sequence is one of animator David Silverman's finest moments on the show." He also praises Cash's performance: "He's the perfect casting choice for Homer's spirit guide, with a deep, commanding voice that fully captures the immense gravity of the character's words. When you have Johnny Cash saying something, it sounds important, and that natural authority makes his humorous lines even funnier." Of the story, Sava writes: "Because this kind of thing has happened so many times in the past, the viewer can sympathize with Marge's feelings, but we've also seen the love between the spouses in their best moments, so we want them to find their way back to each other. And they do, because this is a love that is truly written in the stars."	[ "## Plot", "## Production", "### Casting", "## Cultural references", "## Reception and legacy" ]	1,946	8,899
53,320,954	La Tierra del Olvido (song)	1,132,772,973	1995 song by Carlos Vives	[ "1995 singles", "1995 songs", "2015 singles", "Carlos Vives songs", "Fanny Lu songs", "Fonseca (singer) songs", "Maluma songs", "Songs written by Carlos Vives" ]	"La Tierra del Olvido" ("The Land of the Forgotten") is a song by Colombian singer Carlos Vives from his seventh studio album of the same name (1995). The song was written by Iván Benavides and Vives, who handled production alongside Richard Blair. It was released as the lead single from the album in 1995. The song is a neo-vallenato number that utilizes the folk guitar and accordion, on which Vives longs for his homeland. The song received positive reactions from three music critics, being found as one of the album's catchiest tunes by them. It was a recipient at the ASCAP Latin Awards in 1996. Commercially, the song peaked at number five on the Hot Latin Songs chart and number one on the Latin Pop Airplay chart in the United States. A music video for the song was filmed in Colombia in which the band performs at Sierra Nevada de Santa Marta mountain range while also depicting a love story with a couple; it was nominated for Video of the Year at the 1996 Lo Nuestro Awards. In 2015, Vives re-recorded "La Tierra del Olvido" with several fellow Colombian acts. Its music video features the musicians performing the song in various locations of Colombia and further received a nomination for Video of the Year at the 2016 Lo Nuestro Awards. ## Background and composition In 1993, Vives released his sixth studio album Clasicos de la Provincia, a collection of vallenato covers performed by the artist. The album was a modern pop take on the genre, which helped revitalize its popularity and sold over 2.5 million copies. Following the album's release, Vives and his band La Provincia spent weeks in a farm conceptualizing music for Vives' next project.. The result was La Tierra del Olvido, which blends Colombian folk music with contemporary music. The title track was written by Iván Benavides and Vives, who handled production alongside Richard Blair. Benavides commented that the song was "the result of a creative laboratory that allowed us to create a powerful concept, in which the local culture dialogued with the world". Vives remarked it "was a moment to understand that we could have global hits without losing our local connection". Musically, "La Tierra de Olvido" is a neo-vallenato song that utilizes the folk guitar and accordion. According to the Miami Herald writer Fernando Gonzalez, the track sounds "closer to nuevo tango than vallenato". In her book, Musical ImagiNation: U.S-Colombian Identity and the Latin Music Boom (2010), Maria Elena Cepeda wrote that the song's lyrics are allegedly about a "patient ode to a far-away lover" and that it "narrates the pain and longing provoked by distance". However, Cepeda noted that when read as a homage to Colombia, it references the country's culture. Similarly, the Los Angeles Times editor Agustin Garza interpreted the song's meaning as an "aching nostalgia for his homeland". ## Promotion and reception The song was released as the album's lead single by Sonolux Records in 1995. The music video for "La Tierra del Olvido" was filmed in at the Tayrona National Natural Park in Santa Marta, Colombia and directed by Germano Saracco. It was filmed with a 35 mm movie camera and digitally remastered in 2015. Billboard's Leila Cobo regarded the video as a "love letter to Vives' Colombia, beautifully depicted via a love story set in some of the country’s most gorgeous vistas". The video depicts Vives and his band performing the song at the Sierra Nevada de Santa Marta mountain range as well as a couple "synthesizing the feeling of a wounded country and at the same time hopeful in better times". Jose Vasquez of La Mezcla felt that it is "an emblematic audiovisual work from the 90s era in Colombia". At the 8th Annual Lo Nuestro Awards in 1996, it was nominated Video of the Year, but lost to "Te Extraño, Te Olvido, Te Amo" by Ricky Martin. Vives performed "La Tierra del Olvido" live at the Radio City Music Hall in 1995 and the Universal Amphitheatre in 2002. Vives opened the 2020 Premios Nuestra Tierra awards ceremony, where he performed an interpretation of the song with Fonseca, Sebastián Yatra, Camilo, Andrés Cepeda, and Goyo. A live version of the track was recorded for Vives' album Más + Corazón Profundo Tour: En Vivo Desde la Bahiá de Santa Marta (2015). Parry Gettelman of the Orlando Sentinel "complimented the song as "definitely one of the most hummable songs of the year". The New York Daily News critic Mary Talbot cited "Pa' Mayte" and "La Tierra del Olvido" as La Tierra del Olvido''s "two infectious danceable Afro-Colombian numbers". Likewise, an editor for RPM magazine listed the latter of the two as one of the songs from the album that "seamlessly consolidate influences and innovation without losing the crucial campfire feel". The track was recognized as one of the best-performing songs of the year at the 1996 ASCAP Latin Awards. In the United States, the song peaked at numbers five and eight on the Billboard Hot Latin Songs and Tropical Airplay charts, respectively; it also reached the top of the Latin Pop Airplay chart. ## 2015 re-recording 20 years later, Vives re-recorded "La Tierra del Olvido" with eight Colombian musicians. The acts include Maluma, Fanny Lu, Fonseca, "El Cholo" Valderrama, Herencia de Timbiqui, Andrea Echeverri, and Coral Group. This version was included as a bonus track for Más + Corazón Profundo Tour: En Vivo Desde la Bahiá de Santa Marta. The music video for the song's 2015 version was produced by ProColombia and premiered at the Expo 2015 in Milan, Italy. It features the musicians performing the song in various locations of Colombia including Bogota, the Amazon River, Valle del Cauca, and San Andrés. It received over two million views within two days of its release on YouTube and was also nominated for Video of the Year at the 28th Annual Lo Nuestro Awards in 2016. ## Charts ## See also - List of Billboard Latin Pop Airplay number ones of 1994 and 1995	[ "## Background and composition", "## Promotion and reception", "## 2015 re-recording", "## Charts", "## See also" ]	1,394	1,540
42,478,073	Mississippi Highway 572	1,054,760,085	Highway in Mississippi	[ "Former state highways in Mississippi", "Transportation in Amite County, Mississippi" ]	Mississippi Highway 572 (MS 572) is a former state highway in southwestern Mississippi. The route's western terminus was in Centreville of Wilkinson county. MS 572 traveled east and intersected MS 24 and MS 33, just east of the town. It ended at MS 569 south of Beechwood. MS 572 was designated in 1957, from MS 24 and MS 33 to MS 569. The route was extended west to Centreville, and was removed from the state highway system in 1967. ## Route description As of 1965, the route was located in eastern Wilkinson and western Amite counties. All of the route was a two-laned paved road. MS 572 began at the center of Centreville, near a railroad track. The route then traveled down Park Road until it exited Wilkinson County and entered Amite County. After crossing the county line, MS 572 intersected MS 24 and MS 33, and MS 572 was also branded Lower Centreville Road. Continuing eastward, the route exited Centreville and crossed over Beaver Creek and emerged into the village of Olio. MS 572 left Olio, and ended few miles later at MS 569 at a T-intersection. Lower Centreville Road continued east, concurrent with MS 569. MS 572 was maintained by the Mississippi State Highway Commission and Amite County, as part of the state highway system. ## History MS 572 was designated in 1957, connecting from MS 24/33 to MS 569. The route was fully paved when it was created. The next year, it was extended slightly to Centreville. By 1960, a section of the route in Amite County was transferred to county maintenance. MS 572 was removed from the state highway system by 1967. Today, the road is known as Park Road (unsigned Mississippi Highway 946) west of MS 24 and MS 33, and Lower Centreville Road east of it. ## Major intersections The route is documented as it existed in 1965. ## See also - Mississippi Highway 577	[ "## Route description", "## History", "## Major intersections", "## See also" ]	444	30,233
423,616	Nihil	1,123,588,960	null	[ "1995 albums", "Albums produced by Sascha Konietzko", "KMFDM albums", "Metropolis Records albums", "TVT Records albums", "Wax Trax! Records albums" ]	Nihil is the eighth studio album by German industrial band KMFDM, released on April 4, 1995, by Wax Trax! Records. The album marked the return of former band member Raymond Watts and the first appearance of journeyman drummer Bill Rieflin, and was mostly written by frontman Sascha Konietzko. The album's first single "Juke Joint Jezebel" is the band's most widely known song, with millions of copies sold over various releases. Widely praised by critics, Nihil is the band's best-selling album. After the original release went out of print, a remastered version was released in 2007. ## Background In late 1993, Sascha Konietzko and fellow multi-instrumentalist En Esch both left Chicago, moving to Seattle and New Orleans, respectively. Lead guitarist Günter Schulz left the country, moving to Kelowna, British Columbia. In early 1994, Konietzko started working on new material, and Schulz came to Seattle to begin adding guitars to the tracks. Later that year, the group assembled in Los Angeles to rehearse for the upcoming Angstfest tour in support of Angst, which spanned April and May. Konietzko, Schulz, Esch, and guitarist Mark Durante were joined by another guitarist, Mike Jensen, for a live show that featured up to four guitarists playing at once. Konietzko and Schulz, along with Dutch singer Dorona Alberti, returned to Seattle to begin recording vocals for Nihil. Konietzko later said he was not happy with the sessions, explaining that nothing was coming together, and only two songs from the upcoming album, "Trust" and "Brute", had been completed to his satisfaction. Former KMFDM member Raymond Watts, last seen contributing vocals, programming, and production to 1988's Don't Blow Your Top before starting his own band, Pig, called Konietzko and asked if he would be interested in working on a small musical collaboration. Konietzko agreed, and Watts flew to Seattle, where the pair, along with Schulz, worked on an EP entitled Sin Sex & Salvation. Konietzko said of the trio's working together, "It was the breath of fresh air I had been hoping and waiting for. This short project took my mind off the problems with the KMFDM album and gave me a welcome change of perspective." Watts then stayed on with the group to begin work on Nihil, which featured a core group of Konietzko, Schulz, Watts, and Esch, along with some input from steel guitar specialist Durante and drummer Bill Rieflin. ## Production Discussing the change in songwriting from Angst, Konietzko said: "I wasn't comfortable with the band scenario on that album, where everybody had input. It allowed for too many compromises. Angst seems not organic to me." In another interview, he explained: "Contrary to the past, I wrote all the songs for Nihil," adding that doing things that way caused "minimal problems". Konietzko stated that the band overused guitars on their previous album, Angst, saying it sounded "like guitarists jacking off". On Nihil, the guitars were mixed in last. Durante had recently purchased a triple-neck Fender steel guitar in Houston, and used it during recording sessions, but added a significant amount of distortion to it, making it sound like a "regular" guitar but giving it what he called a "sliding" sound. Konietzko also brought in a trio of horn players to perform on "Disobedience", saying he had always wanted a horn section in a KMFDM song, but that he had never been able to afford it before. Konietzko originally wrote thirty songs over a period of eight or nine months for Nihil before settling on ten final tracks. Watts came into the studio after the songs were mostly complete and added lyrics to a handful of songs, which he said was "actually quite liberating" in contrast to writing his own music from scratch. Konietzko described the album as being entirely foreplay, without any resolution, and said it was the band's best album to date, a statement he believed he would be standing by for years. He also said its poppier sound was more his style. Konietzko produced the album with sound engineer Chris Shepard, who had also engineered the band's previous album. ## Release Nihil was originally released on April 4, 1995. A digitally remastered re-release of Nihil was released on March 6, 2007, along with a similar re-release of KMFDM's 1996 album Xtort. The band toured twice in 1995 in support of the album, first doing the Beat by Beat tour shortly after the album's release, and then the In Your Face tour later in the year. The album, which had "major buzz", had an initial shipment of 75,000 copies. The album's first track, "Ultra", was featured in the U.S. release of Street Fighter II: The Animated Movie, and was the theme song for Manga Entertainment's anime catalog trailer. "Juke Joint Jezebel", the band's biggest hit, was featured in the film Bad Boys and in an episode of Beverly Hills 90210. "Juke Joint Jezebel (Metropolis Mix)" was featured in the film Mortal Kombat. The video for "Juke Joint Jezebel" includes footage from the Patlabor 1 anime. More than two million copies of the song sold in 1995 alone. Nihil was Wax Trax!'s best-selling album to date by the end of 1995, and went on to sell over 120,000 copies by August 1996. Nihil reached No. 16 on the Billboard Heatseekers chart, and was later labelled one of Wax Trax!'s commercial high points. By 2016, the album had sold a total of 209,000 copies, making it the band's top-selling album of all time, according to Nielsen SoundScan. Nihil is one of only two KMFDM studio albums (Opium being the other) that does not feature cover artwork by pop-artist Brute! Instead, the cover was designed by Rieflin's wife Francesca Sundsten. The band would return to using Brute!'s work on the next album, Xtort. ## Critical reception Nihil received very favorable reviews from music critics. Heidi MacDonald of CMJ New Music Monthly called Nihil "a superb album that takes no prisoners from beginning to end," saying that the first three tracks are "nearly flawless" and calling "Disobedience" a "real standout." Andy Hinds of AllMusic also praised the album, calling "Juke-Joint Jezebel" "an enduring and indispensable dancefloor favorite at goth/industrial clubs around the world." He further said that the production on Nihil was "state of the art" and that KMFDM's sound was "quite polished and tight." Mark Jenkins of The Washington Post said the album "manages to stay fresh through the use of assorted sonic spices," adding that the album has "some canny accents." Keyboard praised the album, describing "milky organ pads" on "Disobedience" and "snarling guitars [wrapped] in spiky synth barbed wire" on "Juke Joint Jezebel", and saying of band leader Konietzko, "You won't find a more imaginative or effective keyboardist on the hard-core scene." Chris Gill of Guitar Player, conversely, said "the most interesting parts are Durante's steel guitar lines, which howl like revving engines". Greg Kot of the Chicago Tribune said that "Juke Joint Jezebel" "swaggers like a Bourbon Street hooker, with crunching guitars and a swooping, gospelish chorus" at the time of the album's release, and in 2011, said the album put "a polished pop spin on industrial's characteristic harshness". Gill had similar praise, saying "few have succeeded in making the combination [of techno rhythms and thrash guitars] sound as natural as this". ## Track listing ## Personnel All information from 1995 release booklet except where noted. ### Musicians - Sascha Konietzko – synthesizers, vocals (1–7, 9–10), bass (6), drums (10), programming - En Esch – vocals (1–3, 5–8), guitars (1, 3, 6), drums (6, 9), percussion (2, 3), harmonica (5) - Günter Schulz – guitars, vocals (2, 6), bass (5), pre-production - Mark Durante – guitars (1, 5, 7, 9) - Raymond Watts – vocals (1–3, 5, 7, 9), bass (5), drum programming (5) #### Additional personnel - Dorona Alberti – vocals (4, 8, 10) - Jim Christiansen – trombone (7) - Jennifer Ginsberg – vocals (2) - Jeff Olson – trumpet (7) - Bill Rieflin – drums (1, 3, 7) - Fritz Whitney – bari sax (7) ### Production - Sascha Konietzko – engineering, mixing, production - Chris Shepard – engineering, production, mixing - Sam Hofstedt – assistant engineering - David Collins – mastering - Francesca Sundsten – cover art - Chris Z – type (1995 release) - Justin Gammon – layout (2007 release)	[ "## Background", "## Production", "## Release", "## Critical reception", "## Track listing", "## Personnel", "### Musicians", "#### Additional personnel", "### Production" ]	2,039	9,743
27,379,482	Fembot (song)	1,171,751,514	null	[ "2010 singles", "2010 songs", "Robyn songs", "Songs written by Klas Åhlund", "Songs written by Robyn" ]	"Fembot" is a song by Swedish recording artist Robyn, taken from her fifth studio album, Body Talk Pt. 1 (2010). The song was written by Robyn and Klas Åhlund, and produced by the latter. It was inspired by Robyn's personal experience of entering her thirties and contemplating children. With the song, she also argues against the notion that humans and robots are separate, explaining that technology has become more organic. "Fembot" is a song with an R&B vibe, and features Robyn rapping several double entendres in the verses, while proclaiming that "Fembots have feelings too" in the chorus. The song was released on 13 April 2010 as one of three promotional singles before the album's release. "Fembot" was met with positive reviews from critics, with some of them highlighting its humor and lyrical content. Critics also noted the continued "android theme" present on a few of Robyn's previous songs, including the Röyksopp collaboration "The Girl and the Robot" (2009). Commercially, "Fembot" performed well on the charts, managing to reach number three on the Sverigetopplistan chart and number ten in Norway. Robyn performed the song for the first time on talk show Skavlan in April 2010 and later included it on the setlists for the All Hearts Tour (2010) and the Body Talk Tour (2010). ## Background In an interview with music webzine Pitchfork, Robyn was asked if "Fembot" represented a dislike for the notion that humans and robots are separate, and she responded by saying, "The classic, dystopian theory about the future is not really as interesting to me. Like the book I, Robot is all about these robots that basically went nuts, and it's always because they were wrongly programmed by humans. It's like a mirror of our own psyche. It's almost like the wrong program could be a mental disease." She elaborated that "Fembot" is not "really about the future or about space or anything", saying that it is about the present time. "Technology is becoming more organic, and using the word 'fembot' or 'robot' in a song makes things more human to me", she said. In an interview with music website Stereogum, she explained that the song also chronicles her personal experience of "turning 30 and contemplating children". She elaborated, saying, > People expect things of you, like kids and like marriage, and I found myself just thinking of that a lot while making this record, so ["Fembot"] is about that in a way, but it's also fun. I'm playing around with the concept of being a woman, and what it means to physically be able to carry kids, but at the same time that’s not always what you see yourself as. The song was uploaded the song onto Robyn's official website on 17 March 2010. It was later released to digital retailers in the United States on 13 April 2010, and in Sweden three days later. It was one of three promotional singles released before the release of Body Talk Pt. 1 and the official first single, "Dancing on My Own". ## Composition "Fembot" was written by Robyn and Klas Åhlund, and produced by the latter. It is in the key of D major and a tempo of 123 beats per minute with a "heavy R&B vibe". According to Daniel Kreps of Rolling Stone, the song continues the "android theme" previously present on Robyn's track, "Robotboy", the interlude "Bionic Woman" and the Röyksopp collaboration, "The Girl and the Robot" (2009). DJ Ron Slomowicz of About.com compared its musical and lyrical style to that of previous single "Konichiwa Bitches" (2007). According to Jer Fairall of PopMatters, the song utilizes "a spare, beepy two-note synth hook and a squelching electronic rhythm." Robyn's vocals in the song are layered with Auto-Tune and vocoders. During the verses, she adapts her distinctive rapping style, and exclaims lyrical lines such as "I gotta lotta automatic booty applications" and "I'm a very scientifically advanced hot mama." Nate Chinen of The New York Times wrote that Robyn "rap[s] a series of double entendres in a digitally processed purr", and then proclaims her "voguish fixation on androids" in the chorus; "I’ve got some news for you / Fembots have feelings too". According to Lindsey Fortier of Billboard, "Fembot" sees Robyn "get[ting] in touch with her urban side". ## Reception Michael Gragg of MusicOMH wrote that "Though the lyrics are daft [...] it's exuberance and general sense of fun is so infectious that when the chorus kicks in you barely notice what she's saying." Jer Fairall of PopMatters wrote, "Look no further than the wry chorus hook of “Fembot” for proof of Robyn's deftly subversive sense of humor." Fairall also pointed out that "[The chorus] might hint, at first, in the direction of some Blade Runner-esque sci-fi pathos, but Robyn turns it towards a canny meta-commentary on the fluid sense of authenticity that pervades 21st century pop stardom." Fairall, however, thought that "the verses are nothing more than an inventory of the titular ‘bot’s synthetic virtues." Ben Norman of About.com selected the song as his favorite track on Body Talk Pt. 1, and wrote that "'Fembot' is the incredibly quirky and well-written Robyn-rap track that needs to be heard to be believed." Christopher Muther of The Boston Globe praised the song for having "one of the most entertaining lyrics to emerge this year". "Fembot" debuted at number seven on the Swedish singles chart chart on the issue dated 23 April 2010, becoming the week's highest debut. The following week, it rose four positions to number three, which became its peak. The song spent seven weeks on the chart, before dropping out in June 2010. In Norway, "Fembot" debuted at number nineteen on the Norwegian singles chart and peaked at number ten. The song debuted and peaked at number ninety-nine on the European Hot 100 Singles chart on the issue dated 15 May 2010. ## Live performances Robyn performed the song on 16 April 2010 on the Norwegian-Swedish talk show Skavlan. A writer from music website Stereogum wrote that Robyn did the song very well live, and commented; "With just a keyboardist doubling as robot hypeman and two drummers, the performance is extremely faithful to the recorded version. It fact, it doesn’t really pop until the end and we get two seconds of Robyn doing the robot." Robyn also performed the song on the All Hearts joint tour with American singer Kelis during the summer of 2010. Robyn opened the show with "Fembot", which was preceded by a computerized voice counting down. Joanna Buffum of MTV Iggy wrote that the song "set the tone for the futuristic electro light show to follow". The song was also included on the set list for the Body Talk Tour. Similar to the All Hearts Tour, the show commenced with robotic voices over the speakers and backed by a heavy beat, before Robyn began singing "Fembot" as multicolored strobes lit the stage. However, for the second North American leg and onwards, "Time Machine" took over as the opening number. ## Track listing - Digital download 1. "Fembot" – 3:35 ## Credits and personnel - Robyn – lyrics - Klas Åhlund – music, lyrics, instruments, programming, and production - Niklas Flykt – mixing Source ## Charts	[ "## Background", "## Composition", "## Reception", "## Live performances", "## Track listing", "## Credits and personnel", "## Charts" ]	1,678	5,788
54,849,432	K-147 (Kansas highway)	1,054,633,137	State highway in Kansas	[ "State highways in Kansas", "Transportation in Ness County, Kansas", "Transportation in Trego County, Kansas" ]	K-147 is an approximately 26-mile-long (42 km) north–south state highway in west-central Kansas. It runs from K-4 east of Brownell to Ogallah, just north of the junction with Interstate 70 (I-70) and U.S. Route 40 (US-40). K-147 serves Cedar Bluff State Park via locally maintained CC Road. The highway south of I-70 and US-40 is part of the Smoky Valley Scenic Byway. The highway travels through a mix of flat farmlands and rolling hills covered with grasslands. K-147 is a two-lane highway its entire length. K-147 was first established on August 1, 1956, from the Trego County line north to US-40; on June 12, 1957, it was extended south to K-4. Then by 1960, I-70 was complete from south of Collyer to southeast of Ogallah. At that time, US-40 was re-routed along I-70, and K-147 was extended east along old US-40 to its present northern terminus. ## Route description From its southern terminus at K-4 east of Brownell, K-147 heads northward four miles (6.4 km) through flat rural farmlands then crosses into Trego County. From the county line, the highway continues north for roughly two miles (3.2 km), and intersects CC Road (RS-1979), which leads west to Cedar Bluff State Park. At this point the landscape transitions to rolling hills covered with grasslands. The roadway continues for about 2.1 miles (3.4 km), makes a series of curves, and then crosses the bridge over Smoky Hill River and the Cedar Bluff Dam. After crossing the dam it continues north through flat grasslands for about 4.7 miles (7.6 km) then curves west at South Road (RS-907). K-147 continues for about .75 miles (1.21 km), then turns north again at South Road (RS-906). It continues for roughly 2.8 miles (4.5 km) then crosses Big Creek. The highway continues north from here through flat rural farmlands for roughly 5.2 miles (8.4 km), then intersects exit 135 of I-70 and US-40, at a diamond interchange. Past I-70 and US-40, K-147 continues north a short distance then turns east onto old US-40. The highway continues for .5 miles (0.80 km) then ends in Ogallah at Centre Street. Past its terminus in Ogallah, it continues as locally maintained old US-40. In 2018, per traffic counts from the Kansas Department of Transportation, on average traffic varied from 145 vehicles per day near the southern terminus to 275 vehicles per day between I-70 and its northern terminus. K-147 is two lanes and undivided for its entire length. The section of K-147 between its southern terminus to I-70 and US-40 is part of the Smoky Valley Scenic Byway. K-147 is not included in the National Highway System, a system of highways important to the nation's defense, economy, and mobility, but K-147 does connect to the National Highway System at its junction with I-70 and US-40. ## History ### Early roads Before state highways were numbered in Kansas, there were auto trails, which were an informal network of marked routes that existed in the United States and Canada in the early part of the 20th century. The southern terminus of K-147 (K-4) was part of the Beeline Highway, and the northern terminus was part of the Golden Belt Highway. ### Establishment and realignments K-147 was first approved in a December 20, 1955 resolution, as soon as Ness and Trego counties had brought the roadway up to state highway standards. By August 1956, Trego County had brought the highway up to state highway standards, and K-147 was established from the Trego County line north to US-40 in an August 1, 1956 resolution. Then in a June 12, 1957 resolution, it was extended south to K-4, as Ness County had finished required projects. In a February 26, 1958 resolution, a new roadway was approved to be built from south of Collyer to southeast of Ogallah, which would be the new I-70. US-40 was re-routed along I-70 as well, and by 1960, K-147 was extended 0.1 miles (160 m) east to its present northern terminus. On June 26, 2019, KDOT closed the bridge that carries K-147 over the Cedar Bluff Reservoir spillway (Smoky Hill River). The steel arch bridge, originally built in 1952, was closed due to safety concerns about structural deficiencies that were found during a recent inspection. Rust found in the bridge deck was not allowing the bridge to expand and contract properly. While the bridge was closed, traffic was detoured using I-70, US-283 and K-4. Construction on the new \$2.2 million bridge began in early February 2020. The project, carried out by Wildcat Construction of Wichita, was completed and opened to traffic on August 18, 2020. ## Major intersections	[ "## Route description", "## History", "### Early roads", "### Establishment and realignments", "## Major intersections" ]	1,141	12,168
67,760,934	5 West 54th Street	1,154,796,738	Building in Manhattan, New York	[ "1899 establishments in New York City", "Commercial buildings completed in 1899", "Commercial buildings in Manhattan", "Historic district contributing properties in Manhattan", "Midtown Manhattan", "New York City Designated Landmarks in Manhattan", "Renaissance Revival architecture in New York City", "Residential buildings completed in 1899" ]	5 West 54th Street (also the Dr. Moses Allen Starr Residence) is a commercial building in the Midtown Manhattan neighborhood of New York City. It is along 54th Street's northern sidewalk between Fifth Avenue and Sixth Avenue. The four-story building was designed by R. H. Robertson in the Italian Renaissance Revival style and was constructed between 1897 and 1899 as a private residence. It is the easternmost of five consecutive townhouses erected along the same city block during the 1890s, the others being 7, 11, 13 and 15 West 54th Street. The first floor is clad with rusticated blocks of limestone, while the other floors contain buff-colored brick trimmed with limestone. The house was commissioned for neurologist Moses Allen Starr, who lived there until he died in 1932. His widow Alice continued to live there until she died in 1942. The next year, Robert Lehman bought the residence and lent it to Freedom House. The house was used as a veteran's retreat after World War II. It was used as the offices of Faberge Inc. from 1948 to 1970 and by John S. Lastis Inc. after 1974. The New York City Landmarks Preservation Commission designated the house as an official landmark in 1981, and it was added to the National Register of Historic Places in 1990 as part of the 5–15 West 54th Street Residences historic district. As of 2018, the house contains a boutique, The Curated NYC, operated by Christian Siriano. ## Site 5 West 54th Street is in the Midtown Manhattan neighborhood of New York City. It is along the northern sidewalk of 54th Street between Fifth Avenue and Sixth Avenue. The land lot is rectangular and covers 2,510 square feet (233 m<sup>2</sup>), with a frontage of 25 feet (7.6 m) on 54th Street and a depth of 100.42 feet (30.61 m). The building is the easternmost of five consecutive townhouses erected along the same city block; from east to west, the other houses are 7, 11, 13 and 15 West 54th Street. The five townhouses are adjoined by the Rockefeller Apartments to the west, The Peninsula New York and the St. Regis New York hotels to the northeast, the University Club of New York and 689 Fifth Avenue to the east, the William H. Moore House and Saint Thomas Church to the southeast, and the Museum of Modern Art to the south. Fifth Avenue between 42nd Street and Central Park South (59th Street) was relatively undeveloped through the late 19th century. The surrounding area was once part of the common lands of the city of New York. The Commissioners' Plan of 1811 established Manhattan's street grid with lots measuring 100 feet (30 m) deep and 25 feet (7.6 m) wide. Upscale residences were constructed around Fifth Avenue following the American Civil War. The two-block stretch of West and East 54th Street from Madison Avenue to Sixth Avenue, bisected by Fifth Avenue, was developed with the houses of prominent figures such as William Henry Moore, John R. Platt, and John D. Rockefeller Sr. The sites of the five houses at 5–15 West 54th Street, along with the University Club, were formerly occupied by St. Luke's Hospital, which moved out during 1896. ## Architecture The houses at 5–15 West 54th Street, all developed in the late 1890s for wealthy clients, were designed as a cohesive grouping, unlike other residences in the neighborhood. According to The New York Times, the houses form the sole remaining "real strip of mansions" in Midtown Manhattan. The houses at 5, 7, 9–11, and 13 and 15 West 54th Street all had different architects. 5 West 54th Street was designed by Robert Henderson Robertson in the Italian Renaissance Revival style. Russell Sturgis, writing for Architectural Record in 1900, described the house as having a "too markedly simple front", considering the stone cartouche between the second-floor windows to be "meaningless" even as it served to center the facade. ### Facade The building is four and a half stories tall and three bays wide. Along the street facade, it is set behind an iron railing and a small concrete yard. The basement and first floor are clad with rusticated blocks of limestone. From the ground level, a low stoop leads to the first-floor entrance, on the left (west) side of the facade. The entryway consists of fluted pilasters designed in the Ionic style, topped by Scamozzi-style capitals. The doorway is composed of double glass doors and is topped by an entablature with modillions and a projecting cornice. At the center of the entablature and the architrave, there are guttae. Two windows are on the right side of the first-floor facade and contain a keystone flanked by rusticated voussoir blocks. The other floors are clad with buff-colored brick trimmed in limestone. The second story is treated as a piano nobile, with two windows containing large entablatures and Ionic pilasters, as well as carved panels beneath each window. Unlike on the first story, the second-story pilasters are not fluted. There is also a decorative stone cartouche between the two second-story windows. The third floor has three windows with sills supported by brackets. Between the third and fourth stories. a molded string course runs horizontally across the facade. The fourth story also has three windows, but these have keystones and a continuous lintel above them. A cornice with modillions runs above the fourth story. The building is topped by a mansard roof with a stone balustrade. Three dormer windows project from the roof; each is topped by broken segmental-arched pediments containing urns in their centers. The house's original exterior is mostly intact except for a metal and glass barrier on the roof and air-conditioning vents on the third floor. ### Interior The house has a gross floor area of 9,485 square feet (881.2 m<sup>2</sup>) according to the New York City Department of City Planning. Real-estate listings show that there is a subcellar, concourse, five above-ground stories, and a roof deck, with a total of 14,966 square feet (1,390.4 m<sup>2</sup>) of usable space. These are all connected by a spiral staircase and an elevator connecting all levels. By the 1990s, when the house served as a Harrison James store, it had a private elevator, spiral staircase, and fourteen fireplaces. The Harrison James store contained a reception area inside the entrance and a bar and lounge on the second story. There was also a rooftop bar. As of 2018, it contains The Curated NYC, a boutique operated by fashion designer Christian Siriano, as well as his atelier and offices. Media at the time described the building as having eight stories, including the concourse, subcellar, and roof deck. The space also includes a coffee shop named Joye & Rose and a vegan restaurant named Rose Café. ## History ### Residence In 1896, with the relocation of St. Luke's Hospital from Midtown to Morningside Heights, Manhattan, the hospital's former site on the northern side of 54th Street west of Fifth Avenue became available for development. The University Club, whose construction commenced the same year, was the first structure to be built on the former hospital plot. In May 1897, Moses Allen Starr acquired a plot on 54th Street about 175 feet (53 m) west of Fifth Avenue. Starr was a neurology professor at Columbia University and was one of the most prominent neurologists in the United States. The same month, R. H. Robertson was commissioned to design a house on the site. Robertson filed plans for the house with the New York City Department of Buildings in July 1897, with the house projected to cost \$60,000. The house was completed in 1899. It was initially occupied by Starr, who married Alice Dunning in 1898. The surrounding neighborhood rapidly became a commercial zone after World War I, and many neighboring townhouses were converted to commercial use, but the Starr family retained the house. In 1918, Marc Eidlitz & Son was hired to make modifications to the house, although the alteration plans remained private. Among the events held at the house was a reception for debutantes in 1921, attended by the Starrs' own daughter Katherine, as well as a committee in charge of a performance of Parsifal in 1929. Moses Allen Starr died in Germany in 1932. Alice Starr continued to live in the house for a decade after her husband died. Alice remained in philanthropic activities: for example, she was involved with management of the West Side Day Nursery from 1902 until her death. Alice died in December 1942 at her country estate at Mount Kisco, New York. ### Later use Alice Starr's estate sold the house in September 1943 to Robert Lehman, whose father Philip Lehman lived at the neighboring 7 West 54th Street. Lehman lent the house to the Freedom House organization, which moved into the building in January 1944. That August, Americans United for World Organization was also founded at the former Starr residence. Freedom House acquired another building at 20 West 40th Street the next year. It then served as a rest home used by World War II veterans. The house was also used for the Victory Clothing Collection's headquarters in 1946. Fashion company Fabergé acquired the house from Robert Lehman in 1948. The next year, Katz Waisman Blumenkranz Stein & Weber was hired to turn the house into offices for \$50,000. Fabergé occupied the house until 1970, and it was sold to John S. Lastis Inc. in 1974. In the intervening time, it was used for the presentation of the 1971 Straw Hat Award, an award for summer theatrical productions in the United States. The New York City Landmarks Preservation Commission designated the five houses at 5–15 West 54th Street as city landmarks, including the Goodwin residence, on February 3, 1981. The Committee for the Preservation of West 54th and West 55th Streets had pushed for the landmark designation. At the time, the five houses were in various states of preservation: the double house at 9–11 West 54th Street was being restored, but the twin houses at 13 and 15 West 54th Street had been proposed for demolition. On January 4, 1990, the building was added to the National Register of Historic Places as part of the Residences at 5–15 West 54th Street historic district. At some point in the late 20th century, the building served as headquarters of a Greek shipping company, and it was known as Petrola House. In 1996, Alan Katzman leased the house for 20 years and converted the house into retail space for his company, men's clothing store Harrison James. The same year, fine dining restaurant Maximilian leased the building's rooftop greenhouse. The restaurant's operators also opened the second-story bar and lounge, as well as private dining spaces. The Harrison James store also featured a barbershop. The Research Board, a think tank, occupied the building in the early 21st century. Christian Siriano's The Curated NYC boutique opened in the building in April 2018. The house had been unoccupied for ten years before it was renovated for the boutique. ## See also - List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets - National Register of Historic Places listings in Manhattan from 14th to 59th Streets	[ "## Site", "## Architecture", "### Facade", "### Interior", "## History", "### Residence", "### Later use", "## See also" ]	2,519	21,342
37,377,785	Hapalopilus nidulans	1,095,236,432	Species of fungus	[ "Fungi described in 1821", "Fungi of Africa", "Fungi of Asia", "Fungi of Australia", "Fungi of Europe", "Fungi of North America", "Fungi of Oceania", "Fungi without expected TNC conservation status", "Poisonous fungi", "Polyporaceae", "Taxa named by Elias Magnus Fries" ]	Hapalopilus rutilans (also known as Hapalopilus nidulans) is a species of polypore fungus in the family Polyporaceae. Officially described in 1821, it was transferred to its current genus Hapalopilus six decades later. It is commonly known as the tender nesting polypore, purple dye polypore, or the cinnamon bracket. This widely distributed species is found on five continents. It grows on the fallen or standing dead wood of deciduous trees, in which it fruits singly, in groups, fused, or in overlapping clusters. Fruit bodies are in the form of kidney-shaped to semicircular, cinnamon-orange-brown brackets. The underside of the fruit body features a yellowish to brownish pore surface with tiny angular pores, from which spores are released. The toxic fruit bodies are neurotoxic if ingested, an effect attributable to the compound polyporic acid, which is present in high concentrations. When an alkaline solution is placed on the fungus, the flesh turns violet. The fungus is used in mushroom dyeing to produce purple colors. ## Taxonomy The species was first described in 1791 by French mycologist Jean Baptiste François Pierre Bulliard, who called it Boletus suberosus. However, this name had been used previously by Carl Linnaeus (for a species now known as Polyporus suberosus), and so Bulliard's name was an illegitimate homonym. In 1821, Elias Magnus Fries published the species as Polyporus nidulans. In 1881, Petter Karsten transferred it to its current genus, Hapalopilus, as the type species. The fungus has been shuffled to several genera throughout its taxonomic history, including Boletus (Kurt Sprengel, 1827), Inonotus (Petter Karsten, 1881), Phaeolus (Narcisse Théophile Patouillard, 1900), Polystictus (François-Xavier Gillot and Jean Louis Lucand, 1890), and Agaricus (Ernst Hans Ludwig Krause, 1933). The name Boletus rutilans, published by Christiaan Hendrik Persoon in 1798, and later transferred to Hapalopilus by William Alphonso Murrill in 1904, is a synonym that is currently preferred. Murrill noted, "When Fries studied the plant he gave it the name P. nidulans, following it with Persoon's P. rutilans, which, he naively remarked, was perhaps a variety of P. nidulans. The two species were kept distinct by Berkeley, but he had little and poor material and evidently did not know them intimately." According to MycoBank, although the name Boletus rutilans was sanctioned by Fries in his 1818 book Observationes mycologicae, his remarks in the text suggest that he recognized the species were the same, and subsequently the name was not sanctioned against P. nidulans. According to Field Museum mycologist Patrick Leacock, however, Fries (1818) was not a sanctioning work, although both names were sanctioned later by Fries in his 1821 work Systema Mycologicum. Since both names are sanctioned, and the basionym for H. rutilans was published earlier (in 1798), Leacock suggests this name should take priority. As of April 2021, both MycoBank and Species Fungorum give H. rutilans and H. nidulans as synonymous, with the former being the preferred name. The polypore is commonly known as the "purple dye polypore", "cinnamon bracket", or the "tender nesting polypore". The specific epithet nidulans is Latin for "nesting"; the epithet rutilans means "orange-red". ## Description The cap is fan-shaped to semicircular and convex, reaching a diameter of 2.5–12 cm (1.0–4.7 in). It lacks a stalk, and is instead attached broadly to the substrate. The fruit bodies are initially soft and spongy, but become hard and brittle once they have lost their moisture. The cap surface is covered with matted hairs, has shallow concentric furrows, and a dull brownish-orange color. The flesh is up to 3 cm (1.2 in) thick at the thickest part, and is a pale cinnamon color. The pore surface is yellowish to brownish, and the pores are angular, numbering about 2–4 per millimeter. In young fruit bodies, the pore surface bruises reddish brown. The mushroom's odor and taste ranges from sweetish to indistinct. Fruit bodies produce a white spore print. Spores are elliptical to cylindrical, smooth, hyaline (translucent), and measure 3.5–5 by 2–3 μm. The basidia (spore-bearing cells) are club shaped and four-spored, with dimensions of 18–22 by 5–5.6 μm. H. nidulans has a monomitic hyphal system, containing only generative hyphae with clamp connections. In the flesh, these hyphae are thick-walled and highly branched, measuring up to 10 μm in diameter; hyphae comprising the pores and the subhymenium are thinner (up to 6 μm wide) and less branched. A chemical test can be used to help identify H. nidulans: all parts of the fruit body will instantly stain bright violet if a drop of an alkaline solution is applied. Dilute (3–10%) potassium hydroxide (KOH), is often used for this purpose. ### Similar species Some other polypores are roughly similar in appearance to H. nidulans and might be confused with it. Phellinus gilvus has a yellowish to rusty-yellow fibrous cap, yellowish-brown flesh that stains black in KOH, and a grayish-brown to dark brown pore surface. Hapalopilus croceus produces large fruit bodies with caps up to 20.5 cm (8.1 in) in diameter. Its pore surface is bright reddish orange when fresh, and its flesh stains red with KOH. Pycnoporus cinnabarinus has a tougher fruit body and is a brighter red color. The edible "beefsteak fungus" Fistulina hepatica may readily be confused with H. nidulans. It has soft, blood-red fruit bodies that ooze red juice. Also edible, the "chicken of the woods", Laetiporus sulphureus, has bright yellow fruit bodies whose color fades in age. ## Habitat, distribution, and ecology A saprobic species, Hapalopilus nidulans causes a white rot in its host. Fruit bodies of the fungus grow singly, in groups, or in fused and overlapping clusters on the wood of dead and decaying deciduous trees. Preferred hosts include Quercus (oak), Fagus (beech), and Betula (birch), although on rare occasions it has been recorded on conifer wood as well. In central Europe, its preferred host is oak, while in northern Europe it is found most commonly on Corylus and Sorbus. Fruiting typically occurs from early summer to autumn, but the tough fruit bodies are persistent and may be encountered out of the usual growing season. Hapalopilus nidulans has a mostly circumboreal distribution in the north temperate zone, and has been found in North Africa, Asia, Europe, and North America. Outside of this region, it has been recorded from Australia, and Oceania. In North America, where it can be found as far north as the Northwest Territories in Canada, it is more common in the eastern and southwestern part of the continent. In Europe, its northern distribution extends to Porsanger in Norway. Reported for the first time from India in 2011, it was found in forests depots of Chhattisgarh, growing on the stored logs of several native trees: Anogeissus latifolia, Chloroxylon swietenia, Desmodium oojeinense, Shorea robusta, and Terminalia elliptica. Fungus beetle species known to inhabit and rear their young in the fruit bodies of Hapalopilus nidulans include Sulcacis affinis, Hallomenus axillaris, H. binotatus, and Orchesia fasciata. ## Chemistry and toxicity It is a common myth that no polypores are dangerous. The fruit bodies of H. nidulans are neurotoxic if ingested. The toxin was identified as polyporic acid, a terphenyl compound first identified from a mycelial culture of the fungus in 1877. This chemical, present at 20–40% of the dry weight of the fruit bodies, inhibits the enzyme dihydroorotate dehydrogenase. It is found in other mushrooms, but in much lower amounts. In a poisoning case reported in 1992, one German family who consumed H. nidulans experienced nausea, impaired movement, visual impairment, liver and kidney failure; symptoms began about 12 hours after consuming the mushroom. Additionally, the urine of all three poisoning victims temporarily turned violet. They recovered fully a week later. Similar symptoms and recovery were reported in a 2013 poisoning case, in which the fungus was confused with the edible Fistulina hepatica. The set of symptoms arising from consumption of H. nidulans has been called the neurotoxic delayed syndrome. Hapalopilus nidulans is highly appreciated by those who make mushroom dyes. When used in combination with alkaline fixatives, the fruit bodies can produce striking violet colors.	[ "## Taxonomy", "## Description", "### Similar species", "## Habitat, distribution, and ecology", "## Chemistry and toxicity" ]	2,085	24,745
39,106,605	Songs of Experience (David Axelrod album)	1,094,214,978	null	[ "1969 albums", "Adaptations of works by William Blake", "Albums arranged by Gerald Wilson", "Albums conducted by Don Randi", "Albums produced by David Axelrod (musician)", "Capitol Records albums", "Concept albums", "David Axelrod (musician) albums", "Instrumental albums" ]	Songs of Experience is the second studio album by American composer and producer David Axelrod. It was released in October 1969 by Capitol Records. Axelrod composed, arranged, and produced the album while recording with session musicians such as guitarist Al Casey, bassist Carol Kaye, drummer Earl Palmer, and conductor Don Randi. As with his 1968 debut album Song of Innocence, Axelrod and his musicians performed musical interpretations of English poet William Blake's Songs of Innocence and of Experience, an 18th-century illustrated collection of poems. A jazz fusion album, Songs of Experience explores darker sounds than its predecessor, as the poems Axelrod selected dealt with the darker side of humanity. Its music was partly inspired by composer Gunther Schuller's Third Stream concept. Axelrod composed Baroque orchestrations with rock, R&B, pop, and folk music elements. Songs of Experience received retrospective acclaim from critics, who found Axelrod's compositions musically varied and innovative. In the years since its original release, musicians also praised it as a source for sampling in hip hop production. Some of its songs have been sampled frequently by hip hop artists and producers. In 2000, the album was reissued by EMI. ## Background As he had on the 1968 album Song of Innocence, Axelrod composed musical interpretations of the works of English poet William Blake on Songs of Experience. He used eight poems from Blake's Songs of Experience (1794). The album's gatefold packaging featured Blake's poems reprinted for each song and liner notes that stated, "an anthology of awareness after birth ... based on the 18th century poems of William Blake." Blake's poems began with the premise of birth and innocence, and explored themes of life experience, rite of passage, and changes of perspective in life. ## Musical style A jazz fusion album, Songs of Experience was partly inspired by Gunther Schuller's Third Stream concept, which fused American jazz with European classical music. Axelrod supported his Baroque orchestrations on the album with rhythms and melodies from rock, R&B, and pop music. The album's suite is more orchestral and less rock-oriented than Song of Innocence. Its symphony is embellished with percussive sounds, British and Irish folk song elements, and stylistic innovations from contemporary arranger Gerald Wilson. With Songs of Experience, Axelrod explored darker sounds, as the poems he had chosen dealt with the darker side of humanity. For "The Human Abstract", he used ascending piano, bass, and percussion instruments to evoke the ghost described in Blake's poem. It is a bass-driven, funky song that juxtaposes augmented sevenths strummed on an electric guitar against an acoustic piano and muted horns. According to music critic Thom Jurek, "The Divine Image" and "A Little Girl Lost" elicit feelings of majesty and "pastoral sadness", respectively. "London" was recorded by Axelrod as a tone poem to reflect Blake's opening stanza about the spiritual climate of London at the onset of the Industrial Revolution: "I wander thro' each charted'd street / Near where the chart'd Thames does flow / And mark in every face I meet / Marks of weakness, marks of woe." ## Reception and legacy Songs of Experience was released in October 1969 by Capitol Records on stereo LP. It was reissued on CD in 2000 by EMI. In a retrospective review, AllMusic's Thom Jurek gave the album four-and-a-half out of five stars and said that Axelrod "succeeded in spades" in his search for a sound that "best exemplified not only his feelings but also the heady text he sought to sonically illustrate." Jurek felt that his compositions were diverse, lush, and able to resemble literature by "using as much space as they do sound for dramatic and dynamic effect", and that Axelrod created original palettes for rock instrumentation through his complex use of the horn section's "various colors". Lynell George of the Los Angeles Times called it a "prescient, genre-defying" solo project, and NME journalist John Mulvey viewed it as a "landmark" album. Mojo cited the album, along with Song of Innocence, as Axelrod's artistic peak and particularly praised "The Human Abstract" as "beautiful and blank", evoking "the view from Arthur Lee's castle of an endless pale blue sky and the vast deathly city beneath it." Tom Hull was less receptive, giving the album a B grade and calling it "the sort of high schmaltz you often get with movie music, with at least one cut ('The Fly') transcending the level of dreck". Songs from the album have been sampled frequently by hip hop producers and artists, including Black Moon, who sampled "A Divine Image", and DJ Shadow, who sampled the luminous piano line from "The Human Abstract" on his 1996 song "Midnight in a Perfect World". English hip hop producer Metabeats called Songs of Experience one of his favorite sources for sampling music and said of the album in an interview for Hip Hop Connection: "You could sample everything on this record, and I think everyone already has. Axelrod is pretty much a sound library in himself – the quality is amazing." American musician John McEntire ranked it third on his list of top-five albums and called it "early crate-digger stuff. Great, funky rhythm-section playing, crazy, overblown string arrangements." In a 2000 interview for The Wire, rapper and producer Mike Ladd spoke of the album recording "London", deeming it "crazy stuff" that deviated from the one-dimensional rhythm loops of contemporary hip hop production. He went on the say, "this is definitely the kind of stuff I'm planning to do for the next album, incorporate more fusion elements and stuff like that. This is a really good production. I like it because it's little parts with gaps, which I don't normally have. Somebody told me I should listen to [Axelrod]. This is one I'm definitely going to buy I'd like to do more stuff with complicated melodies, everybody playing together, drum breaks, things like that." ## Track listing All songs were composed, arranged, and produced by David Axelrod. ## Personnel Credits are adapted from the album's liner notes. - John Arnold – musician - David Axelrod – arranger, composer, producer - Benjamin Barrett – musician - Samuel Boghossian – musician - Bobby Bruce – musician - Al Casey – musician - Gary Coleman – musician - Douglas Davis – musician - Allen De Rienzo – musician - Al Dinkin – musician - David Duke – musician - James Getzoff – musician - John Groomer – musician - Terry Hatton – musician - Fredereck Hill – musician - William Hymanson – musician - Robert Jung [de] – musician - Armard Kaproff – musician - Carol Kaye – musician - Richard Leith – musician - Lew McCreary – musician - Arthur Maebe – musician - Louis Morell – musician - Gareth Nuttycombe – musician - Earl Palmer – musician - Don Randi – conductor, musician - Myron Sandler – musician - Sidney Sharp – musician - Jack Shulman – musician - Freddie Slatkin – musician - Jeffrey Solow – musician - Marshall Sosson – musician - Robert Sushel – musician - Anthony Terran – musician - Rex Updegraft – engineer - Kenneth Watson – musician ## See also - William Blake in popular culture	[ "## Background", "## Musical style", "## Reception and legacy", "## Track listing", "## Personnel", "## See also" ]	1,585	3,668
1,351,339	Battle of McDowell	1,114,357,718	Battle of the American Civil War	[ "1862 in Virginia", "1862 in the American Civil War", "Battles of the American Civil War in Virginia", "Battles of the Eastern Theater of the American Civil War", "Confederate victories of the American Civil War", "Highland County, Virginia", "Jackson's Valley campaign", "May 1862 events" ]	The Battle of McDowell, also known as the Battle of Sitlington's Hill, was fought on May 8, 1862, near McDowell, Virginia, as part of Confederate Major General Stonewall Jackson's 1862 Shenandoah Valley campaign during the American Civil War. After suffering a tactical defeat at the First Battle of Kernstown, Jackson withdrew to the southern Shenandoah Valley. Union forces commanded by Brigadier Generals Robert Milroy and Robert C. Schenck were advancing from what is now West Virginia towards the Shenandoah Valley. After being reinforced by troops commanded by Brigadier General Edward Johnson, Jackson advanced towards Milroy and Schenck's encampment at McDowell. Jackson quickly took the prominent heights of Sitlington's Hill, and Union attempts to recapture the hill failed. The Union forces retreated that night, and Jackson pursued, only to return to McDowell on 13 May. After McDowell, Jackson defeated Union forces at several other battles during his Valley campaign. ## Background In March 1862, Union forces commanded by Major General Nathaniel P. Banks moved into the Shenandoah Valley with the goal of supporting Major General George B. McClellan's advance up the Virginia Peninsula. Confederate resistance to Banks' advance consisted of a small army commanded by Major General Thomas J. "Stonewall" Jackson. On March 21, the Union high command ordered the majority of Banks' command out of the Shenandoah Valley, leaving only a division commanded by Brigadier General James Shields to deal with Jackson. Shields left his camp at Strasburg and began moving north towards Winchester. On March 23, Jackson caught up with Shields' division near Kernstown. Faulty intelligence led Jackson to believe that only a small portion of Shields' force was at Kernstown, so he ordered an assault. Instead, Shields was in the area with his entire force, and a sharp battle was opened. The Confederates took a position behind a stone wall, but after Confederate Brigadier General Richard B. Garnett's brigade retreated after running low on ammunition, the flank of the Confederate position was exposed, forcing Jackson to withdraw from the field. Despite having defeated Jackson at Kernstown, Union high command was concerned by the aggressive behavior the Confederate army had shown, and began to send more troops to the Shenandoah Valley area, including the two divisions of Banks' army that had been moved out earlier. After the retreat from Kernstown, Jackson's force remained in the southern Shenandoah Valley awaiting orders and preparing for battle. In April, Jackson received orders to keep the Union forces in the Valley occupied with the goal of preventing them from joining McClellan's army near Richmond. Also coming to Jackson's camp were reinforcements commanded by Major General Richard Ewell. Meanwhile, another Union force was moving against Jackson's army. Major General John C. Frémont's Mountain Department was moving towards Jackson from the west, across the Allegheny Mountains. Frémont's advance force consisted of 3,500 men commanded by Brigadier General Robert Milroy. Milroy reached the town of McDowell in early May, and was reinforced by another 2,500 men under Brigadier General Robert C. Schenck on 8 May. Jackson's columns departed their camps in the area of West View and Staunton, on the morning of 7 May. Jackson had been further reinforced by elements of Brigadier General Edward "Allegheny" Johnson's brigade. The area around McDowell contained several points of high ground; a peak known as Jackson's Mountain was located west of the town, and Bull Pasture Mountain was east of McDowell. A road known as the Parkersburg and Staunton Turnpike ran roughly east to west through the area. A hill known as Sitlington's Hill was located south of the road, and Hull's Hill was north of the road. The Bull Pasture River ran between the town of McDowell and Sitlington's Hill and Hull's Hill. Expecting an attack, the Union commanders sent out small forces to serve as skirmishers. A portion of an artillery battery was also sent to the southern portion of Hull's Hill, where it kept up a regular fire despite not having a clear view of any Confederates. Union skirmishers from the 32nd Ohio Infantry, 73rd Ohio Infantry, and 3rd West Virginia Infantry made contact with the Confederate forces. ## Opposing forces ### Union As the ranking officer on the field, Schneck had overall command of the Union force, although he still retained nominal command of his brigade. Milroy's brigade contained six regiments of infantry, two artillery batteries, and a regiment of cavalry. All of the units in Milroy's brigade were from the states of Ohio and West Virginia. Schenck's brigade consisted of three regiments of infantry, one battery of artillery, and a battalion of cavalry. Units from Ohio, West Virginia, and Connecticut were represented in Schenck's brigade. ### Confederate The Confederate army consisted of the three brigades of Jackson's original force and the two brigades of Johnson's attached force. Jackson's original force contained a brigade of five regiments of infantry and two artillery batteries commanded by Brigadier General Charles S. Winder, a brigade of three infantry regiments, an infantry battalion, and two artillery batteries commanded by Colonel John A. Campbell, and a brigade of three infantry regiments and one artillery battery commanded by Brigadier General William B. Taliaferro. Johnson's force was composed of a brigade of three infantry regiments commanded by Colonel Zephaniah T. Conner and a second brigade of three infantry regiments commanded by Colonel William C. Scott. All of the units in the Confederate army were from Virginia, except for one Georgia regiment in Conner's brigade. Neither the Stonewall Brigade or Jackson's artillery were present at the battle. ## Battle Jackson then sent troops to take the lightly-defended crest of Sitlington's Hill. Scott's brigade led the way. The 52nd Virginia Infantry aligned in skirmishing formation on the Confederate left, and the 44th Virginia Infantry and 58th Virginia Infantry aligned between the 52nd Virginia and the road at the other end of Sitlington's Hill. The 12th Georgia Infantry of Conner's brigade supported the Virginians. Jackson and Johnson moved to the top of the hill to have a point from which they could observe the Union position with the hopes of finding a path suitable for a flanking attack. However, Milroy ordered his Union troops to attack the Confederate position on Sitlington's Hill, disrupting the Confederate plans. Jackson did not bring his artillery as he thought the steep slopes of Sitlington's Hill would be too difficult to move it there. Milroy and Schenck decided to send five regiments against the Confederate line. The 25th Ohio Infantry and 75th Ohio Infantry (both from Milroy's brigade) aimed for where the Union commanders thought the center of the Confederate line was located. The 82nd Ohio Infantry of Schenck's brigade and 32nd Ohio Infantry of Milroy's brigade aligned to the left of the 25th and 75th Ohio, and the 3rd West Virginia Infantry advanced along the road on the Union left. The fact that the Confederates held the high ground would prove to be a disadvantage for them: the sun was setting behind the Confederate line, silhouetting the soldiers against the sky. The hill also cast shadows that helped conceal the Union troops. The 12th Georgia had been posted in an exposed position in front of the main Confederate line, and made first contact with the Union assault. The Georgians were in an exposed position and at a disadvantage carrying outdated smoothbore muskets while Milroy's troops had Enfield rifles. Further down the line, the 32nd and 82nd Ohio hit the main Confederate line, which had been reinforced by the 25th Virginia Infantry and the 31st Virginia Infantry of Conner's brigade. The fighting became very heavy, with reports describing the battle as "fierce and sanguinary" and "very terrific". At one point, Confederates fighting against the 82nd Ohio attempted to use the bodies of dead soldiers as breastworks. The fifth Union regiment in the charge, the 3rd West Virginia, encountered skirmishers from the 52nd and 31st Virginia who were guarding the Confederate right flank. The Confederates then received further reinforcements from Campbell's and Taliaferro's brigades. The 10th Virginia Infantry of Taliaferro's brigade moved to the Confederate left, and Taliaferro's 23rd Virginia Infantry and 37th Virginia Infantry relieved the 25th Virginia in the main Confederate line. Towards the center of the Confederate line, the 12th Georgia, bloodied and out of ammunition, was forced to withdraw and was replaced by Campbell's 48th Virginia Infantry. Milroy shifted some of his regiments around, moving the 32nd Ohio to support the 75th Ohio near where the Georgians had been driven off, and bringing the 3rd West Virginia from the flank to the position formerly occupied by the 32nd Ohio. While the added weight of the 32nd Ohio forced the 48th Virginia to vacate its advanced position quickly, the outnumbered Union assailants broke off the assault. The fighting ended around 9:00 pm. ## Aftermath Milroy and Schenck ordered a general retreat the night after the battle, after burning supplies they were unable to take on the retreat and disposing of extra ammunition by dumping it into the Bull Pasture River. Jackson began a pursuit of the Union column on 9 May, and the Union troops reached Franklin, West Virginia on 11 May. Jackson's pursuit reached as far as the vicinity of Franklin, but the Confederates gave up the chase and fell back to McDowell on 13 May. Estimates of casualties vary between sources. One source places Confederate losses as 146 killed, 382 wounded, and four captured, for a total of 532; the same source gives Union losses as 26 killed, 230 wounded, and 3 missing, for a total of 259. Others place losses as 256 for the Union and about 500 for the Confederates. Of the Confederate losses, approximately 180 were suffered by the 12th Georgia alone. Edward Johnson was shot in the ankle and disabled from action for the next year; he returned in May 1863 to command Jackson's former division. Col. Simeon Gibbons of the 10th Virginia was killed and Cols. George Smith and Michael Harman of the 25th and 52nd Virginia were wounded. No Union officers above the company level were casualties in this battle. Despite retreating from the field, some sources have argued that the Union forces achieved a draw by fighting Jackson to essentially a standstill. However, the defeat of the Union force and Milroy and Schenck's withdrawal from the Shenandoah Valley provided the Confederates with a strategic victory. Jackson would later summarize the battle in the single sentence "God blessed our arms with victory at McDowell yesterday." Jackson continued his Valley campaign after McDowell. His next battle was against an outpost of Banks' army on 23 May, and the Confederates then defeated Banks' main force on 25 May. Further victories at the battles of Cross Keys on June 8 and Port Republic on June 9 restored Confederate control of the Shenandoah Valley. ## Battlefield preservation The Civil War Trust (a division of the American Battlefield Trust) and its partners have acquired and preserved 583 acres (2.36 km<sup>2</sup>) of the battlefield as of 2019. The battlefield is in a good state of preservation, with some of the wartime buildings still standing. A trail leads to the site of some of the fighting on Sitlington's Hill, and the site of the battle is commemorated with markers. Some of the soldiers killed during the battle are buried in a cemetery in McDowell. ## See also - Mansion House (McDowell, Virginia)	[ "## Background", "## Opposing forces", "### Union", "### Confederate", "## Battle", "## Aftermath", "## Battlefield preservation", "## See also" ]	2,498	5,681
57,173,196	Lovely (Billie Eilish and Khalid song)	1,173,490,510	2018 single by Billie Eilish and Khalid	[ "2010s ballads", "2018 singles", "2018 songs", "Billie Eilish songs", "Chamber pop songs", "Interscope Records singles", "Khalid (singer) songs", "Male–female vocal duets", "Pop ballads", "Song recordings produced by Finneas O'Connell", "Songs about depression", "Songs from television series", "Songs written by Billie Eilish", "Songs written by Finneas O'Connell", "Songs written by Khalid (singer)" ]	"Lovely" is a song by American singers Billie Eilish and Khalid. Darkroom and Interscope Records released it as the lead single from the Netflix drama series 13 Reasons Why's second season soundtrack. The artists wrote the song with Eilish's brother and producer Finneas O'Connell. The song has been described as a chamber pop ballad whose lyrics recount Eilish and Khalid trying to overcome serious depression together. The song also appears on the deluxe version of Eilish's EP Don't Smile at Me. Upon its release, "Lovely" received positive reviews from music critics. The song reached number 64 on the US Billboard Hot 100 chart and peaked within the top 40 in several other countries. "Lovely" has been awarded several certifications, including six times platinum by the Australian Recording Industry Association (ARIA). The track was accompanied by a music video released on April 26, 2018, depicting Eilish and Khalid walking around a glass case, interacting with each other, and trying to overcome their depression. Eilish included the track on the setlists of her 2019 When We All Fall Asleep Tour and her 2020 Where Do We Go? World Tour. ## Background and release Darkroom and Interscope Records released "Lovely" on April 19, 2018, for digital download and streaming as the lead single for the album 13 Reasons Why: Season 2 (Music from the Original TV Series). The song was later included on the expanded edition of Eilish's debut EP Don't Smile at Me. Billie Eilish, Khalid and Finneas O'Connell wrote the track while production was handled solely by Finneas. Studio personnel, John Greenham and Rob Kinelski, handled mastering and mixing respectively. In an interview with Zane Lowe on Beats 1, Eilish explained the inspiration for the track's title: "We called it that because the song was sort of really freaking depressing so then it’s like oh, how lovely, just taking everything horrible like you know what this is great. I’m so happy being miserable." A remix by American electronic dance music duo Hippie Sabotage, was released on July 10, 2018, through SoundCloud. Dan Regan of Billboard praised the remix, saying it has "fresh vocals" and a "trap-style beat [that] buff new dimension into the song". ## Composition and lyrical interpretation Critical commentary described "Lovely" as a chamber pop-based stripped back ballad. According to sheet music published by Universal Music Publishing Group at Musicnotes.com, it is written in the key of E minor with a moderately fast tempo of 114 beats per minute; its chord progression follows a basic sequence of Cmaj7–Em–Bm. The track features minimalist production that consists of piano, violin strings provided by Madison Leinster, and percussion. Eilish explained about working with Khalid and how the track was created to Zane Lowe: "One thing that I’ll say is that when we wrote this song, what was cool about it was that it wasn’t like we’re going to the studio and going to write a hit. He just came over and we hung out. Me and my brother hung out with Khalid in our house and it was literally this is us hanging out as friends and we ended up writing a song." Claudia Willen of Insider describes "Lovely" as beginning with "Khalid's voice echoing Eilish's vocals." The pair "come together to harmonize in the chorus, singing about the feeling of being trapped inside of one's own mind". The duo sings in a melancholic tone. The song becomes more dramatic as the pair move into the chorus, as Eilish sings: "Isn't it lovely, all alone?/Heart made of glass, my mind of stone/Tear me to pieces, skin to bone/Hello, welcome home." Eilish and Khalid's voices sound hopeless as the song is coming to an end. "But I know someday I'll make it out of here/Even if it takes all night or a hundred years/Need a place to hide, but I can't find one near/Wanna feel alive, outside I can fight my fear", as backdrop piano and two chord strings accompany the lyrics. ## Critical reception Jon Blistein writing for Rolling Stone magazine called "Lovely" a "smoldering ballad". The Times' Raisa Bruner described the song as "somber" and "haunting", writing "[there] [is] little to celebrate in the dark, brooding lyrics, but still 'Lovely' finds beautiful sounds in that pained place". Mike Nied of Idolator commended the production, describing the strings as "heartrending" and the production "atmospheric". Robin Murray writing for Clash described the track as an "internet-shattering single", and a "bold, defiant gesture". The Evening Standard's David Smyth described Eilish's and Khalid's vocals in "Lovely" as a "grandiose duet". Graham Corrigan writing for Complex magazine praised the song as an "intensely dramatic offering", and described Eilish's vocals as "smoky" acting "as quicksand, dragging the listener down to a dark place". He described Khalid's vocals as an "interesting counterpoint" to Eilish's. Variance's Tyler Schmitt called "Lovely" a track that "lives up to its name". NME's Hannah Mylrea called the song one of the best from the official soundtrack for the second season of 13 Reasons Why, saying, it has "lush strings", "interweaving vocals", and a "sizzling duet is properly gorgeous". Earmilk's Tanis Smither was similarly positive, saying "Lovely" is "dramatic and orchestral, with "heart-wrenching strings". Adrien Begrand from PopMatters affirmed the song shows Eilish's maturity "that makes the listener forget just how young she is". Consequence of Sound ranked "Lovely" at number 15 on their list of 2018's best songs. Lake Schatz remarked that "Lovely" was "one of the most fragile offerings of [2018]", and comments that the song "showcases [Eilish's] versatility as an artist". The song placed at number four on Billboard's All 27 of Khalid's Collaborations, Ranked: Critic's Picks list, with the staff calling the song "beautiful" and "sorrowful". "Lovely" ranked at number 17 on Australia's Triple J's Hottest 100. ## Commercial performance "Lovely" first entered the Bubbling Under Hot 100 chart at number two on May 4, 2018. The track rose to number 64 on the US Billboard Hot 100 chart on January 25, 2019. Following the release of Eilish's debut studio album When We All Fall Asleep, Where Do We Go?, "Lovely" re-entered the chart at number 85. At the same time, Eilish broke the record for the most simultaneous Hot 100 entries for a female artist. "Lovely" received a double-platinum certification from the Recording Industry Association of America (RIAA), which denotes track-equivalent sales of two million units based on sales and streams. In the United Kingdom, the single peaked at number 47 on the UK Singles Chart—Eilish's first song to chart in the UK. It received a platinum certification from the British Phonographic Industry (BPI), which denotes track-eqfrom equivalent sales of 600,000 units. "Lovely" peaked at number 46 on the Canadian Hot 100 and received quadruplet platinum certification by Music Canada (MC). It was more commercially successful in Australia, peaking at number five on the ARIA Charts. It received a 11× certification by the Australian Recording Industry Association (ARIA), which denotes track-equivalent sales of 770,000 units based on sales and streams. The song has amounted to over 2 billion streams on Spotify, making it one of the most streamed songs on the platform. ## Music video Taylor Cohen and Matty Peacock directed the music video for "Lovely". It was uploaded to Eilish's official YouTube channel on April 26, 2018. The video opens with Eilish trapped inside a crystalline box. Khalid then appears out of thin air behind her, wearing matching black threads and silver chains as he sings with her. Eilish and Khalid start to wander wearily around the box. A single rain cloud then unleashes rain and thunder. The singers sometimes separate, but manage to find their way back to each other. The rain from the cloud begins to freeze in the box and ice covers the walls as Khalid and Eilish hold each other. But as the video moves towards its end, the ice melts to reveal the box is empty. Eilish created the video's concept wanting to portray the feeling of being hopelessly trapped with another person. ### Reception The music video was positively received by critics. Blistein called the visual a "simple yet striking", while Nied said it was a "captivating spectacle complete with brilliant special effects that capture the severity of their situation". Chantilly Post writing for HotNewHipHop described that the video is "simple and striking at the same time". Madeline Roth of MTV saiThe"the visual is undeniably somber, but they at least seem to find some comfort in one another". Melissa Litterello of Soundigest called the visual "incredible", saying that her "eyes were glued throughout to see what would happen next" and said it was "definitely entertaining to watch". The video reached 1 billion views in March 2020 and as of July 2023 has over 1.8 billion views. ## Live performances Eilish performed "Lovely" during her North American 1 by 1 tour in 2018. She sang with Khalid at the Coachella Valley Music and Arts Festival Coachella Valley Music and Arts Festival with Khalid in April 2019. "Lovely" was included on the setlist of Eilish's 2019 When We All Fall Asleep Tour and her 2020 Where Do We Go? World Tour. ## Track listing ## Credits and personnel Credits adapted from Tidal. - Billie Eilish – vocals, songwriter - Khalid – vocals, songwriter - Finneas O'Connell – producer, songwriter - John Greenham – mastering engineer - Rob Kinelski – mixer ## Charts ### Weekly charts ### Year-end charts ## Certifications ## Covers During season 3 of The Voice Croatia, Albina Grčić battled Filip Rudan during a duet of Lovely. A video of the duel was uploaded to YouTube by The Voice Croatia, which has garnered 71 million views as of May 2023, becoming The Voice Croatia's most popular video. ## See also - List of highest-certified singles in Australia	[ "## Background and release", "## Composition and lyrical interpretation", "## Critical reception", "## Commercial performance", "## Music video", "### Reception", "## Live performances", "## Track listing", "## Credits and personnel", "## Charts", "### Weekly charts", "### Year-end charts", "## Certifications", "## Covers", "## See also" ]	2,318	30,799
49,210,572	A. L. Burt	1,161,189,291	Defunct New York book publisher	[ "Book publishing companies based in New York City" ]	A. L. Burt (incorporated in 1902 as A. L. Burt Company) was a New York City-based book publishing house from 1883 until 1937. It was founded by Albert Levi Burt, a 40-year-old from Massachusetts who had come to recognize the demand for inexpensive reference works while working as a traveling salesman. The company began by reprinting home reference works and reprints of popular and classic fiction, before expanding into the field of children's works, particularly series books. A. L. Burt published both reprints and first editions, and targeted both adult and juvenile audiences. At the same time that it published works aimed at adults by authors such as Zane Grey, Harold Bell Wright, and Joseph C. Lincoln, it targeted the juvenile market with works by such authors as Horatio Alger, James Otis, Harry Castlemon, and Edward S. Ellis. The company repeatedly adapted with the market; it entered a popular paperback market, refocused on hardcovers when the paperback market became saturated, and in 1911, in an effort to compete with the Stratemeyer Syndicate, began issuing inexpensive juvenile series books. Albert Burt died in 1913 with a sizable estate, after which the business was continued by his three sons, who each took an equal share. They continued the newfound emphasis on series books, pursuing both reprints rights and new works. The company met particular success with series influenced by contemporaneous influences and trends; nearly two dozen books in The Boy Allies series centered around World War I, and upon the war's end the company's new offers explored topics such as aviation and wireless radio. Although sales and titles declined with the Great Depression, the company continued to issue popular works, including the Beverly Gray series by Clair Blank, and titles by Howard R. Garis. Eventually, with an eye towards retirement, Albert Burt's sons sold the company to Blue Ribbon Books in 1937. Two years later, Blue Ribbon Books itself sold its assets and reproduction rights to Doubleday. ## Albert Levi Burt A. L. Burt Company was named after its founder, Albert Levi Burt. Burt was born in Belchertown, Massachusetts in 1843. He was one of fourteen children born to Vila Burt (née Randall) and Levi Burt, a utility man and musician, and the grandson of Reuben Burt, the last surviving veteran of the American Revolutionary War in Hampden County. He was also an eighth-generation New Englander from a prolific family, tracing his ancestry to Henry Burt's arrival in Massachusetts around 1638. Burt grew up on a farm with limited resources and schooling. As a family genealogy put it, other than four months each winter at a small district school, "the rest of the year the farm itself was the alpha and omega of educational opportunities." Burt's father died on January 26, 1860, when Burt was seventeen. Burt moved to Amherst, where he worked as a clerk in a general store for fifty dollars a year along with his board; two years later he moved to Hartford, Connecticut, working for several years as a traveling salesman for a publishing house. During this time, according to the genealogy, Burt came to understand the market that existed for inexpensive artistic, literary, and household books, which many could not afford. In his personal life, Burt married Sarah Prentice Burt in Gilead, Connecticut, in 1872. They had three sons: Harry Prentice Burt (born c. 1874), Frederick Andrew Burt (born c. 1876), and Edward Fuller Burt (born c. 1878). He was a Republican, and according to an obituary in The Brooklyn Daily Eagle had a "retiring disposition"; he was a member of only one organization, Plymouth Church, of which he served for years as a trustee. In 1891, having found publishing success in New York, he donated 100 volumes of his works to Belchertown's Clapp Memorial Library. He was also an authority on bass and trout fishing, and wrote on the subject. Burt eventually gave up his active work in May 1913—"much against his will," per the obituary. After a months-long illness he died in his home at 178 Brooklyn Avenue on 28 December 1913, and was buried in the Cemetery of the Evergreens. His estate was valued at \$191,605.71 (). ## History ### Early years, 1883–1902 Albert Levi Burt began his book-publishing efforts in 1883, even though A. L. Burt Company was not officially incorporated until 1902. In 1883 Albert Burt moved to New York City, and soon thereafter began using a small office at 105 John Street to publish books. He initially focused on home reference works. His first publication was a reprint of The National Standard Dictionary, which contained some 40,000 words and 700 illustrative woodcuts. According to the family genealogy, for this work he poured the entirety of his \$900 savings into typesetting—providing for paper, printing, and binding on credit—and within ten years had sold some 250,000 copies. Albert Burt followed the dictionary with The National Standard Encyclopedia and several works on household art and ladies' handicrafts, along with such titles as Law Without Lawyers, Household Recipes, Useful Knowledge, and The Family Physician. Late in the 1880s Albert Burt turned to inexpensive paperback fiction, which was then popular and would allow him to extend his reach, with his Manhattan Library line of books. He also wanted to publish so-called "good literature," and so at the same time began the Burt's Home Library line with 25 titles, eventually reaching 500. In 1887, Albert Burt launched the Boys' Home Library line of juvenile paperbacks, with individual titles priced at 25 cents and a yearly subscription for \$2.50; these appear to have been published concurrently with \$1 hardcover editions of the same works. The titles, which included first editions as well as reprints, were by such authors as Horatio Alger, James Otis, Harry Castlemon, and Edward S. Ellis. The line comprised 24 titles, the first 19 issued monthly and the remaining quarterly. Seven were by Alger: Joe's Luck, Frank Fowler, the Cash Boy, Tom Temple's Career, Tom Thatcher's Fortune, The Errand Boy, Tom the Bootblack, and Tony the Hero. The first five of these were first editions, though all seven had earlier been serialized in New York Weekly. The final issue, Captured by Zulus by Otis—writing under the pen name Harry Prentice—was published in June 1890. Albert Burt's business grew rapidly, and between 1883 and 1900 he moved into larger offices in lower Manhattan at least four times. He also began to focus on hardcover novels, a response to the saturation of the cheap paperback market; dime novels and other 10- and 15-cent publications were undercutting his own 25-cent titles. ### Incorporation and series books, 1902–1937 As A. L. Burt expanded, and after it incorporated in 1902, it began targeting both adult and juvenile markets. Zane Grey's second book, The Spirit of the Border, sold some 750,000 copies as an A. L. Burt first edition. Similar success was found with other adult authors, such as Harold Bell Wright and Joseph C. Lincoln. Meanwhile, the Chimney Corner Series began offering 50-cent juvenile hardcovers in 1905; 69 titles were issued under the series in slightly less than a decade, during which the price eventually rose to 60 cents. The company also issued a line of "illustrated cover" juvenile books between 1907 and 1911, with titles by authors such as Ellis, Otis, and Everett Tomlinson. With cheaper options readily available, the dollar books did not sell well; two first editions by Alger, In Search of Treasure and Wait and Win, are now scarce. In 1911 A. L. Burt began issuing series books as part of an effort to compete with the Stratemeyer Syndicate, whose books were primarily published by Grosset & Dunlap and Cupples & Leon. An early effort simply repackaged four of the books from the dollar "illustrated cover" line: Wilmer M. Ely's books The Young Plume Hunters, The Boy Truckers, The Young Pearl Hunters, and The Young Treasure Seekers, originally published as standalone works between 1905 and 1911, became the Boy Chums Series, and sold for 40 cents each. They sold well, and were supplemented with four new titles. Albert Burt's sons, who were active in the company, continued with series books after their father's 1913 death; Harry Burt became president and treasurer, Fred Burt secretary, and Edward Burt assistant treasurer, with each receiving a third of their father's 510 shares in the company. They initially pursued reprint rights for existing works; series such as the Jack Lorimer Series, the Oakdale Series, the Boy Scouts Series, and the Border Boys Series were thus acquired and reprinted. New series were also introduced, such as the Bronco Rider Boys and the Big Five Motorcycle Boys under pseudonyms of St George Henry Rathborne. Particular success was had with World War I-themed series, such as The Boy Allies. The series—comprising 13 The Boy Allies of the Army books and 10 of The Boy Allies of the Navy—presents "the boy heroes practically winning the war single-handedly". The books were initially sold for 40 cents each, rising to 50, 60, and 75 cents over time. Other publications with similar themes included the Our Young Aeroplane Scouts Series by Horace Porter, and the postwar Boy Troopers Series, which was relatively unsuccessful. After the war ended, A. L. Burt's series books adapted with the times. The Radio Boys Series, started in 1922, coincided with a popular interest in wireless radio—and with the Stratemeyer Syndicate's issuance of an identically titled series. Several series by Levi Parker Wyman also sold well, such as the ten-volume Golden Boys Series, the seven-volume Lakewood Boys Series. Wyman also wrote the eight-volume Hunniwell Boys Series, one of several series with an aviation theme. Major Henry H. Arnold, later to become General of the Army and General of the Air Force, contributed to the effort with the Bill Bruce Air Pilot Series. As the Great Depression hit, A. L. Burt's sales, and line of publications, declined. The company still published a number of successful series, and even bought the printing plates and copyrights from George Sully and Company, which liquidated. The Beverly Gray mysteries, published from 1934 to 1937 by A. L. Burt, and later by Grosset & Dunlap, were the company's most successful series of the 1930s; The series was a veritable soap opera, with the many adventures of its protagonist including twenty-six kidnappings, seven attacks by wild animals, and three plane crashes. A. L. Burt also published the Rocket Rider Series by Howard R. Garis, who until Edward Stratemeyer's death had been a prolific author for the Stratemeyer Syndicate, writing many of the early Tom Swift books; the plots of the first two books, Rocket Riders Across the Ice and Rocket Riders Over the Desert, resemble plot outlines in the Syndicate's archives for unpublished Tom Swift books, and may have been intended as such before Garis left for A. L. Burt. The Rocket Riders Series was published in 1933–34, and during this time Garis's son Roger Garis also wrote for A. L. Burt, with the four-volume Outboard Boys Series. The company also published works by Van Powell, including the seven-volume Sky Scouts Series, and Capwell Wyckoff, including the ten-volume Mercer Boys Series and the four-volume Mystery Hunters Series. Looking to retire, in 1933 Harry Burt began discussions about a sale with Blue Ribbon Books. In 1937 he finally sold; Blue Ribbon continued publishing some of A. L. Burt's titles, terming them "A Burt Book." In 1939, Blue Ribbon Books sold its assets and reproduction rights to Doubleday. ## Locations A. L. Burt maintained at least six New York addresses, in addition to a Chicago office, during its history, progressively moving into larger spaces. The address listed in a book can is thus one manner of dating, within a range of years, a book's date of publication. Albert Burt remained at his small 105 John Street office from 1883 until at least November 1884, and by April 1885 had moved to 162 William Street. He remained there until moving to 56 Beekman Street, around June 1888, and staying until at least June 1890. In April 1899 he moved from 93–95 Reade Street to the Jones Building at 52–58 Duane Street, where he occupied the entire seventh floor. Burt remained there for some 15 years, before moving around 1914 to 114–120 East 23rd Street, where the company took up two floors and 35,000 square feet. Around this time the company also opened an office in Chicago, where it had long done business, at 506 South Wabash Avenue. ## Works published A. L. Burt published more than 2,000 titles from 1883 to 1937, including as standalone works, as series of standalone works such as Burt's Home Library, and as series of related works such as The Adventure Girls. The following is a partial list of such works: ## See also	[ "## Albert Levi Burt", "## History", "### Early years, 1883–1902", "### Incorporation and series books, 1902–1937", "## Locations", "## Works published", "## See also" ]	2,913	6,187
63,564,925	Good Job!	1,172,087,742	2020 Nintendo video game	[ "2020 video games", "Action games", "Multiplayer and single-player video games", "Nintendo Switch games", "Nintendo Switch-only games", "Nintendo games", "Puzzle video games", "Video games developed in the Netherlands", "Works set in workplace" ]	Good Job! is a 2020 puzzle video game developed by Dutch developer Paladin Studios and published by Nintendo for the Nintendo Switch console. The player controls a megacorporation CEO's son in completing exaggerated office tasks in destructive playground-style puzzles to climb the corporate ladder. Although there are normal ways to complete the levels, the player can be as destructive and creative as they like to beat the level faster. After good impressions from both companies, Nintendo and Paladin Studios met together to create an experimental game. They had the intentions of appealing to a broad audience, using time zones and locations to their advantage. The game was announced and released in March 2020. The game received generally positive reviews, with reviewers praising the exaggerated gameplay and office setting. ## Gameplay The player controls the son of a CEO of a major megacorporation; their goal is to complete tasks throughout the building to climb the corporate ladder. These goals are common office tasks, such as setting up a projector for a conference meeting. These tasks can be completed in a multitude of ways, although most can be described as either "non-destructive" or "chaotic"; for example, the player could either navigate the projector throughout the rooms, or simply form a slingshot and launch it through the walls instead. Upon completing the task, the player is graded on how long it took to complete the level, as well as the number of objects destroyed and the monetary repair costs for damage; although grades are given for all three of these, the overall grade is generally based around time, so causing costly damage but completing the level quickly will still result in a good overall grade. The gameplay is broken up into levels with each level being a different floor that covers a different type of business. Clothing pieces can be found throughout the game that allow the player to customize their character's appearance. The game supports local multiplayer with one other person, allowing for two players to complete the puzzles at one time. ## Development and release Most of the developers at Paladin Studios had played games from Nintendo, and had been trying to do a collaboration for about ten years. Nintendo's producer, Takao Nakano, played some of the company's mobile games, and believed they put care into them. A team from Nintendo met with the company in 2017, and was interested in a prototype conceptualized by Paladin Studios. Paladin Studios wanted to make a game that was easily accessible to a broad audience; they wanted a game that could be enjoyed by children and adults, as well as one that had simple controls. They decided to set the game in an office setting, as it was easily recognizable and would allow players to use common objects in surprising ways. They liked the contrast of a mundane office setting with chaotic and destructive actions. Nintendo and Paladin Studios discussed regularly and worked together on the game very closely, actively video chatting each other to collaborate. Paladin Studios, located in The Netherlands, would create a working prototype of the game and send it to Nintendo in Japan for review every day. Both countries have opposite time zones, so every morning Nintendo had a prototype they could review, and every morning Paladin Studios had a review back from Nintendo. Due to both companies being in different parts of the world, it helped further their intentions of being enjoyable by a larger group of players. Although both companies had similar ideas, they sometimes had conflicting opinions on the office setting, as certain parts of a typical building were different in the two countries. The developers encountered multiple bugs during the game's creation, such as glitch where every object in the level would immediately be destroyed. One of the glitches, where a printer wrapped in a cable would cause it to be violently launched in all directions, inspired the creators to increase the launch speed of cables. Due to the game revolving around physics, play testers found it enjoyable to search for hidden bugs. The game had a two-year development cycle, and was announced on March 26, 2020, releasing the same day. Nintendo only told Paladin Studios that the game would be featured in a Nintendo Direct shortly before the announcement, which caught the company by surprise. Paladin studios commented how "Nintendo did a tremendous job at guiding us through this process and really helped us make the best content we could possibly make." ## Reception Good Job! received "generally favorable" reviews, receiving a 78% on review aggregator Metacritic. Reviewers praised the general gameplay, being able to solve the problem with multiple solutions. Critics liked the multiple approaches to completing tasks, with Nintendo Life noting that it results in good replayability, that each level has a multitude of objectives based on how quickly or how much money is spent. Some liked the amount of physical objects that could be destroyed, of which being called satisfying. Eurogamer reviewer Christian Donlan praised the increased difficulty of each level, saying how it fit well with the silly graphics and theme. Siliconera liked the simplistic graphics, calling them colorful and abstract. Many critics understood the theme of wanting to break the rules and cause destruction in an office setting. Donlan was fond of how certain tasks are exaggerated, such as making it extremely difficult to move an oversized photocopier through a doorway, which increased his desire to smash it through a wall instead. Due to the game releasing during the COVID-19 pandemic, reviewers found it enjoyable to play around in an office space, something that they had missed during quarantine. Slight negativity came from how multiplayer is not much different from singleplayer. Reviewers were upset how levels were exactly the same, and expressed how it could lead to the loss of coordination and double the amount of accidental damage. Nonetheless, they enjoyed how it could result in faster times if the players work together well. Destructoid's CJ Andriessen had an issue with picking up objects; he said that the character would accidentally pick up the wrong object, most of the time causing accidental destruction, ruining a peaceful playthrough. ## See also - Enercities – a game created by Paladin Studios	[ "## Gameplay", "## Development and release", "## Reception", "## See also" ]	1,208	9,224
50,989,280	2004 Les Saintes earthquake	1,167,498,897	Earthquake affecting Guadeloupe and Dominica, Leeward Islands	[ "2004 earthquakes", "2004 in Guadeloupe", "2004 in the Caribbean", "2004 tsunamis", "Earthquakes in the Caribbean", "Natural disasters in Dominica", "Natural disasters in Guadeloupe", "November 2004 events in North America" ]	The 2004 Les Saintes earthquake occurred at on November 21, 2004 with a moment magnitude of 6.3 and maximum European macroseismic intensity of VIII (Heavily damaging). The shock was named for Îles des Saintes "Island of the Saints", a group of small islands to the south of Guadeloupe, which is an overseas department of France. Although it occurred near the Lesser Antilles subduction zone, this was an intraplate, normal fault event. It resulted in one death, 13 injuries, and 40 people being made homeless, but the overall damage was considered moderate. A small, nondestructive tsunami was reported, but run-up and inundation distances were difficult to measure due to a storm that occurred on the day of the event. Unusual effects at a volcanic lake on Dominica were also documented, and an aftershock caused additional damage three months later. ## Tectonic setting While the northern and southern boundaries of the Caribbean Plate are complex and diffuse, with zones of seismicity stretching several hundred kilometers across, the eastern boundary is that of the Lesser Antilles subduction zone. This 850 km (530 mi) long subduction zone lacks a uniform curve and has an average dip of 50–60°. The largest known earthquake on the plate interface was a M7.5–8.0 event in 1843, but it did not generate a large tsunami. In opposition, the three largest events between 1950 and 1978 were intraplate normal faulting events. ## Earthquake The mainshock and the primary aftershock occurred on the previously mapped Roseau Fault, a 15 km (9.3 mi), northeast-dipping normal fault that forms the western portion of the northwest-trending Les Saintes channel graben within the overriding North American Plate. Late 1990s bathymetric studies showed that it had vertical fault scarps approaching 120 m (390 ft). The type of slip was primarily extensional, but included a small amount of left-lateral slip, and may have contributed to hydrological/volcanic effects that were observed on the island of Dominica, where a flooded fumarole drained twice. ### Damage A maximum intensity of VIII (Heavily damaging) on the European macroseismic scale was recorded at Terre-de-Haut, where some serious damage occurred to a school, a church, and some homes near the sugar loaf. The same intensity was observed at Terre-de-Bas, where damage was moderate and non-structural in nature. At Petite-Anse, a small area contained some damaged walls, but no complete collapses occurred. At Grand-Bourg on the island of Marie-Galante (where the intensity was deemed to be VI–VII (Slightly damaging–Damaging)) the town hall, a church, and a college were red-tagged (unsuitable for use). The same intensity was assigned to the nearby commune of Saint-Louis, where the newly built town hall had visible cracks and the church was closed due to the potential of aftershocks breaking stained glass windows. ### Boiling Lake In the weeks following the mainshock, no abnormal geochemical or seismic activity was observed at La Grande Soufrière (an active stratovolcano) on Guadeloupe, but on southern Dominica near the Valley of Desolation, a flooded fumarole known as Boiling Lake was discovered empty by tourists on Christmas Day. The 10–15 m (33–49 ft) deep lake lies in an active geothermal area and is normally stable in terms of temperature (80–90 °C (176–194 °F)) and water level. By mid-February, the lake was full again, but its temperature had not returned to normal. The water level dropped again following the M5.8 aftershock on February 14. ### Aftershocks By mid-February, aftershock activity had essentially ceased, with events becoming increasingly far apart. On February 14, a strong and slightly-damaging aftershock occurred. This was also a normal slip event that occurred about 7 km (4.3 mi) northwest of the November 21 mainshock. The damage was minimal, with cracks developing on the roads, some broken water pipes, and wall and roof damage—including at some locations that were damaged during the mainshock. ## Tsunami A small tsunami took place following the shock, and while no tide gauges captured the event, scientists were on scene several days later to investigate. A large storm occurred on the day of the event, and this might have prevented visual observation of the tsunami, but witnesses on Guadeloupe reported the sea level dropped "a few" to as many as 50 cm (20 in). At Anse des Mûriers on Îles des Saintes, a ship captain reported that three minutes after the earthquake the sea dropped about 80 cm (31 in) and also receded from the coast about 5 m (16 ft). In Anse Rodrigue, the tsunami had a run-in distance of 42 m (138 ft). Investigators documented a 50 cm (20 in) run-up at Anse Pajot, but these findings were difficult to distinguish from the storm surge. A maximum run-up of 2 m (6.6 ft) was recorded at Grande-Anse beach and L'anse Rodrigue on Terre-de-Haut Island, and on Grande-Anse Terre-de-Bas Island. The tsunami was recorded as far as 30 km (19 mi) from the epicenter, at Capesterre-Belle-Eau. ## See also - Geography of Dominica - Lesser Antilles - List of earthquakes in 2004 - List of earthquakes in the Caribbean	[ "## Tectonic setting", "## Earthquake", "### Damage", "### Boiling Lake", "### Aftershocks", "## Tsunami", "## See also" ]	1,199	3,216
41,888,638	Be More	1,169,518,302	null	[ "2013 American television episodes", "Adventure Time (season 5) episodes" ]	"Be More" is the twenty-eighth episode of the fifth season of the American animated television series Adventure Time. It was written and storyboarded by Tom Herpich and Steve Wolfhard, from a story by Patrick McHale, Kent Osborne, Pendleton Ward, Rebecca Sugar, Herpich, and Wolfhard. It originally aired on Cartoon Network on July 22, 2013. The episode guest stars Aziz Ansari as DMO, Paul F. Tompkins as the SMOs, and Chuck McCann as Moe. The series follows the adventures of Finn (voiced by Jeremy Shada), a human boy, and his best friend and adoptive brother Jake (voiced by John DiMaggio), a dog with magical powers to change shape and grow and shrink at will. In this episode, BMO, Finn and Jake's sentient computer game, accidentally deletes a core system driver, forcing Finn and Jake to sneak into the MO factory in order to fix BMO. However, the three are pursued by security guard SMOs (voiced by Tompkins); Finn, Jake, and BMO eventually run into Moe Giovanni (voiced by McCann), the ancient and benevolent human-cyborg creator of the MOs, who explains BMO's backstory. "Be More" was originally intended to have been produced during the series' third season, but was later moved to the series' fifth season, by which time it had changed substantially. It was viewed by 2.67 million viewers and received a 0.7 rating among adults between the ages of 18 and 49. The episode received largely positive critical reviews, with Oliver Sava from The A.V. Club applauding the extrapolation of BMOs backstory, as well as its potential for narrative expansions. The episode was later nominated for a Primetime Emmy Award for Short-format Animation at the 66th Primetime Emmy Awards, but lost to the Mickey Mouse episode "O Sole Minnie". ## Plot While deleting files, BMO accidentally deletes its core system drivers. Finn and Jake decide to accompany BMO to the Mo Factory so that BMO can get the drivers re-installed; BMO cautions Finn and Jake that its memory will be erased, so the trio disguise themselves as FMO and JMO and successfully sneak past DMO (voiced by Aziz Ansari) and infiltrate the facility. Once inside, they find the factory derelict and abandoned. DMO and the security SMOs (voiced by Paul F. Tompkins) soon catch onto Finn, Jake, and BMO's scheme and give chase. The three evade security and sneak into the SMO lounge. BMO hacks into one of the SMOs and learns the location of the core system driver installation deck. Once again, the SMOs give chase until Finn, Jake, and BMO reach the heart of the facility. There, the three meet Moseph "Moe Mastro Giovanni" (voiced by Chuck McCann), the ancient and benevolent cyborg creator and leader of the MOs. Moe explains BMO's backstory, revealing that BMO was created to take care of and have fun with Moe's son; however, Moe never had children and so he released BMO into the wild to find another family. Moe updates BMO drivers, and introduces it to his "family" of MOs. ## Production "Be More" was written and storyboarded by Tom Herpich and Steve Wolfhard, from a story by Kent Osborne, Pendleton Ward, Patrick McHale, Rebecca Sugar, Herpich, and Wolfhard. Art direction was handled by Nick Jennings, whereas supervising direction was helmed by Nate Cash. The episode was originally intended to have been produced during the series' third season, thus the reason that Sugar—a former storyboard artist on the show who had left after working on the earlier episode "Simon & Marcy"—was credited for having co-written the episode's story. However, the entry was pushed back until it was finalized during the latter part of the fifth season; according to both supervising producer Adam Muto and Rebecca Sugar, by the time the episode was being developed during the fifth season, it had substantially changed. The character of Moe was designed by Wolfhard, and was based on actor Jamie Farr. The original ending featured Moe telling Finn, Jake, and BMO to leave because he has to use the bathroom; Wolfhard noted that this was "wisely vetoed" by Herpich and Muto. Comedian Aziz Ansari plays the part of DMO. In 2011, Ansari had previously been invited by Ward via Twitter to voice a character on the show. Chuck McCann voices Moe. According to storyline writer Jack Pendarvis, series creator Pendleton Ward asked him to be in the show after seeing one of his performances. The episode also guest stars Paul F. Tompkins as the security guard SMOs. Tompkins had previously voiced an unrelated character in the fourth season episode "Ignition Point". ## Reception "Be More" aired on July 22, 2013 on Cartoon Network. It was watched by 2.67 million viewers, and received a 0.7 rating in the 18–49 demographic Nielsen household rating. Nielsen ratings are audience measurement systems that determine the audience size and composition of television programming in the United States, which means that the episode was seen by 0.7 percent of all 18- to 49-year-olds at the time of the broadcast. The installment was the 31st most-watched cable program in the 18–49 demographic on the night it aired. The episode first saw commercial release as part of the 2014 The Suitor DVD, which included 16 episodes from the series. Oliver Sava of The A.V. Club awarded the episode a "B+". He applauded it for its exploration of BMO, its opening of new narrative opportunities with the introduction of Moe. Furthermore, he complimented both Ansari's and Tompkin's voice acting, noting that the "actors hired by this show have speaking voices that are immediately distinct, and that natural personality helps flesh out bit roles and make them memorable." Furthermore, Sava wrote that the entry's climax, featuring Moe explaining that BMO was built to understand fun was "an interesting insight into the philosophy behind this series" because the "childlike mentality of fun and play is an enlightened state in Adventure Time, and BMO reaches that every day with Finn and Jake." The episode was later nominated for a Primetime Emmy Award for Short-format Animation at the 66th Primetime Emmy Awards, but lost to the Mickey Mouse episode "O Sole Minnie". ## Explanatory notes	[ "## Plot", "## Production", "## Reception", "## Explanatory notes" ]	1,400	16,825
63,548,761	French cruiser Surcouf	1,130,479,531	Protected cruiser of the French Navy	[ "1888 ships", "Forbin-class cruisers", "Ships built in France" ]	Surcouf was the second Forbin-class protected cruiser built for the French Navy in the late 1880s and early 1890s. The Forbin-class cruisers were built as part of a construction program intended to provide scouts for the main battle fleet. They were based on the earlier unprotected cruiser Milan, with the addition of an armor deck to improve their usefulness in battle. They had a high top speed for the time, at around 20 knots (37 km/h; 23 mph), and they carried a main battery of four 138 mm (5.4 in) guns. The ship saw little activity in the 1890s, being assigned to the Northern Squadron from 1893 to 1895, temporarily reactivated to participate in training exercises with the unit in 1897, and then assigned to the squadron again from 1898 to 1899. During her periods of active service, she was primarily occupied with training maneuvers. Surcouf returned to the Northern Squadron in 1901 and served there through 1908, apart from a brief stint in East Asia in 1902. She saw little activity thereafter, until she was sent to the Gulf of Guinea late in World War I. The ship was ultimately removed from the naval register in 1921 and broken up. ## Design Beginning in 1879, the French Navy's Conseil des Travaux (Council of Works) had requested designs for small but fast cruisers of about 2,000 long tons (2,032 t) displacement that could be used as scouts for the main battle fleet. The unprotected cruiser Milan was the first of the type, which was developed into the Forbin-type of protected cruisers after the Conseil requested light armor protection for the ships. The three Forbins, along with the three very similar Troude-class cruisers, were ordered by Admiral Théophile Aube, then the French Minister of Marine and an ardent supporter of the Jeune École doctrine. Aube intended to use the new cruisers as commerce raiders, rather than fleet scouts. Surcouf was 95 m (311 ft 8 in) long at the waterline and 96.1 m (315 ft 3 in) long overall, with a beam of 9.33 m (30 ft 7 in) and an average draft of 4.5 m (14 ft 9 in). She displaced 1,857 t (1,828 long tons; 2,047 short tons). Her crew amounted to 209 officers and enlisted men. The ship's propulsion system consisted of a pair of compound steam engines driving two screw propellers. Steam was provided by six coal-burning fire-tube boilers that were ducted into two funnels. Her machinery was rated to produce 6,200 indicated horsepower (4,600 kW) for a top speed of 20 knots (37 km/h; 23 mph). She had a cruising radius of 2,395 nautical miles (4,436 km; 2,756 mi) at a speed of 10 knots (19 km/h; 12 mph). The ship was armed with a main battery of four 138.6 mm (5.46 in) 30-caliber guns in individual pivot mounts, all in sponsons with two guns per broadside. For close-range defense against torpedo boats, she carried three 47 mm (1.9 in) 3-pounder Hotchkiss guns and four 37 mm (1.5 in) 1-pounder Hotchkiss revolver cannon. She was also armed with four 356 mm (14 in) torpedo tubes in her hull above the waterline, two forward and two further aft. She had provisions to carry up to 150 naval mines. Armor protection consisted of an armor deck that was 40 mm (1.6 in) thick and sloped downward at the sides to provide a measure of vertical protection. Above the deck, a highly subdivided layer of watertight compartments was intended to control flooding. A thin anti-splinter deck below the armor deck covered the machinery spaces. ### Modifications Surcouf underwent a series of refits and modernizations throughout her career. The first of these took place in 1893, and centered on updates to the armament. The main battery was converted to M1881/84 quick-firing guns, and the light armament now consisted of five 47 mm guns, three 37 mm guns, and four 37 mm revolver cannon. In 1896, the two forward torpedo tubes were removed, along with the shields for the light guns. A more extensive reconstruction took place in 1905–1906. The refit included removing all of the 37 mm guns in favor of a uniform light armament of seven 47 mm guns. Two 37 mm guns were kept aboard to be mounted to the ship's boats. By that time, the remaining torpedo tubes had also been removed. By this time, the ship's sailing rig was removed; Surcouf had retained her rig long after the other members of the class had theirs cut down in 1892, though exact time is unknown. The historian Stephen Roberts states that it was "probably...around 1906." At some point, the ship's boilers were modified to incorporate mixed coal and oil firing. During World War I in 1916, Surcouf had a pair of 47 mm anti-aircraft guns installed on her foredeck. Around the same time, one of her 47 mm guns and the two 37 mm guns were put ashore in the formerly German colony of Kamerun. In 1917, the ship was disarmed altogether and converted into a depot ship for submarines. ## Service history ### Construction – 1896 Surcouf was ordered on 7 April 1886 and was laid down at the Arsenal de Cherbourg on 4 October 1886 in Cherbourg. She was launched on 9 October 1888. She was commissioned for sea trials on 27 November 1899. The ship was placed in full commission on 10 October 1890, and on the 23rd, she was assigned to the Northern Squadron, based in the English Channel. She remained with the unit through 1893, by which time it included the ironclads Requin and Victorieuse, the coastal defense ship Furieux, and the cruiser Alger. The following year, Surcouf continued to operate with the squadron. She took part in annual training exercises that year to evaluate the effectiveness of the French coastal defense system. The squadron went to sea on 15 July and began the operations the next day, which lasted until 29 July. The maneuvers demonstrated the usefulness of torpedo boat flotillas in coastal defense, but highlighted that France's coastal defense system in the Channel was not yet complete. She remained in the unit through 1895. The squadron was kept in commission for only four months per year. The unit at that time consisted of Furieux, the ironclads Requin, Victorieuse, and Suffren, the armored cruiser Latouche-Tréville, and the protected cruisers Jean Bart and Coëtlogon. Surcouf took part in the annual fleet maneuvers that began on 1 July; as she was in partial commission, she had to take on naval reservists in Cherbourg to bring her crew to the full number. The exercises took place in two phases, the first being a simulated amphibious assault in Quiberon Bay, and the second revolving around a blockade of Rochefort and Cherbourg. The maneuvers concluded on the afternoon of 23 July. By 1896, she was reduced to the 2nd category of reserve, along with several old coastal defense ships, ironclads, and other cruisers. They were retained in a state that allowed them to be mobilized in the event of a major war. Surcouf was mobilized in 1897 to participate in the large-scale maneuvers of that year with the Northern Squadron, which were held in July. Surcouf and the bulk of the squadron were tasked with intercepting the coastal defense ship Bouvines, which was to steam from Cherbourg to Brest between 15 and 16 July. As with the previous year's maneuvers, the defending squadron was unable to intercept Bouvines before she reached Brest. The squadron then moved to Quiberon Bay for another round of maneuvers from 18 to 21 July. This scenario saw the protected cruisers Sfax and Tage simulate a hostile fleet steaming from the Mediterranean Sea to attack France's Atlantic coast. Unlike the previous exercises, Surcouf and the rest of the Northern Squadron successfully intercepted the cruisers and "defeated" them. ### 1898–1921 Surcouf was reactivated in 1898 and was assigned to the Northern Squadron, by which time the unit consisted of the ironclad Hoche, four modern coastal defense ships, a pair of armored cruisers, and the protected cruiser Friant. She took part in the annual maneuvers in July and August that year, which consisted of three phases. In the first, she and nine torpedo boats were assigned the task of breaking through a blockade of the Baie de Douarnenez conducted by the rest of the squadron. The ships successfully eluded the blockaders and escaped the bay. The second consisted of an attack on the fortifications of Brest by the entire squadron, and the third saw the fleet conduct an amphibious assault near Douarnenez. She remained in the unit the following year, by which time the unit was completely reorganized. It then consisted of six of the French Navy's older ironclads, a pair of armored cruisers, the protected cruiser Catinat, and three smaller cruisers. By January 1901, Surcouf and both of her sister ships had been reduced to the reserve fleet, but later that year, she was assigned to the Northern Squadron. That year, the annual fleet maneuvers were conducted from 3 to 28 July. During the exercises, the Northern Squadron steamed south for joint maneuvers with the Mediterranean Squadron. The Northern Squadron ships formed part of the hostile force, and as it was entering the Mediterranean from the Atlantic, represented a German squadron attempting to meet its Italian allies. In 1902, she was sent to join the French squadron in East Asia, which at that time included five other protected cruisers. She had returned to France at some point before 1904, when she was assigned to the Northern Squadron. That year, she was kept in commission for six months, with the rest of the year spent out of service with a reduced crew. While out of service in November and December, she received new boilers. She remained in service with the Northern Squadron through 1908, by which time, the unit consisted of eight armored cruisers and four other protected cruisers. After the outbreak of World War I in July 1914, Surcouf was allocated to the patrol squadron stationed in Brest, owing to the severe shortage of small cruisers. She remained there until 1916, when she was transferred to the Gulf of Guinea to replace Friant. The following year, she was moved to Gibraltar, where in August she was disarmed and converted into a depot ship. She was thereafter used to support a squadron of submarines that was based in French Morocco, serving in that capacity into 1919, after the end of the war. In 1920, she was moved to Rochefort to serve as a hulk, though she was struck from the naval register on 4 April 1921 and sold on 10 May to M. Jaquart to be broken up.	[ "## Design", "### Modifications", "## Service history", "### Construction – 1896", "### 1898–1921" ]	2,412	32,788
8,287,234	The Dykeenies	1,060,211,959	Scottish indie rock band	[ "Cumbernauld", "Musical groups established in 2005", "Post-punk revival music groups", "Scottish indie rock groups" ]	The Dykeenies are a Scottish indie rock band from Cumbernauld, formed in 2005. The group consists of brothers Brian Henderson (vocals, synthesizers) and Andrew Henderson (bass guitar, backing vocals), along with Steven Ramsay (lead guitar, backing vocals) and John Kerr (drums, backing vocals). Since their formation, they have released one studio album, Nothing Means Everything, accompanied by three singles. After a worldwide tour, the band began work on their second album, which was released in October 2011. They broke up in January 2012, before re-forming for two performances in 2017. The Dykeenies released their EP 'I Wanted To Show Her All The Beautiful Things in the World' on 11 May 2018. The title of the 2018 EP was taken from Bret Ellis-Easton's 'American Psycho'. ## History ### Beginnings and King Tut's (2005–2006) The band played their first headline gig at the 350-capacity ABC2, a small venue in Glasgow in late 2005. The gig was a sell-out show. In November 2005, they were named as the inaugural "Artist of the Month" in the Your Sound competition; a scheme run by Glasgow music venue King Tut's Wah Wah Hut along with DF Concerts to project local unsigned talent. They would go on to play a sold-out show at King Tut's, despite only ever having appeared at the venue once before. As well as this, a demo version of the song "New Ideas" was included in Have Yourself a Filthy Little Christmas, a compilation album released as a free download by independent record label Filthy Little Angels on 12 December 2005. They progressed to play an even bigger venue in Glasgow when they supported Mystery Jets at Glasgow's Queen Margaret Union (one of two Student unions of Glasgow University) on 3 May 2006,despite at this point never having released a single. After winning the Your Sound competition, the band signed to King Tut's Recordings. Again, despite having released little or no material at the time, the band were asked to play the "T Break" stage at T in the Park in Kinross, Scotland, on 9 July 2006. A week later, The Dykeenies released their first single, a double a-side "New Ideas/Will It Happen Tonight?". A video was recorded for the former track, featuring the band playing inside King Tut's Wah Wah Hut. In September 2006, the band signed to independent record label Lavolta Records. Two months later, the band released their first EP through Lavolta, titled Waiting for Go. The release featured the title track, as well as tracks "Things You Cannot See", "Feels Like Sleep" and "Dark Time". It was produced by Jim Abbiss, who had previously worked with Arctic Monkeys, Kasabian and Bombay Bicycle Club; and mixed by previous New Order and Kaiser Chiefs collaborator Cenzo Townshend. Following the release of the EP, the band were invited by NME to play on the first ever four band O<sub>2</sub> Rock N Roll Riot Tour, alongside The Horrors, The Fratellis and The Maccabees. ### Nothing Means Everything (2007–2010) The band were given another boost into the musical limelight with the help from Xfm Scotland (now Galaxy Scotland). The radio station began by asking them to be a part of Xfm Scotland's first ever "Winter Wonderland" gig, one of three one-day winter music festivals taking place in venues across the United Kingdom. They were then called up again to support Maxïmo Park at Edinburgh's Liquid Room as part of "Xfm Live Sessions" on 31 March 2007. Following numerous headline and support gigs in and around Glasgow between November 2006 and March 2007, The Dykeenies released a new recording of "New Ideas" on 9 April 2007, with previously unreleased tracks "Safe", "Simplify" and "Layers" featuring alongside various remixes as b-sides. The band marked the release with an extensive UK tour, including playing their first headline gig at Glasgow's QMU, a venue they had previously only played supporting Mystery Jets. This single was the band's first entry into the UK Singles Chart, reaching number 54. The band would release further singles "Clean Up Your Eyes" and "Stitches" between July and September 2007, reaching number 53 and 61, respectively. The band released their debut album, Nothing Means Everything, on 17 September 2007. They would again play the QMU in support of the album, a concert which was originally booked for Glasgow's ABC, but was moved due to scheduling problems. During the concert, the band covered "Starman" by David Bowie, an artist they have stated as a major musical influence. On 9 December 2008, The Daily Record announced that guitarist Alan Henderson had left the band, leaving over "musical differences". Vocalist Brian Henderson said that Alan was not seeing eye to eye on musical terms with the rest of the band. On 11 December 2008, the band announced a one-off date at King Tut's on 18 February 2009, their first gig since playing London's Underage Festival on 8 August 2008. The event sold out. A full tour was later announced, playing sixteen dates across the UK. Brian Henderson stated in an interview with The Daily Record that the band are currently experimenting with a number of new instruments, including bongo drums, acoustic guitars, and gospel choirs. Henderson added that the band are seven songs from finishing the album. During the band's March tour, they included new songs "Awake", "Square Balloons", "Minus One", "Traps" and "Are You With Me Now?". The latter has been released as a free download through the band's website and MySpace. The band's new single "Sounds of the City" was released on 27 April 2009, with an instrumental version of the song as a B-side. As well as this, the band played a number of summer music festivals in 2009, including T in the Park, Summer Sundae, and the Loopallu festival in Ullapool. ### Canyon of Echoes and split (2011–2012) The band announced on 18 July 2011 via their Myspace and Facebook accounts that their new album Canyon of Echoes will be released on 3 October 2011. They undertook a short UK tour to support the release. On 29 August 2011 they premiered the video for new single 'Awake' on their official Facebook and YouTube channel. In January 2012, the Dykeenies announced their split. ### Reunion, live shows and new EP (2016–present) In November 2016, The Dykeenies Facebook page announced live shows set for May 2017. They have since confirmed that this is an official reunion and have new songs already written. On 11 May 2018, The Dykeenies released a new EP titled 'I Wanted To Show Her All The Beautiful Things in the World'; their first new record since 2011. ## Musical style The Dykeenies' musical style has been noted primarily as indie rock, with influences including The Cribs, Bloc Party and The Futureheads. Their musical style has also been compared to art rock and, more prominently, art pop. God Is in the TV Zine described "New Ideas" as sounding "like the first few tracks of Silent Alarm", as well as comparing "Will It Happen Tonight?" to We Are Scientists. Dykeenies have also stated that David Bowie is a major influence of the band, releasing a cover version of Starman as part of their Live at the Apple Store, Glasgow EP. One particular live review even linked the band to the short-lived "New Rave" genre, as well as comparing lead singer Brian Henderson's vocals to that of Brian Molko. Nothing Means Everything has been noted as being a more mature pop album, with "The Panic" in particular noted as having dark lyrical content. ## Discography ### Studio albums - Nothing Means Everything (2007) - Canyon of Echoes (2011) ### Extended plays - Waiting for Go (2006) - Live at the Apple Store, Glasgow (2007) - I Wanted To Show Her All The Beautiful Things in the World (2018) ### Singles "—" denotes releases that did not chart.	[ "## History", "### Beginnings and King Tut's (2005–2006)", "### Nothing Means Everything (2007–2010)", "### Canyon of Echoes and split (2011–2012)", "### Reunion, live shows and new EP (2016–present)", "## Musical style", "## Discography", "### Studio albums", "### Extended plays", "### Singles" ]	1,791	1,242
4,581,345	Hurricane Marty (2003)	1,171,666,426	Category 2 Pacific hurricane in 2003	[ "2003 Pacific hurricane season", "2003 in Mexico", "2003 natural disasters in the United States", "Category 2 Pacific hurricanes", "Hurricanes and tropical depressions of the Gulf of California", "Hurricanes in Arizona", "Hurricanes in Texas", "Pacific hurricanes in Mexico", "Tropical cyclones in 2003" ]	Hurricane Marty was a Category 2 Pacific hurricane that caused extensive flooding and damage in northwestern Mexico just weeks after Hurricane Ignacio took a similar course. Marty was the thirteenth named storm, fourth hurricane, and the deadliest tropical cyclone of the 2003 Pacific hurricane season. Forming on September 18, it became the 13th tropical storm and fourth hurricane of the year. The storm moved generally northwestward and steadily intensified despite only a marginally favorable environment for development, and became a Category 2 hurricane before making two landfalls on the Baja California peninsula and mainland Mexico. The hurricane was responsible for significant flooding and storm surges that caused \$100 million (2003 USD) in damage mostly on the peninsula of Baja California, and resulted in the deaths of 12 people. Marty affected many of the same areas that had been affected by Hurricane Ignacio a month earlier. ## Meteorological history A tropical wave moved into the Pacific Ocean from Central America on September 10. Convection along the wave became better organized as it moved westward, and a tropical depression developed on September 18. The depression moved generally west-northwestward before strengthening into Tropical Storm Marty on September 19. The storm entrained dry air into its circulation as it curved toward the northwest, disrupting the storm's convective structure and inhibiting further intensification for the next two days. Eventually, Marty fought off the dry air and intensified, reaching hurricane strength on September 21. Marty began moving north-northwestward in response to a high pressure ridge to the west, and continued to strengthen, reaching a peak intensity of 100 mph (160 km/h) early on September 22. Marty then moved northward at an increased speed before making landfall 10 mi (16 km) northeast of Cabo San Lucas in Baja California Sur later that day. After making landfall, Marty turned back to the north-northwest, moving parallel to the eastern coast of the peninsula, and weakening to a tropical storm on September 23. Marty then stalled over the Gulf of California after encountering a high pressure system over the U.S. state of Nevada, and further weakened to a tropical depression before making a second landfall near Puerto Peñasco, Sonora, on September 24. Marty became a remnant low pressure area on September 25, and moved erratically over the northern Gulf of California for the next two days before drifting southwestward and dissipating over the northern Baja California Peninsula on September 26. ## Preparations Fearing a repeat of the damage left by Hurricane Ignacio a month earlier, many residents stocked up on supplies, secured their homes and evacuated to emergency shelters. The government of Mexico issued hurricane warnings for areas of the eastern coast of the Baja California Peninsula and the west coast of the mainland on September 21. Tropical storm warnings were issued for the Mexican coastline to the Colorado River on September 23, but were discontinued later that day. Forecasters also predicted that the hurricane might cause 4–6 feet (1.2–1.8 m) of storm surge, 8 inches (20 cm) of rain, serious flash flooding, and mudslides. Many schools and tourist destinations were used as emergency shelters and most seaports and airports were closed down. Across the Gulf of California, in the state of Sonora, authorities of the municipality of Empalme monitored the status of the Punta de Agua dam, located 20 mi (32 km) upstream of the municipal seat, which threatened to overtop and flood the city. As a result, 300 residents were evacuated to shelters on higher ground. ## Impact Overall, Marty killed 12 people, making it the deadliest storm of the 2003 season. Moreover, Marty was also the costliest tropical cyclone to affect Mexico that year. ### Baja California Peninsula About 8 to 11 inches (203 to 279 millimetres) of rain fell in areas of the Baja California Peninsula, with the largest 24-hour rainfall total occurring at Todos Santos, Baja California Sur, where 7.77 in (197 mm) of rain fell. Numerous ships offshore reported tropical storm and hurricane-force winds, and an automated weather station in Cabo San Lucas, Baja California Sur reported sustained winds of 85 mph (137 km/h) with gusts to 115 mph (185 km/h). Santa Rosalía, Baja California Sur, reported 7.8 inches (200 mm) of rain. Hurricane Marty damaged or destroyed over 4,000 homes. A 5-foot (1.5 m) storm surge flooded parts of La Paz, and sank 35 yachts moored in various ports. Five people drowned after their cars were swept away by floodwaters while trying to cross a flooded stream. The floods also damaged 4,000-6,000 homes and buildings and significantly disrupted water and communications for an extended period of time. Filming for the 2004 film Troy was interrupted when this hurricane moved through Baja California. Minor beach erosion was reported at San Felipe, Baja California. As a result, the Baja California Sur municipalities of La Paz, Los Cabos, Loreto, Comondú, and Mulegé were declared national disaster areas. Overall, 6,000 people were affected and total damage from the storm was \$100 million. ### Mainland Mexico On the mainland, the largest daily rainfall total occurred on Sebampo, Sonora, which recorded 6.73 in (171 mm) of rain. Five fishermen drowned when their fishing boat sank in the Gulf of California, off the coast of Sonora. Also in that state, the University of Sonora suspended operations in its Navojoa campus. Two more people died when a tree fell on a car in Sinaloa. Heavy rainfall caused moderate to severe flash flooding in Sonora and Sinaloa, although damage was not as severe or as extensive as on the Baja California peninsula. Los Mochis, Sinaloa, reported sustained winds of 45 mph (72 km/h) on September 22. ### Southwestern United States The outer bands of Marty brought locally heavy rains to extreme southwestern Arizona, but there were no reports of flooding. The highest rain total was 2.25 inches (57 mm) at Organ Pipe Cactus National Monument in Arizona. Rainfall extended eastward into Texas, where a storm peak of 3.09 inches (78 mm) of rain occurred in Tankersly. Because the damage caused by Marty was not extreme, the name of the storm was not retired from the rotating Pacific hurricane name lists, and was used again in the 2009 season. ## See also - List of wettest tropical cyclones in Arizona - Tropical Storm Marty (disambiguation) - 2003 Pacific hurricane season	[ "## Meteorological history", "## Preparations", "## Impact", "### Baja California Peninsula", "### Mainland Mexico", "### Southwestern United States", "## See also" ]	1,408	18,920
58,675,638	German torpedo boat T29	1,122,808,213	German World War II torpedo boat	[ "Maritime incidents in April 1944", "Ships built by Schichau", "Ships built in Elbing", "Type 39 torpedo boats" ]	The German torpedo boat T29 was one of fifteen Type 39 torpedo boats built for the Kriegsmarine (German Navy) during World War II. Completed in mid-1943, the boat was transferred to France in January 1944. She fought in the Action of 26 April off the coast of Brittany, and was sunk by four Allied destroyers with the loss of 137 crewmen. ## Design and description The Type 39 torpedo boat was conceived as a general-purpose design, much larger than preceding German torpedo boats. The boats had an overall length of 102.5 meters (336 ft 3 in) and were 97 meters (318 ft 3 in) long at the waterline. They had a beam of 10 meters (32 ft 10 in), a draft of 3.22 meters (10 ft 7 in) at deep load and displaced 1,294 metric tons (1,274 long tons) at standard load and 1,754 metric tons (1,726 long tons) at deep load. Their crew numbered 206 officers and sailors. The Type 39s were fitted with a pair of geared steam turbine sets, each driving one propeller, using steam from four high-pressure water-tube boilers. The turbines were designed to produce 32,000 shaft horsepower (24,000 kW) which was intended give the ships a maximum speed of 33.5 knots (62.0 km/h; 38.6 mph). They carried enough fuel oil to give them a range of 2,400 nautical miles (4,400 km; 2,800 mi) at 19 knots (35 km/h; 22 mph). As built, the Type 39 ships mounted four 10.5 cm (4.1 in) SK C/32 guns in single mounts protected by gun shields; one forward of the superstructure, one between the funnels, and two aft, one superfiring over the other. Anti-aircraft defense was provided by four 3.7 cm (1.5 in) SK C/30 AA guns in two twin-gun mounts on platforms abaft the rear funnel, six 2 cm (0.8 in) C/38 guns in one quadruple mount on the aft superstructure and a pair of single mounts on the bridge wings. They carried six above-water 533 mm (21 in) torpedo tubes in two triple mounts amidships and could also carry 30 mines; the full complement of 60 mines made the ships top-heavy which could be dangerous in bad weather. For anti-submarine work the boats were fitted with a S-Gerät sonar and four depth charge launchers. The Type 39s were equipped with a FuMO 21 radar and various FumB radar detectors were installed late in the war. ## Construction and career Originally ordered as a Type 37 torpedo boat on 30 March 1939, T29 was reordered on 10 November 1939 from Schichau. She was laid down at their Elbing, East Prussia, shipyard as yard number 1488, and commissioned on 21 August 1943. After working up, T29 and her sister T28 arrived in Western France during late January 1944. En route the two torpedo boats were shelled by British coastal artillery and attacked by a pair of British Fairey Albacore torpedo bombers that caused some minor damage to T28. ### Action of 26 April 1944 On the night of 21/22 April 1944, the 4th Torpedo Boat Flotilla, now consisting of T29 and her sisters T24 and T27, transferred from Cherbourg to Saint-Malo. After laying a minefield off the Sept-Îles on the north coast of Brittany on the night of 25/26 April, the flotilla was engaged by an Allied force that consisted of the light cruiser HMS Black Prince and the destroyers HMS Ashanti, , and off the Île de Batz. The Allied ships were engaged by German coastal artillery without effect and Korvettenkapitän Franz Kohlauf headed west in search of the Allied ships, but the Germans were spotted first by Black Prince's radar at a range of 21,000 yards (19,000 m) at 02:07. They detected the Allied ships shortly afterwards and reversed course. The Allied ships were faster than the torpedo boats and had closed the range to 13,000 yards (12,000 m) by 02:20 when Black Prince began firing star shells. The destroyers began firing at T24 and T27 at a range of 9,000 yards (8,200 m) as Black Prince hung back in support until one of her forward turrets jammed. The Allied fire was accurate and one shell struck T27 at 02:31 and reduced her speed to 12 knots (22 km/h; 14 mph); Kohlauf ordered her into Morlaix Bay and the Allies lost her radar reflection among the rocks of the bay. T24 had fruitlessly fired her aft torpedo tubes at her pursuers and was then hit by two shells in her superstructure that started fires that were quickly doused. She fired her remaining torpedoes to no effect at 02:54 and, about that same time, a shell disabled T29's rudder. Ashanti and Huron concentrated on T29, initially hitting her stern which caused her to veer off-course, while Haida and Athabaskan continued their pursuit of T24. Ashanti and Huron hit their target repeatedly at close range; these hits set T29 on fire, caused an explosion and blew the forward torpedo mount overboard. Haida and Athabaskan were unable to catch T24 and returned to help sink T29, but were initially unable to do so despite firing 15 torpedoes. The destroyers paused to allow the surviving crew to abandon ship around 04:00. When they moved in to recover survivors, a single 2 cm gun opened fire and damaged Huron and Haida. The Allied ships returned fire and sank T29 at 04:20 at with the loss of 137 crewmen. A patrol boat later rescued 73 men.	[ "## Design and description", "## Construction and career", "### Action of 26 April 1944" ]	1,283	37,799
34,149,742	2011 New Zealand Labour Party leadership election	1,147,062,474	None	[ "2011 elections in New Zealand", "2011 political party leadership elections", "Indirect elections", "New Zealand Labour Party leadership elections" ]	The 2011 New Zealand Labour Party leadership election was held on 13 December 2011 to choose the thirteenth Leader of the New Zealand Labour Party. A Deputy Leader and a senior and a junior whip were also elected. Following the Labour Party's loss in the 2011 general election, leader Phil Goff and deputy leader Annette King resigned, prompting the leadership election, which was conducted as a secret ballot of the Labour caucus. David Cunliffe, David Shearer and David Parker stood for the leadership, and Nanaia Mahuta and Grant Robertson contested the deputy position. Cunliffe and Mahuta ran as a ticket. During the campaign Parker pulled out of the race and endorsed Shearer. Shearer and Robertson won the votes for their respective positions. Chris Hipkins and Darien Fenton were chosen as the senior and junior whips, respectively. ## Background At the 2008 general election, the Fifth Labour Government, led by Helen Clark, was defeated by John Key's National Party. Following Clark's election-night resignation, Phil Goff was unanimously elected as the party's leader, with Annette King as deputy, and Darren Hughes and Steve Chadwick as the senior and junior whips, respectively. The party lost more support in the 26 November 2011 general election; its popular vote dipped to 27% – its worst-ever result under the mixed-member proportional representation system – and its number of MPs was reduced from forty-three to thirty-four. On 29 November 2011, Goff and King announced their resignations, effective 13 December. New whips also had to be chosen because Rick Barker (who replaced Hughes as the senior whip in April 2011, following Hughes leaving Parliament) and Chadwick were not re-elected to Parliament. ## Candidates Former Cabinet ministers David Cunliffe (MP for New Lynn) and Nanaia Mahuta (Hauraki-Waikato) ran as a ticket for the leadership and deputy leadership, respectively. Former minister and list MP David Parker and 2009 Mount Albert by-election winner David Shearer were candidates for the party leadership, and Wellington Central representative Grant Robertson sought the deputy leadership. Shane Jones considered standing for the deputy leadership, but in the end did not run. Parker stated his preference for Robertson as deputy leader. Shearer did not indicate a preferred deputy. Shearer was viewed as unlikely to win the election; Claire Trevett of The New Zealand Herald originally expected that only Cunliffe and Parker would run for the leader's role, and The Dominion Post's Vernon Small wrote that "Mr Shearer's bid is seen as a way to lift his profile". Political commentator Bryce Edwards said that Cunliffe was the more appealing candidate to the public, and described Parker and Robertson as "sort of Phil Goff clones". ## Campaign Labour Party president Moira Coatsworth stated that the leadership contest would be a "robust contest of ideas", and suggested to the party's caucus that a series of meetings with party members be held around New Zealand. These were held from 6 to 11 December in six major cities—Hamilton, Palmerston North, Wellington, Christchurch, Dunedin and Auckland. The party membership was then encouraged to give feedback to the party caucus, who would vote in the election. On 30 November Cunliffe, Parker and Shearer were interviewed by Mark Sainsbury on the current affairs programme Close Up. The television show held a text message poll in which viewers voted for their preferred leader of the party. Over 7,500 people took part; Shearer received 50% of the support, Cunliffe 31% and Parker 19%. The following day, Parker pulled out of the leadership race and put his support behind Shearer. Shearer and Cunliffe were interviewed by Guyon Espiner on political talkshow Q+A on 4 December. During the interview, both candidates indicated their support for the introduction of a capital gains tax, which was a key part of Labour's tax policy during the 2011 general election campaign. Both also disagreed with the 2008 Employment Relations Amendment Act (90-day workplace trial), and wanted New Zealand to invest further in research and development; Shearer mentioned striving for a more green economy. On 9 December, Horizon Research released a demographically-weighted survey which found that 35.4% of adult New Zealanders supported Shearer's bid for the leadership, and 19.9% backed Cunliffe. ## Outcome and aftermath The election took place on 13 December 2011 and comprised a secret ballot of the thirty-four Labour caucus members, meaning a candidate had to receive the support of eighteen MPs to win. Shearer was elected the party leader, Robertson the deputy leader, Chris Hipkins the senior whip and Darien Fenton the junior whip. Upon election, Shearer stated, "I am a fresh face for Labour and I represent a fresh start for New Zealand." Both One News' Espiner and 3 News reported that Shearer received about twenty-two of the thirty-four votes for the leadership position; however, Coatsworth stipulated that the election was secret and that she was the only person who had access to the ballot papers, which were destroyed. Robertson and Jacinda Ardern publicly supported Shearer, and Carmel Sepuloni backed Cunliffe. On 19 December, Shearer announced a reshuffle of the Labour front bench—Parker replaced Cunliffe in the finance portfolio and number three ranking, Ardern took the number four spot as social development spokesperson, while Cunliffe moved down to number five and gained the economic development portfolio. Clayton Cosgrove (number six) became responsible for state owned enterprises and commerce, Jones (number seven) took regional development and fisheries and Mahuta (number eight) picked up education. Shearer himself took the science and innovation portfolio, while Robertson was made environment spokesperson.	[ "## Background", "## Candidates", "## Campaign", "## Outcome and aftermath" ]	1,222	5,012
42,073,766	1949 Sun Bowl controversy	1,111,922,151	Student protests at Lafayette College in Easton, Pennsylvania	[ "1948 college football season", "1948 protests", "1949 controversies", "1949 in sports in Pennsylvania", "African-American segregation in the United States", "African-American-related controversies", "Easton, Pennsylvania", "Lafayette Leopards football", "November 1948 sports events in the United States", "Racism in sport", "Sun Bowl" ]	The 1949 Sun Bowl controversy refers to the student protests at Lafayette College in Easton, Pennsylvania, after a Sun Bowl invitation was extended to the Lafayette Leopards football team under the condition that the African American player, David Showell, would not play. On November 19, 1948, Lafayette College was invited by the Sun Bowl Committee to play against the Texas College of Mines, now the University of Texas at El Paso. Just four days later, on November 23, the Lafayette faculty voted to turn down the bid because the Sun Bowl Committee would not allow Showell to play. This bid rejection led to a large student demonstration on the Lafayette campus and in the city of Easton against segregation. West Virginia University later accepted the bid after Lafayette's rejection. The 1949 Sun Bowl was played on January 1, 1949. West Virginia defeated the Texas College of Mines by a score of 21–12. ## Sun Bowl segregation history The segregation policies of the Sun Bowl were in effect from the first edition of the game—played on January 1, 1935, in El Paso, Texas—through the 1940s. This was not unique to bowl games; for example, in 1946 it led to the Penn State Nittany Lions cancelling a regular season away game against the Miami Hurricanes. Penn State's two African American players, Wallace Triplett and Dennis Hoggard, would not have been able to participate due to local (Florida) police department rules, and the "incidents" that were expected to occur if they were allowed to play. This reasoning was consistent with the Sun Bowl and other major bowl games of the 1940s. It was not until the 1946 game cancellation that people began to put forth the argument that "the ideals of democracy are more important than any football game." Another game cancellation occurred in 1947, when the Rollins Tars of Winter Park, Florida, scrapped their homecoming game against the Ohio Wesleyan Battling Bishops. The Ohio team included an African American player, and although Rollins had "no objections whatsoever" to playing the game, they cancelled the game after "consulting leading white and negro residents" in their area. The Sun Bowl was established in the mid-1930s along with the Cotton Bowl in Dallas, the Orange Bowl in Miami, and the Sugar Bowl in New Orleans. While the Sun Bowl historically followed the southern racial segregation policies, the 1949 Sun Bowl made a major contribution to the future desegregation of college sports. ## 1948 Lafayette football season The 1948 season was one of the most successful years for the Lafayette College football team. Led by captain Danny Kovacs and standout running back David Showell, the team had a record of seven wins and two losses. After starting the year beating Fordham University by a score of 53–14, Lafayette suffered a large loss in its following game at Army, losing 54–7. The Leopards then won each of their next four games by an average scoring margin of 26 points, but they soon lost to Rutgers University by three touchdowns. After defeating Ohio Wesleyan, Lafayette set itself up for a crucial bout against its rival, Lehigh University. However, on November 19, 1948, a day before the game against Lehigh, Lafayette received a phone call from the Sun Bowl Committee inviting the team to participate in the bowl game. This invitation essentially rendered Lafayette's season finale and rivalry game against Lehigh meaningless. Nevertheless, Lafayette went on to defeat Lehigh by a score of 23–13, capping off the regular season. ## David Showell David Showell, an African American, was a prominent player for Lafayette during the 1948 football season. The Sun Bowl Committee's decision to exclude Showell from the game due to his race led to Lafayette's rejection of its Sun Bowl invitation and the subsequent student protests at the college. ## Student demonstrations at Lafayette On November 23, 1948, the Lafayette College faculty held a meeting to vote upon whether or not to accept the football team's invitation to the Sun Bowl. The faculty voted to turn down the bid as a result of the Sun Bowl Committee's decision to exclude David Showell. The formal announcement of the rejection that was made by college officials did not contain a reason for vetoing the Sun Bowl bid. The Lafayette students, who were excited to see their football team go to the Sun Bowl, were disheartened by the announcement and made it their goal to discover the reason behind the school's abrupt change in plans. At approximately seven o'clock on the night of November 23, the news began to spread around the Lafayette campus as a caravan of students traversed the school grounds to recruit more protesters. Soon after, a mass of nearly 1,000 students holding flaming newspapers in hand made its way to the college's central quadrangle, which housed the materials for a bonfire. This bonfire was previously constructed for a pep rally to be held before the football game against Lafayette's rival, Lehigh University, but was never used due to a rain storm. Therefore, the student mob ignited the fire to continue its demonstration. The students then visited the home of Ralph Cooper Hutchison, the president of Lafayette College. Upon their arrival, President Hutchison told the students that David Showell was not invited to play in the bowl game because he was an African American. Hutchison further explained that the Sun Bowl Committee's decision to exclude Showell ultimately led to the faculty's rejection of the bowl game bid. The student protestors asked that a conditional acceptance be made to the bid as long as they allowed David Showell to play. Athletic Director Bill Anderson, who had arrived at Hutchison's house, agreed to place a call to C. D. Belding, the chairman of the Sun Bowl Committee in El Paso, Texas. During the call the Athletic Director stated, "We want a waiver on Showell. He was a lieutenant in the Army and served in Texas. He wants the boys to go without him, but the College couldn't take that responsibility. We are anxious to accept. If Showell can't play, we wouldn't be able to accept. So it can't be done?" Despite the call, Belding still would not let Showell play. Upon hearing that the answer was still "No" over 1000 frustrated Lafayette students marched to the Centre Square in downtown Easton and held a protest rally against racial intolerance. A number of students rushed to the local Western Union office to wire the news of their protests to prominent individuals to denounce the Sun Bowl Committee's refusal to include Showell. One of the recipients was President Truman. The telegram to Truman read: "Denied Sun Bowl game because we have a Negro on our team. Is that democracy?", signed by the Lafayette College students. Other telegrams were sent to Walter Winchell to join the cause. Following the telegram sent to President Truman, the Lafayette students broke up their rally and ended the protest in downtown Easton. On the following day, November 24, at 9:30 in the morning, the students assembled once again at Lafayette College's Pardee Hall. Approximately 1,000 students congregated to pass a formal resolution stating their opposition to racial discrimination. The student's resolution stated: "We protest the racial discrimination against one of our fellow students and declare without equivocation our firm resolve that all Americans have equal rights under the law." Subsequently, they informed the media to cover their civil rights resolution. ## Coverage in the press Newspapers shed light on the controversy surrounding the 1949 Sun Bowl in November 1948. The press conveyed conflicting accounts as to why Lafayette College turned down the invitation to play the 1949 Sun Bowl against the Texas Miners. Lafayette College officials maintained that their rejection of the invitation was due in large part to the discrimination against the team's black football player, David Showell, saying that Texas law forbade the halfback's participation in the New Year's Day bowl game. An article in The New York Times quoted Dr. Ralph C. Hutchison, president of the college at the time, saying that "I must state emphatically that the acting president of the Texas College of Mines and C. D. Belding, chairman of the Sun Bowl Committee, each informed us repeatedly that Showell could not play in the proposed game." According to another newspaper article, Sun Bowl Committee chairman, C. D. Belding, offered another side of the story refuting President Hutchison's claims and stating that Lafayette College jumped to a conclusion too soon. Belding explained that Texas law did not bar Showell from the field to play. Some papers went into great detail regarding the technicalities that Texas Miners officials claimed Lafayette College simply got wrong. An article by The Corsicana Daily Sun on November 24, 1948, stated that the law in question only required Negro players to have a separate lodging. According to The Abilene Reporter, on the evening of November 26, 1948, "The [El Paso] Times believes the officials of Lafayette College injected the Negro question into the Sun Bowl picture unfairly," going on to say that "Lafayette merely rejected the bid on the grounds that it was impractical to accept it." In other articles, more focus was placed on the fact that Sun Bowl officials reached out to other schools of interest upon receiving Lafayette College's original rejection of the bid. As seen in the article by Amarillo Daily News on November 24, 1948, rather than calling out Lafayette's claim as a fallacy, the paper focused on the fact that no further arrangements could be made with Lafayette College once Texas Miners officials had already reached out to the other schools. ## Impact on college football ### Desegregation of the Sun Bowl The events at Lafayette College created a significant amount of media buzz on a national scale. Lafayette's withdrawal from the Sun Bowl was enough to get the residents of El Paso to fight against racial exclusion in the bowl game. The Lafayette Leopards were not the only team to face racism in El Paso. In September 1950, a regular season game between Loyola University (Los Angeles) (now Loyola Marymount University) and the Texas College of Mines was canceled because of the policy that excluded black players from playing in El Paso. Finally on October 27, 1950, officials took a vote that allowed the Texas college to include black players in games at the El Paso location. A year after the grant was passed, the Sun Bowl hosted its first integrated football game between the College of the Pacific (now University of the Pacific) and Texas Tech University. ### Integration of college football The Sun Bowl was not the only bowl game to involve racial exclusion. Many football games during the twentieth century affected the integration of collegiate football and sports in general: in addition to Lafayette, there were games played at The University of California, Los Angeles (1938–1941), Drake University (1948–1952), Georgia Tech (1954–1956), and the University of Wyoming (1967–1970) that led to integrated football games. At the time, these schools conducted studies to monitor the treatment of African American players and how the schools reacted to certain situations involving segregation and prejudice. The teams that were in favor of African Americans participating in football gave players a chance to speak out against the racism that took place in the sport. As a result of protests and communities coming together to support black football players, college football slowly became integrated. ## References in media Terry Kitchen is a folk singer-songwriter who grew up in Easton, Pennsylvania, during the 1960s. His time spent there inspired him to write the song "The Greatest Game They Never Played" on the album That's How It Used To Be. The song, written about the Lafayette College football team and community, discusses the incidents that took place before the Sun Bowl. He includes references to Lafayette's refusal to play in the bowl game, the student protest against segregation, and the phone call between Lafayette's president and the Sun Bowl Committee in El Paso, Texas.	[ "## Sun Bowl segregation history", "## 1948 Lafayette football season", "## David Showell", "## Student demonstrations at Lafayette", "## Coverage in the press", "## Impact on college football", "### Desegregation of the Sun Bowl", "### Integration of college football", "## References in media" ]	2,491	27,759
4,435,775	All We Know Is Falling	1,172,239,130	null	[ "2005 debut albums", "Albums produced by James Paul Wisner", "Fueled by Ramen albums", "Paramore albums" ]	All We Know Is Falling is the debut studio album by American rock band Paramore, released on July 26, 2005, under the Atlantic-distributed Fueled by Ramen in the United States. The production was led by James Paul Wisner, Mike Green, Nick Trevisick, and Roger Alan Nichols. The departure of bassist Jeremy Davis, which occurred a few days after arriving in Orlando, served as the album's main theme. This theme was reflected especially in the album's cover and title. Mostly categorized as a pop-punk album, the album received mostly positive reviews and has been labeled a "scene classic". The album's production took place in Orlando, Florida. Instead of making a major push towards radio, the band's A&R recommended that the band build a fanbase through word of mouth. Initially, the album received positive reviews by music critics, praising the vocals of Hayley Williams; retrospective criticism has been mixed. The album had a weak domestic commercial performance: it failed to enter the Billboard 200, though it did reach number 30 on Billboard's Heatseekers Chart. It reached No. 4 on the UK Rock Chart, and in 2010 it managed to reach No. 51 on the UK Albums Chart and earned a gold certification by the BPI. In July 2014, after the group found success with its following records, All We Know Is Falling received a gold certification from the Recording Industry Association of America (RIAA). Three singles from the album were released: "Pressure", "Emergency" and "All We Know". None of the singles managed to reach any major chart, although "Pressure" was certified gold by the RIAA in 2016 after the band found commercial success with subsequent releases. ## Background Hayley Williams was originally signed to Atlantic Records in 2003 as a solo pop singer. However, Williams resisted the label's solo-career wishes, saying she did not envision herself as "the next Madonna". As a result, she formed Paramore with Josh Farro, Zac Farro, and Jeremy Davis. In her short solo career, Williams recorded some demos, which were later re-recorded with the band for a "more authentic" sound. However, the band was almost fired because the label thought they "were terrible." Williams and Farro wrote two new songs, "Here We Go Again" and "Hallelujah", which saved the group from being fired. The former song became the fifth track on All We Know Is Falling, while "Hallelujah" was saved for their sophomore album Riot! (2007). ## Production The group traveled to Orlando, Florida, to write and record the remainder of the album. A few days after arriving in Orlando, Davis left the band. The remaining members continued work on the album. The band decided to base the album's theme around Davis' departure. According to Williams, the album's cover art also represented Davis' departure: "The couch with no one there and the shadow walking away; it's all about Jeremy leaving us and us feeling like there's an empty space." The album's artwork was created by Electric Heat. The album's recording process took about three weeks, with Josh Farro calling the sessions "rushed". "All We Know", "Never Let This Go" and "My Heart" were recorded with producer James Paul Wisner at Wisner Productions, located in St. Cloud, Florida. "Pressure", "Emergency", "Brighter", "Whoa", "Conspiracy" and "Franklin" were recorded with producer Mike Green at ARS Studios, located in Orlando, Florida. "Here We Go Again" was recorded with producers Roger Alan Nichols and Nick Trevisick at Bigger Dog Studio, located in Franklin, Tennessee. Additional recording took place at Stone Gables Studio, located in Brentwood, Tennessee and at The Skyview Church of Tone and Soul, located in East Nashville, Tennessee. All of the songs were mixed by Green, except for "Here We Go Again", which was mixed by Nichols and Trevisick. Tom Baker mastered the recordings at Precision Mastering in Hollywood, California. Nath Warshowsky acted as the studio drum tech for every song, except for "Here We Go Again". Dave Buchman engineered "Here We Go Again". Lucio Rubino, then frontman of StorySide:B, replaced the absent Davis in the studio. He performed bass on every song except for "Here We Go Again", which was done by Jeremy Caldwell. Typically, Farro would write the music while Williams wrote the lyrics. On occasion, Farro would contribute lyrics as well. "Conspiracy" was composed by Williams, Farro, and Taylor York. It was the first song they wrote together. Many of the lyrics in All We Know Is Falling which are not related to Davis' departure deal with the bad relationship and divorce of Williams' parents. ## Composition Critics have variously called All We Know Is Falling a pop-punk, emo, pop rock, and alternative rock album. Trevor Kelley at Alternative Press categorized the music on the album as "vaguely emo, but mostly mall-punk". Tom Whitson of Click Music defined the music on the album as emo with "pop-punk beats", drawing comparisons from Avril Lavigne and Fall Out Boy. The Allmusic review by Neil Z. Yeung referred to the album as a "formulaic" pop punk album, complete with "head-bobbing drums, straightforward riffs, and a midtempo sameness throughout". In a retrospective Alternative Press review by Tyler Sharp, the album was referred to as what would have been "just another pop-rock effort that ultimately fell short in the face of its true potential" if not for the band's later success. Gigwise reviewer David Renshaw also drew comparisons to Lavigne, but believed that the songs on the album were inferior to those of Lavigne's. ## Release and promotion Paramore released All We Know Is Falling on July 26, 2005, in the United States. According to Paramore's A&R at Atlantic Records, Steve Robertson, the promotion strategy behind the album was that the band would start small and slowly build through word of mouth instead of giving the debut album a major radio promotional push. In his own words, Robertson "wanted kids to discover the band without it being shoved down their throats." In September 2005, a special Japanese edition containing a previously unreleased song "Oh Star" was made available. In January 2009, the album was released on vinyl for the first time. On May 19, 2009, a deluxe edition of the album was released exclusively on iTunes with live versions of "Pressure" and "Here We Go Again", and the music videos for all the singles. A 10th anniversary edition of the album was released on December 4, 2015 on vinyl, which contains "O Star" and "This Circle" as bonus tracks; this version was limited to 4,000 copies. The album featured three singles: "Pressure", "Emergency" and "All We Know". Two weeks before starting a tour to promote the album, John Hembree joined the band to replace bassist Jeremy Davis, though Davis ended up rejoining the group after five months away from the band. In October and November, the group supported Simple Plan on their headlining tour in the United States, followed by a supporting slot for Funeral for a Friend in December. In February 2006, the group went on Midwest and east coast tour with Halifax, My American Heart, and So They Say. Through the spring of 2006, Paramore was an opening act on tours for both Bayside and The Rocket Summer. The band was initially planned to appear on the 2006 edition of the Take Action Tour in early March 2006, but Williams came down with flu, which resulted in the band being replaced by Sullivan. The band went on the 2006 edition of the Warped Tour, which took place in Nashville, near the group's hometown. In August and September, the band headlined a tour in the US with support from Hit the Lights, Cute Is What We Aim For and This Providence, followed by some dates in the United Kingdom in October. ## Reception ### Critical reception All We Know Is Falling was met with generally positive reviews from music critics. Kelley stated "it's obvious that someone has done Williams wrong" from the lyrics in the album's songs, and noted its similarity to Lavigne's previous studio album Under My Skin (2004). Tony Pascarella of The Trades said that "these passionate, rocking tracks are what make this Tennessee group so talented [...] Paramore is a band you may not yet have heard of, but look for them to make a major splash in the very near future." He also praised Williams' voice as "a rich, powerful voice that rarely makes a mistake on this stunning debut." In a tenth-anniversary review from Alternative Press, Tyler Sharp wrote that the album evolved into "a scene classic" after the band's gradual rise to mainstream popularity in later years. The album is often held in a negative light in comparison to the band's subsequent studio albums, however, and retrospective reviews have been mixed. In a retrospective review, Yeung showed mixed feelings about the album. He regarded the album as "alright", however, he believed that the songs were too straightforward and lacked "differentiation, excitement, or the brightness that would be found on later albums." Whitson said that the album was "this group of youngsters have written a great debut album for their age [...] [All We Know Is Falling] isn't the best album around, but is far from the worst." Renshaw was critical about the fact that "Paramore are for the kids who think Pink is not cool enough but My Chemical Romance are too scary, they want to rebel but they have to be in by 9 o' clock. Paramore are not terrible; they are simply a transitional band." Jordan "Anchors" Rogowski from Punknews.org was more critical of the album; he praised Williams' voice, but criticized the structures of the songs, regarding them "just too flat, too linear [...] the guitar seems a bit uninspired, the drumming a bit lazy, and the bass is barely existent, if existent at all." ### Commercial performance Initially, All We Know Is Falling only charted on the Billboard Heatseekers Albums chart, peaking at number 30 in September 2006. After the success of their second studio album Riot! (2007), the album sales gradually built. Although it never charted on the Billboard 200, it did manage to take number eight on the Billboard Catalog Albums chart in 2009. All We Know Is Falling only reached number 51 on the UK Albums Chart, but still received gold certification in 2009 by the British Phonographic Industry for shipping over 100,000 copies. It was then certified in Australia in 2012, where it went gold for shipments of over 35,000 units despite never reaching an Australian chart. In 2014, the album was certified gold in the United States for shipments of over 500,000 copies. Initially, none of the singles managed to chart, but after the success of Riot!, "Pressure" was able to peak at number 62 on the Billboard Digital Songs chart. In 2016, the recording was certified gold by the Recording Industry Association of America (RIAA). ## Track listing Bonus tracks ## Personnel Paramore - Hayley Williams – lead vocals - Josh Farro – lead guitar, backing vocals - Jason Bynum – rhythm guitar, backing vocals - Jeremy Davis – bass (5) - Zac Farro – drums Additional musicians - Lucio Rubino – bass (all except 5) Production - James Paul Wisner – producer and recording (1, 6, 10) - Mike Green – producer and recording (2–4, 7–9); mixing (all except 5) - Roger Alan Nichols and Nick Trevisick – producers, recording and mixing (5) - Nathan Warshowsky – studio drum technician (all except 5) - Tom Baker – mastering engineer - Dave Buchanan – engineer (5) - John Janich – executive producer - John Deeb – photography - Electric Heat – album artwork ## Charts ## Certifications ## Release history	[ "## Background", "## Production", "## Composition", "## Release and promotion", "## Reception", "### Critical reception", "### Commercial performance", "## Track listing", "## Personnel", "## Charts", "## Certifications", "## Release history" ]	2,561	4,386
6,483,688	Clarendon Shopping Centre	1,083,494,037	Shopping centre in Oxford, England	[ "1984 establishments in England", "Commercial buildings completed in 1984", "Shopping centres in Oxford", "Shopping malls established in 1984" ]	The Clarendon Centre (or Clarendon Shopping Centre) is a shopping centre in central Oxford, England, opened in 1984. The centre faces Cornmarket Street, and has other entrances onto Queen Street and Shoe Lane. The fascia onto Cornmarket Street is that of the Woolworths store which had, in a decision later criticised, replaced the Georgian Clarendon Hotel; it was discovered during demolition that medieval construction had been present within the hotel. The shopping centre was expanded in 2012–14. Major tenants include TK Maxx, H&M and Gap Outlet. ## Location The centre is in central Oxford, located to the west of Cornmarket Street and to the north of Queen Street. It is accessible from both of these streets and is L-shaped. There is also an entrance on Shoe Lane, off New Inn Hall Street. On the opposite side of Cornmarket is the more historic Golden Cross shopping arcade, located in the medieval courtyard of one of the coaching inns of Oxford, leading to the Covered Market. At the western end of Queen Street is the Westgate Shopping Centre, which was extensively redeveloped and extended in 2017. ## History ### Site history Formerly on this site was the Clarendon Hotel on Cornmarket Street, which grew from two former coaching inns, the King's Head and the Star. The hotel was a Georgian building, though beneath it was a vaulted wine cellar, which was the oldest in Oxford. The hotel closed in 1939; Woolworths purchased it in that year; it was used as an American Servicemen's Club, and then as offices, before being demolished in 1954. The demolition was later criticised, although a report by Thomas Sharp in 1948 had recommended the building should be retained. The area was the site of an early archaeological study in the 1950s. Architectural excavations, by W. A. Pantin and E. M. Jope, took place during and after the demolition. During these, it was discovered that the wine cellar dated back to the twelfth century, and the "complete framework of a sixteenth century timber-framed house" was behind the fascia, among other architectural discoveries. Pantin made the argument that, had this been known before demolition, the building could have been saved: > Outwardly, the Clarendon seemed just a pleasant but rather undistinguished late Georgian building, so that it could be argued at the time of the discussions and inquiry about its demolition that it was not a building of historic or artistic importance. [...] If only we had known a few years ago what we now know about the Clarendon, we could have put forward a much better case and a much better scheme for at least its partial preservation and adaptation. The dig also revealed wares dating back to Saxon Britain, including eleventh-century pottery and a thirteenth-century aquamanile. The new Woolworths branch was designed by Sir William Holford, who sought to build a "Woolworths worthy of Oxford" after previous designs were rejected; Holford's design was also rejected by Oxford City Council, but the decision was overturned by Harold Macmillan, who was the Minister of Housing and Local Government at the time. The store was ceremonially opened on 18 October 1957 by the Mayor and Mayoress of Oxford; the former complimented the building. The branch was five times larger than its predecessor—indeed, when it opened, it was the biggest in Europe—and contained a deluxe cafeteria, offices, a roof garden and a multi-storey car park. While the store was open, the ceremony of "beating the bounds" of the parish of St Michael at the North Gate required the participants to pass through the store. The store closed in 1983. ### Development as a shopping centre The Clarendon Centre was built on the site in 1983–84, designed by Gordon Benoy and Partners, and built by property company Arrowcroft. The centre was financed by the pension fund of the National Westminster Bank. It initially had 11,800 square metres (127,000 sq ft) of retail space, with Littlewoods as a 4,600-square-metre (50,000 sq ft) anchor store. There were more than 20 other shops, with shops signed up prior to construction including Dolcis, Etam, Chelsea Girl and Dixons. The centre was developed in two phases, with the first being the section connecting Cornmarket Street to Shoe Lane. The frontage of the old building on Cornmarket Street was retained, including the ornate "W" mark above a door. For the frontage onto Queen Street, the former Halfords shop was demolished; Halfords would later open within the centre, in a unit facing Shoe Lane. In January 1984, one person was killed and another seriously injured when a collapse occurred at the Queen Street demolition site for the centre. The centre was completed in 1984, being already fully let in October of that year, before it was completed. Writing in the "Oxford Diary" column in The Times in January 1984, A. N. Wilson labelled the newly built centre as "the most grotesquely horrible building I have ever seen"; in 1985, a reporter for The Observer described the centre's "phoney unfunctional pipes" and Bavarian marble floors. In 1998, as the first step of a renovation of the centre, the Littlewoods store gave up 930 square metres (10,000 sq ft) of space adjacent to Cornmarket Street, to create space for a new store; this was later filled by Gap, after the landlord, Gartmore Group, wanting to make the centre more fashion-focused, rejected a larger bid from the electronics retailer Comet. Following the £5m renovation (which also involved new lighting and doors, and redecoration), the centre (now described as having 14,000 square metres (150,000 sq ft) of retail space) was sold to an investment partnership in July 2000, for £80m. H Samuel and French Connection were other new stores following the renovation. The centre's layout was slightly modified in 2001, when the former Etam and Halfords units were merged to accommodate a relocated and enlarged Dixons store. Then, on Saturday 7 August 2004, Littlewoods, the original anchor tenant, closed, notice of the closure having been given on the preceding Tuesday; contemporary reports suggested the closure was due to financial underperformance and another retailer's interest in the unit. The unit was subsequently taken by Zara, on a fifteen-year lease. ### 2010s changes In 2012, a plan was put forward to extend the centre floorspace by 10%: replacing the section near Shoe Lane with a three-storey extension, to house H&M. Prior to construction of the extension, archaeologists carried out an excavation beneath the site to discover remains of occupation from the 17th century and earlier. The new H&M store opened in 2014. Following the reopening of Westgate Oxford in October 2017, the branch of Zara within the centre moved to the Westgate, vacating its unit in the Clarendon. The site was taken over by TK Maxx, who opened their store on 30 May 2019, to queues of shoppers. The conversion of the store retained the stone in a stockroom marking the boundary of the parish of St Michael at the North Gate, which is supposedly the oldest of the boundary stones; the ceremony to mark the boundary still passes through the centre. ## Stores The centre has twenty-three stores and food outlets as of November 2019, including those intended to open in the near future. These included TK Maxx, H&M and Gap Outlet. In total, the centre has 13,500 square metres (145,000 sq ft) of space.	[ "## Location", "## History", "### Site history", "### Development as a shopping centre", "### 2010s changes", "## Stores" ]	1,629	26,305
25,148,691	Monaco at the 2010 Winter Olympics	1,003,295,085	null	[ "2010 in Monégasque sport", "Monaco at the Winter Olympics by year", "Nations at the 2010 Winter Olympics" ]	Monaco sent a delegation to complete at the 2010 Winter Olympics in Vancouver, British Columbia, Canada from 12–28 February 2010. The Monégasque team consisted of three athletes: alpine skier Alexandra Coletti and a two-man bobsleigh team of Sébastien Gattuso and Patrice Servelle. The bobsleigh team finished 19th in their event, as did Coletti in her best event, the women's super combined. ## Background The Principality of Monaco first participated in the Summer Olympics in 1920, and with the exceptions of 1932, 1956, and the boycotted 1980 Moscow Games have participated in every Summer Olympics since. The nation made its first Winter Olympic Games appearance in the 1984 Sarajevo Olympics, and have participated in every Winter Olympics since. No Monégasque athlete has ever won a medal at the Olympics. For the 2010 Vancouver Olympics, the Monégasque team consisted of three competitors, alpine skier Alexandra Coletti and the two-man bobsleigh team of Sébastien Gattuso and Patrice Servelle. Coletti was chosen as the flag bearer for the opening ceremony, while Servelle was chosen as flag bearer for the closing ceremony. ## Alpine skiing Alexandra Coletti was 26 years old at the time of the Vancouver Olympics. She had previously competed for Monaco at the 2006 Winter Olympics, and would go on to participate for Monaco in the 2014 and 2018 Olympics as well. The women's downhill was held on 17 February, and was a single-run race. Coletti would finish with a time of 1 minute and 48 seconds, which put her in 24th place, out of 37 skiers who completed the run. The super combined consisted of one run of downhill skiing, and one run of super-G skiing, the final placement was the sum of the two run times. Coletti posted times of 47 seconds on the slalom portion, and 1 minute and 26 seconds on the downhill portion of the race. Her combined time of 2 minutes and 13 seconds placed her 19th, out of 28 competitors who finished both runs of the race. In the super-G, held two days later, she finished with a time of 1 minute and 24 seconds, which was good for 25th place out of 38 competitors who finished the race. The giant slalom on 24 February was heavily affected by weather, and Coletti was one of 17 competitors unable to finish the first run of the race. ## Bobsleigh Sébastien Gattuso was 38 years old at the Time of the Vancouver Olympics, while his partner Patrice Servelle was 35 years of age. The two-man event was four runs of the course, held over two days, with total time combined used for final placement. Only the top 20 sleds would be allowed to progress to the final run. The first two runs were held on 20 February, and the Monégasque sled posted times of 52.96 seconds and 52.51 seconds. They ended the first day in 18th place. Runs 3 and 4 were held the next day, and they completed run 3 in 52.71 seconds, enough to allow them to compete in the final run later that day. For the final run, they completed the race in 52.56 seconds; this ranked them 19th for the total competition. ## See also - Monaco at the 2010 Summer Youth Olympics	[ "## Background", "## Alpine skiing", "## Bobsleigh", "## See also" ]	752	25,433
29,763,605	Hudson Valley Rail Trail	1,169,414,440	Paved trail in Ulster County, New York	[ "National Recreation Trails in New York (state)", "Parks in Ulster County, New York" ]	The Hudson Valley Rail Trail is a paved 4-mile (6.4 km) east–west rail trail in the town of Lloyd in Ulster County, New York, stretching from the Hudson River through the hamlet of Highland. The trail was originally part of the Poughkeepsie Bridge Route, a rail corridor that crossed the Hudson via the Poughkeepsie Bridge. Controlled by a variety of railroads throughout the 19th and 20th centuries, the bridge was damaged and became unusable after a May 8, 1974 fire. By the 1980s, the corridor's then-owner, Conrail, had routed all rail traffic in the region north through Selkirk Yard and was eager to relieve itself of the bridge and adjoining rights-of-way. In 1984, it sold the entire property for one dollar to a felon who did not maintain it or pay taxes on it. The section of the corridor west of the Hudson was seized by Ulster County in 1991 and transferred to the town of Lloyd. During the 1990s, a broadband utility seeking to lay fiber optic cable paid the town to pass through the former corridor. The town used part of its payment to pave the route and open it as a public rail trail in 1997. The creation of the trail was supported by a local Rotary club, which built a pavilion along the trail. The pavilion includes a donated antique caboose. While the trail originally ended at Route 44–55, it was extended eastward between 2009 and 2010, intersecting Route 9W and continuing to the Poughkeepsie Bridge. The extension was paid for by stimulus funding. The bridge, now a pedestrian walkway called Walkway Over the Hudson, connects the trail with the Dutchess Rail Trail to the east, creating a 30-mile (48 km) rail trail system that spans the Hudson. The trail is expected to be extended west, where it will border Route 299. As it passes through Highland, the trail is carried by several bridges, connects to four parking areas, and traverses a wetlands complex. The trail forms part of the Empire State Trail. ## History ### Declining rail usage The Hudson Valley Rail Trail is part of the former rail corridor that comprised the Poughkeepsie Bridge Route. It ran east through the hamlet of Highland, in the town of Lloyd, over the Hudson River via the Poughkeepsie Bridge. Highland has historically been Lloyd's largest population center. The corridor was, throughout its history, operated by the Central New England, Philadelphia and Reading, New Haven, Erie, Ontario and Western, Lehigh and New England and Penn Central railroads. Under the ownership of Penn Central, traffic along the bridge route was discouraged in favor of a northern route through Selkirk; the use of newer technology at Selkirk Yard to improve efficiency was cited as the primary reason. At one point, the Poughkeepsie corridor had been the primary thoroughfare for freight being shipped to New England, and the New Haven yard at nearby Maybrook was once "the largest railroad yard east of the Mississippi River". Rail traffic over the Poughkeepsie Bridge stopped entirely after the bridge was damaged in a May 8, 1974 tie fire. After Penn Central went bankrupt, Conrail assumed control of the corridor, but opposed renovating it due to budgetary concerns. Rail traffic up to the bridge continued until March 1982, when Conrail received permission from the Interstate Commerce Commission to completely cease using the corridor; the tracks were removed the following year. Donald L. Pevsner, a transportation lawyer from Florida, secured a first-refusal option for purchasing the corridor to create restaurants and tourist attractions, but allowed it to expire on November 1, 1984, because he could not secure financial backing; he claims that Conrail expressed a desire to sell the corridor, at that point a potential liability, to the "first warm body" that would buy it. Conrail immediately sold the Poughkeepsie Bridge and adjoining rights-of-way on November 2, 1984, for one dollar to Gordon Schreiber Miller, a convicted bank fraudster who "seemed uncertain what he wished to do" with the corridor. Miller did not pay taxes, fines or insurance on the corridor, or maintain it. He went bankrupt in 1990 and sold the corridor for one dollar to his friend Vito Moreno, who also did not pay taxes on it. In 1991, Ulster County seized the right-of-way west of the Poughkeepsie Bridge and gave over 5 miles (8.0 km) of the abandoned corridor to the town of Lloyd. ### Conversion to trail Parcels of the right-of-way between Lloyd and the neighboring town of New Paltz were sold-off by the county shortly before ownership of the remaining corridor was transferred to Lloyd and converted to a rail-trail. Roughly \$400,000 in funding to convert the corridor to a trail was acquired through an easement from the town of Lloyd to a broadband utility for the laying of fiber optic cable, though only \$70,000 was needed to pave the trail. The trail remains a right-of-way for the fiber optic line. The development of the trail was supported by Highland's Rotary club, which has since built several utilities for trail users, including a pavilion, garden and parking lot. The corridor was officially opened as a trail in 1997. Initially 2.5 to 3 miles (4.0 to 4.8 km) long, it stretched from Riverside Road in the west to Vineyard Avenue in the east; the removal of an overpass on Vineyard Avenue, as well as a blockage under a bridge on U.S. Route 9W, prevented the trail from continuing east to the Poughkeepsie Bridge. Lloyd received a \$224,000 state and federal grant in the summer of 2000 to create such a connection. Additional funding for the eastern extension was provided in November 2006, when the state granted \$1.5 million to construct a bridge and a tunnel, and to complete the path. Lloyd received a \$7,500 grant in 2002 to extend the trail west to the Black Creek Wetlands Complex; the town received an additional grant for \$20,000 in May , 2005 to complete the Black Creek extension. In 2006, a local businessman donated an antique caboose to the trail Association; this was placed beside the pavilion. Built in 1915, it was "one of ... the first cabooses made of steel instead of wood". An October 2007 study of paint chips from the caboose found the paint contained lead. The study was released less than a week before a town supervisor election in Lloyd; one of the candidates, Ray Costantino, was president of the Hudson Valley Rail Trail Association, and one of the early proponents of the trail. He claimed that the timing of the study was politically-motivated. Costantino subsequently became town supervisor, and the caboose had its paint replaced and was repaired at a total cost of \$4,500. A second caboose, dating from 1926, is located at the trail's parking lot on Haviland Road. Lloyd's police department became the first in the county to purchase a Segway, in 2007, for the express purpose of patrolling the rail trail. The trail had , been occasionally vandalized. Lloyd's Police Chief felt that use of such a vehicle would enable officers to patrol the trail for longer periods of time, and that it could also be used to patrol other areas of the town. Seven officers were expected to use the Segway, which contains an automated external defibrillator, and can go as fast as 12+1⁄2 miles per hour (20.1 km/h). In March 2009, Ulster County received almost \$21 million in stimulus funds. The funding included a \$3.16 million project to complete the trail between Lloyd and the Poughkeepsie Bridge. Some funding for the architectural and engineering aspects of the project came from the reserve fund created after the town's fiber optic deal. The Rail Trail Association also received a \$1,500 grant from a public-benefit corporation, the Hudson River Valley Greenway, to print brochures. Construction for the 1.28-mile (2.06 km) section was underway by that September. In March 2010, a portion of New Paltz Road was closed pending the replacement of a bridge over the trail. The official groundbreaking ceremony took place on May 4, 2010, and the trail was expected to be completed by October. The bridge over Vineyard Avenue was opened to pedestrian traffic on July 16, 2010. The only remaining obstruction was the placement of a bridge carrying Mile Hill Road over the trail, which was expected to be completed in August. The crossing at US 9W had been remedied; the new section let "users to cross either over or under" the highway. To celebrate the opening of the Vineyard Avenue bridge, Route 44–55 throughout Highland (which includes Vineyard Avenue) was shut down for the day. The eastern expansion does not deviate from the original route of the corridor, and officially opened on October 2, 2010. Between June 23 and 24, 2011, parts of the trail were spray-painted with "dozens of [...] words and images". Volunteers who removed some of the graffiti believed that different types of paint were used. Lloyd's highway superintendent noted similar vandalism elsewhere in the town, and Town Supervisor Ray Costantino stated that the incident would cause Lloyd residents to feel a personal connection to the trail and become outraged. As part of the Empire State Trail project, the trail was extended 2 miles (3.2 km) to the west, ending just past the New York State Thruway in New Paltz. The state also constructed an on-road connection between the Hudson Valley Rail Trail and the Wallkill Valley Rail Trail. Prior to this construction, there has never been a direct link between the Poughkeepsie Bridge and the Wallkill Valley corridor. Other plans include the development of commercial zones along the trail, and a project to connect the trail to Illinois Mountain. ## Route The east–west trail begins at the Poughkeepsie Bridge, by Haviland Road. The 1.28-mile (2.06 km) Poughkeepsie Bridge was opened as a pedestrian walkway in 2009. The bridge is a National Recreation Trail, and connects to the Dutchess Rail Trail to the east, creating a contiguous 18.2-mile (29.3 km) rail trail system that spans both Ulster and Dutchess counties. The Hudson Valley trail continues 0.5 miles (0.80 km) west from the Poughkeepsie Bridge to a bridge over Mile Hill Road, then another 0.1 miles (0.16 km) to a crossing at US 9W. At the 1-mile (1.6 km) mark, the trail reaches a bridge over Vineyard Avenue. About 1.5 miles (2.4 km) from the bridge, the trail crosses under New Paltz Road. Almost 0.5 miles (0.80 km) from this road, the trail reaches the Black Creek Wetlands Complex. Black Creek is one of the two "principal streams" to run through Lloyd; it bisects the town as it flows north and pools in a pond. The wetlands complex itself is important for water drainage. Part of New York State Department of Environmental Conservation region 3, the complex contains Plutarch Swamp and one of the region's largest dwarf shrub bogs, hosting a variety of rare species. The complex also includes the Swarte Kill, Lloyd's second major waterway. The trail continues an additional 0.5-mile (0.80 km) past the beginning of the complex to Tony Williams Park. The trail was extended about 2 miles (3.2 km) west as part of the Empire State Trail project. This section parallels New York State Route 299, ending just west of the New York State Thruway in New Paltz. On-road connections are available connecting the western terminus to the Wallkill Valley Rail Trail. There are five parking areas along the trail, by Haviland Road, Commercial Avenue, the Rotary pavilion, at Tony Williams Park, and along Route 299 in Lloyd. The trail is 12 feet (3.7 m) wide and 4 miles (6.4 km) long; it is paved with asphalt and suitable for hiking, bicycling, horseback riding, roller blading, and cross country skiing. In 2018, Hudson Valley law firm Mainetti & Mainetti, P.C. published an updated bicycle map that showed the proposed route of the Hudson Valley Rail Trail, and how it links the Walkill Valley Rail Trail and River-to-Ridge-Trail with the Dutchess County Rail Trail. ## See also - List of rail trails in New York - Rosendale trestle – another instance in which Conrail sold a bridge and adjoining rights-of-way for one dollar	[ "## History", "### Declining rail usage", "### Conversion to trail", "## Route", "## See also" ]	2,740	41,499
62,312,656	2019 Northern Ireland Open	1,152,567,196	Snooker tournament, held 2019	[ "2010s in Northern Ireland", "2019 in Northern Ireland sport", "2019 in snooker", "21st century in Belfast", "Home Nations Series", "Northern Ireland Open (snooker)", "November 2019 sports events in the United Kingdom", "Sports competitions in Belfast" ]	The 2019 Northern Ireland Open (also known as the 19.com Northern Ireland Open) was a professional snooker tournament that took place from 11 to 17 November 2019 at the Waterfront Hall in Belfast, Northern Ireland. The fourth edition of the Northern Ireland Open, it was the sixth ranking event of the 2019–20 snooker season, the second tournament of the Home Nations Series. Featuring a prize fund of £405,000, the winner received £70,000. The event was broadcast on Eurosport and Quest domestically and was sponsored by betting company 19.com. The defending champion was Judd Trump, who had defeated Ronnie O'Sullivan 9–7 in the 2018 final. The pair both reached the final in 2019, with Trump successfully defending the title, defeating O'Sullivan by the same scoreline. Stuart Bingham scored the highest of the tournament, compiling a maximum break in the first frame of his first round match with Lu Ning, the sixth of his career. ## Format The Northern Ireland Open was first played in 2016, and was won by Mark King. The 2019 event was the second of four Home Nations Series events, and the sixth world ranking tournament of the 2019–20 snooker season. The event took place from 11 to 17 November 2019 at the Waterfront Hall in Belfast, Northern Ireland. and followed the World Open, and preceded the UK Championship. The defending champion was Judd Trump, who had won the 2018 event by defeating Ronnie O'Sullivan 9–7. All matches were played as the best of 7 in the first four rounds, at which point the number increased: 9 in the quarter-finals; 11 in the semi-finals; and the best of 19 frames in the final. Chinese sports prediction website 19.com sponsored the event, which was broadcast in Europe and Australia by Eurosport; CCTV, Superstars Online, Youku and Zhibo.tv in China; True sport in Thailand; Sky Sports in New Zealand and DAZN in Canada. ### Prize fund The breakdown of prize money for the event is shown below: - Winner: £70,000 - Runner-up: £30,000 - Semi-final: £20,000 - Quarter-final: £10,000 - Last 16: £7,500 - Last 32: £4,000 - Last 64: £3,000 - Highest break: £5,000 - Total: £405,000 ## Tournament summary The first four rounds were played from 11 to 14 November as the best of seven frames. Defending champion Trump defeated James Cahill in the opening round, then beat three Chinese players Zhang Anda, Si Jiahui and Yan Bingtao, whilst unseeded player Anthony Hamilton defeated Tom Ford, Rod Lawler and eighth seed Kyren Wilson to reach the quarter-finals. Fifth seed Mark Selby defeated Xu Si, Matthew Stevens, Luca Brecel and Ken Doherty in qualifying for the quarter-finals where he would meet John Higgins as he defeated Chang Bingyu, Kacper Filipiak, Billy Joe Castle, and 2019 World Cup partner Stephen Maguire. Fourteenth seed Joe Perry defeated Zhao Xintong, Ross Bulman, Graeme Dott and Robbie Williams to play Alexander Ursenbacher in the quarter-finals, who overcame Xiao Guodong and Martin O'Donnell in the opening two rounds. In the third round, he met Stuart Bingham, who made the highest break of the event, a maximum break of 147 in the first frame of his opening round win over Lu Ning, the sixth of Bingham's career. Ursenbacher defeated Bingham 4–2, and then sixth seed Mark Allen 4–3. Seventh seed Shaun Murphy overcame Fraser Patrick, Luo Honghao, Ricky Walden and Barry Hawkins to meet Ronnie O'Sullivan, who defeated Oliver Lines, Lei Peifan, Stuart Carrington and Yuan Sijun. The quarter-finals were played on 15 November as the best of nine frames. Trump defeated Hamilton 5–1, the same scoreline that O'Sullivan defeated Murphy, whilst Perry defeated Ursenbacher 5–3. Higgins led Selby 4–2, but led 66–0 in frame seven. Selby, however, took more than six minutes to take a single shot, more time than the fastest ever maximum break. Selby won the frame, and tied the match at 4–4, but Higgins won the deciding frame to win 5–4. The semi-finals were played as the best of 11 frames on 16 November. Higgins led Trump at 3–2 in the first, but Trump won the next four frames to progress to the final. A pot on the by Trump in frame eight where he played the around the table to make a was described by fellow players such as Jimmy White, Mark Allen and opponent Higgins as "one of the best shots ever played". The second semi-final was held between O'Sullivan and Perry. O'Sullivan won all of the first five frames, before winning the match 6–1. The final was played between Trump and O'Sullivan on 17 November as the best of 17 frames, held over two . Trump won the opening two frames, and led 3–1 after a break of 123 in the fourth. He also led 5–3 after the opening session, despite missing an attempt for a maximum break in frame seven. Upon the restart, O'Sullivan won frame nine, before Trump opened up a three frame lead by winning the next two. O'Sullivan won two frames in a row, to trail by a frame, but Trump made a break of 124 to lead 8–6. Making his second century break of the final, a 135, O'Sullivan won frame 15, but Trump made a break of 84 to win the match 9–7. The win was Trump's 14th ranking event victory. After the match, Trump commented: "To defend any title is always difficult but to do it against Ronnie [O'Sullivan] is extra special...You've got to play [your best] against Ronnie otherwise you lose." O'Sullivan praised his opponent after the match, commenting that he "enjoyed watching" Trump's play. The pair would also contest the following season's event, with Trump again winning over O'Sullivan by the same scoreline. ## Main draw The results from the event are shown below. Seeded players have their seedings in brackets. Players highlighted in bold denote match winners. ### Qualifying round Patrick Wallace (NIR) 4–0 Robbie McGuigan ### Top half #### Section 1 #### Section 2 #### Section 3 #### Section 4 ### Bottom half #### Section 5 #### Section 6 #### Section 7 #### Section 8 ### Finals ### Final ## Century breaks A total of 76 century breaks were made during the competition. The highest break was a maximum break scored by Bingham in the first frame of his opening round win over Lu Ning. - 147 – Stuart Bingham - 139, 132 – Zhang Anda - 137, 114 – Mark Joyce - 136, 134 – Matthew Stevens - 136, 125, 124, 123, 122, 113, 111, 106, 106, 106, 105 – Judd Trump - 136 – Zhao Xintong - 135, 127, 126, 101 – Ronnie O'Sullivan - 134 – Joe Perry - 132 – Sam Baird - 132 – Ken Doherty - 130 – Matthew Selt - 129, 127, 101 – Yan Bingtao - 129, 119, 101 – Barry Hawkins - 129 – Tian Pengfei - 128, 113, 102 – Luca Brecel - 126, 102 – Liang Wenbo - 123 – Scott Donaldson - 122, 104, 103 – Shaun Murphy - 122 – Thor Chuan Leong - 118, 103, 101, 101 – Mark Allen - 118 – Yuan Sijun - 117, 115, 112, 110 – John Higgins - 116 – Ricky Walden - 115, 109, 101 – Mark Selby - 114, 101 – Robbie Williams - 112 – Jack Lisowski - 109 – Billy Joe Castle - 109 – Chen Zifan - 108 – Zhou Yuelong - 107 – Anthony Hamilton - 106 – Ali Carter - 105 – Chang Bingyu - 105 – Luo Honghao - 105 – Mitchell Mann - 104 – Stuart Carrington - 103, 102 – Alexander Ursenbacher - 102 – Ben Woollaston - 101 – Michael White - 100 – Graeme Dott - 100 – Lei Peifan - 100 – Hammad Miah	[ "## Format", "### Prize fund", "## Tournament summary", "## Main draw", "### Qualifying round", "### Top half", "#### Section 1", "#### Section 2", "#### Section 3", "#### Section 4", "### Bottom half", "#### Section 5", "#### Section 6", "#### Section 7", "#### Section 8", "### Finals", "### Final", "## Century breaks" ]	1,937	14,189
5,358,088	No. 285 Squadron RAAF	1,141,991,781	Royal Australian Air Force training squadron	[ "1999 establishments in Australia", "Military units and formations disestablished in 2017", "Military units and formations established in 1999", "RAAF squadrons", "RAAF training units" ]	No. 285 Squadron was a Royal Australian Air Force (RAAF) training squadron. Controlled by No. 84 Wing, the squadron was formed in August 1999 to train the RAAF's Lockheed Martin C-130J Hercules aircrew and ground support staff. No. 285 Squadron did not control any flying aircraft but managed the flight simulator used for converting aircrew to the C-130Js operated by No. 37 Squadron. It was also allocated decommissioned Hercules airframes for training purposes, as well as flying aircraft from No. 37 Squadron when required. Throughout its existence, No. 285 Squadron was located at RAAF Base Richmond in the western suburbs of Sydney. The squadron was disbanded in December 2017. ## Role and equipment No. 285 Squadron was responsible for training aircrew and maintenance staff to operate the Lockheed Martin C-130J Hercules transport aircraft of the Royal Australian Air Force (RAAF). It was located at RAAF Base Richmond, New South Wales, and controlled by No. 84 Wing, part of Air Mobility Group. The squadron's motto was "Aspire". Twelve C-130Js are operated by No. 37 Squadron, also based at Richmond under No. 84 Wing. The aircraft are generally crewed by two pilots and a loadmaster, and tasked with medium tactical airlift in Australia and overseas, transporting troops and cargo, and conducting medical evacuation, search-and-rescue, and airdrop missions. No. 285 Squadron managed the full-flight mission simulator (FFMS) used to convert aircrew to the C-130J, as well as decommissioned Hercules airframes used for loadmaster training. It also employed computer-based training tools and was allocated flying aircraft from No. 37 Squadron when required. As well as training aircrew new to the C-130J, the FFMS (maintained by CAE Australia) was employed for existing aircrew to maintain their currency. No. 285 Squadron generally held two pilot and navigator conversion courses per year. Each six-month course included approximately 120 hours in the FFMS and 30 hours in flying aircraft. It culminated in an airborne operation module, which included formation flying, airdrops, night landings with night-vision goggles, and simulated combat utilising the C-130's self-defence systems to prepare the aircrew for conditions in Middle East deployments. Following this exercise, the new C-130 aircrew were posted to No. 37 Squadron. No. 285 Squadron could run 30 or more courses each year for ground support staff; these courses could last from one day to five weeks. ## History No. 285 Squadron was formed on 24 August 1999 at RAAF Base Richmond under the command of Squadron Leader Peter "Zip" Szypula. Coming under the control of the newly re-formed No. 85 Wing, the squadron took over the training functions of No. 33 Squadron (operating Boeing 707s), No. 36 Squadron (C-130H Hercules), No. 37 Squadron (C-130J Hercules) and No. 503 Wing (aircraft maintenance). It was equipped with three flight simulators: one 707, one C-130H and one C-130J. The squadron began operating a full-flight mission simulator (FFMS) for the C-130Hs in 2003, coinciding with the deployment of C-130Hs to the Middle East. Replacing a more basic C-130H simulator, the FFMS was used to train pilots, navigators and flight engineers. By mid-2006, No. 85 Wing had been disbanded and No. 285 Squadron was under the control of No. 84 Wing at Richmond. RAAF Hercules operations were concentrated in No. 37 Squadron in November 2006, when No. 36 Squadron transferred its C-130Hs prior to re-equipping with Boeing C-17 Globemaster III heavy airlifters and relocating to RAAF Base Amberley, Queensland. The Boeing 707 was retired from service in June 2008. In April 2009, No. 285 Squadron was named the most proficient RAAF training unit of the previous year. No. 37 Squadron joined No. 285 Squadron under No. 84 Wing in October 2010, when it was transferred from No. 86 Wing. The C-130Hs were retired in 2012, and with them No. 285 Squadron's C-130H simulator; the simulator remained at Richmond until 2016, when it was sent to Jakarta to support training for the Indonesian Air Force's fleet of ex-RAAF C-130Hs. No. 285 Squadron was jointly responsible (with No. 33 Squadron) for training flight attendants for the RAAF's VIP jets until 2015, when No. 34 Squadron established its own training section and took over the task. The C-130J FFMS was networked to a virtual exercise in August 2015, allowing aircrew operating the simulator at No. 285 Squadron to interact for the first time with other exercise participants in Australia, the US and the UK. By February 2016, according to No. 285 Squadron's commanding officer, ninety per cent of C-130 flying training was conducted in the FFMS. In March, a commemorative cairn and garden was unveiled at Richmond in tribute to the squadron's inaugural commanding officer, "Zip" Szypula, who died in March 2001 with his partner and her daughter in an avalanche in the Himalayas, while preparing to climb Mount Everest. No. 285 Squadron was disbanded on 8 December 2017. Its role and most of its personnel were transferred to a re-established Training Flight in No. 37 Squadron. ## See also - Lockheed C-130 Hercules in Australian service	[ "## Role and equipment", "## History", "## See also" ]	1,219	13,369

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